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M.A.C.E. (BRAZIL)

A 4-track demo of excellent direct classic thrash/crossover, fast and sharp, with really cool leads, and a great melodic edge on the guitars which doesn't dullen the riffage, but makes it sound even more compelling. Really cool stuff; such good thrashy crossover from Brazil hasn't been heard since the Ratos De Porao's early-90's works.

Apocalypse Now EP, 2006

My Space

M.A.C.E. (ITALY)

Based on the demo, these folks provide relatively friendly power/thrash that is still more on the classic side, the guys adhering to a heavy mid-tempo for most of the time, not very fond of the faster-paced explosions. "Fighting" is a cool more diverse shredder with lashing sharp riffage, the vocalist doing his own damage on the side with a semi-sober/semi-clean hoarse croon ala Kermit (Tyrant (Germany)).

State of Excitement Full-length, 1989
They'85 Demo, 1992

M.A.D. (CANADA)

Based on the debut: quite good classic thrash metal which will remind you of many bands from the 80's: Testament, Exodus, Heathen, etc. There's an attempt at a more complex song-writing: some of the tracks are longer with nice technical hooks. The pace is varied, but mostly stays in the mid-tempo except on the crossover joke "Special Olympics", and the intense headbanger "Hold Your Breath". The singer has a slightly indifferent punk-ish timbre, and the bass performance is really impressive.
"Songs for the Ugly" actually deserves its "ugly" title being bland, repetitive groovy post-thrash with harsh hardcore-ish outbreaks, having nothing from the technical/progressive swagger of its predecessor.
The demo contains a really good material some of which found its way to the debut. "Another Perfect World" is an awesome Bay-Areasque shredder with dramatic progressive accumulations and bristling technical guitars, a one-of-a-kind experience with vortex-like rhythmic leaps and bounds not to mention the gorgeous lead section at the end. "Endangered" is a more immediate headbanger with a couple of smattering spiral-like technical decisions, and the title-track is a compellingly chaotic technicaller with a wide array of paces and cool bass support. "Ignorant Advice" is a jumpy thrasher with frenetic tempos and twisted riffy arrangements which continue on "Political Dismay", a nice combination of melody and technicality with a frequent alternation of pace. This is another proof that this act were one of the finest practitioners of the more serious side of the genre in Canada, and also worldwide.

Generation Zero Demo, 1989
Taboo of the Western World Full-length, 1991
Songs for the Ugly Full-length, 1992

M.A.D. (GERMANY)

Based on the full-length, this act serve vicious intense old school thrash/death along the lines of Merciless and Devastation. This is a pummeling fist in the face that never lets up the threatening guttural deathy vocals notching up the drama, the melee turning to full-fledged death metal on a couple of short outrages ("Epidemic Spreads", "Kill All Masters"), the stomping semi-technicality on "Preachers" a welcome deviation from the no-bars-held bash. Some of the musicians are also involved with the death metal cohort Bloodland, and the gothic metallers Senistro.

Servants of Torture EP, 2016
A Plague Caused the Deaths Full-length, 2020

Official Site

M.A.D. (RUSSIA)

This is an intense retro/modern thrash blend with a sterile, mechanical guitar sound and crisp modern production. The guys know their thrash which also comes with appropriately inserted balladic passages (maybe a bit too many) and heavy proto-doomy moments which get overused near the end, where the album loses the speed from the beginning, settling for not very imaginative, repetitive heavy guitars. The singer has a deep clean voice, but ruins his delivery with rough semi-death metal growls. The lead guitar work is good, though, having this surreal spacey feel to it.

Tui Budesh Jit Full-Length, 2009

M.A.D. (UK)

Your "Thrash Grandads" are here, like the title of the opening song suggests, and they will overflow you with cool melodic thrash/crossover rhythms some of them played at the speed of light ("...In Space"; the 1-min of thrashing fury "Blutack Attack"), those numbers contrasting with the imposing progressive closer "Brainwashed By Common Sense" which is a curious blend of fast riffs and more laid-back spacey moments recalling late-80's/early-90's Voivod the resultant mixture lacking coherence and focus disfavouring this otherwise nice effort a bit at the end. The singer has a forceful throaty timbre which suits the intense musical delivery despite its slightly unmelodic nature.

Going Nowhere Fast EP, 2011

M.A.D: GOYA (SERBIA)

Based on "Put Olindrali Avlijanera", these guys come up with cool energetic retro thrash/crossover suffering from the bad brutal death metal vocals. The music is not very aggressive graced also by a couple of catchy shouty choruses, and a few slow heavy passages plus a nice hardcore-ish cover of Venom's "Countess Bathory".

The Number of Beers Full-length, 2003
Put Olindrali Avlijanera Full-length, 2006
Cobi's Death/Wrm/M.A.D: Goya Split, 2007

Official Site

M.A.S.A.C.R.E. (PERU)

Based on "En Pie de Guerra", this band offer a cross between classic Bay Area-influenced thrash metal and the groovy aggro-style of Pantera. The sound resembles quite a lot the works of the Japanese band United who operate in the same area music-wise.
"Versos del Inframundo": the Peruvian heroes are here again, and their inspired antics sound as though the guys are just starting their career. Their delivery has shaken off the detrimental 90's elements and rips through with impetuous cuts like the opening title-track and "Morir de Pie". A few more restrained, semi-balladic pieces ("1985") are also offered carrying a certain power metal spirit with them, but this effort isn't about hard-hitting thrash the whole time, and one should also be able to enjoy more meditative doomy compositions like "La Oscuridad".

Sin Piedad Full-length, 1988
Demoledor Full-length, 2000
En Pie de Guerra Full-length, 2004
On The Warpath Full-length, 2006
Versos del Inframundo Full-Length, 2016

M.A.S.H. (POLAND)

Based on the debut, this band offers very cool aggressive thrash along the lines of Devastation's "Idolatry" and Atomica's "Disturbing the Noise". This is fast hard-hitting music with not many slower "interludes", lashing a bomb after bomb in a merciless fashion, with only "The Faces of the Crime" calming down a bit, but the riffs there are super-heavy. The closing tune is a great lead-driven 1.5-min instrumental ("Distance"). The vocals are forceful semi-death metal-ish coming as a throatier and deathier version of Max Cavalera (Sepultura).
"Animal" is a heavy groovy post-thrashy affair sounding quite close to Exhorder's "The Law" and Pantera's "Vulgar Display of Power" matching those two in terms of intensity every bit of the way. Sadly, it came at a time when this particular genre was very well established on the scene, and the guys had nothing new to offer to the already oversaturated post-thrash fanbase.

New Power Full-length, 1992
Animal Full-length, 1995

M.B.I. (SWITZERLAND)

Semi-amateurish thrash with Bay-Areasque overtones; the sound quality is really bad making the guitars too fuzzy although the galloping sections on "Bloody States" aren't that bad at all; neither are the more atmospheric escapades on the speed metal winner "Day And Night". The vocalist is an unrehearsed semi-reciter who doesn't really sing recalling the early vocal exploits of Reinhard Kruse (F.B.I.... sorry, S.D.I.).

Demo Demo, 1988

M.I.D.R.A.S.H. (MEXICO)

This is a strange act who base their repertoire around melo-death/thrash rhythms ala Arch Enemy, but exacerbate the situation with very brutal guttural death metal vocals. "Through Torment" is a nice progressive opus with dreamy ethereal qualities, and "Tears of Blood" brutalizes the environment with less restrained wilder guitars, the guys's sense of melody is simply too strong to be superseded by any other ingredient: just check the spell-binding leads on "Burning Souls", or the intriguing semi-Oriental configurations on "Road to Death".

Burning Souls Full-length, 2019

Official Site

M.I.S. (SWITZERLAND)

A late comer on the classic thrash wagon served with a pinch of proto-death so don't look for any sophistication ala their compatriots Lunacy: this is violent bash with touches of crossover, but this is more along the lines of Wehrmacht except for the title-track which is a nice eventful thrasher with almost progressive nuances the latter also audible on the longer and a bit clumsy "Hungry". "Questions" is a pure death metal outrage at some point, and the bass is fairly good all over, clearly the highlight on this interesting, but uneven, effort which also boasts a very clear sound. Some of the band members have recently started another classic thrash metal act, Casatron.

Shut Up! EP, 1993

M.I.S. (USA)

This trio pull out pretty decent retro power/speed/thrash topped by over-the-top high-pitched semi-clean vocals. The sizzling dramatic fiesta is notched to the max thanks to intense pulverizers like "Manifest Death" and the progressive odyssey "White Noise", but expect also heavy doom-laden riffs on the officiant "Pseudo Savior". The more welcoming power metal rhythms on "Sellout" are not exactly a sellout, but still pale before the hyper-active accumulations on "Black Oceans, Yellow Sand", or the polished thrash/proto-deathy brutality of "Live Your Lie".

Kill the Man, Save the Indian Full-length, 2020

Official Site

M.K.ULTRA (MEXICO)

This is intense old school thrash assisted by subdued, growling death metal vocals which sometimes receive support from more expressive shouty semi-clean ones. Early Whiplash is a very close call sound-wise, and simplistic direct speedsters like "Distortion Mind" and "Marchurian Candidate" nicely aggravate the archaic flavour of this unpretentious bashing recording.

Born Of Malleus Maleficarum Full-Length, 2019

Official Site

M.O.D. (USA)

Billy Milano formed this band after the demise of S.O.D. The style is a direct continuation of the wild hardcore/thrash/punk mixture of the other band.
"Busted, Broke & American": Billy Milano and Co. are back after a decade of inactivity as the Co. part is completely new the man having surrounded himself with entirely new members the majority coming from the Canadian thrashers Mastery with whom Milano had a short spell. The entertainment factor is expectedly high as well as the energy as evident from the ripping title-rack and the speed/crossover delights "Shattered Dreams & Broken Glass" and "They". Fans of the band will be happy all over as the good old crossover will never perish with the veterans always reliant.

U.S.A. For M.O.D. Full-length, 1987
Surfin' M.O.D. Full-length, 1988
Gross Misconduct Full-length, 1989
Rhythm of Fear Full-length, 1992
Devolution Full-length, 1994
Dictated Aggression Full-length, 1996
Rebel You Love to Hate Full-length, 2003
Red, White, and Screwed Full-Length, 2007
Busted, Broke & American Full-length, 2017

My Space

M.O.R.G. (PORTUGAL)

Based on the full-length, this is optimistic carefree thrash/crossover which rolls on with sharp, but playful guitars which take more epic proportions on a couple of longer numbers in the middle ("Doom", the more moderate mid-pacer "Nightmare of Sound") where more serious thrashing is guaranteed. The band news is that the 2nd half is much less intense the band exploring their more tender emotions also including one overlong ballad, not to mention the 6.5-min closer "Feelings" which is another serene acoustic piece. A mixed affair as a whole having a lot to do before reaching the upper echelons of the genre, even in their homeland.

M.O.R.G EP, 2009
Nightmare of Sound Full-length, 2015

Youtube

M.S.T. (FRANCE)

One of the bands who refused to follow the modern trends of mixing thrash and death metal which was so popular at the same time in France; this is excellent speed/thrash recalling the early efforts of ADX and Killers. There's a certain shade of thrash/crossover at times ala the thrashier Suicidal Tendencies' works ("How Will I Laugh...", "Lights...Camera...Revolution"). This is cool music, fast and energetic, with a huge headbanging potential, and very cool vocals, quite close to Mike Muir.
The Mini-LP is pretty much the same energetic thrash/crossover, but more melodic and simplistic. The tracks follow nicely being fast-paced, albeit a bit samey. The singer will remind you even more of Mike Muir here, as well as the music, which at times is very close to the Suicidals' "Join the Army".

P.U.C. Mini-LP, 1988
Regeneration Full-Length, 1991

M.S.W. (USA)

Thrash/crossover recalling Carnivore, both vocal and music-wise; heavy and mid-paced, with repetitive riffs and timid attempts at more interesting guitar lines which for some strange reason remind me of the Black Sabbath period with Ozzy ("Call to Arms/Nightmare War").

What's All This Then? Demo, 1987

M.T.G. (ITALY)

This act indulge in right as rain retro thrash, the bashing qualities amply exhibited on the title-track and "Lady of Death" aptly matching the shouty semi-clean passion of the vocalist. The pummeling session never stops here, actually, "Auftragsmord" galloping with the more impetuous horses out there, and "Slavery and Abuses" adding more intricate gravity to the sizzling melee. Welcome some light-hearted crossover tunes with the closing "T.M.C.O.T.P.O.T.A" into your diet as well.

Lobotomized Full-length, 2023

Official Site

M.V.D. (GERMANY)

Thrashcore heroes from Germany spicing their routine delivery with sudden blazing leads which nicely decorate some of the short (1-2min) blitzkrieg tracks. The singer shouts his lungs out trying to overcome the lashing guitars which come with a very abrasive noisy edge.

Stagnation Of Thinking EP, 1992

M-102 (USA)

Energetic modern post-thrash with elements of hardcore not far from Pro-Pain; the singer semi-shouts in a warm, friendly manner, and the music isn't that aggressive possessing this semi-hit, sing-along potential again typical for the early works of the Pro-Pains.

The Dividing Line Full-Length, 2015

M-16 (BOLIVIA)

This is aggressive bashing thrash/death played in a live surrounding which contributes to the awful sound quality and the messy delivery which completely lacks professionalism and could be played by anyone... literally. So don't expect to recognize the 2 cover versions thrown in the middle: Sodom's "Agent Orange" and Sepultura's "Inner Self", the latter done a bit more professionally. Anyway, this is purely amateursih music which should only interest fanatic collectors...

YEEEEE Demo, 2011

M-19 (BRAZIL)

The full-length: varied modern/classic thrash with a pinch of hardcore which crosses the light-hearted aesthetics of early Pro-Pain with less bridled death metal sweeps creating plenty of dynamics along the way. The headbangers will by all means be happy for most of the time with the ripping guitars and the screamy leads topped by forceful shouty semi-death metal vocals which are quite comprehensive, and are definitely an asset rather than an impediment. The sound quality is crystal clear making each instrument clearly heard greatly favouring the more melodic escapades like the ones on "Disequilibrium" and the closing "School of Crime" where the leads are the stars of the show.
The demo is a very promising beginning for the band comprising ripping classic thrash/death in the vein of Invocator and Assorted Heap. The guys play with confidence unperturbed by the muddy production, and the final result is not very far from the better examples in the genre from their homeland from the 90's. The approach isn't overtly technical, but some hooks pack a punch with style: check out the vortex-like sections on "Crying Out". The lead guitarist acquits himself with a couple of good screamy leads, and the vocalist rends his throat in a forceful semi-shouty/semi-deathy manner even managing to capture a few melodic lines.

When a Promise Is Broken Demo, 1994
Mission: Destroy Full-Length, 2013

Official Site

M-SURVIVOR (CHINA)

These "m-survivors" from China specialize in modern metalcore-ish thrash which, apart from the polished sound, offers nothing really striking to impress the over-saturated modern listener. This is a washed-down copy (and one shouldn't be surprised coming from China) of the style presented by the hordes of metalcore acts "roaming" the Earth at the moment. It's by all means professionally done and all; it's just that there is no shade of emotion or attachment to the recording, just pre-programmed passionless shred over and over...

Cube Full-Length, 2009

M1-A1 (USA)

This demo offers a mixture or power and thrash ala Meliah Rage and Anvil. This is good stuff; the songs are mostly heavy, mid-tempo affairs with tight, melodic guitars. The singer has a very good mid-ranged clean voice.

Demo Demo, 1990

MABON (SWITZERLAND)

Based on "The World Is Bleeding", these folks specialize in brisk modern thrash which resembles the last few Kreator recordings, the ripping character of "Name Of God" and the galloping urgency of "Death Kiss" propelling the album forward, the diversification campaign stirred by less aggressive propositions like "Die" and "Hero". The more intriguing riff-patterns of "Agro" are clearly the highlight, and such more technical escapades should by all means be provided more profusely in the future for the sake of the not very convincing "guttural vs. shreeky" vocal death metal duel.

Eye for an Eye EP, 2006
Stampede of the Damned Full-length, 2010
The World Is Bleeding Full-length, 2019

Official Site

MABUS 666 (IRELAND)

The putting together of all extreme metal styles into one album has become so fashionable that if the trend goes on for another while, we'll be just talking about extreme metal in the near future, without any further classifications. Mabus 666 do exactly that, although the black metal-tag here is given due to the vocals which are high-pitched shrieks and at times can be quite annoying. But the music saves the day being hard-hitting thrash/death metal which manages to sound both original and quite intense at the same time.

Profit Full-length, 2002

Official Site

MABUSE (NORWAY)

Three songs of intense old school thrash in the vein of Sadus' debut and early Death. The guys play fast the whole time, and with the slightly buzzy guitar sound in the background the feeling created is for a violent bash of still the more intelligible kind with rending death metal vocals with certain shouty aesthetics.

Stench Of Death Tape EP, 2012

MAC ANIMAL (AUSTRIA)

Based on the "Animalized" EP, this formation provides modern post-thrash with elements of funk and jazz, hitting hard at times with pure classic thrashy riffs ("Backyard"), but the super-heavy high-octane doom on "Animalized" can not possibly be ignored. The rest is a weird mix of moods and styles which brings Mordred's "In This Life" and Re-Animator's "Laughing" to mind.

Party on, Dudes EP, 1994
Animalized EP, 1996

MACABRE (USA)

This is an enjoyable band (if you don't take their lyrics too seriously, of course, which center around the "careers" of some of the most notorious serial killers in human history) mixing very contrasting styles on their works: death, thrash, grind, hardcore, punk and even jolly rock-ish numbers. This is far from a mish-mash; on the contrary: this is good fun with cool thrashy riffs and a generally aggressive attitude.
The "Human Monsters" EP is four songs offering the typical for the band wild blend of thrash, death metal and grindcore, again sounding listenable with the guys never crossing the border beyond the good taste. Nice jolly tunes can be caught on the crossover-tinged "The Big Bad Wolf", which in its turn is followed by the pretty faithful, and well done, cover of Venom's "Countess Bathory". The joke song is not missing, either, coming at the end ("The Bloody Benders") being pure merry punk, an unpretentious memorable track.
"Grim Scary Tales" is an eclectic larger-than-life affair which shows some striking musicianship, as well as an enormous sense of humour, both in the lyrics department and the song-structures. The overall approach is a capable mix of thrash and death metal starting with the surprisingly stylish technical "Locusta" which is mostly instrumental with jumpy hectic riffs and great leads. "Nero's Inferno" is an orchestral theatrical piece of a non-metal nature, but its left-hand-path approach is fascinating ably supported by clean operatic vocals. Then comes "The Black Knight", an appealing blend of crossover and death metal, with the clean vocals springing up again along with a short Cathedral-esque doomy moment. Follow the tracks from the EP, completely unchanged, and one very good ballad "Mary Ann", a tender romantic piece with good leads. "The Ripper Tramp from France" is the other more technical moment, a jumpy diverse piece with excellent leads which are highly entertaining on the whole album. "Bella the Butcher" is close in spirit, a weird frantic song with suddenly changing tempos, and death metal completely takes over on the aggressive lasher "The Kiss of Death", before another encompassing "cocktail" of thrash, crossover and a little bit of death metal says its final word on the closing "The Sweet Tender Meat Vendor". Traditionally, variety is the name of the game here, and this entertaining effort will again keep a wide gamut of fans happy although some may mourn the decrease of speed and brutality (the compulsive grindcore elements, the hyper-blasts, etc.) which were quite typical for the band's previous albums.
"Carnival of Killers": the scene's favourite brutal jokers are back in action, and this offering is traditionally more eclectic than the usual proposition, with intense semi-dissonant wonders ("Your Window Is Open") peppering the landscape, standing indignant next to goofy sing-alongers ("Joe Ball Was His Name") and weird frenetic shorters ("Stinky"). This isn't exactly thrash� it isn't death either; it's an eclectic accumulation of genres which defies categorization, especially when these totally outlandish but effective clean vocals hit ("Them Dry Bones"), not to mention the spacey doomy carnival "The Lake of Fire" and the frivolous punk-ish joy "Warte Warte", the joy partly clouded near the end by the intense thrashy variation on the "The Wheels on the Bug" children's theme, and the vitriolic speedster "The Murder Mack".

Grim Reality EP, 1987
Shitlist EP, 1988
Gloom Full-length, 1989
Sinister Slaughter Full-length, 1993
Behind the Wall of Sleep EP, 1994
Unabomber EP, 1999
Dahmer Full-length, 2000
Morbid Campfire Songs EP, 2002
Murder Metal Full-length, 2003
Human Monsters EP, 2010
Grim Scary Tales Full-length, 2011
Carnival of Killers Full-length, 2020

Official Site

MACBETH (GERMANY)

Based on "Gotteskrieger", these guys, who were previously known under the name Caiman, offer a decent mix of thrash and power metal, quite classic-sounding, the latter dominating the approach a bit. The music has also shades of epic and black ("Das Boot", "Golgatha") metal where the guitar work is better, emiting really catchy melodies. Otherwise this is mid-paced stuff, seldom going for all-out speed ("Hunde Wollt Ihr Ewig Leben") and also recalls another recent German act: Runamok.

"Wiedergonger" is a more aggressive offering the guys thrashing with more passion and gusto recalling the more recent Kreator "exploits" quite a bit by not forgetting about the frequent melodic hooks which make the album quite memorable in the long run. The beginning is fairly promising with the intense headbanging opener "Kamikaze", but the intensity and speed decrease with each passing number. The middle gets occupied by the heavier, slower material which comes with a solid epic "colouring" which gives nicer "fruit" on the more engaging progressiver "Stalingrad-Untergang". The 2 bonus tracks at the end are merry crossover pieces with more laid-back riffage which further increase the album's diverse nature.
"Imperium" is the next in line classic/modern thrash hybrid which has its positive headbanging ("Inferno") sides, but there's plenty of melody applied as well: check out the lead section on the heavy ballad "Verloren" as well as engaging epic thrashing on "Konig Der Henker", not to mention the not jocund nods towards the Russian national anthem on "Pawlows Haus". As a whole the band have become more officiant and epic-sounding another testimony for that being the final 8.5-min opus "Soweit Die Fafe Tragen", a doomy operatic composition at its most battle-rousing.

Macbeth Full-length, 2006
Gotteskrieger Full-length, 2009
Wiedergonger Full-Length, 2012
Imperium FullLength, 2015

Official Site

MACHETE (MEXICO)

These Mexicans pull out noisy intense thrashcore which sadly wastes too much time staying in groovy mid-tempo waters and consequently misses the point of what this sub-genre has to offer. On top of that the singer shouts hysterically the whole time adding further to the album's noisy, intolerable nature. The nod to Pro-Pain with "Propane Pro-Pain" near the end is not very well deserved: the guys here are just noisemongers at this stage, and don't have the required skills to stand alongside their aforementioned peers.

Machete Full-Length, 2014

MACHETE TACTICS (JAPAN)

Hard-hitting retro thrash with sharp steely riffs and intense shouty death metal vocals; the headbanging factor is really high all over, with speedy unrelenting numbers ("The Red Awakening", "Region of Death") pouring out incessantly, "Traumatic Demise" even epitomizing a more brutal deathly veneer. "Declaration" is a declaration of patiently-woven mid-paced sovereignity, but this is the only such number on this utterly hyper-active recording. Some of the musicians are also busy with another retro thrash formation, Wrath of Noah.

Nightmare Has Begun Full-length, 2022

Official Site

MACHIAVELLIAN REGRESSION (CANADA)

Crossover/thrash in the D.R.I. vein; the music sounds rougher and rawer than the one of their more renowned peers, but there is enough energy put in the recording, and some tracks are full-fledged intense thrashers: "Blue Beard", "Acid Rain", the less than 2-min explosion "Anormal System". There are stylish touches thrown in as well: the great combination of aggression and playful crossover "Mal Le9che9", packed in a little more than a min. Occasionally do the guys add pure hardcore to the proceedings ("Dumb Gang"), but most of the time they thrash with conviction and power.

Acid Rain Full-Length, 1987

MACHINAGE (BRAZIL)

These Brazilians offer energetic retro thrash with a less overt crossover vibe which gives the recording a carefree playful tone. "Cold 3rd War" and the closer "Tides of War" are nice dynamic speedsters, but there are quite a few mid-paced numbers present as well which make this a diverse, if not always very exciting, listen. The singer is an asset, though, with his attached clean mid-ranged tember who doesn't take too many risks, but manages to control the proceedings with panache. Some of the band members also take part in another thrash formation, Stupid Vision.
"Slave Nation" is quite close to more recent Kreator so expect a more modern sound along some vicious thrashing which takes a break on the slower and more diverse "Destiny", and on the power metal filler "My Monster", a leftover from Megadeth's "Youthanasia". In the 2nd half the gyus ruin it with longer, more power/thrash-fixated cuts and lose the inertia almost completely which is partly captured by the more dynamic "Rage Of God" and the closing roller-coaster "Machine/Age Of Darkness".

It Makes Us Hate Full-Length, 2011
Slave Nation Full-Length, 2016

Official Site

MACHINARIA (BRAZIL)

This "machinaria" delivers modern semi-groovy post-thrash which thrashes harder ("Act of Justice") on occasion, but ultimately this is calm peaceful stuff with stomping riffs and tasteful melodic leads the only "rude awakening" being the harsh faster "Shallow Grave" near the end. The vocals are semi-shouty/semi-deathy and angry, but their antics are always intelligible and authoritative.

Sacred Revolutions Profane Revelations Full-Length, 2014

Official Site

MACHINATIONS OF FATE (USA)

The debut: a modern death/thrash outfit who are oriented towards the more complex, progressive ways of execution as evident from the lofty opener "Tyrannous Skies" and the more aggressive but still quite effective "Bedlam in the Far Reaches". Shades of both In Flames and Dark Tranquillity can be easily detected, but make sure you don't bypass the more thrash-fixated pieces like the dramatic "To Fathom the Forbidden Truths" and the vehement title-track, a sure-handed speed/thrash with classic overtones, both genres drinking tea/coffee together on the excellent atmospheric epitaph "The Malformed Archetype", the intense shouty death metal singer doing a good job in keeping the drama high. Some of the band members also play with the doom/death metal formation Thorns of the Carrion.
"Celestial Prophecies": the prophecies in this case are woven of similar ingredients as the ones used on the debut, melodic death/thrash pageants which are sometimes just epic walkabouts, but more often do they mosh with passion ("To Gaze Upon Venomous Horizons", "Void Indoctrination Ritual"), not to mention the casual more technical stroke ("Cosmic Womb") that roams around with style. "Of Deimos and Phobos" is a more ambitious progressiver, and "Demise" is a notable exercise in more complex death/thrashing, an entangled cut that may pass for the highlight.

Machinations of Fate Full-length, 2020
Celestial Prophecies Full-length, 2023

Official Site

MACHINATOR (ITALY)

This Italian outfit play intense classic thrash which aims at a bigger complexity in a way similar to the French Witches' debut, and succeeds in intriguing the listener with the interesting time-changes on "Bloody Flesh" which is an eventful roller-coaster with catchy riffs galore. The band vary things by introducing the odd slower break, but some moments are on the edge of death metal (the dramatic accumulation at the end of "Too Sick, Too Old") and generally the aggression leads the pack also on the encompassing speedy closer "Torture and Pain" where the low-tuned brutal death metal singer tries something higher, but fails to convince anyone in his vocal abilities.

Living Bloody Flesh Demo, 2009

Youtube

MACHINE (USA)

Quite good power/thrash metal similar to early Overkill with nice lead guitar work and energetic, but not very fast, tempos.

Demo Demo, 1989

MACHINE CALLED MAN (USA)

This band was founded by Norman Skinner, the Imagika singer, who here is helped by Paul G. Thuriot: the guitar player whose main band is the death metal monsters Jungle Rot. The music of this band bears resemblances to Imagika, but with no traces of the vicious death metal sound of Jungle Rot. It can be described as progressive power/thrash with nods to the retro style from the 80's: check out the beginning of "The Witch & The Whisperer" which is a total Flotsam & Jetsam worship (the title-track from their debut). This composition is a mighty progressive thrasher with great sharp riffs and galloping tempos. "A World Without Heroes" is a heavy stomping number with a more modern edge, and later on the sharpness gets lost for a while, on the semi-ballad "Pity Me" and the progressive power metal cut "Only Now..." which again refuses to add more energy to the proceedings. Well, this is done by the excellent "Pale Horse", another progressive metal delight. "To Live A Lie" slows down again clinging towards the balladic models, but the technical riffage at the end, accompanying the faster section there, is fairly satisfying. "Of Things To Come" is a heavy progressive thrasher which will remind you of the legends Sanctuary.

2.004 Full-length, 2005

Official Site

MACHINE HEAD (USA)

"Burn My Eyes" is a landmark album of modern 90's thrash metal, often considered the best work of the whole period. The follow-up is much heavier, with a dark groovy sound, but almost as effective. And that was it. The next two albums almost threw the band away from the thrash metal field acquiring a much more melodic sound. "Through the Ashes of Empires" shows attempts at a return to form, but it couldn't wash away the impression that the days of "Burn My Eyes" have been buried deep.
"The Blackening" almost completely restores the faith in this band showing that it's too early to cross them off the list. With a more elaborate and technical song-writing, Machine Head display a side never seen before on their previous efforts. With long, progressively-structured songs and a mighty riff-fest from beginning to end, which would probably take time before the listener gets into it, this album is a major contender for the top ten of 2007.
"Unto the Locust" preserves the ambitious undertakings from its predecessor, and the first cut "I Am Hell (Sonata In C#)" is already an engaging modern thrasher which is nicely played at high speed with a lot of furious thrashing to be heard during its more than 8-min. "Be Still And Know" is a calmer, slower composition with more melodic guitars and balladic overtones, and "Locust" is just a bit harder not bidding farewell to the heavy, stomping riffs. "This Is the End" starts thrashing on full-throttle once again by incorporating good melodic leads and Swedish-styled melo-death arrangements. "Darkness Within" is another crushing piece, "flirting" with the ballad, leaving the more intense delivery for the next "Pearls Before The Swine" which still comprises tender, more peaceful moments. The closing "Who We Are" is a more dynamic number, still a pretty melodic affair, featuring a nice catchy chorus, among other laid-back tools (a violin tune at the end, etc.). This is hardly an improvement over the excellent "The Blackening" seeing the guys stretching over all their back catalogue dissipating the monolithic delivery so well established on the previous effort, consequently diminishing the new opus' appeal, making it sound like a retrospective, nostalgic offering rather than a statement of intent for better things to come.
"Bloodstone & Diamonds" sees the veterans alive and well for the production of another complex thrash/post-thrash opus which this time is perhaps a bit less elaborate and not as hard-hitting (the semi-balladic groovism "Ghosts Will Haunt My Bones"; the full-fledged 8.5-min ballad "Sail into the Black"). Still, heads will inevitably bang on "Night of Long Knives" which reaches almost deathly proportions with a few more intense passages in the second half. Unfortunatelly, in that same second half the album never manages to pick the speed back up, and the listener will be left quite bored listening to the repetitive riffage. His mood may lift up a bit on the more energetic "Game Over", but obviously the guys have decided to take it easy on the thrash, and the end is again more on the calm side the final "Take Me Through the Fire" acquitting itself with an exiting portion of more intense galloping guitars. The band have no reason to prove themselves any further so the fanbase shoudn't expect earth-shattering masterpieces from them at this stage: this offering is by no means a flop and stands relatively well in the band's sizeable discography, albeit being a sure step back from the previous two works.
"Catharsis" comes with friendly mellow vibes which are difficult to place in the context of the last couple of albums as this isn't very impressive laid-back numetal with copious amounts of melody, the guys intent on bringing back the not very pleasant memories from "Supercharger" and "The Burning Red". Consequently there's no thrash or post-thrash to be come across under any form, making this opus another pretty undistinguished entry into the band's discography.
"Of Kingdom and Crown" is almost as good as "The Blackening", a potent modern thrash/post-thrash metal opus which starts very ambitiously with the 10.5-min saga "Slaughter the Martyr", a diverse conglomerate of hard-hitting riffs, soulful balladic etudes, and intricate rhythmic patterns. "Choke on the Ashes of Your Hate" is a bursting near-old school thrasher, the possible highlight for some, although later on the audience will bump into the extreme metal kaleidoscope "Become the Firestorm", the poignantly atmospheric "My Hands Are Empty", and the elephantine semi-balladic stomper "Unhallowed". "No Gods, No Masters" is a nice combination of sharp lashing guitars and soothing quiet motifs, a full-fledged ballad ("Arrows in Words from the Sky") materializing eventually towards the end, a cool if somewhat downbeat way to end this cool slab.

Burn My Eyes Full-length, 1994
Take My Scars EP, 1997
The More Things Change... Full-length, 1997
The Burning Red Full-length, 1999
Year of the Dragon EP, 2000
Supercharger Full-length, 2001
The Burning Red B-Sides EP, 2004
Through the Ashes of Empires Full-length, 2004
The Blackening Full-length, 2007
Unto the Locust Full-length, 2011
Bloodstone & Diamonds Full-Length, 2014
Catharsis Full-length, 2018
Of Kingdom and Crown Full-length, 2022

Official Site

MACHINE INSUFFICIENCY (CROATIA)

Based on the "Last Bridge Burning" demo, these guys come up with typical groovy thrash ala Pantera ("Nonconsistency"), plus more energetic mid-paced thrash with cool sharp riffs ("Deliverance").

Conceptional Immortality Demo, 2004
MA_IN 05 Demo, 2005
Confrontation With Reality (deathbreed)-Upgrade Single, 2006
Last Bridge Burning Demo, 2006

My Space

MACHINEMADE GOD (GERMANY)

Typical modern death/thrash metal with hardcore/metalcore elements; the music isn't completely without merits, but often drops the energy for the sake of more melodic embellishments which severely mususe the angry overshouty vocals.

The Infinity Complex Full-length, 2006

Official Site

MACHINERGY (PORTUGAL)

The debut: this is steam-roller modern industrial thrash which will overwhelm you with sterile robotic riffs from beginning to end, but still has its charm with its dispassionate atmosphere and sudden digressions into something truly melodic and offbeat (check out the angelic female vocals on "Godus") all this topped by scary low-tuned death metal vocals which are quite intelligible for most of the time. The established mechanical "idyll" goes out the window with the intense headbanger "Incendiario" which will rock your futuristic world big time although you will have no problems recapturing it with the final string of predictable moody industrial thrashers. This is not a bad tribute to the stagnant at the time industrial scene, and will remind of some legends from the past like Zoon, Swamp Terrorists, Fetish 69, Soulstorm, etc. The guys were active during the 90's under the name Imunity, and have four demos released of classic thrash/death metal.
The EP carries on in the same vein pouring dry sterile rhythms over the listener who will be spared on the nice energizer "Trapollution" which is a cool industrial thrasher unfortunately lasting for just over a minute. As a whole the approach is less serious with a somewhat hardcore aesthetics attached to it not only due to the short song length, but also because of the carefree riff-patterns and the loose drunken vocal delivery.
"Sounds Evolution" is a more aggressive offering a major statement of intent being the opening title-track which is a furious thrash/deathster which is followed by another "furia" right after, "Furia". Mercy is seldom shown here the "bombs" falling one after another industrial now barely covered on some of the more abrasive moments ("Venomith"). "Antagonista" is an excellent more technically-executed cut, and "Carne & Mal" & "Cada Falso" are sure-handed head-splitters, before "Waterwar" comes forward with great female vocals in the beginning, and with a portion of heavier volcanic mid-paced guitars. The exiting duo is more on the jolly carefree side with an overt hardcore edge, but is a welcome shift from the brutal delivery heard previously which is the guys' finest hour so far.

Rhythmotion Full-length, 2010
Rhythm Between Sounds EP, 2012
Sounds Evolution Full-Length, 2014

My Space

MACHINERY (SWEDEN)

Machinery pull out cool dark technical power/thrash, not too far from Nevermore, or the French Kragens. The more technical parts recall another very good new technical act: Altered Aeon from Sweden. The music has a strong modern edge, and the guitars at times acquire a dry, mechanical sound, but are always sharp and hard. Like with the aforementioned bands, the music never gets too aggressive; the guys have the tendency to insert slower sections, where the harsh vocals take a more melodic edge, and deliver cool choruses, again in a way similar to Nevermore. It's not a bad approach, but it gets repeated on every song. The last three tracks are longer and more technical than the rest, and show the band in a more inspired form, managing to keep them interesting the whole time with really good riffage, except on the album closer "Satanic Hippie Cannibal" which, despite its horrifying title, is the most melodic number, being a heavy semi-ballad.
"The Passing" is a nice, albeit a lesser companion to the debut, which starts in a slow balladic way with "Gold", but comes "Reason Is The Truth", and the thrashing begins. "I Divine" shows once again that this album will not be about aggression, and is slower, but heavy with nice melodic lines and semi-clean vocal performance, quite good, compared to the mechanic shouts heard on the rest of the album. "Dead Man" follows in the same way, and here the vocals are purely clean and melodic, and here is where the listener will start frowning, simply because the music is edgeless and balladic once again. Very soon, however, he will have to adjust his senses for the crushing "Delirium In Vengeance": a fast and merciless headbanger, spiced with vicious, black-ish vocals. But this is more like an "oasis", because afterwards two mellower tracks come, before "The Passing" introduces more complex, progressive structures and harder riffs, all this nicely continued on the softer, but quite cool power/thrashing closer "Waiting For The Wave", which apart from the nice melodic vocals, offers a good keyboard-infused background and great galloping guitars; those both tracks will remind you of the Swedish progressive metallers Evergrey in many ways. This is by no means a better achievement than the debut, and it's obvious that the band try to move further away from the thrash stereotypes aiming more at the progressive metal crowd.
The EP sounds as though the guys are going to "war" with fiery lashing riffs and dramatic build-ups. "The Devil" is a more speedy cut with echoes of Nevermore and some commendable Oriental motifs. The rest of the material is more on the pounding mid-tempo side and is a nice hint at the band's bigger musical prowess which should find a fuller realisation soon.

Degeneration Full-length, 2006
The Passing Full-length, 2008
War EP, 2014

Official Site

MACHINERY (USA)

Based on the demo, this act provide a cool mix of power, speed and thrash metal quite typical for the American scene at the time. "Fools Paradise" is an imposing heavy galloper with hard solid riffs, and the title-track is a shorter shredder in mid-pace. "Wolves" is a more dynamic piece ala Liege Lord, and "Bite The Hand" wraps it up nicely adding more aggressive thrash riffage. The bass work is quite good, and the singer is another highlight with his dramatic clean timbre with semi-high attempts at a more emotional delivery ala Bobby "Leather Lungs" Lucas (Attacker).
"Impulses of Aggression" doesn't really contain too many "impulses of aggression", but is a fairly acceptable slab of the good old American power/thrash which is more power metal-inclined, but shows its teeth at times: the hard-hitting headbanger "Kamikaze", the formidable galloping closer "The Machinery", etc. "Chaotic Bliss" is a curious progressive number with creepy doom riffs, an interesting approach which could have been elaborated on although one never knows what the guys have cooked up on the EP which is a sign that they are alive and well, and are hopefully ready to pour more "impulses of aggression" over the fans.

Divide and Conquer Demo, 1988
Impulses of Aggression Full-length, 1994
Reconstruction Full-length, 1997
5499 EP, 2011

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MACHINES OF LIVING DEATH (USA)

Based on "The DOS of War", this act offer intense industrialized modern thrash/death which can be wonderfully melodic ("Byte Supremacy") at times, at others being total electronic noise ("Chromosexuality"). Fans of Fear factory and Die Krupps will rejoice here, but the more linear thrash audience will most likely pass after the first two tracks.

EOF (29A) Full-Length, 2008
The DOS of War Full-Length, 2016

MACHT (USA)

These are the guys from Wehrmacht who have shortened their name and have started playing nice semi-technical thrash with quite a few interesting tempo changes like the excellent meandering atmospheric title-track which changes tempos at will, also coming served with a quirky psychedelic flair, an admirable not very predictable progressive thrasher which receives handsome support from the short hectic wonder "Mindless", an intense on occasion ripper that goes through a pleiad of time-shifts before bumping into the equally as weird "The Legend", a marginally more orthodox speedy proposition with spacey thrash/crossover developments with echoes of Voivod. The pretty cool mean-ish semi-clean vocals stick to some actual singing, adding to the more officious setting compared to the Wehrmacht efforts. The two live renditions of "Suck My Dick" and "E" thrown at the end should have been omitted, though, sloppily carelessly performed, ruining the very positive impression from the original material.

Vice Grip Demo, 1990

MACROCOSMIC EMOTIONS (SWEDEN)

The full-length: this is a strange band (check out the album/EP titles); the sound could only loosely be described as thrash metal; it's very abstract with monotonous dark wave-ish vocals and long sprawling songs in which the tempo doesn't change a lot. At times the guy doesn't really sing: he actually chants creating an almost black mass atmosphere. "Robotic"/industrial/progressive thrash": all these definitions could apply for this band, but one has to listen to it to get a good idea what goes on inside. One of the most avantgarde, and hardest to swallow, takes on metal in general.
The EP sees the guys in a brighter light as the delivery is more vivid and more dynamic. "I Can See Fear and Uncertainty in Her Eyes" is a potent sharp shredder with surreal psychedelic interruptions and haunting keyboard sweeps, still a fairly unorthodox layout also enhanced by the "clean vs. hypnotic semi-clean vs. occasional death metal" vocal interaction. The title-track is gigantic 12.5-min opus which covers a wide ground thrashing with conviction all over as the only mitigated annoyance would be the very mechanical drums, a not very necessary leftover from the debut.
The demo carries on in the same direction with more side additives like noises and industrial samples, and frequent balladic passages as the approach is almost all-instrumental with sparse vocal participation. The continuous use of the keyboards creates an officious operatic atmosphere even on the short numbers intended as headbangers ("Trendy like Robotic Minds", "Incomprehensible Unintelligent Behaviour but So Intelligent"). It remains a pretty characteristic delivery which must have found its audience among the modern thrash lovers as well.

The Contemporaneous Explosive Atmosphere Full-length, 1995
Her Soft Emotional Announcement EP, 1998
The Third Explosive Announcement Demo, 2000

Official Site

MAD (ARGENTINA)

These Argentine "insects" play a quirky funky brand of power/thrash which isn't radically far from Mordred's "In This Life" although the emphasis here is on melody ("D-Pression"). "King Of Ignorance" is a more hard-hitting piece with interesting progressive arrangements ably supported by the bouncy title-track, and by the energetic thrashing closer "Time For Living" which compensates for the relative lack of energy, the consistently good mid-ranged clean singer another positive occurrence.

Insects Demo, 1991

MAD (USA)

Melodic power/thrash marred by a very thin, messy sound quality. The clean pathos-inducing vocalist is not bad, though, and the music delivers fluctuating between raging thrashers ("Ice Man") and mild heavy rockers ("The Winner"), the symbiosis not working very well largely due to the presence of the awful "Mad Rap", a contrasting mixture of rap and metal which should better be left unheard. "The Battle Lost" is much better, a vehement speed metal cut, but please avoid the closing pleasant rocky vaudeville "Get You in the End".

The Missiles Are Flying Demo, 1989

MAD CROWD (SPAIN)

Fairly decent intense retro thrash with slightly death-ish vocals; the music packs a punch "Death In Life" being a short bursting headbanger, and "Nightmares" being a nice progressive thrasher with numerous time and tempo changes. "Pirate's Mansion" calms the ball down with a more moderate power metal-ish approach reminiscent of the Germans Tyrant, and "Breaking Bones" is a wild mosher with screamy leads and sharp cutting riffs.

Demo Demo, 1990

MAD DRAGZTER (BRAZIL)

The debut: this band, who were earlier known as just Dragster with one demo released in 2002, play an enjoyable mixture of modern and classic thrash, not too far from Annihilator around the same time. "Love Us Or Hate Us" from "Strong Mind" isn't a Kreator cover.
"Master of Space and Time", arriving after a lifetime of absence, is a jolly feelgood affair the band speed/thrashing with a good sense of melody without going down on the speed a lot. There'll be a lot of jumping around on compulsive moshers like "Almighty" and the 5-min of non-stop hard thrashing "Megiddo", not to mention the "wind of speed" which is the short sweeper "Gehenna: The Second Death" check out the addictive melodic licks on this one). The delivery gets a bit more officiant in the middle thanks to the epicer "King of Kings", but on an album of whole 15 tracks variation can be expected the latter never dragging this cool effort down which also wins from the very good intense semi-clean vocals ala Charlie Steinhauer (Paradox).

Strong Mind Full-length, 2003
Killing The Devil Inside Full-length, 2006
Master of Space and Time Full-Length, 2015

Official Site

MAD EVIL (GERMANY)

Good Kreator-influenced thrash metal with the comparisons with their more renowned compatriots coming mostly from the vocals which are dead ringers for Mille Petrozza. The music bears resemblances to Kreator's more technical period "(Extreme Aggression", in particular), but is more varied, with cool slower atmospheric passages.

Violent World Demo, 1990

MAD FORCE (RUSSIA)

A 3-tracker of jumpy funky post-thrash which borders on crossover on the more energetic sections which aren't many at all. The singer is a punky clean throat who plainly slubbers at times trying to keep pace with the jolly unpretentious music which becomes seriously funky at times (check out "Civilization Of Pigs") with impressive Les Claypool-esque (Primus, Blind Illusion) bass support.

Mix-Up EP, 1993

MAD MACHINE (JAPAN)

Excellent power/thrash metal with great guitar performance which would make every Shrapnel guitar hero proud; the style is close to other Japanese bands like Volcano and Sex Machineguns (the first two albums) as well as the high-ranged vocals. "Get Over Time" is a slightly cheesy ballad, but the rest is top-notch razor sharp music (quite speedy at times, too) which would satisfy even the most skeptical fans. Hopefully these guys are still active and are cooking something new.

Mad Machine EP, 2004

Official Site

MAD MAV (GERMANY)

These Germans exercise in instrumental atmospheric gothic power/thrash, rich in atmosphere and orchestral arrangements. The lead guitar takes a considerable space from the album (check out the excellent "Esteeming the Beauty"), but never to the point of annoyance, and the pure riff-based sections are quite a few as well. The compositions are relatively long (6-7min, with a few longer exceptions) and complex with the keyboards being omnipresent, but on the other hand seldom is there a passage without guitar work. The tempos vary quite a bit within the songs' structures alternating fast and slow parts the whole time. Things get seriously thrashy on "Suicide Squad" to the point of headbanging, and some of the melodies on this one are quite catchy. "Hymn of the Dawn" is on the other extreme, gothic/doom at its purest. This is an interesting approach to the genre although in this case we have thrash more as a supporting style providing the hard base as a contrast to the expertly-constructed orchestral arrangements.

Vagary Of The Gods Full-Length, 2009

Official Site

MAD MAZE (ITALY)

Based on the full-length, this act offers fairly engaging retro thrash of the Bay-Area type possessing both intensity and technicality in a way not too different from Forbidden and early Testament. The guys try to split you at the seams with the opening trio of headbangers, before "Cursed Dreams" shows their mellower side which is clever pounding thrash with good leads gracefully followed by the excellent lead-driven instrumental "...Beyond". The assault comes more controlled afterwards the guys mixing the speedy numbers with more laid-back ones. The closing "Retribution" is a serious more progressive composition which thrashes with style until the end which is preserved for a nice flamenco outro. The singer semi-shouts in an attached manner, and overall the band leaves a positive impression paying tribute to the good old thrash helped by a crisp modern production. The band members try something more technical and more aggressive, on the death metal side, with their other project Unbirth.

No Time Left... EP, 2010
Frames of Alienation Full-length, 2012

Official Site

MAD POLTERGEIST (ITALY)

This is very energetic, but also amateurish thrash, mostly sustained in a slightly chaotic up-tempo. Certainly the guys were just having fun recording this EP without any serious intentions to last long on the metal scene.

Mad'n'Damn EP, 1989

MAD POSTURE (ITALY)

This outfit indulge in heavy shredding, semi-technical thrash which is still firmly on the classic side albeit for just 2 songs where sharp guitars and cool emotional clean vocals ala Joey Belladonna will make your day. The pace is mid, but the riff-patterns are intriguing if not outrageously original, and could have served for the base of an eventual full-length.

Demo Demo, 1993

MAD RIPPER (FRANCE)

The EP: the "mad ripper" in this case has a name, and it's Norbert Langanay, who dedicates this all-instrumental affair to his namesake Jack the Ripper from the neighbours England. Music-wise this "ripping" symphony is strictly mid-paced played straight with very good bass support which is apparently the guy's main instrument, and can be heard clearly for most of the time. The man doesn't really excel in the other departments although there are a couple of intriguing semi-leads to be caught (the moody doom opus "My Victim"), and invigorating galloping pieces like "Rituals" should have been more. Still, this isn't as tiring as it may seem having a strong classic edge bringing it close to the 80's American power/thrash metal patterns.
"Jack Is Back" comes with a very good sound quality which helps the all-instrumental histrionics just fine. Norbert carries on with his "ripping" old school power/thrash rhythms speeding up here and there ("Blood on My Hands"), and generally doing a good job with the bass playing a more prominent role. The power metal rhythms seem to dominate at times ("Letters from Hell"), but the balance has been achieved handsomely thanks to the presence of more formidable pieces like the steam-rolling "The Red Terror" and the galloping "Ritual", not to mention the excellent more technical closer "The Lodger".
"Shadow of Death" features a very good new throat, a fairly apt Hansi Kursch (Blind Guardian) impersonator named Alexandre Duffau, and music-wise the delivery has also moved towards the power/speed metal parametres more with heroic gallopers like "The Wild Hunt" and more meaningful speed metal-ish listening experiences like "Shadow of Death" and the wilder less tamed "The Summoning" which even incorporates a couple of blast-beats into its volatile skeleton. The second half pays more attention to the more complex, progressive side of the mixture with longer, more meandering compositions some of which ("Killing Is My Nature", "Lamb of God") will easily enchant the Manticora and Paradox guys with their more aggressive thrash-peppered intricacies.

A Night in Whitechapel EP, 2010
Jack Is Back Demo, 2011
Old Demon Full-Length, 2013
Shadow of Death Full-length, 2019

Official Site

MAD SLAUGHTER (GERMANY)

Based on the demo: with no regards to the modern tendencies of the 90's, these guys offer quite good classic thrash. The music is not aggressive at all, and sometimes has shades of crossover, but is mostly mid-paced and semi-technical, resembling Accuser's late-80's/early-90's, more technical period, but not as heavy, and in the faster sections one would feel an early Metallica influence ("Little M.F."). The modern "updates" come in the form of the vocals which have a certain hardcore-ish rasp, not far from Tommy Victor (Prong).
"Mind Intensive X-Tract" is much less interesting having already acquired the modern tendencies, and this new approach is mixed with jolly crossover tunes to a not really impressive effect. This is boring stuff with alternative and funky elements added towards the end to make the final result even more confusing.

What We Know Demo, 1993
Mind Intensive X-Tract Full-length, 1994

MAD SMILE (RUSSIA)

A young Russian outfit who specialize in progressive power/thrash of the modern type. The guys are experts at good melodic hooks, and those are used profusely. Still, the riffs weigh a ton ("Winds of Fire") at times, and generally the energy is evident all over despite the relative lack of many faster passages. There's an ample use of keyboards, too, and the final semi-balladic opus "Borellia" could have been shortened: now these more than 8-min of melancholic proto-doom riffs may bore the listener with their somber, quiet tone.

Never Surrender EP, 2011

MAD V (RUSSIA)

An excellent debut recalling another very good Russian band Shah, but Mad V are more technical than this band's early efforts, and more aggressive than Shah's last album, and aren't afraid to experiment with playful, semi-thrash melodies. The guitar work is of a particularly high quality featuring great riffs and nice solos. The songs are mostly up-tempo with good memorable choruses.

War Is The Same Full-length, 2004

Official Site

MAD X (RUSSIA)

Modern power/thrash which clings too much towards the epic side of things; consequently, the more convincing moments are those which insert a few livelier thrashy sections ("With the Light of Your Sin") into the officiant template although the melodic charm of the semi-balladic "Chaos In My Head", and the restless doominess of "Underworld" will still make one pay attention, the hoarse semi-clean singer not showing too much attachment which would have been beneficial.

II Full-Length, 2019

Official Site

MADBRAIN (GERMANY)

Based on the full-length, this act serve intense blitzkrieg classic thrash, and the listener won't be spared of moshing winners like "Virtues" and "Cult of Death" although "MadBrain" is on the other opposite with clever, serious elaborations, mellower rhythms, still thrashing hard on a couple of times, the tendency finely summed up on the closing "Thrash Massacre", a nice reminder of early Slayer.

Failed Resist EP, 2010
Retribution Full-Length, 2017

Official Site

MADE IN VAIN (USA)

Roughly produced fuzzy thrash which still sounds classic if we exclude the awful vocal death metal duel experienced for most of the time. The delivery gets tiring quickly since it's exclusively based on the mid-pace which gets sprawled to progressive proportions on several lengthy compositions ("Serenity", the doomy opus "Lies in Ruin"). "Vile" arrives towards the end to delight the fanbase with the only portion of fast lashing guitars, the closing "Blood Omen" trying to assist it with a couple of more aggressive death metal-based rhythms.

Lies in Ruin Full-Length, 2010

Official Site

MADE OF HATE (POLAND)

Melodic thrash/death, by all means "made of hate", of the Gothenburg school with more cheesy moments close to Children of Bodom thrown in, but lacking energy and variety despite certain progressive decorations here and there; tracks like the more intense thrashing "Mirror Of Sins" and "Judgement" are more than welcome, but there aren't too many of them here. The concentration is clearly on melody which dominates over the riffs which, when given more room, pack a punch.

Bullet In Your Head Full-length, 2008

Official Site

MADDOG (USA)

These guys started under the name The Plague and managed to record two demos under that name. Here we have four songs of laid-back 90's post-thrash with angry overtones, nothing to do with the strictly classic sound of the The Plague demos. The music is mid-paced with calmer passages bordering on heavy/power metal. The singer has already managed to acquire the suitable proto-angry timbre of Phil Anselmo but also carries a lot of melody of the soulful type.

MadDog Demo, 1992

MADDOX (MEXICO)

This is pretty decent old school thrash which straddles the fine line between Exodus and mid-period Overkill with brisk sharp riffs and a variety of tempos, the headbanging fun ensured by blitzkriegers like "Unwanted Son" and "Rotting". The rest is also dynamic but is more on the mid-tempo side, cutting shredders like "Master of Illumination" and the sexy "Pussy Lover" leaving wounds all over your body, the venomous semi-declamatory vocals leaving a more positive impression on the side.

Demency Overdose Full-Length, 2019

Youtube

MADDOX THEORY (EGYPT)

This act provide an acceptable blend of power and thrash which is built on a consistent heavy mid-tempo base which doesn't change much throughout except when the guys try something doomy ("Diary of a Paranoid"). "Made of Steel" features a few speedy passages, but moments of the kind are a rarity the band confidently marching forward with the seismic riffs and the thundering rhythm-section, the good clean vocals emitting enough passion to assist the stomping musical template.

Made Of Steel Full-Length, 2018

Official Site

MADGOD (CZECH)

Modern thrash with a strong metalcore presence which jumps and turns without creating any positive impression simply because this approach has been overused recently by numerous Trivium or Chimaira wannabes.

Unleash the Mad God Demo, 2009

Official Site

MADHOUR (ITALY)

Based on "Hell Hotel", these lads pull out energetic crisp old school speed/thrash which is boosted by the overshouty death metal vocals and a few cleaner vocal insertions. The more laid-back material ("Nameless", "Ghost Town") even borders on power/thrash, but there are no complaints whatsoever as this is when the band reveal their more melodic, and arguably more proficient side. The fast-paced cuts disappear in the second half the approach becoming more epic-prone ("Buy Your Glory") and less thrash-fixated. Some of the musicians are also active with the epic heavy metallers Warhammer.

The Beginning of Disaster EP, 2012
Ghost Town Full-length, 2014
Hell Hotel Full-length, 2019

Official Site

MADHOUSE (FRANCE)

The French answer to Suicidal Tendencies; both albums follow closely the Suicidal's thrashier efforts. The second one actually takes a funnier turn with rap and funky moments ala Infectious Grooves. "Razzle Dazzle" would be a no-brainer for late-80's Suicidal Tendencies; it sounds very close to "Lights, Camera..." mixing fast and slower tracks with heavy slightly abrasive riffs which give the music a thrashier edge than the one of the Suicidals, the reason for which is also the Mekong Delta leader Ralf Hubert who produced the album in his own studio. Songs like "Get Down On It" and the ball of fury "Felix the Cat" are pure unadulterated thrashers, but on "Control Myself" the guys really try to "control themselves" serving more laid-back jolly crossover. "Rooster Land" crushes in mid-pace, but is "obliterated" by the intense "What does that Mean (Love?)" and the speedfest "Chilean Beaches". More serious song-writing can be noticed on the longer and more diverse "Distressed" followed by the least serious track: the 1-min hardcore-ish closer "Beer-Skate-Fuck" with which the guys show that they are not only "possessed to skate", but also by... Half of the team here was also taking part in the similarly-styled M.S.T.

Razzle Dazzle Full-length, 1990
Get the Point? Full-length, 1993

MADHOUSE (GERMANY, HAMBURG)

Based on the full-length, this band play an enjoyable blend of retro speed and thrash which resembles the first two Overkill albums, among other luminaries from the 80's US brotherhood. A good sense of melody can be detected throughout, what with one of the most infectious, rousing gallopers in recent memory that is "Gates of Hell"; although when the guys thrash they take no prisoners: check the short bursters "Hellice" and "Machinery". "Tormentors" is another lashing uncompromiser while "Back in the Black" is a more carefree speed metal roamer with echoes of Attacker, its vigour matched every bit of the way by the remainder among which "Psycho God" is a nice engaging complexer in the spirit of Manticora.
The "Goin' Crazy" demo offers quite a few styles: "Tormentors" is vintage Slayer (not Kreator), fast and aggressive; "Shock" is a direct nod to early Helloween, a cool speed metal number; "Lose" is a pure classic heavy metal piece taken straight from the works of Scorpions or Accept; and "Slow Death" is a typical American power/thrasher with cool melodic leads ala Wolf Hoffman.

Goin' Crazy Demo, 1987
6-Track Demo Demo, 1989
Metal Or Die Full-length, 2018

Official Site

MADHOUSE (ITALY)

The demo is a quirky thrash/crossover affair with long compositions where several styles shake hands, not necessarily related to thrash the whole time. This is music which by all means has some of the carefree, unpretentious nature of the Lawnmower Deth efforts, but what can one think about these folks who pull out a 9-min closer ("Fly Off/Drink It Up")?
The full-length holds onto the eccentric character of the demo, and "Bravo" is an ultimately twisted affair which may get on the nerves of the more level-headed fans. And when the aforementioned demo closer comes served in the middle, the listener may turn the player off... and this would be a mistake since he/she will miss another larger-than-life closer, "Fire Days", a surprisingly apt opus with a few hard-thrashing sections. The vocalist as a finishing touch: not a bad punkish throat, but of the not very serious, unrehearsed type.

Insanity Road Demo, 1988
O.D.I.A.M.I. (One Day in a Mine) Full-Length, 1992

My Space

MADHOUSER (BRAZIL)

This is a good demo offering classic speed/thrash in mid to up-tempo with cool semi-clean mid-ranged vocals. "Living on the Edge" pulls all the stops thrashing madly almost reaching Slayer-like dimensions on the most intense moments. The rest is more restrained with "Suicidal Mosh" trying something more technical in the guitar department.

Mind your own Business Demo, 2008

My Space

MADICIDE (USA)

Rough clumsy thrash of the retro type relying on heavy-handed riffage and bad unrehearsed semi-shouty vocals with both a drunken and a death metal pitch. This kind of music wears thin after just five tracks one of which is a sluggish version of Metallica's "For Whom the Bell Tolls" at the end done in a slower manner the only plus being the strong bass support; not very easy to recognize due to the pretty amateurish musicianship.

Shed of Metal Demo, 2011

MADMAN MUNDT (USA)

Based on the self-titled debut, this is an interesting take on thrash/crossover with vocals similar to the ones used by Jello Biafra in Dead Kennedys and Lard. The music is the highlight here, though: never fast, mid-paced to slow, bordering on doom metal quite a few times featuring nice offbeat, progressive guitar work which will remind you of Voivod. It's good to have bands like this one around who try to bring something fresh to the scene.

Madman Mundt Full-length, 2003
For A Day Or A Lifetime Full-length, 2005

Official Site

MADNES (RUSSIA)

Based on the full-length, this Russian trio indulge in dynamic retro Germanic speed/thrash which is assisted by throaty manly death metal vocals those performed by a girl. The few friendly moments ("Leave the Dead in They Graves") will send you to the Motorhead school of thought, but watch out for the ripping hardcore-ish madness "MadneS' 86", and for the hard-hitting thrash on "All You Need Is Gun". Sophistication is not exactly the name of the game here, so expect more unbridled hardcore ("Stronger") and the wild proto-death/grind insanity "Let The World Burn". Some of the band members also take part in the death/sludge cohort Fashion Killers.

Anti Posers Patrol EP, 2012
Die with Your Beer On EP, 2018
Let the World Burn Full-length, 2021

Official Site

MADRED (FINLAND)

The full-length debut: this young outfit indulge in playful modern-ish thrash/crossover which still contains enough energy to form decent moshpits, the latter inevitably featuring several punk rockers as well. "Freedom Call" would be a major surprise in the middle, a radio-friendly heavy metal cut ala Bonfire and Accept which influences a couple of pieces, before "Maniac" unleashes more aggressive guitars ably assisted by the very appropriately-titled "Moshpit". This is cool fun, merry unpretentious music with a bunch of influences piled on top of each other to a jolly, sometimes even comical, effect.
"Overtime" is a more serious offering, the guys thrashing with more passion now, placing the title-track and "Red Lights" up front initially, creating sizzling moshing atmosphere, before throwing in a couple of more varied compositions like the crunchy crossover-ish "How Could I Know" and the melodic rock-ish speedster "One for the Road". No mercy later with the uncompromising "Song for the Fallen Ones", but the final "Wake up from Nowhere" is a surprisingly lyrical balladic cut.

Supersonic Brainfuck Overdrive Full-Length, 2013
Euroforia EP, 2015
Driver EP, 2016
Overtime Full-length, 2021

Official Site

MADROST (USA)

Based on the full-length debut, this band indulge in raw primal speed/thrash of the old school which sounds appealing both because of the fairly decent execution, and due to the appropriate retro sound production. The singer spits venom and fire in a way no worse than Darren Travis (Sadus) and Ingo (the first Necrodeath vocalist) and does the main damage leading this relentless barrage also adding a few fitting screams to the melee which strongly recalls early Kreator and Sodom. "Necrosis" is the laid-back thrash rocker which disappoint a bit near the end since it leads after it the epic melodic "hammer" "Under The Hammer" the excuse for those digressions coming in the form of the super-headbanging delight "Zombie Grinder" which will shatter your world within just over 3-min.
"Into the Aquatic Sector" is more aggressive and more polished now touching death metal (the opening shredder "From Beneath the Snow") also sounding twistedly technical on "eye openers" like the excellent "Operation: Xenomorphic Protocol", and the fast-pacers "Subterranean Nightmare" and the title-track which also boast the best lead guitar work on the album. The closing "Depravity" is pure death/thrash metal madness, a stylish bash with quite a few technical implements. This is quite a strong effort showing an act with a fair amount of interesting ideas yet to be fully developed.
"The Essence of Time Matches No Flesh" goes deeper into progressive territory, but fast-paced energizers like "The Silence in Ruins" are still around to enliven the situation which reminds of later-period Death and even Theory in Practice on the exuberant diverse shredder "From Sand to Dust". "Abstractions" is another captivating speedster with intriguing rhythmic configurations, and "No Future" serves more orthodox classic thrash for a change, and "Scorned" is a brutal rager with superb technical embellishments some of them coming straight from the Anata and Martyr school. "Dimensions" closes the album in a more encompassing fashion with myriad time and tempo shifts the riff density becoming bigger with spacey psychedelic build-ups ala more recent Vektor. The guys have done a really good job here, and have finally come of age. Here's to more pleasant surprises of the kind in the future...
"Charring the Rotting Earth" is another assured offering the band capturing everyone's imagination with the dense articulate shredder "The Serpent's Quest", before some intricate stompingness prevails with "To Prevail the Wicked", this one a restless proposition with hectic rhythmic arrangements the latter accompanied by atmospheric keyboard tunes on the dramatic dystopian "Dying Thoughts". "Impossible Dreams" twists and turns in all directions imaginable, the virtuous melodic pirouettes leading to a few intense speedy skirmishes as well, the delivery acquiring Darkane-sque realms with "Impossible Dreams" with the brisk staccato riff-fest "A Violent End to Life", the guys relaxing with the 1-min hardcore joke "Pulverized". The title-track is a summative exercise, closing this saga in an admirable entangled fashion, the quiet lyrical etude in the middle ensuring another deeply atmospheric ingredient.

Infected Chaos EP, 2011
Maleficent Full-length, 2012
Into the Aquatic Sector Full-length, 2014
The Essence of Time Matches No Flesh Full-Length, 2017
Charring the Rotting Earth Full-length, 2020

Official Site

MADSHER (SPAIN)

Based on the full-length, this outfit indulge in old school thrash of the German school, the band moshing with badly disguised fervour ("Mordrake") at times recalling early Kreator, above all; at times exhibiting this semi-technical streak ("Dog Bleeding") which never gets fully developed, with "Garrote Vil" even jumping on the death metal wagon for a bit, also retaining the intricate sting for a really stylish albeit fairly wild ride. "Succumbed in the Fog" is an atmospheric heavy pounder, the harsh extreme shouty black metal vocals exacerbating the moody setting on that one, but aptly supervising the hyper-active melee stirred on the short ripping "Shark Massacre", the latter going a few notches up on the brutal black metal-peppered closer "Rat Poison".

Devil's Alley EP, 2020
Taken by the Vil Tormentor Full-length, 2022

Official Site

MADVICE (ITALY)

The debut: this is quite cool classic-sounding thrash which isn't devoid of more stylish walkabouts the latter a bit difficult to categorize, the shredding having this abrasive vibe sometimes looking at the early Megadeth heritage (the title-track), sometimes attempting something atmospheric and doomy ("A Day to Fight, a Day to Suffer"). The gruff subdued death metal-ish vocalist tries his best to accommodate both sides, and succeeds for most of the time, not without the help of sparse nice female vocals ("The Gate", "Rebirth"), with shades of black metal ("Nothingness") sneaking in on occasion. The melodic sensibilities on "Everybody Wants to Rule the World" seem to be another highlight on this fairly diverse recording which would appeal to a wider gamut of fans.
"Under the Burning Sky" is a generally more brutal offering, at least at the beginning, the guys displaying their death metal predilections with the virulent "Dominion", but there are atmospheric doom moments ("The Funeral of Human Race"), quiet lyrical instrumentals ("Quelli Uguali non Contano"), and catchy optimistic progressivers ("In This Empty Place"), the band keeping their options more open in the second half with a wider palette spread around, making their claims at thrash dominance quite disputable.

Everything Comes To An End Full-Length, 2018
Under the Burning Sky Full-length, 2022

Youtube

MADZILLA LV (ECUADOR)

Based on the full-length debut, this act indulge in old school/modern power/thrash which emits a dark, atmospheric vibe, with frequent melodic nuances ("Endless Damnation") embellishing the proceedings, the angrier tone of the title-track reminding of more recent Annihilator, the singer pitching it higher with his attached semi-clean timbre ala Dave Wayne (R.I.P.), the first Metal Church vocalist. "Raging Madness" isn't exactly raging but is a solid mid-pacer with echoes of Metal Church again, the galloping "Risen" the most dynamic occurrence on this generally not very energetic recording.
�A Deadly Threat �: the alluring melodic intro �The Beginning of the End� nicely leads into the speed/power/thrash fiesta unleashed later, the boosted modern production largely favouring the meeker material where the power metal epicer �Darkest Night� and the balladic elegy �Warfare Within� belong. The doom dirges of �Despair� don�t help much the more dynamic cause, the latter eventually receiving some support from the galloping uplifter �A Thread of Sanity�.

Vengeance EP, 2019
Asphyxiating Cries Full-length, 2021
A Deadly Threat Full-Length, 2024

Official Site

MAELSTROM (CANADA, BRITISH COLUMBIA)

These Canadians play modern thrash with light-hearted crossover elements thrown in. The music is all over the place, actually, with "Vengeance & Closure" hardening the course to almost death metal proportions here and there during its more than 7-min. So expect not very focused, diverse stuff with decent guitar work and deep clean vocals with a soulful edge seldom intercepted by gruffer death-ish ones.

Prologue EP, 2012

Official Site

MAELSTROM (CANADA, ONTARIO)

Based on the two demos, the band play 80's power metal mixed with thrash. The sound on "Fatal Forsight" is more simplistic sounding like a more thrashy Omen. "Into The Maelstrom" is clearly an improvement with a better production and occasionally very good guitar work.

Singing in the Rain/Waiting for my Woman Single, 1986
Fatal Forsight Demo, 1987
Into The Maelstrom Demo, 1989

MAELSTROM (HUNGARY)

The members of the Hungarian doomsters Mood were thrashers before anything else. Well, as thrashers they haven't managed very well as this is Germanic thrash ala Destruction, but with a buzzy guitar sound and a snarly, throaty singer who definitely makes an effort to stay put and could have done a better job in the more black metal-based acts from the same country like Tormentor, or Fantom. At times the guys come up with intriguing riffs and the tempo is energetic throughout, but the music scene knows much better works than this.

Maelstrom Demo, 1991

MAELSTROM (USA)

Modern-ish death/thrash which borrows a trick or two from the Gothenburg school but thrash is more widely covered as evident from the epic rouser "Nuclear Heart", and the ambitious progressive opus "Awake" which mostly relies on atmosphere and heavy squashing riffs. The prevalent death metal throat is at times interrupted by better cleaner tirades, and is completely missing from the excellent closing operatic instrumental "Finale-De Abysso".

Maelstrom Full-Length, 2017

MAELSTROM (USA, MASSACHUSETTS)

This is roughly-produced old school thrash/crossover which shows bigger ambition with both the more straight-forward roller-coaster "Aint It the Truth" and the imposing "Abnormus's Brain/Nth Configuration" combo, the latter comprising both heavy pounding marches and impetuous fast-paced skirmishes. "Unstable" is carefree crossover outtake, and "Bodacious!" is pure energetic punk/core ala early Broken Bones mixed with inebriate Motorhead-ish swagger.

Full Denim Jacket Demo, 1987

MAELSTROM (USA, NEW YORK)

A rock-ish playful version of the 80's thrash/crossover, at times even going into more experimental fields akin to Death Angel's "Act III" and Mordred's "In This Life" with good expressive bass work and several funky additions. It loses the thrash metal idea on a few occasions, but tracks like "Let The Fury" and the smasher "Megamorphosis" are major Anthrax-like headbangers with razor-sharp riffs and a couple of more stylish semi-technical decisions. There's a derogatory reference to Metallica's "For Whom the Bell Tolls" turned into a country bluesy balladic joke lasting for a bit more than 1-min. The singer isn't bad capable of pulling out cool clean chords with a rough drunken shade.

Step One Full-Length, 1990

MAELSTROM (USA, NEW YORK)

The debut demo: excellent thrash reminiscent of Kreator's "Extreme Aggression" and Necrodeath's "Fragments of Insanity"; this is quite fast and aggressive, but at the same time technical stuff with memorable songs differing from each other, and genuine atmospheric passages, created either by the use of an acoustic guitar, or by heavy, stomping riffs: both ways work just great. The guys never settle for one rhythm, but change it frequently with original ideas thrown in, the highlight being the marvelous "Childhunt", which after the numerous tunes throughout, at the end comes with a pure blasting (but controlled) fury. The bass work is particularly impressive, carrying on its shoulders quite a bit. The vocals are along the lines of Mille Petrozza, but more vicious, with an even black metal-ish blend.
The EP sees the guys ready to strike again, but the next time it should be with an official full-length release. This is three songs of standout technical thrash, two of which are re-worked versions of cuts from the debut demo, with a nice dramatic complex sound close to Forbidden's "Twisted into Form" and the Dutch Paralysis. The compositions are lengthy with fast aggressive headbanging sections taking turns with elaborate less intense ones, like on the nice, fairly unpredictable, hectic progressive opus "A Futile Crusade". The first reminder of the demo, "Arise", is another complex multifarious speed/thrasher with fine lead guitar work, not as frantic as the preceding number, also offering a cool keyboard background and sparse female vocals. "Predestined", the other remnant from the demo, thrashes with full force in the beginning, but the stylish lead decorations come up, and later on the complexity increases as well as the aggression which reaches almost proto-death/black metal heights near the end with dramatic "cosmic" shenanigans ala Bal-Sagoth; this is the only track which partly lets loose from the thrash metal patterns thus preserving its initial more brutal nature. As a whole this is more than just a warm-up for the eventual full-length showing the guys having grown considerably as musicians, well equipped to stand proud beside the more renowned practitioners of the progressive/technical side of the genre.
The 1991 demo, which title may be a reference to the UK heroes Sabbat, is four songs of expertly executed progressive power/thrash metal, quite an unexpected turn from the debut demo's primal aggression which also causes a change of vocals, the new ones being clean emotional with a high-pitch applied at the appropriate time. The complexity is so big that one would not be quite sure whether he listens to the same band, on the multi-faced "A Futile Crusade" which is an epic progressiver with sudden moshing breaks resulting in a slightly hallucinogenic listen aggravated by the numerous melodic insertions and the stylish bassisms. This ultimately eventful saga continues unabated on the jumpy "Lament of The Fallen" which is a bit smoother in the transitions, but the virtuoso sections are quite a few with distant echoes of Watchtower's "Control & Resistance" and Deathrow's "Deception Ignored". "That Which Followed" is another super-technical shredder with razor-sharp riffs cutting you in half accompanied by very heavy doom insertions, both sides mixed together to an overwhelming operatic effect. And this isn't even the highlight which comes at the end: "The Mirror Calls", the ultimate progressive thrash composition, fast and complex, with some of the most puzzling decisions around which carry a surreal, abstract shade not far from Coroner, and are a quite a contrast to the excellent, melodic Shrapnel-like leads; watch out also for the stomping ending ala "Orion" (Metallica). This is gorgeous stuff which fits perfectly into the technical exploits of the same year, and the guys could have been major rivals to Watchtower and Realm in the States back in the good old days if they had managed to rise above their underground status. Fortunately, they seem alive and well at present, and after a very promising EP the next step should finally be a full-length...
"Of Gods and Men": well, the full-length finally arrived, but the bad news is that half the tracks on it have already been heard from earlier recordings the new stuff comprising the choppy epic thrasher "Army from Ash", released as a single earlier; the choppy technicaller "Thief of Light", the more streamlined power/speedster "An Ancient Art", and the encompassing 12.5-min closing saga "Son Rise" which biggest minus is that it's largely a power/speed metal parade with a lengthy quiet interlude. All the new numbers are surely worth hearing, and overall this is a nice package for those who haven't come across this formation earlier.

Demo Demo, 1989
This Battle to Make History, Yet History Never Comes Demo, 1991
It Was Predestined EP, 2008
Of Gods and Men Full-length, 2020

Official Site

MAETELO NEGRO (PORTUGAL)

This is only one song which is along the lines of early Venom and Celtic Frost: a mid-paced heavy number with awful early Tom G. Warrior-like vocals (remember his singing style on the Hellhammer efforts) and repetitive monotonous riffs.

Hierofante Em Chamas EP, 2009

MAFETASY (PORTUGAL)

This obscurity is filled with dark old school thrash which smells Kreator and Possessed in equal dozes, but there's a lot of atmosphere achieved through brooding riffage, low-tuned guitars, old fashioned "wa wa" solos, and last but not least, harsh semi-death metal vocals which can sing, actually. The guys had two other projects running at the time: the death/thrashers Megasin, and the progressive death metal formation Ciborium.

Promo/Tape Demo, 1994

Demo Download

MAFIA (RUSSIA)

Like many Russian thrash metal bands of the early-90's, Mafia also disappeared after only one album in the 90's; which is sad because the debut is fairly good retro thrash metal with no shades of 90's thrash whatsoever recalling their compatriots Shah, and especially early Master. This is mostly energetic fast-paced stuff with good sharp guitars which acquire a fine semi-technical edge ("Ukol v Mozg") on quite a few times. Although the music is speedy it's not aggressive and brutal, and the guitar hooks are catchy and memorable making every song stick out. "Black Rock-and-Roll" is a nice try to insert rock'n roll rhythms in an energetic thrash song structure, and "In Prison" is another fine deviation coming with slower stomping riffs and good leads.
"The Gun": the Russian "mafia" is back in action after a huge period of inactivity. Alas, they must have lost all their skills since this album is an abomination of music: it's bland ultimately dull alternative rock without an edge or emotion. Hopefully the band will go back to their underground status after this one... never to return again.
"Sun": well, they have returned for one more temptation, and at least this time they sound angrier and more intense, but hardly more inspired. Still, the music is nothing special clinging between post-thrash and more abrasive proto-hardcore ala Biohazard and Helmet. Quite a few tender romantic moments have been inserted, mostly of the balladic variety. It's only "Severnoe Sianie" near the end which would make some heads bang in unison, or rather in strong disagreement with this so promising in the past act's new face.

Magical Call Full-length, 1994
The Gun Full-Length, 2011
Sun Full-Length, 2013

Official Site

MAGGOT FARM (NORWAY)

Acid, psychedelic modern thrash/proto-thrash sustained in mid-pace save for the short thrash/crossover joy "Zombie Apocalypse" and the short proto-death deviation on "Evil Media". The vocals are rough semi-clean ones and kind of suit the not very eventful musical delivery which doesn't shy away from a couple of sludge/doom strokes ("Dirt Are Thee").

Intoxicated Rejects EP, 2018

Official Site

MAGGOTH (POLAND)

This outfit pull out quite cool technical modern thrash with numerous twists and turns which start with the opening hecticer "Liars" which also thrashes on full-throttle at some stage. "Brutal Morality" recalls early Meshuggah with its calculated, mathematical chugga-chugga riffs, and "Lunatic Soldier" is a maddening headbanger bordering on death metal, raging hard among virtuous leads and mind-scratching structures. The rage goes on on the short 2-min exploder "True Falseness", but the following "Dignity" is a more laid-back complex number the stop-and-go technique applied tastefully alongside twisting melodic tunes. "Blind Sheep" brings back the aggression and provides not very predictable technical dynamics for over 5-min. The closer "F.W.L." is the last fast-paced "nail in the coffin" with intricate overlapping riffs dueling with each other, challenging the speedy base to a pretty positive impression. The vocalist is a mean-ish semi-shouter reminding of Ron Royce (Coroner).
"Maggoth" is a more diverse and noisier offering, with "1" (no song-titles here) branching into spastic thrashcore with pure thrash almost non-existent, the more aggressive moments ("3", the chaotic disheveled violator "7") coming served with numerous quirks and twists, the linear moshing sections very far in-between. The overshouty quarrelsome vocals somehow fit the abrasive modern soundscape which also recalls mid-period Skrew with its industrialized veneer.

System Error Full-Length, 2012
Maggoth Full-length, 2020

Official Site

MAGHAZI (GERMANY)

Modern thrash but without too much groove, with interesting touches, like the use of deep gothic vocals, for example, which surprisingly don't sound ridiculous but work quite well, and are way better than the computerized ones which spring up here and there and are utterly annoying. The tempo is quite energetic and the guitars are heavy and semi-technical, and are similar to the ones on Rosicrucian's "Silence", or Geisha Goner's "Catching Broadness".

Define the Menace Full-length, 1996

MAGICK (TURKEY)

There's nothing too magickal about this offering which is good and all, but its take on classic power/speed/proto-thrash is too melodic to strike a cord and should been served with a bigger edge and less nods to the American scene the latter "spice" making the album sound too derivative except in the soulful deep clean vocal department, by far the main asset here. Shades of both early Fates Warning and Crimson Glory can be felt on the more inspired moments, but the guys are not constantly interested in the progressive side of things at this stage.

Stained Glass Full-Length, 2006

My Space

MAGISTER (BRAZIL)

Based on "The Art of Changes", these folks serve pretty acceptable power/speed/thrash of the old school which looks at the German heritage for inspiration as evident from the opening "The Endless Path", an "eagle fly free" speedster ala Helloween, Warrant, and Scanner. Expect numerous soaring melodies and weird ambient instrumentals ("Close to the Secrets"). The title-track is a varied progressive piece with a big arsenal of tempos, and "Getaway" is an immediate speed/thrasher with several delectable melodic tunes. "Shadows of a Dream I. Cold Fever" is diverse progressiver with speed/thrashing rhythms alternating with less intense power metal arrangements. The attack carries on with "Unfolding Memories" and "Salvation Song" as the only stop from the righteous way is the tender ballad "Winding Star". The singer is a find with his emotional clean timbre leading the interesting show with panache and passion. Some of the musicians are also involved with the speed/thrashers Invisible Order, and the dark metal formation Of the Archaengel.

Magister Full-length, 2000
The Art of Changes Full-length, 2017

Official Site

MAGMA (USA)

A 4-track demo of technically-inclined classic thrash quite close to early Testament with excellent Alex Scholnik-like guitar work; "The Child" is an attempt at a more balladic song-writing and is the only mitigated failure here being quite soft without an edge, missing the obligatory thrashy riffs added by Testament on similar tracks.

Demo Demo, 1992

MAGNABOLT (USA)

This is a really attractive old school power/speed/thrash blend that clings between Helstar's "Distant Thunder" and "Nosferatu" with heroic gallopers ("The Thunder Breaks") carving the landscape taking turns with more contrived, progressive propositions ("Master of the Cosmos") and more immediate tributes ("Don't Question the Master") to the purer speed metal idea. "Tongue of Fire" is an excellent epic shredder with classical guitar virtuosities flying from all sides, an easy qualifier for "Nosferatu"; and "Knocknasheega" is an imposing power metal hymn ala Warlord the otherwise good mid-ranged clean vocals lacking the depth and pathos to pull this particular moment through. However, the band don't ponder over those slower detractions with "The Fox Chase" another spell-binding all-instrumental piece of Shrapnel-like guitar wizardry, and "Power Squelch" is a dramatic galvanizing speedster that sticks with the impressive James Rivera legacy, this time winking at the more contrived vistas from Destiny's End's "Transition". "Art of War" is a fairly logical epitaph,a more encompassing progressive saga which uses the gallops again for the skeleton the guys moshing hard throughout, never letting the dynamic formulas out of sight, providing a rousing finale to this highly entertaining tribute to the 80's US scene. The guys' earlier stint was called White Lightning, a retro heavy metal outfit who produced an isolated demo in 2009.

Magnabolt Full-length, 2019

Official Site

MAGNERTRON (AUSTRALIA)

Based on "Can You Smell the Roses", this is choppy, industrialized modern thrash which is assisted by very shrieky hysterical black metal vocals. The delivery is mostly mid-paced but the riffage is vivid and volatile, and dynamics isn't exactly missing. "Remedy" is the remedial cut with a more melodic layout, and "The Page that is Black" is the more energetic walkabout, and "Ninja Song" is a short jumpy excursion, but the rest of the material very seldom reaches the headbanging parametres.
�Amplified Assault� is a much more homogenous affair, a largely pounding mid-paced ride, the thick thrashcore breakdowns of �Force It Down� carrying on full-throttle later on, the more melodic sentiments of �Inner Rage� obliterated by the insistent industrialized stomping of �Skin�. �Unhinged� is another not very diverse corrosive march, the threatening accumulations of �Morbid Ways� irrevocably washed away by the soulless mechanistic chugs of �Remedy�.

Demonized Full-length, 1999
Holocaust Full-length, 2000
Underground Sounds Full-length, 2007
The Long Metal Finger Full-length, 2010
Can You Smell the Roses Full-length, 2020
Amplified Assault Full-Length, 2024

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MAGNETRON (HOLLAND)

Reportedly the band's first demo is more on the grindcore side of the spectre, which is obvious on the second one where the guys have moved towards thrash by mixing it with Swedish death metal, hardcore and punk: a wild, frenetic and frequently brutal, but enjoyable mix. "Fuck Hilversum" starts in a very promising manner with two retro thrash attacks paying tribute to the German masters of the style (Sodom, Kreator, etc.) with the vicious Jeff Walker-like vocals giving the desirable sinister edge to the music, before the Dead Kennedys cover of "Insight" steps over, bringing the jolly punk atmosphere which remains for the 2-part joke song at the end: another not bad, but uneven effort. "Born Witless" is stripped-down merciless, fast-paced thrash, again "courting" the German side of the genre with a slightly more aggressive, death-ish attitude.
"A Measured Timeframe" shows the guys not having lost their penchant for wild, frenetic music and what we have here is a brutal mix of thrash, death and a bit of grindcore which is contained within short (2-3min) song-structures where there are moments of calmness those never lasting more than a few seconds. At the end the guys lose their nerve and start bashing with violence, sticking to pure unbridled grind curiously spiced by excellent melodic leads ("A Bit Inconsiderate"), all this finished by the fine technical speedster "Flashing of The Brain".

Off To LegoLegoLand Demo, 1996
Observing The Ridiculous Demo, 1997
Mirror Of Hypocrisy Demo, 1997
Fuck Hilversum Demo, 1998
Born Witless Demo, 2008
A Measured Timeframe Full-length, 2011

My Space

MAGNICIDIO (ARGENTINA)

Another modern post-thrash offering, this time served with some of the noisiest guitars to grace these ears recently. This is pretty unexciting stuff which tries at times to sound intense and thrashy ("Deshuesador"; the short headbanger "Habla El Martillo"), and the leads aren't bad at all with the necessary melodic edge with echoes of Horcas and Hermetica (but of course!); but all this sounds forced and not very natural with a muddy sound quality and strained semi-shouty vocals.

Acto Estampida Full-Length, 2011

MAGNIFICAT (MEXICO)

"Opus Nigrum Overture": a cool blend of black and thrash metal which finds its fuller realisation on the longer compositions ("Suicide's Monologue") where there's more time for thrash to take over on some moments. There are atmospheric interludes, which come a bit too much for an album of just six tracks as well as one very good Shrapnel-like lead driven instrumental: "Spickatto Maestro In Am".
"Superior Entities" scores higher (there's something "superior" going on here indeed...) with the excellent guitar work more accentuated on this time although thrash is given even less space to develop. There are quite a few sections where the guys blast heads-down ala Cradle of Filth and Dimmu Borgir, but the guitar work saves the day, especially on the virtuoso compositions "Magnus Agliarethb4s Black Winds" and "A-Brno (The Exorcism of Lea Kyprova)". Oh, and there's one "Hidden Bonus Track" which is a melodic instrumental, more of a show-off for the talents of the guitar heroes who by the way richly deserve this tag.

Opus Nigrum Overture Full-length, 2005
Superior Entities Full-length, 2006

Official Site

MAGNUS (POLAND)

The band's debut mixes old-school death metal and thrash in a fairly good way. "Alcoholic Suicide" abandons the death metal elements and acquires a jolly thrash-y, Motorhead-ish sound which still delivers the goods, but lacks the visceral power of the debut.
"Scarlet Slaughter" collects the best from the band's demos from the late-80's/early-90's. It shows the band in a good form at those earlier stages of their career, offering fast, aggressive death/thrash recalling Slayer and early Death. The music varies from thrashier, Slayer-esque tracks ("Tank", "Scarlet Slaughter": here the singer tries to scream the way Tom Araya used to ("Black Magic"), to raging, grinding death metal attacks (Pharisee"). This compilation sounds even better than their debut with its more aggressive spontaneous approach.
Another old school veteran is back on the scene, and "Acceptance of Death" sees the guys sticking closer to death metal lashing in a pretty brutal manner, at least in the beginning, adding the odd dry mechanical hook to spice things up with more modern elements. There's not really much thrash to be heard except on a couple of slower tracks in the middle, and of course on the pen-ultimate "Mournful Song" which is a major vigorous retro thrasher, followed by the death metal assault "Just Like Life", and the brutal closer "There's No Use Lamenting" which is a twisted death metaller mixing fast grinding sections with creepy industrial ones to an apocalyptic effect. This isn't a bad comeback album, but the thrash metal fan won't find much to relate to here.
"Death Revolution": the guys aren't the most regular presence ion the scene, but their descents are well noted, including the current one which is again more oriented towards the death metal realm, thrash finding it hard to breathe among the frequent blast-beating outrages, the industrialized mechanizer "Edict" shifting the delivery towards more abstract territories, "Moan" being the other deviation, an atmospheric near-ambient sprawl which sounds quite out there among the short brutal jolts that pepper this recording.

Scarlet Slaughter Best Of Compilation, 1992
I Was Watching My Death Full-length, 1992
Alcoholic Suicide Full-length, 1994
Acceptance of Death Full-length, 2010
Death Revolution Full-length, 2021

Official Site

MAGNUS (USA)

Choppy modern very technical, even a bit hard to follow at times, largely all-instrumental thrash which sounds like the more logical evolution of Coroner after "Mental Vortex" than "Grin" (the modern shape-shifting masterpiece "Exile"). The songs structures are very labyrinthine with spiral-like riffs building into diverse rifforamas also recalling mid-period Obliveon and the obscure Germans Grin, among other modern visionaries. The musical adventures contained within may take time to grow on you since there are seldom any direct fast-paced passages to put you on track, neither are many the distractions from the very sparse shouty hardcore-ish vocals applied here and there without too much intrusion.

Magnus Full-Length, 2011

Official Site

MAGRAL (ROMANIA)

This band play dark stomping old school thrash with a thundering bass bottom and gruff, amateurish death metal vocals. The brooding/doom atmosphere is broken at times ("Revolution"), but the guys are obviously more interested in the dark arts, and in the second half the style becomes pure doom/gothic.

The Story ...Begins Full-Length, 2015

MAGUILA (BRAZIL)

This is aggressive deathly thrash/crossover which suddenly jumps from brutal to mellow moments and vice versa the background being a bit noisy with hissing guitars and expressive shouty vocals. The guys are just having fun here bashing wildly without any certain focus and as such this short effort could be a frolic moshing fun.

Um Cruzado Na Orelha EP, 2011

MAGUS BEAST/AGRESSOR (USA)

When this album was released the band were still called Agressor, changing their name later after finding out that already there was a band (from Brazil) who have chosen this name first. The style is a potent blend of power metal in the Omen and Attacker-vein, and a healthy doze of thrash. The vocal performance is particularly strong: the singer has a powerful, clean, high voice. The guitars are sharp and heavy: check out the stomping intense thrashing opener "Magus Beast". The galloping power metal approach settles down with the next "Death Before Dishonor" and the excellent speedy "In Vain": a great song, with swirling guitars, kind of reminding me of Mercyful Fate (the song "Satan's Fall" from their "Melissa" album: the final speed metal part). "Devil's Advocate" is a slower, but very crushing piece, with very heavy guitars. "Born to Kill" is another fast-paced number, followed again by a heavier, pounding one ("Assault Attack"), more in the heavy/power metal mould. The closer "Nightfall" is a 10-min opus, which suddenly switches to a more complex, progressive song-writing (it could be two songs put together, as the two parts are starkingly different from each other; the first one is heavy, dark and slower, whereas the second one is faster).

Say Your Prayers Full-length, 1996

Official Site

MAHATMA (SOUTH KOREA)

Based on "Perseverance", this band play modern thrash metal spiced with brutal blast-beat sections. The vocals are angry, semi-death metal-ish. There are a few moments when the music loses its edge and starts sounding pretty bland, like on the groovy "Having Hopes" and the slower, power metal-based "Stormrunner".
"The Endless Struggle Against Time" is more aggressive and more consistent. The blast-beats are more frequent, but when the guys slow down, they produce better results: "Condemned Fury". The groove lovers will dig "Lock In", and there's something for the classic thrash fans thrown in as well: the nice energetic "Nothing To Take" and "Necrosis", which come near the end and create a nice headbanging atmosphere, partially ruined by the bland groovy closer "Monolith".
"Reason for Silence" is another crushing fare, the band mixing more complex semi-technical compositions ("The Road to Peace") with straight-ahead bashers ("Reason for Silence"), the more measured stylish shreds of "Cycle of Self-Destruction" paired with the excellent melodic leads on "Another New World", before "Janus-Faced" offers a string of heavy gallops, and "Stand Up" ravages the neighbourhood with fierce intricate riffs, the latter also prominently featured on the vitriolic closer "Waiting for the Day".
"New Justice" is a straight-forward recording, the guys lashing wild orthodox riffs to no end, the approach built on fiery outbursts like "All That's Left to Me..." and "Entropy", some of the numbers served with this more sterile mechanized vibe ("Fatal Imbalance"), the more controlled steam-roller "Indelible Scars" restoring some semblance of normalcy, before the band concentrate on the bashing side of the spectre almost exclusively, slowing down for the clumsy lyrical epic "The Never Ending And What Will Never End".

The Endless Struggle Against Time Full-length, 2005
Perseverance Full-length, 2007
New Justice Full-length, 2016
Reason for Silence Full-length, 2023

Official Site

MAIMED FOR LIFE (USA)

Chaotic and hectic thrash/crossover, quite stylish and original, with shades of early Voivod in the guitar department; the riffs aren't very heavy, but the tempos change all the time, and one can't help but jump around and have a good time listening to this.

Maimed for Life EP, 1985

MAINOTOWER (MEXICO)

Classic power/thrash/death which revolves around both heavy abrasive steam-rollers ("End by Dawn") and brisk epic speedsters ("Between the Gates"), the gruff semi-shouty death metal vocals ruining then picture a bit, especially on the frequent melodic sections. "Master of Strings" is an assured vitriolic headbanger, but such moments aren't that many, the guys preferring to indulge in more romantic friendlier strolls like the welcoming mid-pacer "Skullbreaker".

The Hidden Full-Length, 2022

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MAITREYA (SWEDEN)

Thrash/death metal of the new generation with nice melodic tunes, but not a "stranger" to brutal blast-beating moments; the main vocals are brutal low-tuned, but expect clean ones from time to time as well. The music ranges from slow gothic-tinged numbers ("Grief") to long progressive ones ala Opeth ("Leave This Place"), to pure energetic thrash/death with a touch of Dark Tranquillity ("Encircled").

New World Prophecy Full-length, 2007

Official Site

MAJAK (GERMANY)

These guys exercise an officious retro black/thrash sound that doesn't rely on speed so much; it resembles the early works of the Swedes Raise Hell with a similar array of razor-sharp shredders ("Desert of Restriction") and a couple or more melodious epic-prone ("Blood on the Iconz") numbers. "Solely for the Fire" is a vivid tribute to the speed metal school in the band's homeland, but the rough death metal vocals don't do much justice to this more mellowly-executed track.

The Herald Full-length, 2019

Youtube

MAJESTER (CANADA)

"Misguided Faith" is a fine piece of heavy technical thrash rubbing shoulders with Defiance's "Void Terra Firma" and "Beyond Recognition", Heathen's "Victim Of Deception" and late-80's Metallica. The choppy rhythmic section and the vociferous bass bottom are introduced on the opening shredder "Howlers of Insanity" as well as the interesting clean semi-declamatory vocals which also have the tendency to scream in a banshee-like manner at the least expected moment. Fast-paced skirmishes and entangled more technical passages come blended on nearly every track with "Bleeding Inferno" relying more on pounding, more patiently woven riff-formulas without too many melodic decorations. The latter are left for the semi-balladic "The Gathering" before "Desert Storm" sweeps the fan with speedy vitriolic guitars, an exemplary headbanger which has its match every bit of the way in the instrumental "Twilight at the Towers", a prime display of technical dexterity save for the hollow-sounding drums. "Public Manipulators" is a steady mid-pacer with great sharp riffs and sudden more dynamic accumulations ala Mordred's "Fool's Game"; and the title-track follows a similar pattern abandoning the more energetic walkabouts for the sake of several superb lead sections those staying around for the closing galloper "The Arraignment Process", an awesome finish to this admirable roller-coaster which again doesn't offer anything too speedy, but marches on assuredly with seismic stomping rhythms.
The EP is almost as good, only heavier and less eventful, but features some "updates" moving the sound towards the fashionable at the time modern tendencies (the sterile Prong-esque jumper "We Cannot Lie", the playful quasi-groover "Taken For Granted"). The vocals are strictly in the death metal camp the new throat creating quite a bit of noise when in action although he can't stand too much in the way of intriguing mechanical semi-technicallers like "The Last Day" which would bring early Meshuggah to mind. "Resurrection" is a consistent volcanic mid-pacer leaving the moshing fun for the short bouncy "From A Mad Jester".

Misguided Faith Full-length, 1992
Taken for Granted EP, 1994

MAJESTY (USA)

This band features Oscar Garcia: one of the first members of the legendary grind-pioneers Terrorizer. If the production quality of these demos was at least decent, Majesty could have been mentioned along much more famous names from the scene. Unfortunately, their works remain one of the most badly produced these ears have ever come across. Behind this impenetrable wall of awful sound, one could distinguish raw black-ish thrash ala Bathory, Possessed and Slayer's debut. Later the band improved the production qualities a hundred times, but with that also came the change of sound into industrial death metal, and the name change into Nausea.

Bestial Vomit Demo, 1987
Demo II Demo, 1987

MAJOR THREAT (UK)

This band were founded by a member of Toranaga, Dark Murphy. The music is more aggressive and technical, slightly recalling Hydra Vein, and even Living Death's "World Neurosis" in the more technical riffage, and there's a certain touch of Slayer, but this band's more restrained, slower moments.

Demo Demo, 1989

MAJSTER KAT (SLOVAKIA)

This is an excellent debut of fast-paced classic speed/thrash metal, quite aggressive at times, but also graced by great melodic guitar lines and leads. The music never loses speed and intensity, and will keep you headbanging the whole time. "Kat" comes after the short quiet intro to sweep the listener with very fast intense riffage and very good clean high soaring vocals. "Tien Minulosti" thrashes with no mercy, supported by a great bass bottom. "Pe1d" is longer, but the speedy rhythms never stop. "V Dadoled Veiel" is slower, more melodic, before the finishing explosion of blistering speedy guitars. Time for a break with the short, fine peaceful instrumental "Zaeiatok Konca", after which come the album highlights: the great technical, pounding, but also fast "Posledn Den", and the sheer lesson in lightning speed metal "Zapehte ohne". Fans of old masterpieces like Angel Dust's "Into the Dark Past", Toxic Shock's "Change from Reality", and Paradox's "Heresy" will definitely find their new idols here. Those who like modern fast-playing acts like the Finns Solitaire, for example, will also be delighted.
"Memento...": the guys don't bother to release albums on a very regular basis, but the quality at display is undeniable; the speed/thrash anthems are here again, and one will have a very good time moshing around, especially when a more sophisticated technicality sneaks in ("Sudca a Kat"). Elsewhere "bombs" will fall: the speedy "eagle fly free"-esque "Podle Slova"; the melodic more progressive thrasher "Zlo v Nas"; etc. "Smetisko Civilizacie" is a longer laid-back composition with a semi-balladic flavour contrasting with the merry optimistic speed/power metal hit at the end "Disko Oksid" which is another testimony that the band have softened down here spreading their wings wider consequently bonding with the power/speed metal legions of the 90's more this time which still at this stage is more on the positive side.

Svata Zvrhlost Full-length, 2007
Memento... Full-Length, 2014

Official Site

MAKABRO (ARGENTINA)

Based on the full-length, this band play cool retro power/thrash which wins quite a few points from the really proficient lead guitarist. The man's involvement can't possibly remain unnoticed as he inserts his flashy pyrotechnics at every opportunity: check out the speedy saga "Ad Honorem et pro Bono", or the galloping wonder "Faena del Desierto". "RDS220" is a furious technical exploder, and "Neckro Valle" is a nice progressive odyssey, the guys pulling out a really admirable riff-fest with a couple of milder balladic stopovers. "Hostil Veneno" is sculpted in a very similar fashion, the lead guitar player again the main star of the show on that one, "Desolado" a linear speed metal marcher. The vocalist is a decent clean mid-ranger who always uses the opportunity to exhibit more passion in the higher registers.
The EP is the traditional for the guys' homeland (think Horcas, Hermetica) blend of power, speed and thrash once again; optimistic uplifting stuff which moshes with bigger vigour on "Faena del Desierto" once again, the speed/thrashing urgency of "RDS 220" another possible highlight, "Neckro Valle" softening down but serving the most complex arrangements here. The singer this time is a more shouty semi-cleaner who attempts quite a few things along the way, from lyrical clean antics to brutal deathly growls.

Makabro EP, 2022
Desaf�o Full-length, 2022

Official Site

MAKINA (MEXICO)

Based on "Anabiosis", this formation play modern 90's thrash ala Pantera mixed with death metal. The music ranges from slower, heavy numbers to quite brutal sections as well as semi-technical moments ("Ripe"). "Red" follows the same formula, smashing with very heavy riffage at times, at times blasting out in a very furious manner. The mixture by all means has energy, but at least 1/3rd of the tracks are bland exercises in groovy angry rhythms spiced with industrial, hardcore, and even rap.

Dilemma Full-length, 1991
Anabiosis Full-length, 1994
Red Full-length, 1996
Blood Of My Race Full-length, 1999

Official Site

MALA FIDE (GERMANY)

This is an atmospheric blend of black, thrash and death metal coming with plenty of melody with black metal covered the widest. The songs are generally fast exercises in the mix, and the slower compositions sound too soft with epic elements ("Bevor Die Sonne Scheint"), but deliver with their laid-back riffage. There are orchestral keyboards present all over creating a lot of drama at times but always playing a secondary role to the melody-infused guitar sound and the sinister shrieky vocals ala Danny Filth (Cradle of Filth).

Flucht Full-length, 2010

Official Site

MALADAPTIVE (FRANCE)

Very cool power/thrash metal ranging from nice heavy thrashers ("Maladaptive") to straight classic heavy/power metal numbers ("Traitor").

Maladaptive Demo, 2005

Official Site

MALADDICTION (USA)

This trio produce calm friendly stoner-y post-thrash the idyll perturbed by the shouty semi-clean vocals. This is heavy mid-tempo stuff which becomes restlessly jumpy ("Demonic Dream", the short hardcore-ish "Liquid Spit") on occasion, but such moments are rare as the prevalent tone is brooding also aggravated by a few doom ("Solitude", which is not a Candlemass cover) hymns.

The Power Within Full-length, 1997

Official Site

MALAGAMUS MUCK (USA)

Modern post-thrash with a few more classic touches; the shouty semi-clean singer is an interesting diverse choice, but on the music front we have largely mid-paced proto-grooves, the intriguing balladic quirks on "Deranged" an interesting deviation, including the cool more intricate melodicisms on "Malagamus Muck", an energetic speed/thrash roller-coaster with clear old school pretensions.

Running a Muck Demo, 1991

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MALAGdcERO (SPAIN)

Based on "Doctrina De La Perpetua Violencia", this is a good classic blend of thrash and death metal with a style which will loosely remind you of a thrashy version of Death's "Spiritual Healing" although sometimes the band adhere to a more aggressive, faster play. There are good technical riffs, too, but generally the music is more on the conventional side.

Comedores de Cerebros Full-length, 1999
Metamorfosis Full-length, 2001
Doctrina de la Perpetua Violencia Full-length, 2003
El Increedble Ataque de los Moros Zombie Full-length, 2004

Official Site

MALAKAI (USA)

Based on the full-length, this act indulges in the good old 90's post-thrash. Groove reigns supreme mixed with sparse more aggressive death metal sections ("Haddonfield") which don't help much except fitting better the brutal guttural vocals. The final "King of the Monsters" would be a total shock, though: a mellow bluesy ballad with country overtones the vocals taking a much more melodic clean approach (is that the same band?!).

Chasing Demons EP, 2005
Monday Full-length, 2011

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MALAKYTE (AUSTRALIA)

This young act pulls out classic speed/thrash in the vein of early Deathrow and Toxic Shock, in other words, this is pure German worship, well done. The compositions are long (5-7min) so there's room for slower pounding breaks which usually come in the middle and are devoid of the vocals which are mean semi-declamatory.
The full-length is a more diverse continuation the band sounding more serious and elaborate "Warhawk" alone closing on just under 8-min being a stylish downpour of energetic riffs with a very sparse vocal participation the latter the furthest possible shift from the ones heard on the demo being very hysterical and shrieky with a high-pitched black metal tinge, clearly an acquired taste. The music delivers on all counts, though, despite the obvious reduction of speed in the second half where the guys also become more melodic (check out the fine leads on "Flood of Flames") the settled "idyll" broken by the urgent speedy shreds on "Resonance Cascade" and the nice semi-technical hooks on the closing "Resonance Cascade". If only those vocals were a bit more suitable... but nothing/no one's perfect.

Zero Hour Demo, 2011
Human Resonance Full-Length, 2013

Official Site

MALAS (USA)

The full-length debut is good intense thrash/death metal with Slayer being the main influence from the thrash metal side, and the Floridian school from the death metal one. The music very seldom goes into blasting extremes and sometimes comes with a less serious hardcore attitude: "Hostile Dominance", "Sacred Graves", or with a distant echo from early Venom: "Descent to Hell". The aggressive thrash/death metal insanity reigns supreme on "Legion Of Legions", the 1-min ball of fury "In Terror", or the lashing opener "Salvation", but there's enough variety here to offer a relief and entertainment. Some of the musicians also participated in the thrash/death metal formation Maldicion who released one demo in 1992.
"Path To Holocaust" is another heads-down retro affair the band providing cool death/thrash expressed in short bashing numbers, but when they feel like elaborating, things take a much more serious turn: the good eventful shredder "Violent Executioner". Those digressions aren't too many, but both sides work well showing a capable act mixing both styles in equal dozes producing a nice headbanging atmosphere with appeal for both classic and modern thrash lovers.

CD Sampler EP, 2004
Conquest Full-length, 2005
Chicago Metal Hell Split, 2007
Path To Holocaust Full-Length, 2013

Official Site

MALCHIDIEL (ARGENTINA)

This is excellent technical thrash/death resurrecting 's and Invocator's dormant spirits with brilliant twisted riffs, clinging more towards death metal due to its more aggressive nature and the very brutal guttural vocals. "Chiapas" is a standout technical piece which loses the speed to an extent, but makes up with great mazey decisions. "Xenofobia" at the end is pure death metal madness, played at the speed of light with an admirable amount of technicality not far from early Gorguts and Suffocation.

Asphixia Demo, 1996

MALDEVERA (USA)

The self-titled demo: four brave youngsters from Texas try their hands on twisted progressive/technical thrash which mixes the more direct Bay-Area aesthetics with drier more mechanized riff-patterns the ensuing "therapy" being fairly quirky, strictly on the modern side with a few puzzling passages which need some refinement; now this pile of riffs sounds a bit messy saved by the better-constructed straight-forward speedy sections ("Maldevera") and the expert leads which are the highlight, overshadowing the vocal performance the latter on the dry semi-clean dispassionate side recalling Mr. Al Jourgensen (Ministry). Some of the band members are also involved with the retro death/thrashers Steel Bearing Hand.
The "All Eyez on Jeff" EP is more aggressive and more linear, to the fans' chagrin. Still, "Dregbeat" contains enough twisted riffs to fill in a whole full-length, and "Voyager Destroyer" and "Malvedera" are more orthodox energizers ala late period-Death with a more abrasive guitar edge.
"Incarceration Plague" starts with the dragging boring "Guilty (Until Proven Innocent)" which is whole 8-min, but apart from rehashed chugga-chugga riffage it offers very little else. "Economic Hitman" is more interesting and also twice as short, and "Fuckalanche" is a mellow progressive instrumental which sees the band not quite sure which direction to follow, but the one carved here seems the least exciting one...
The full-length offers quite appetizing technical retro thrash with loads of interesting moments, like the frantic dynamics on �Guts�, or the fascinating melodic lead sections �Mouthful of Concrete�, or the lofty tech-death accumulations on �Hydraulic Injection Injury�. �Icon of Sin� is a fabulous complex saga with myriad tempo and time changes, a true masterpiece of contrived multifarious musicianship, and �Winter Palace� is a hyper-active tech/thrash/death closure, reaching the heights form the dazzling brutality movement (Cryptopsy, Suffocation, Spawn of Possession, etc.). The singer provides a subdued death metal semi-growl, trying not to stay too much on the way of the exemplary music.

Maldevera Demo, 2012
All Eyez On Jeff EP, 2015
Incarceration Plague Demo, 2015
Hyperviolence EP, 2017
From Man to Mist Full-length, 2023

Official Site

MALDICION (USA, IL)

A pretty cool demo of intense technically-minded thrash/death akin to mid-period Sadus and 90's Messiah. The vocals are brutal shouty death metal ones, but the music is more on the thrashy side. "Dead Emotions" is a brilliant speedster even recalling Death's later exploits in the mid/late-90's, and "Endless Descent" is a cool more moderate shredder with great melodic hooks and a few progressive twists. Later some of the musicians moved on with the classic thrash/death metal outfit Malas (see the reviews a few lines above) who already have two full-lengths released.

Demo Demo, 1992

MALDICION (USA)

Wild brutal thrash/death/black metal which is served on full-speed ahead for most of the time the main problem being the awful sound quality which takes away quite a bit from the musicians' efforts. The vocalist is a rending hysterical screamer, but it's probably good that he's not heard very well for most of the time. Worth of note is that the "Outro" is a really cool balladic instrumental, the best track here.

Stench of Death Demo, 2014

MALDITOS (ARGENTINA)

Merry-go-round power/speed/thrash of the old school, a style painfully traditional for Argentina. The guys are perhaps more aggressive than the lot (check out the ripping "Declaracion" and the sweeping closer with the very appropriate title "Ataque Thrashero") with a bigger emphasis on the thrash side of things but cool melodic leads can be heard on almost every song. The singer shouts in an attached authoritative fashion resembling Jello Biafra (Lard, Dead Kennedys) at times, and kind of doesn't quite suit the friendly melodic nature of the music.

Liberando Venganza Full-length, 2013

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MALEEK (SPAIN)

Modern abrasive post-thrash which nicely speeds up slightly in a carefree Hermetica-sque fashion the latter moments dissipating the groovy apocalyptic landscapes drawn over the listener for most of the time. The singer has a friendly warm drunken timbre which emanates passion and authority despite its limited melodic range.

Tras El Mito De La Caverna Full-Length, 2009

MALEFACTOR (POLAND)

Based on the first demo, these folks deliver atmospheric classic thrash/death metal which mixes fast ripping headbangers ("Prawo Dla Bogatych") with more diverse, more thought-out shredders ("Banita"), with quite cool melodic tunes ("Zywe Manekiny") embedded as well into the fairly dynamic frame that also tolerates the gruff semi-declamatory death metal vocals.

Demo Demo, 1994
Ogien Demo, 1996

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MALEFIC WITCH (USA)

An old school power/thrash project led by just one musician, the name Brett Rice (also the heavy/black metal outfit Monogon), which has variety in spades including a covert black metal vibe. The energetic roller-coaster "Where Angels Fell" gives way to the heavy doom-laden steam-roller "Cthulhu Rises" with both sides taking turns, the imposing Celtic Frost-esque stomper "Witchcraft" being the highlight on this fairly interesting recording which also comprises the excellent lively progressiver "The Witch" and the highly entertaining Mercyful Fate reminder "The Coven" at the end. Rice assists his musical endeavours with passable rough semi-clean croons which are decidedly inferior to the lofty musical background.

Witchcraft Full-length, 2018

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MALEFICARUM (SPAIN)

Dark atmospheric thrash clinging towards the doom/death field at times, the guys never speeding up unnecessarily although looking askance towards the doom camp ("The Swamp") more regularly, the steady mid-tempo rhythm-section on "Farinataa" and "Cerberus" setting the tone which slightly gets broken by the more brutal black/death metal outburst "Lucifer", the intense semi-shouty death metal vocals dominating the proceedings with intimidating authority.

The Nine Circles Full-Length, 2019

Youtube

MALEFICARUM ATTACK (MEXICO)

A hellish trio from Mexico who indulge in classic thrash/death metal which sounds close to the early Swedish models (Unleashed, Entombed, Dismember, etc.). There are several addictive melodic hooks (the title-track) to be savoured but the overall approach is more on the not as melodic, fast-paced side reflected in abrasive headbangers like "Burn the Witch... And You'll Die!" and "Pleasures of the Flesh", the intense music show led by brutal guttural death metal vocals.

Maleficarum Attack Full-length, 2018

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MALEFICE (UK)

Based on the "Relentless" EP, this band pulls out modern thrash/death metal mixing the heavy groovy 90's elements with more straight-forward riffage. Both trends take turns throughout with the slower groovy ones being a bit better with a dry mechanical, also a doomy sound, recalling mid-period Meshuggah and the American industrial doomsters Mindrot. "Losing Reason" mixes those heavy moments with alternative semi-balladic sections accompanied by weak clean vocals, the main ones being dry semi-hardcore ones.

Relentless EP, 2006
Entities Full-length, 2007
Dawn Of Reprisal Full-length, 2009

Official Site

MALEFICUS (USA)

Old school thrash with throaty death metal vocals; heavy moments of doom "(Hyprocrite") are also provided, including on the dramatic epic excursion "Damien", "Trashy Thrashy" more of a speed/thrash mixture with cool catchy melodies, the final "Splinter" stirring another sizzling pogo with again some addictive melodic hooks unleashed.

Maleficus Full-Length, 2022

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MALEVAJE (ARGENTINA)

Based on the full-length, these lads specialize in the expected by this country blend of power, speed and a bit of thrash the latter not very widely covered although "Fuga de Cerebros" is a really heavy pounder, and "Herencia Pesada" is a lively optimistic speedster. Please, also welcome the frivolous thrash/crossover spirit of "Sabio Indio" and the virtuoso lead sections on "Somos Todos Maquinas de Carne", the vocalist doing his thing in an assured semi-clean but attached fashion.

Malevaje EP, 2017
Semilla del Mal Full-length, 2023

Official Site

MALEVELLER (USA)

This is cool retro power/thrash with appropriate epic arrangements sounding like a mix between Jag Panzer and mid-period Manilla Road with the odd pinch of doom ("Dead Horizon"). The faster parts come in a sure-handed galloping manner ("Promethean"), but generally the tone is officiant in the mid-paced confines. The singer does a pretty decent job with his dramatic clean, mid-ranged timbre.

Maleveller Full-Length, 2011

MALEVOLENCE (CANADA)

A blend of thrash and death metal, quite classic-sounding, staying closer to thrash, the way they used to play it in the late-80's/early-90's. There's a certain crossover element which runs through the album except on the closer "Sleepwalk" which is a brutal death metal-oriented piece (the only one here) featuring blast-beats as well.

Malevolence Full-length, 1994

MALEVOLENCE (USA)

Based on the "From the Wastelands to the Piss Stream" demo: thrash/crossover with a bad sound quality and weak leveled, declamatory vocals. The overall style might remind you of Broken Bones. The tempo is energetic and cool riffage is present here and there, but the constant buzz in the guitar sound ruins things a lot.

Creatures Of Rust Demo, 1986
From The Wastelands To The Piss Stream Demo, 1987

MALEVOLENT FORCE (USA)

A capable new outfit who acquit themselves with a tribute to the early German school thrashing with power the vigorous musical delivery well supported by the crisp sound quality. "Call of the Blades" is vintage early Destruction who seem to be the biggest influence on the band, and the spinning guitar hooks of the Germans are all over this effort. There's a nice nod to the speed metal school with the excellent virtuous shredder "Curse Of The Damned" which makes a good pair with the final "Terror Awaits", another prime speed/thrasher which exits with aplomb. The singer has a mean shouty timbre quite reminiscent of early Mille.

Descent into the Abyss Full-length, 2015

Official Site

MALEVOLENT HAND (CANADA)

This is modern power/thrash which finds its more aggressive nature at times ("Bury The Fears"), and generally the very heavy rhythm-section seldom leaves the listener relaxed; the most melodic aspect actually remains the singer whose warm emotional timbre is infrequently broken by more brutal angry interferences. The consistently punishing, mid-tempo hammering riffs will do the job although genuinely headbanging passages are hard to come by on this entertaining, uniquely heavy roller-coaster. Some of the band members also play with the modern death metal groovers Xplicit.

Delusions Of Autonomy Full-Length, 2016

Official Site

MALEVOLENTS (CANADA)

Based on "Gladiator", this outfit pull out a classic mix of power, heavy metal and a bit of thrash which is on the friendly side for most of the time, the inebriate semi-clean vocals keeping things on the semi-tense side alongside the several more intense escapades (the title-track, "Me Vs You") the rest belonging to the calmer pool with ballads, semi-ballads, stoner/doom outtakes, and more.

Dead to Rights Full-length, 2017
Gladiator Full-length, 2018

Official Site

MALEVOLIC (CANADA)

This Spanish duo indulge in an old school speed/black/thrash blend which is built around bouts of infernal intensity, then main influences coming from the early German scene and Bathory. The more complex surreal pounding of "Fresh Flesh Steam" at the start doesn't become the dominant motif; instead, the guys shower the listener with short explosions ("Crossing Orion", "Black Evil Fucking Metal") that come in quick succession, the shouty death metal singer not keeping with the frenetic pace of the music, but makes sure there's no belligerence lost behind the mike. Short blasting violators ("F.U.C.K.", "Suicide") are also scattered around, making the environment suitably unsafe, with only "Asphyxia" showing a little mercy with several quieter moments inserted.

Thousand Years of Evolution to Self Destruction Full-length, 2024

Official Site

MALFACTOR (USA)

A surprisingly refreshing entry into the more technical thrash/death metal catalogue of the 90's underground done by three masters of the serious music. The meandering technicaller "Indignation" inaugurates this short saga that turns to creepy, almost doomy, atmospherics on the sinister Obituary-sque, similarities in the vociferous vocal department between the two acts as well, "Deliverance" which exits with a superb portion of stylish semi-leads. "(Walking On) Broken..." is a technical steam-roller with virtuoso passages galore recalling Atheist, Coroner, and Realm. The final "Phommeros" is a standout instrumental "flirting" with the ballad on an urgent bass base, another brilliant display of high musicianship which sadly remains the only legacy from these virtuosos who later went onto much bigger glories with the mathcore wizards The Dillinger Escape Plan.

Demo Demo, 1994

MALFEITOR (USA)

A really good 3-song demo of aggressive speedy thrash sounding like a smaller version of Kreator's "Pleasure to Kill", with some Slayer-esque riffs (the beginning of "Diabolic Execution") involved, and slightly more proto-death metal-oriented.

Demo Demo, 1987

MALFORMED THOUGHT (CZECH)

This is quite cool classic semi-technical thrash/death which cleverly meanders through pounding seismic motifs and occasional speedy outbreaks ("The Exclusion Of Plastic Surgery"), the stylish trippy intricacy of "We Are Food For The Big World" the clear highlight, with the progressive bass-guided ambience of "The Earth Under Control" another notable occurrence. The harsh semi-clean vocals aren't much to talk about, but their insistent participation isn't that annoying, especially on the several more lyrical notes.

Feelings Demo, 1995

MALFUNCTION (HOLLAND)

The guys from Second Hell had moved on with this formation which sees them pulling out less aggressive, but more clever technical, all instrumental, stuff as evident from the varied opener "Astral Ways". The other tracks are shorter, but equally as diverse with cool hooks and tempo-changes. "On the Edge of Change" is a prime technical number with plenty of hectic twisting riffs plus a fine melodic lead inclusion. Despite its undeniable qualities, the demo sounded more like a rehearsal for something bigger which, unfortunately, never materialized.

Into Strange Sphere Demo, 1993

MALHAVOC (CANADA)

Probably the most original, and best industrial thrash metal band who are actually the founders of death metal along with Death, their 1986 demo "Age of the Dark Renaissance" being a seminal work of the genre; "Shrine" is a strong debut with traces of industrial almost nowhere to be found at this stage yet, and with a more restrained sound compared to the aforementioned demo; this is an original mixture of thrash and proto-death metal with smashing stylish guitars, fast swirling leads and ever changing tempos; the pace is quite fast if we exclude the doomy, heavy "Dread", which also speeds up quite a bit near the end: a masterpiece which will startle you with its high level of musicianship displayed all over although it may disappoint those who thought that this would be the second full-blooded death metal full-length after Death's "Scream Bloody Gore": the approach is strictly more thrash-fixated.
"Punishments" and "The Release" spare no industrial elements, but thrash metal still leads the pack with a sharp guitar sound and original compositions which would stand well even on many classy progressive metal works: "Cruciform", "Second Image", "A Portrait of William Wilson", etc. Here the singer acquires an interesting, albeit synthesized way of delivering the lyrics: whispered, sinister vocals which might not be called singing, and are clearly an acquired taste. "Premeditated Murder" wades deeper into industrial waters, and the songs there are mostly not very easy to swallow exercises in industrial with thrash just slightly hinted at in the first half; the second half is all-out thrash/death attack; it's a remastered version of several of the songs from the already mentioned demo, and will stun you with its aggressive, uncompromising delivery and the genuine technical edge of the guitars. The band continued their career adopting a much more melodic, electronic, non-metal sound after this one.

Shrine Full-length, 1988
Punishments EP, 1991
The Release Full-length, 1991
Premeditated Murder Full-length, 1992

Official Site

MALHAZARD (ITALY)

This band plays intense modern post-thrash with classic references and a few jumpier moments with an elusive technical flavour. The pace is mid, but things are not stale the guys using various nuances to spice the approach including a surprising fast-paced track ("My Bothers' Skeletons") with death metal aesthetics which also gives way to the closing crossover joke "Into Your Black". The singer semi-shouts in a more involved, attached manner, and takes quite a bit of space.

Beyond the Horizon EP, 2011

Official Site

MALICE (USA)

Classic/modern thrash/crossover with ripping guitars and forceful shouty vocals. The guys thrash with speed sticking to short, direct numbers full of direct bashing riffs of the comprehensive variety.

Crooked Prayers Full-Length, 2011

MALICIA (ARGENTINA)

The band's self titled debut was an impressive slab of classic thrash metal which raised the level high. "Mundo Mitomano" acquired a more power metal-based sound, and was consequently a disappointment. "Agresivo" was a return to form bringing the band back to the thrash metal realm with a clearly slower and somewhat more technical style. "Raices" pays tribute to the 80's Argentine metal scene featuring covers of songs from famous Argentinian bands of the old days, most of them with no relations to thrash metal except for Hermetica.
"Conciencia" starts with the slow dramatic "Naturalismos" which doesn't really promise much, but the guys' adventurous spirit takes the upper hand quickly, on the complex "Verdugos Del Alma" which is a standout progressive thrasher showing the band in an inspired and not a really expected form. If the Argentines were hinting at their technical potential on earlier releases, here they go head-over-heels into technical/progressive territory, nailing down one masterpiece after another: "Espiritus", "2 A.M." (one may find some of the intricate melodies breathtaking on this one), "Extincion Natural": the longest song on the album (close to 10-min), which slightly betrays the faster-paced sound on the preceding tracks, but compensates with heavy stomping riffage and fine lead guitar work. The majority of the compositions are quite long with just a couple of more immediate short thrashers in between, still sounding quite intriguing ("Ocultando Cultura"). If we have to talk about a setback, it would probably be the slow doomy, and monotonous "La Ultima Semilla"; a situation greatly improved with the speed metal delight "Nunca Es Tarde" which excels in the lead department, citing the best from the Shrapnel catalogue, and going even beyond that. The closing "Se Escribe Con Sangre" tries to encompass all the sounds heard on the album, but kind of forgets about the faster aspect although it excuses itself at the end with a fine up-tempo riffy ending. Everyone who had any doubts that this act would not be the leaders of the modern Argentine metal scene, should put them aside after hearing this album.
"El Fin de las Religiones" begins in a pretty stripped-down immediate manner with "Rompe el Viento", but the band are quick to complicate the approach with the moody lyrical "Puertas del Infierno". The staple hard-hitting progressive tone, however, comes back with "Sed" which is 8-min of classy clever shred with several intriguing lead-driven sections. The lyricism takes over again on the milder "Islas de Cenizas", but "Misantropo" is a ball of fire, a speedy direct cut which is superseded by another more laid-back composition ("Incitacion") which suddenly switches to furious thrashing at the end. Still, this time the band are fonder of the less aggressive delivery, and here comes another string of mid-paced complex numbers among which only "Antes de Caer" strikes a cord with its virtuoso leads. This effort could hardly pass for the band's finest hour seeing the guys moving away from their more thrash-fixated style this transitional period still producing interesting moments for both the thrash and progressive metal fans with more concentration on the latter's preferences.
"Neuromuerte" starts in a similar manner to the one of its predecessor, with a ripping headacher "Me Cago En Tus Muertos", the hard thrashing alleviated by nice melodic leads. "Kendash" continues the assault with a couple of nice guitar duels present to make this cut a worthy Shrapnel follower. This time the guys know no mercy as "Matar Sin Que Mueras" is another fast-paced shredder the speed paying a prominent role the more technical quirks appearing later in the second half. "Aura de Cristal" notches up the more progressive arrangements, but the fast-paced thrashing returns with "Rigidez Calaverica" which retains the complex twists the symbiosis creating a marvelous vortex of intense intricate thrashing. "El Bien Animal" is a steady mid-paced technicaller with a furious speedy mid-break; and "Ocultismos" carries on in the same direction, a bit more elaborate and faster. "Ensuenos" is a dramatic composition with loads of infectious virtuous melodies, and "Murio Sonriendo" is consummate technical thrash with an expressive bass bottom, the highlight on this feast for the metal fans who will also have their fun on the closing "El Misero Encuentro Con Su Espejo", an epic progressive thrasher with impetuous speedy crescendos.

Malicia Full-length, 1999
Mundo Mitfemano Full-length, 2001
Agresivo Full-length, 2004
Raices Full-length, 2007
Conciencia Full-length, 2008
El Fin de las Religiones Full-length, 2012
Neuromuerte Full-Length, 2016

Official Site

MALICIOUS (CHILE)

This is some evil "malicious" retro thrash with a death metal-ish sting incorporated at times, and diverse compositions where aggression and melody seamlessly co-exist. The overall approach recalls Rigor Mortis including several stylish leads in the vein of the master Mike Scaccia (R.I.P.) and early Invocator (check out the technical outburst "Subconscious"). "Caravana de Cobardes" is a surprisingly friendly power/thrash metal anthem, and generally the second half is more laid-back if we exclude the 1.5-min of rage "Albert Fish".

Subconscious Insane Full-Length, 2014

Official Site

MALICIOUS (UK)

Rough mid-tempo retro thrash which is reflected in long dragging compositions, the screechy overshouty vocals not doing much favour to the rest of the crew. The second track (no titles here) makes some sense with a more dynamic layout and a shorter duration, but the remainder would hardly leave any lasting memories in the listener's mind, especially with the noisy abrasive production roaming around.

Blind Faith Demo, 1988

MALICIOUS (USA)

Based on the "Addicted to Pain" demo, this band play cool dense classic thrash with sharp cutting riffs, "The Prophecy" being a direct restless mosher, and "Victim of Reality" following a similar path with echoes of the Bay-Area (think Testament, above all). "Addicted to Pain" shreds with more power and verve, and "Battlefield" adds a nice more technical touch to the proceedings by still retaining the dynamic clout. The vocalist is a not very attached semi-reciter but fits the energetic semi-intricate approach. Some of the band members were also involved with the groovy post-thrashers Hellbender, and the old school thrash cohort The King Must Die.

Addicted to Pain Demo, 1991
Killing Time Demo, 1992

Official Site

MALICIOUS ASSAULT (USA)

Based on the "Ripping Death" demo, this is intense fast-paced thrash ala Kreator's "Pleasure to Kill"; aggressive stuff with more gruff lower-tuned vocals and cool short screaming leads. The guys are very productive with three demos released within less than a year.

Global Destruction Test Demo Demo, 2006
Holy Slaughter Single, 2006
Ripping Death Demo, 2006

My Space

MALICIOUS DAMAGE (USA)

Based on the full-length debut, these guys offer good classic/modern thrash of the more aggressive, but not very fast type. "In the Shade of Deaths Shadow" is the only brutal number here, quite death-ish at that. The tracks are in the mid-tempo range, but the guys like it diverse, and here come ballads: "Crystal Clear", pure groovy pieces: "Discipline", and jolly thrash/crossover delights: "Blue Collar Outlaw".
The band actually started their career way earlier, back in 1988, and released a self-titled demo in 1990 before splitting up. They reformed in the mid-00's.

Scorched Earth Policy EP, 2005
Fallen Kingdom Full-length, 2006
Sickness Amongst The Pure Full-length, 2007

Official Site

MALICIOUS DEATH (FINLAND)

Based on "War And Power", this is an old school thrash metal band with influences from both sides of the Atlantic ocean: Slayer, Kreator, Sacrifice, etc. The tracks range from short aggressive ("Mind of Violence") to longer slower ones ("Legion of Doom").
"Devilization" sounds like a more restrained version of "Pleasure to Kill", at least in the first half, which is certainly a good thing. There are heavy pounding rhythms involved as well, and some of the songs are lengthy mixing furious thrashing with slightly more elaborate less intense passages ("Rageous Souls"). On "Sacrifice" the guys deserve the break, offering a mellower American power metal sound. It kind of influences the next "Soldiers of Blackblood" which is more of a mix between thrash and power metal. But don't worry since the aggression returns with "Malicious Death" which thrashes without mercy. Two shorter death-laced bombs follow suit ("Tormentor", "Antichrist") to recapture the partially lost edge in the second half making this debut almost as entertaining as its follow-up.

"...From Above" is another sure-handed slab of intense old school thrash metal which opens with the aggressive Slayer-esque piece "Death by Dawn", before it moves onto speed/thrash ala early Destruction with the brisk "One by One" which may remind you of the Germans' hit "Mad Butcher". "Crooked Cross" is a heavy stomper, but doesn't really recall the Slayer song of the same title being more laid-back with a power metal feel. The variety gets bigger after the next number "No Justice" which is jolly crossover, but "Reign of Chaos" restores the more brutal status quo with sharp speedy riffs. "Blasphemy" is a fine short speedster with a sparse discordant sax background, an unusual surreal touch. Merciless speed/thrash metal comes pouring down with "Storm of the Metal" which richly deserves its audacious title again recalling Destruction. "Thrash till Death" will not exactly make you "thrash till death" being a more moderate thrash/crossover piece which influences the closing "...From Above". Despite the slightly underwhelming ending, this album is by no means a step back from the guys' previous efforts thrashing confidently in an enjoyable diverse way.
Whether this will be "Last Nail into the Coffin" for the band remains to be seen, but the truth is that the lads have come out with all the guns blazing, and the first couple of cuts will sprain your neck beyond recovery: those are some of the wildest headbangers one will encounter on the modern scene. Then comes "Street Violence" which is more on the "street"core side, but after this relative idyll the band continue to cause a major damage reaching death metal dimensions on the short "Krustensblud". More variety later on with the gallopisms on "Ready For War" although the end is strictly for the brutal thrash lovers, short explosive pieces the closing title-track calming down the situation with the exiting portion of heavy mid-paced riffs. This could be an exhausting listen for the unprepared who will get squashed by this wall of remorseless aggressive sounds.

Devilization Full-length, 2003
War and Power Full-length, 2005
...From Above Full-length, 2010
Last Nail into the Coffin Full-Length, 2014

Official Site

MALICIOUS GRIND (USA)

A wild frenetic mixture of hardcore, crossover and thrash, but not grind, mixing the furious approach of Wehrmacht with the tongue-in-cheek attitude of The Accused and Lawnmower Deth; generally short tracks, usually faithful to one of the aforementioned styles, with "Malicious Grind" being 5.5-min long, offering dissonant mid-paced instrumental thrash with heavy abrasive guitars.

Welcome To Life Full-length, 1988

MALICIOUS INTENT (CANADA, ALBERTA)

Based on the full-length, this band play dynamic classic thrash characterized by simplistic direct riffs and throaty hardcore vocals. The pounding seismicity of "Janitor�s Revenge" is a detraction from the not very compromising freighter, but the bashing urgency of "Cerberus" and "Alcoholic Forces", and the maddening proto-death intoxication of "Intoxisatan" leave all diversions behind with vehement swagger.

Wicked Prophecies EP, 2018
In the Dirt Full-length, 2023

Official Site

MALICIOUS INTENT (CANADA, ONTARIO)

Brutal thrash bordering on proto-death with a dark haunting atmosphere; this is intense hyper-active stuff with short bursting cuts ("The Hunger", "License to Kill") peppering the horizon, the more tamed "Submission Freedom Fighters" changing the setting for a bit, before the band come out with the wild grindy atrocity "Power Play" and the full-blooded deathster "Branded". The singer is a throaty death metal semi-reciter who keeps his participation within the acceptable confines, without occupying too much space.

Shades of Black Full-length, 1989

Vibrations of Doom

MALICIOUS INTENT (USA)

A cool demo of power/thrash metal in the American tradition similar to Attacker, Liege Lord, and Deadly Blessing; the music is energetic and picks up respectable speed at times.

Demo Demo, 1989

MALICIOUS ONSLAUGHT (USA)

On the debut this band unleash competent technical thrash/death metal obviously influenced by Infernal Majesty's "None Shall Defy" and, partially, Pestilence's "Testimony of the Ancients". The shorter tracks (3-4min long) is where the guys play faster and more aggressively, whereas on the rest (7-8min long) the listener would be glad to hear good melodies and technical breaks, as well as frequent tempo changes. Worthy of note is the bass work which is truly the highlight, recalling the wizard Steve Digiorgio. The last song "Thrashed Black" opens with a magnificent Oriental melody which even bands like Orphaned Land and Melechesh would find hard to match.

"Brutal Gore" is a vicious brutal take on death metal with no technical flair whatsoever, just extreme grinding bashing with very few musical merits, and one would find it hard to believe that this was made by the same musicians who less than two years ago came up with a really cool technical musical effort.

Rebellious Mayhem Full-length, 1992
Brutal Gore Full-length, 1994

Official Site

MALICIOUS PROPHECIES (MEXICO)

Based on the debut, this obscure Mexican band plays heavy dark thrash/death metal with brutal low-tuned vocals. The style interestingly reminds of the Greeks Nightfall with a similar alternation between slower and faster sections. The former kind of dominate, but this is hardly a complaint since they come highly atmospheric the latter carrying a certain technical edge ("Reducido A Cenizas") and also recall early Therion. At the end the guys switch onto more energetic headbanging music abandoning the atmosphere except for the excellent doom-laden ending of the closer "Muerte Lenta". It's a shame these guys were not better known before: they offered a desirable deviation from the generally fast aggressive music coming from Mexico at the time (Mortuary, Transmetal, etc.).
"Pensamientos, Sentimientos..." is more dreamy stuff clinging towards the gothic field quite a bit, and there's little thrash to be heard whereas the death metal is of the slower doom kind again recalling Nightfall, but their post-death metal period (1999 and beyond). An overabundance of keyboards "kills" the sharpness of the guitars although the sparse female vocals are a nice addition to the richly atmospheric musical delivery.

Reducido A Cenizas Full-length, 1992
Pensamientos, Sentimientos... Full-length, 1996

My Space

MALIGNANCY (USA)

This obscure outfit serve semi-technical thrash with very gruff shouty death metal vocals. "Death Barter" is an excellent short technical shredder whereas the rest isn't as exuberant, but delivers the goods with intelligent well-constructed riffs and a frequent change of pace. The sound quality isn't great although it doesn't really ruin the intentions.

Infected And Diseased Demo, 1991

MALIGNANT (USA)

Rough unrehearsed thrash/death with a very messy sound and very shouty deathly vocals; the band mix fast with slow sections, but the buzzy guitars and the noisy drums barely contain a few notes to make sense, mostly found on the closing title-track which crushes around with heavy Sacred Reich-esque guitars also suggesting at the future groovy metamorphosis of the scene which was already taking place.

An Empty Tomorrow Demo, 1991

MALIGNANT MONSTER (AUSTRALIA)

The debut: ex-members of the death metallers Pathogen, including the omnipresent drum guru Louis Rando, have joined forces again for the release of this somber brooding affair which is equal dozes doom, death, black and a tad of thrash the dark prevalent tone nicely broken by short outbursts of hectic technicality ("Psycho Prelude") which should definitely be more in the future. Otherwise this is a morbid listen reaching depressing heights on the final doom cut "Killing for Company". The vocals don't participate too much and their tortured agonizing tones would make one even sadder.

The "Yours is Murder" EP is more oriented towards death metal with again the more technical moments being short and kind of undeveloped (the short twister "Until it Withers"). The atmospheric doominess also springs up on the creepy cut "Nothing Left" and on a few passages from the longer tracks, but generally this is a bit more dynamic affair the last two numbers being short exploders of the semi-technical death metal type.

Foul Play Full-length, 2005
Inferno Festival Promo EP, 2008
Prelude to Murder EP, 2012
Yours is Murder Full-Length, 2013

Official Site

MALIGNANT TERROR (USA)

Despite the horrifying black/death metal vocals, this is pure thrash, and quite well done at that if we exclude the slightly improvised leads in the Kerry King vein. The music is an intense fast attack coming as a blend of Vio-lence's "Eternal Nightmare" and Slayer's "Reign in Blood". The bass work is great, and technical riffs take the upper hand here and there ("Multiple Stab Wounds"), but sheer speed is pretty much the order of the day on this well executed demo.

Demo Demo, 1989

MALIGNANT TUMOUR (CZECH)

Based on "In Full Swing", this band play light-hearted speed/proto-thrash metal strongly influenced by Motorhead including in the vocal department where the guy tries hard to sound like Lemmy (R.I.P.), and succeeds for most of the time. Shades of hardcore can be heard ("Bristroll") as well as soft hard'n heavy moments ("High Time To An End").

Dawn Of A New Age Full-length, 2003
Hammer And Anvil Split album, 2004
Burninhell Full-length, 2005
In Full Swing Full-length, 2008

Official Site

MALIGNER (SWEDEN)

Based on the full-length, this hellish trio from Malmo indulge in vicious blitzkrieg old school thrash with bold shades of death recalling their compatriots Hypnosia and early Sadus. More intricate speed/thrash hybrids ("Lust For Fire") brings a nice stylish clout to the opus whereas short bursting bombs like "Salvation" and "Mental Breakdown" are very close to reaching the speed of light with their unbridled veneer. The excellent technical shredder "Beyond Repair" will bring memories of the Dutch Expulsion and the Danes Invocator, and the heavy volcanic "Into Oblivion" will provide the seeming respite on this exhausting, but utterly satisfying roller-coaster which also wins a few points from the intense shouty death metal vocal department.

Demon EP, 2016
Attraction to Annihilation Full-length, 2018

Official Site

MALIGNITY (HOLLAND)

"The promise" here is for dark morose old school thrash with echoes of Celtic Frost and Slaughter. The dominant delivery is mid-paced, almost doomy, but more dynamic moments ("Metaphore", "Burn The Church") sneak in to dissipate the darkness which reaches operatic dimensions on more officious tracks like "Frozen Body" and "Mirror of Time" where deep clean vocals with a dark wave flavour appear to oppose to the murky raven-like main ones.

The Promise Full-Length, 2014

Official Site

MALIGNITY (NORWAY)

The "Below Zero" demo: retro thrash/death with a very good sense of lyricism ("Left to Die"), the very guttural intense deathly singer adding more drama to the melee, the latter largely a mid-tempo fiesta, the sinister trudge on "War" the most dynamic occurrence here, if we exclude a few vibrant strokes from the otherwise complex march "Contemptuous". Hats off to the closer "Dreaming" as well, a cool romantic balladic etude.

Demonic Demo, 1991
Below Zero Demo, 1994

Youtube

MALIGNO (ARGENTINA)

Frivolous retro power/speed/proto-thrash which is so typical for the country, think Horcas and Hermetica almost instantly. This is optimistic carefree stuff which doesn't have too many thrash merits, but wins a few points from the heavy macabre stroller "Mentes Enfermas" and the impetuous fast-paced hymn "Mundo Ambicioso".

Maligno Full-length, 2022

Youtube

MALIGNOM (AUSTRIA)

This is another vehicle for the talents of the Sardonyx folks. Based on the "Mental Desert" demo, this outfit serve all-instrumental stuff with strong progressive elements ("Laughing with the Dead"), or with subdued death metal vocals suddenly popping up ("Witness for the Execution"). The title-track is a high-octane doomster ala early Cathedral and again features the afore-mentioned vocals which are by far the weakest link on this otherwise impressive slab of gloom.

Infecting Virulency Demo, 1991
Mental Desert Demo, 1992

MALINTENT (USA)

Previously these lads were called Morgion, the style classic speed/thrash. Based on "Part 1", this act play old school power/thrash which is mostly sustained in a hypnotic mid-tempo, the more complex progressive flair of "Release the Beast-Hit List" still an entertaining gimmick, but the dragging clumsy "Overseer" is decidedly a pullback, as well as the cheesy sing-alonger "Locrian's Lullaby". "Darkponde" is an intense blistering thrasher, but "The Unborn-The Phantom Symphony" combo is a tedious prog-power affair which largely relies on sugary melodies and na�ve sing-along choruses, the convincing attached semi-clean vocals at least doing a decent job, trying to follow the shift in mood successfully for most of the time.

OverSeer EP, 1997
Part 1 Full-length, 1998
The Second Coming Full-length, 2001

MALKAVIAN (FRANCE)

Based on the full-length, this band play abrasive modern post-thrash which is more on the noisy side. The guys shred with passion and even come up with the casual more up-tempo rhythm ("The Worshipping Mass"; the mechanical headbanging on "I Suggest..."). The second half is more stylish with attempts at progressive on the 2-part saga "Out Of Madness", and on the 9-min opus "Wolfpack" which ends in a downbeat balladic fashion. The vocalist shouts not very pleasantly adding more to the noisy environment.

November Ends EP, 2009
The Worshipping Mass Full-length, 2014

Official Site

MALKAVIAN (ITALY)

These Italians specialize in modern thrash of the calmer variety which relies on mid-paced riffs with an abrasive edge with a few faster-paced exceptions ("Soul Cage") and the casual more technical hook ("Soul Cage" again). The singer is a passable hoarse semi-cleaner with a tendency to shout not very convincingly, and the bass work is quite good playing well more than just a supporting role here.

Malkavian Demo, 2008

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MALLEUS (USA)

This ferocious trio try to resurrect the early days of Bathory coupled with more stylish arrangements ala early Celtic Frost. The resultant "therapy" is better when it sticks to the less speedy, more controlled histrionics of the aforementioned Swiss as is the case on "Demonology I". Still, a few rigorous shorters ("The Wolf") manage to stir the blood a bit also fitting the rough old school production, the primal musical delivery topped by vicious witch-like vocals.

Storm of Witchcraft EP, 2016

Official Site

MALM

This is industrial post-thrash, more on the harsh side, without any tempting melodic distractions. The dancey moves are guaranteed with a couple of more electronic-based numbers, but there's a lot of aggression to be encountered as well: check out the death metal shredder "Ez Dakit". The singer expectedly shouts to the death assisted by numerous synthesized gimmicks which only make his vocal "exploits" more annoying.

Malm Full-Length, 1999

MALOIK (SPAIN)

This is old school thrash/death spearheaded by a guttural brutal death metal throat. The music delivers with both short melo-death extrapolations (�Historical Disease�) and confrontational volcanic mid-pacers (�Battle Prelude�), the melodic steam-roller �Sea of Doubts� a clear highlight with its dark pervasive demeanour and an abrupt fast-paced embellishment in the middle. Brace yourselves for the marginally more complex pummeling on �Seven Years�, the intense semi-declamatory death metal vocals standing their ground with intimidating determination.

The Last Whisper Full-length, 2023

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MALON (ARGENTINA)

The band is a continuation of the Argentine power/thrashers Hermetica. The style on the debut is pretty similar to the previous band being in the same power/thrash metal mould, a tad more aggressive than Hermetica's last release and, perhaps, better. The sophomore album takes turn towards aggressive modern thrash and is quite good, too.
"Nuevo Orden Mundial": the band are still alive, but the sound has been modernized also bringing more power/heavy metal with the boosted guitars. More intense cuts ("Recordar Para No Olvidar") haven't been entirely removed from the guys' repertoire, but now they sound too close to the style of the father band for the fans to consider them an individual act.
"Oscuro Plan del Poder" arrives after another eight years, the guys making circles around the modern power/post-thrash roster once again, with moderate mid-paced trots ("Un Cielo Rojo", "Paraiso De Cristal"), the occasional rowdier gallop ("Pacto Pesado") disturbing the instilled idyll, the very cool melodic speedster "El Gran Reinicio" qualifying for the victor laurels with its sprightly optimistic riffs, and not only because it sounds so overtly classic.

Espedritu Combativo Full-length, 1995
Justicia o Resistencia Full-length, 1996
El EP, 2002
Nuevo Orden Mundial Full-Length, 2015
Oscuro Plan del Poder Full-length, 2023

Official Site

MALTHUS (FRANCE)

This is an obscure effort of cool technically-minded/progressive thrash/death metal which starts very ambitiously with the engaging 8-min opener "Dead Star" before taking a more direct, but equally as interesting, approach later on remaining within the more complex confines recalling later-period Death and the Australians Alarum the bass performance close to being the highlight with its thundering presence ala Steve DiGiorgio. The "Oblivion" trilogy in the middle is kind of underwhelming being too dreamy and not very hard-hitting, but after all speed isn't widely covered here at all. As a result we have a quiet album of the pensive variety which only harsh side would be the expressive deathly vocals ala Mathias Lodmalm (Cemetary).

Knowledge of Your Own Full-Length, 1998

MALTWORM (BULGARIA)

This is quite cool old school technical thrash/death which roves the scene with probing aggressive riffage on the opening "Ash Williams", the superb meandering technicaller "Vsichko na Masata" a most handsome tantalizer with the virtuoso passages, tight riff-knots and the strong bass bottom. "Yersinia Pestis" is a short compact intricate delight, and "Crippled and Abandoned" is a more laid-back atmospheric proposition, the more expanded progressive configurations on "Sacrificed (Tribute to the Gods)" firmly belonging to the deathly realms, but this is simply too grand to be categorized additionally. Watch out also for the brief brutal expletive "The Kvlt ov the Maltworm" and the epic progressive closer "Dead in Your Own Skin, a more melodic, more carefully constructed number with soaring enchanting tunes and a dreamy balladic tractate. The singer is a shouty death metal throat, the same one that can also be heard on two other formations with the guys' participation, the retro thrashers Hellrider and the death/doom hybriders Bleak Revelation.

Global Worming Full-Length, 2022

Official Site

MALVENTO (ITALY)

"Clavi (Figendi Ritus)" is black/thrash metal of the classic type which walks all over this sub-genre: a brutal Impaled Nazarene-like sound ("Arcanum Mortis"), doom-measured gloom ala Khold and Barathrum ("La Fossa"), hypnotic dark rhythms in the spirit of early Celtic Frost ("Sinistro"), some variations on the mid-period Bathory theme ("Il Culto"), plus a really cool closing short acoustic instrumental ("Santissima Nientificazione"). The guys also have a side-project: Triumphator, where the style is pure black metal without any gimmicks.
"Memoriae Mali" is very close sound-wise to its follow-up with another soundalike added to the wide gamut of influences: early Burzum. The mid-period Bathory rhythms seem to work the best ("Viscerale Impurite0"), but watch out also for the atmospheric/doom masterpiece "Il Freddo Tormento".
"Oscuro Esperimento Contro Natura" is devoted to the black metal idea almost exclusively crossing ultra-fast with much more peaceful atmospheric landscapes in the best tradition of Burzum. "Ira" is a cool surprise being a heavy doom-ornate thrasher ala more recent Satyricon and Thorns, but the following "Essenza" is pure ambient. There are only six compositions here, and the eerie soundtrack semi-musical nature of at least half of them will be a problem for a regular metal fan to fully appreciate this strange effort.

Memoriae Mali Full-length, 2005
Clavi (Figendi Ritus) Full-length, 2007
Oscuro Esperimento Contro Natura Full-length, 2010

Official Site

MALVIANT (USA)

Retro, somewhat progressive thrash the band displaying various degrees of ambition throughout, decorating elaborate thrashers like "Lycanthrope" with cool melodic strokes although there are times ("The Nameless One") when the delivery becomes a bit ponderous and cumbersome without too many deviations. The headbanging qualities of "Army of the Damned" can't be ignored completely, but it's the epic Sabbat-esque veneer of "Riddles in the Dark" and the delightful technical walkabouts ala Testament on "Ominous Existence" that will capture the listener's imagination more fully if the latter doesn't get completely pulled back by the bad unrehearsed hardcore-ish vocals.

Prophetic Desecration Full-Length, 2018

Official Site

MALVO (FINLAND)

Based on the "Tulikomentoja" EP, these guys offer modern thrash/death metal ala their compatriots Mokoma's more recent period, with horrible shouty hardcore vocals. The music is nothing special, either, being generally up-tempo with a couple of groovy implements as well as a few more vigorous classic thrashy sections.
"Kuolonvietti" is decidedly more melodic the band now incorporating a vigorous crossover spirit which has plenty of speed, but the guitars are just merry accumulations without any edge or bite. Death metal is completely gone from the picture, but thrash is still present on the more aggressive material ("Turparauta", "Ruostenaulat") which is short and to-the-point, and is mostly placed in the second half which is way more entertaining with party frolicers like "Viilto ja Kumarrus" and "Kuolonvietti" provided abundantly. This is a cool unpretentious effort and as such should ensure the fun of the fanbase.

Diagnoosit EP, 2006
Tulikomentoja EP, 2009
Kuolonvietti Full-Length, 2014

Official Site

MAMUT (CZECH)

Intense, quite technical thrash/death ala the guys' compatriots Assesor, the Chileans Torturer and early Sadus; the opening title-track is a major crowd rouser with its razor-sharp lashing riffs, and a very good beginning for this "carnage" which even becomes more puzzling and harder to predict on the excellent creeper "Zniceno Svet". "Hrobe" is a short stylish cacophony of technical thrash/death with a few quirky decisions which grow into the more thoughtful "Rvacka v Hospode", a varied all-instrumental piece. "Zmetek" is a mid-paced twister with impressive guitar pyrotechnics, and "Obgd" is an encompassing thrash/death metal saga lasting for over 8-min not surprisingly containing a lot of original musical ideas including a couple of less restrained blast-beating passages. The closer "Death" is more on the speed/thrash side, but is a satisfying finish to this inspired affair which only suffers from the very muddy sound quality. Some of the band members also played in the thrash metallers Shaark.

The Waterloo Demo, 1989

MAN OF KIN (UK)

Hardcore-ish groovy thrash ala Pro-Pain, maybe more varied, with both faster and slower tracks, including one lyrical romantic deviation at the end: the semi-balladic "Undone" spoilt by the noisy shouty vocals.

Lock and Load Full-length, 2009

Official Site

MANAGAINSTCATFISH (USA)

This is interesting modern thrash with technical/progressive tendencies. The base is slightly industrialized with touches of alternative, but the guitar work is solid, staying mostly within the mid-paced perimetres, with quite a few sharp riff-sections present. The album begins in a moderately complex, and even intense ("To Dream Of Wolves"), manner before the arrival of the monstrous 10-min "Cast Away Pt.1", a very diverse composition of contrasting styles, but quite engaging all the way. The accompanying "Cast Away Pt.2" is just 2-min of dreamy funky stuff, followed by the dramatic "The Mountain At Rest" which reaches death metal crescendos in the middle without speeding up at all. "Last Rite" is a great instrumental piece of thrash and proto-death metal alternating, setting the tone for the other "saga" on the album: the 11-min "Doing Battle" which is mostly epic thrash with balladic insertions and touches of pagan/viking. This is a not very usual take on the genre and would require several listens to be fully grasped, but it's definitely worth tracking down. The singer has an assured clean voice, but it comes heavily industrialized at times which is hardly necessary.

On The Wings Of A Spider Full-Length, 2009

MANDATOR (HOLLAND)

Mandator are the continuation of the more power/speed metal-inclined Mysto Dysto. On "Initial Velocity" the band's roots could clearly be heard as it's a combination of power, speed and thrash metal, quite convincing at times, but not enough to make the band stand out. It starts quite promisingly, though, with the explosive thrasher "Attila", but their past quickly comes up on the next number "Black Rose" which has almost no ties to thrash being quite good speed/power metal track. However, the guys show that they will not easily give up the thrash metal idea, and the following "Faces of Death" thrashes like there's no tomorrow again. Apparently the band have decided to alternate fast, aggressive songs with calmer ones since the next one ("Jack Boots and Leather Caps") is a pleasant hard'n heavy hymn with an epic atmosphere. This alternation goes on until the very end which is preserved for the short, but excellent acoustic ballad "I Will Be Your Last".
"Perfect Progeny" is a big improvement with a much better musicianship. This is actually the beginning of the long string of technical metal albums from Holland. From the very beginning we have a wall of razor-sharp riffs, technical guitar work and semi-complex song structures. There are no softer breaks if we exclude the short lead-driven instrumental "Surrealistic Maneuvers". The guitars literally cut like a knife (check out the awesome "A.I.D.S." which starts with a great melodic hook; but there aren't many of those here; or the bursting machine gun-like riffage on "Automatic Artillery" which will crush you as well as every other song), and the pace is quite fast recalling another work from the same year: Paradox's "Heresy", but the Dutch care less about melody. The first real thrash metal act from Holland, Mandator set an example that was later followed by many other bands, and virtually started the more technical side of the Dutch metal scene.

The demo is not a very dignified epitaph seeing the guys trying to play not very exciting, but fashionable for the time, post-thrash which sits somewhere between Xentrix's "Scourge" and Forbidden's "Distortion". The songs are lengthy and aren't completely without merits avoiding the groovy "traps" for most of the time, but the ultra-heavy one-dimensional riffage wears thin the indifferent semi-shouty vocals another pullback despite their authoritative antics served with a semi-death metal shade on the more aggressive moments.

Initial Velocity Full-length, 1988
Perfect Progeny Full-length, 1989
Strangled Demo, 1993

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MANDATORY (AUSTRIA)

Melodic modern progressive thrash (based on the full-length) metal offering pleasant melodic riffs, a dual vocal attack (the obligatory clean ones are here, of course), with a shade of gothic and Opeth-esque death metal. The lead guitar work is quite cool, and interesting Oriental motifs permeate the album which could have benefited from more speed: now this colourful but not very energetic, mid-paced effort will blend with the countless similar albums of recent times.

The "Cataclysm" EP is four tracks of mild pleasant modern thrash in mid to up-tempo which is easily forgotten minutes after one has stopped listening to it simply because this is stuff made and heard thousands of times before. Still, the guitar work is not bad with some very cool melodic leads, but the repetitive riff-patterns and the bad semi-shouty death metal vocals are not much to write about except maybe the dramatic accumulation of shattering riffs at the end of the closing "In Quiet Moments".
"Catharsis": the trite melo-thrash/death formula is applied unerringly here for the umpteenth time not bringing much fun except in the lyrical department where the cool ballad "Emperor" may melt the hearts of some more sensitive fans. The rest is only a tad more intense the guys just having fun pulling out their more tender side with barely the galloping "Act III Purification" moving the head a bit.

Concept Of Chaos EP, 2007
Universus God Single, 2009
Carbon Black Full-length, 2009
Cataclysm EP, 2012
Catharsis Full-Length, 2014

Official Site

MANDATORY DEATH (CANADA)

The album-title might mislead you, but rest assured that this isn't some cheesy power metal. This is actually one of the better classic thrash metal albums to come out of Canada in the new millennium. The overall sound is tight, fast and aggressive, but tracks like "The Clashing Of The Swords" and "The Rise Of The Fall" (which is a great instrumental, by the way) show the other, slower, more technical and arguably more melodic side of the band. The future of the Canadian metal scene looks bright with bands like this one around.

Clashing Of The Swords Full-length, 2004

Official Site

MANDIBULA (PORTUGAL)

This is just one person, the name, or alias, is Mandibula, who is responsible for everything here. The music is old school underground black/thrash metal staying in the heavy realms ala early Celtic Frost, also relying on funeral doom quite a bit on the longer compositions, among which there are two monstrous 11-12min delights ala early Cathedral ("Arauto da Dor"). As a whole this isn't fast stuff at all, also featuring one exercise in pure ambient/noise ("Rios de Sangue").

Sacrificial Metal of Death Demo, 2010

My Space

MANDORIA (CZECH)

These Czechs offer pleasant modern thrash/death which is very close to the Swedish canons in the genre, only that the music presented here is more atmospheric, and also has a few shades of a more technical play (the puzzler "Belladonna"), apparently leftovers from their other act: the technical death/thrash outfit Absurd Conflict. There is a lush use of keyboards, and generally the guys rely on melody, maybe too much at times, and very seldom speed up beyond the mid-pace. There is also a feeling of gothic, and epic, in the air; in other words, an "inspirational" and "dreamy" stuff.

Inspirations And Dreams I. Full-length, 2009

Official Site

MANDRAGORA (GUATEMALA)

Based on the full-length, this band play run-of-the-mill retro/modern thrash/post-thrash with Bay-Area overtones crossing influences from Testament, Defiance, and the groovy movement of the 90's. The music lacks energy as a whole the latter brought by a couple of more aggressive shorters ("Fuck You"). The singer has a not very sober semi-declamatory baritone, and his dry dispassionate antics are hardly the album's main asset. Some of the band members also take part in the grindcore/crust doomsters Fosa Comfan.

Fuck You EP, 2013
Inner Demons Full-length, 2016

Official Site

MANDROID OF KRYPTON (SWITZERLAND)

A Swiss trio who specialize in quite interesting minimalistic sterile power/thrash which is both on the retro and modern side. The overall delivery recalls the obscure Belgian act Yosh (the sophomore effort) and another Swiss outfit skilful in the realm of the offbeat: Calhoun Conquer. The band try to be avantgarde in a weird Voivod-ish way, and succeed in serving a few eclectic spacey moments (the Killing Joke-sque "Hyperspace") including the brutal extravaganza "Black Immensities" which is a progressive grindy rager, pretty much one-of-a-kind. The 2-min instrumental "To The Next Planet" is another oddity, and "Chessboard Of Nothingness" is a dissonant spacey "odyssey" which could race any number on "Target Earth" (Voivod again) in terms of both originality and futuristic ingenuity. The progressive saga is finished with the appropriately-titled "Automaton" which is robotic mechanical shredding with a nice melodic motif. The singer doesn't show much emotion, of course, and his calm clean croons are the perfect companion to this interesting engaging listen.
"Hyperkaossmarket": the Swiss weirdos are back with this new opus which will quickly enchant with the spacey Voivod-ish opener "We Took the Road One Day" and the short abstract thrashing puzzler "Superluminal". The title-track is an avantgarde crossover cut, and "Golem" is a twisted ethereal progressive piece with a few hard thrashing passages; an appetizing "mess" as a whole. Weirdness reigns supreme on the spaced out "Alien Sisters" while "Secret Mirror" will remind you of the offbeat landscapes of mid-period Arcturus. Voivod and more direct thrash are seamlessly mixed together on "Animal Antimatter", but run for cover on the death metal spacer "Breach the Laws of the Devil Himself" the pain on it alleviated by a few laid-back inclusions. All the way to the closing "Mindless Heroes" which is a fitting epitaph to this larger-than-life mish-mash which sounds like Prong after a coffee break in Voivodland with an additional semi-industrial boost ala Devin Townsend. This is by all means an interesting effort which would take a bit more than a few listens in order to settle down.

Our Brilliant Embassies Full-Length, 2012
Angry Space Zombies EP, 2012
Hyperkaossmarket Full-length, 2015

Official Site

MANFISTO (ARGENTINA)

This band specialize in crunchy modern/classic thrash which varies the pace although its more preferable side is the dirgy mid-pace: check out the formidable proto-doomster "Decepticon". The second half is more diverse, but also more melodic the band abandoning the thrash metal idea until the more aggressive Bay-Areasque headbanger "No Way Back Home" which also provides the finest leads on the album. Then comes the short speed metal sweeper "Walking In Hell", and the varied shredding closer "Kill The Master", a worthy epitaph to this entertaining nod to both trends also boasting good dramatic semi-clean, high-strung vocals.

Aliens Of The Night Full-Length, 2015

MANGLED (USA)

These Yankees indulge in aggressive thrash/death which is pure hyper-speed madness for most of the time combining the ferocity of Defleshed with less attractive grinding aesthetics akin to early Suffocation, but without the technical merits of the latter. The singer is an ultra-brutal guttural growler, but suits the relentless musical approach which boasts a very clear sound quality. "Dead End" would be a total surprise near the "end" after a downpour of brutal riffage on the preceding numbers: stylish technical piece with a touch of Death's "Human". More surprises as a finishing touch, but not on the pleasant side: "Mortally Impaired" which will "impair" you "mortally" with its merciless grinding sections scattered among a more complex technical play. This is a good start seeing a band ready to bash on a more official stage although to these ears it seems like the guys would choose the death metal path to follow.

Tales from Beneath the Street Vol.1 Demo, 2012

Official Site

MANGLED BY MANGULATION (USA)

This outfit serve frantic modern hyper-technical/progressive thrash with shades of hardcore and death metal all styles piled on top of each other in a somewhat chaotic disorganized manner with slow and fast passages racing each other to a dizzying effect. The technical merits of this small effort are without question, especially on more engaging shredders like "Innocent Ingestion" which could beat even numbers from the works of Biomechanical or Electro Quarterstaff easily on any day. There's no speed lost on the excellent Death-worship "Routes Of Determinism" which offers melodic tunes galore along with several appropriate blast-beats assisting them. Out of the blue comes "Cunning,Baffing, Powerful" which is a shocking doom/sludger with industrial overtones which tries to excuse itself with a portion of fast rhythms near the end. The real excuse here is the short explosive closer "Tread Of Drown" which shreds like demented again full of catchy infectious hooks all around to make this proposition more than just a rehearsal for an eventual very strong full-length.

Mangled By Mangulation EP, 2012

MANGLED CLIT (USA)

The unpleasant name hides merry optimistic thrash/crossover with an overt early speed metal edge the later bringing many of the early practitioners from the German scene (Living Death, Warrant, Vectom, etc.). To talk about full-fledged thrash here would be a bit farfetched the guys "flirting" with power and heavy metal at will creating a blend not too far removed from the Nasty Savage debut if we exclude the genuinely fast-paced moments which open and the close the demo. The singer semi-recites in a macabre authoritative fashion not straining his vocal cords too much.

Demo Demo, 1985

MANHOLM (DENMARK)

This is raw evil brutal black/thrash metal with a very primal sound quality the guys seemingly having fun blasting out in a misanthropic Impaled Nazarene-sque fashion most of the time, the vocals another major damage with their utterly incomprehensive animalistic shouts.

The Wonder Years... Demo 2010

MANHUNT (ITALY)

Another good addition to the growing legion of retro thrash bands from Italy; the overall style recalls the Canadians Sacrifice as the guys stick to fast-paced direct thrash with hoarse mean vocals. Clever semi-technical guitars can be heard on "M.A.D.", again in the Canadians' vein. "Quintessence" is a "pause" for a rest, although a 5-song EP hardly needs it being a good heavy ballad. "Dethronized" is the most aggressive number blasting out on a few times, but not in an annoying way.
The full-length is a cool atmospheric achievement with appropriately used keyboards as well as the sparse blast-beats which can't possibly be missing from "Blast the Sun Away". "Worldfire" gives the album a nice epic twist but it's the faster cuts like "Gates of Hell" which propel this effort forward, with a little help from a few more black metal-prone compositions like "Magdeburg" and "The Drones". As a whole the concentration is more on melody which works well in the end especially with the portion of cool melodic leads on the closing "Vendetta".

Fake EP, 2008
Experimental Human Cruelty EP, 2010
Manhunt Full-length, 2014

My Space

MANIA (GERMANY)

Four Germans are responsible for this sincere dedication to old Slayer which is both fast and pounding also relying on the very good sound quality. Brutal mosh will be caused worldwide by short blitzkrieg cuts like "Death Dealer" and "World Of Hate", and overall the concentration in the second half is more on speed, this violent barrage finished with the exhausting headbanger "Meet Your Maker". The singer shouts in a vicious semi-death metal timbre but fits the aggressive musical approach which also scores in the proficient melodic lead department.

Unchained Wrath Full-length, 2012

Official Site

MANIAC (CANADA)

The demo shows an act pulling out aggressive old school black/thrash metal crossing early Bathory with Impaled Nazarene. The vocals are more in the death metal camp. The tempo is mostly very fast and there are very few leads to be heard which is good since they are really bad. Some of the band members try their hands on much softer stuff in the heavy metal band Skull Fist.
The full-length is quite a different animal now having moved towards the speed/thrash metal spectre along the lines of Vectom, Iron Angel and Warrant. This is cool simplistic stuff, constantly fast and energetic, topped by the gruff unmelodic vocals and a couple of short screaming leads.

Maniac Demo, 2005
Fast and Deadly Full-length, 2007

Official Site

MANIAC (SPAIN)

Based on the EP: this Spanish trio pulls out decent retro speed/thrash which doesn't hide its fascination with the early German scene Angel Dust, Vectom, early Destruction). The tempos are up the whole time in an uplifting, roller-coaster way, and if it wasn't for the bad subdued death metal vocals, this demo would have had a bigger appeal.
The full-length is in a similar uplifting, roller-coaster vein which reaches the level of "high speed metal" on "High Speed Metal", and later on one will have a very good time jumping around on every track except for a while on the heavy brooding "Carrion Feast" which comes served with an early Bathory vibe. The closer "Horrid Grave" tries to run away from the established simplistic formula with a portion of more complex, semi-technical riffs and is a cool ending to this fast blitzkrieg effort.

Maniac Demo, 2011
Black Legion EP, 2013
Vermin Hell Full-length, 2015

Official Site

MANIAC (SWITZERLAND)

Based on the full-length, this outfit serve retro thrash/crossover which is well balanced between energetic fast-pacers ("Moloch") and elegiac epic mid-pacers ("The Nordhammer"), the harsh but forceful death metal vocalist moving up the scale with higher octaves on the more elevating material ("Easy Company"). Jump around with joy on "D-Day", a frivolous goofy speed/thrasher with catchy melodic tunes galore.

Beer Overdose EP, 2021
Beer Overdose Full-length, 2022

Official Site

MANIAC (USA)

This is the first attempt for the Wargasm guys to play music, and some of the better tracks, as you can see, have found their way onto the Wargasm debut among which is one of the ten best thrash metal compositions of all times: the superb shredder "Revenge". From the unknown material "Suicide Squad" is a very cool flying speedster ala Attacker, and "The Hawk" is some serious stuff, an over 10-min instrumental with progressive overtones. The sound quality is unbearably bad the guitars hissing all around you to a fairly annoying effect including Bob Mayo's vocals which nasal tone is strongly accentuated making him barely heard at times. Still, as an early display of the vintage American 80's sound this demo is a true keeper.

Rainbows, Kittens, Flowers & Puppies Demo, 1985

MANIAC ABDUCTOR (FINLAND)

Based on the full-length debut, this band pull out right as rain retro thrash which clings between heavy, somewhat monotonous stompers ("Watery Tomb") and much more vivid thrashing skirmishes ("First World Disease"). An over crossover-ish sting ("Evil Brotherhood") can be detected here and there, and overall the intensity is quite big, the intense shouty vocals adding their vociferous contribution to the melee which becomes familiar at the end with the Sepultura cover of "Troops of Doom", a brutal roller-coaster that inserts a solid doze of death-iness to the album.
"Damage Is Done" is a ripping beast, the band moshing forward with very little remorse, the more intricate verve of "Odd Man Out" an assured asset, but you've got to also love the more melodic histrionics on "Disciples of Hate", and the headbanging speed/thrashing proclivities of "Endless War" and "Justice Denied". The spinning melodious riffs on "Off to Deathrow" are another highlight, as well as the more ambitious, more varied layout of the closing "Ghosts of the Killing Fields", a nice mellower proposition with more overt speed metal clout.

Thrash Assault EP, 2015
Casualties of Causality Full-length, 2019
Damage Is Done Full-length, 2022

Official Site

MANIAC FORCE (BRAZIL)

Three songs of intense classic thrash which revolves around direct straight riffage without any gimmicks the overall barrage recalling early Tankard and Onslaught on the darker moments ("Mass Manipulation"). The singer shouts in an attached dramatic fashion and this is the perfect support for the rapidfire musical delivery.

Dead Planet EP, 2012

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MANIAC FORCE (MEXICO)

Intense classic power/thrash which pays its fair tribute to the 80's American scene, but the noisy background and the awful shouty synthesized vocals mar the picture beyond repair. Otherwise, the delivery is energetic and some of the riffs are memorable, albeit pretty derivative, even coming with a slight semi-technical edge at times.

3... 2... 1... Surprise Demo, 2012

Official Site

MANIAC RAZOR (COLOMBIA)

Retro thrash/death marred by a not very clear sound quality; music-wise this is vehement not very restrained barrage with fast pummeling riffs and screechy blacky vocals, the tribute to the early German school that is �Henneman� easily establishing the prevalent sizzling mood, but watch out for �Vestigio Sombrio�, a moody pensive doom-ornate proposition, the total opposite to the raging wild proto-death �666 Satan's Brigade�. The speed/thrash carnival �Maniac Razor� is another entertaining fare, alongside the thrash/crossover vigilance of �DepuracionSiniestra� and the near-grindcore aesthetics of the final �Camino a la Guillotina�. Some of the band members are also engaged with the heavy metallers Medieval Legion.

666 Satan's Brigade Full-length, 2021

Official Site

MANIAC REVENGE (CHILE)

Based on the full-length, this act deliver ripping classic thrash which crosses entangled thought-out violators ("Maniac Revenge") with alluring Oriental tunes ("Green Brain, Red Hands (Dead Eyes)") and brief concrete lashers ("O. D. B. C."). "Universe 25" is a nice all-instrumental speedster, missing the hoarse mid-ranged semi-clean vocals; and "Untapped Intelligence" is a cool semi-technical closer, a possible highlight on this entertaining saga. Some of the musicians are also engaged with the doom metallers Black Messiah, and the retro thrash outfits Chaotic Bastard and Massive Power.

Tyrant's Greed EP, 2014
Blessed Hypocrisy EP, 2019
Real Eyes, Realize, Real Lies... Full-length, 2022

MANIAC THRASH METAL (COLOMBIA)

Pretty decent old school thrash which has its Bay-Area side ("Eternal War") but more worthy are the semi-technical instrumental "Maniac" and the dense galloper "Slavery By Inheritance"; shades of crossover sneak on "Russian Atomik Rain", and "Ritual" is a short technical proposition. The vocals are shouty hardcore-ish, making more noise than anything else.

Vision Of Hell Full-Length, 2019

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MANIAC WITHIN (AUSTRIA)

Thrash metal acts from Austria are not a very common phenomenon, especially those which give credit to the 80's sound. Here come these guys who pull out heavy, classic thrash with a very small pinch of modern groove in the vein of 90's Flotsam & Jetsam. The music delivers the goods being semi-technical and non-standard with great melodic, but also twisted leads and choppy riffs. "Put Your Hands Together" is a stomping technical thrasher, but things get really interesting on the next "Whoever You Are" where the main melodic riff mixes greatly with the sharp technical riffage in the background, despite the somewhat annoying noise accompanying them (sounds like muffled voices talking). "Death Comes and Goes" is a doom/thrasher which leaves the technicality a bit behind. "Plastic People" is vintage 90's Flotsam & Jetsam circa the "Quatro" era with a good up-tempo ending. "Victims Of The Innocence" is a nice heavy ballad, a style which suits the melodic mid-ranged singer quite well, and having realized that at that later stage, the guys give him another chance to perform in the same vein with the good semi-balladic closer "Crazy Holy Ghost". As a whole, the album leaves a certain aftertaste with the first part being superior to the slightly boring one-dimensional 2nd one.

The Maniac Within EP, 1995
Volume One Full-length, 1997

MANIACA (MEXICO)

Based on the EP, these guys pull out thrash/death metal of the heavy semi-doom variety with low-tuned vocals and heavy riffs; the overall approach recalls the Finns Ajattara.

King's Sight EP, 2002
Necropolis Full-length, 2005

MANIACAL (AUSTRALIA)

Vivid dynamic thrash which crosses the modern and classic trends, favouring the former more probably. Still, the music is not stale at all and will make you jump around, both in a crushing heavy and a faster brisk manner. The faster and slower elements take turns throughout the tracks making them diverse interesting listens. "Feed the Darkness" is a wild out-of-control piece blasting in a brutal death metal manner, but the "bad taste" is nowhere displayed that rudely. The singer does a good job with his forceful angry Phil Anselmo-like vocals.
"Life Is A Dark Chain Of Events" is another convincing effort again crossing the two sides the guitars having a slightly more abrasive edge this time. The brutal deathly blasts are again introduced, but they never embrace a whole song and don't break the prevalent mid-paced character of the album although "Drive My Madness" is a really cool hectic semi-technicaller with more overt death metal flavours. The final "Life Is a Dark Chain Of Events" is another highlight thrashing on with super-heavy riffs and great melodies seeing the band yet to realise their potential which clearly shows up here and there.

Buried in Hell Full-length, 2010
Life Is A Dark Chain Of Events Full-Length, 2012

My Space

MANIACAL FORCE (USA)

Based on the full-length, this act serve an intense retro thrash/death combination with little mercy shown even on the more ambitiously-executed material ("World Cremation"). There's no aggression lost here although quite a bit of more intricate moments ("Brain Matter Discharge", the meandering delight "Insidious Disease") are also provided, making this album a not very predictable listen, all for the better. The ripping all-instrumental linearity of "Blood Fetish" is also more than welcome, "Possessed" exploring some Oriental-prone musicality amidst the raging deathly breaks before "Clouds of Death" simplifies the proceedings to near-hardcore realms, the forceful shouty death metal vocals following the unmitigated stylistic swings without changing anything along the way.
The "Blood, Guts and Steel" EP is surely a treat, the semi-technical ripper "Haulin' Dead" and the streamlined galloper "Flattened" doing away with all the posers in a firm uncompromising fashion, whereas the dramatic curtness of "Pasted on the Pavement" is a cool prelude to the more complex histrionics of the title-track, the light-hearted speed/crossover frivolities of "Prisoner of the Highway" nicely bringing a sniff of optimism.

Maniacal Force EP, 2017
Depraved Existence Full-length, 2020
Blood, Guts and Steel EP, 2024

Official Site

MANIACAL GENOCIDE (USA)

Thrash/crossover, mostly fast-paced, sounding like a mix between Lawnmower Death and Spazztic Blurr, maybe a bit thrashier than both; some joke songs are thrown in for good measure ("Wiped Out").

Too Late For Apologies Demo, 1988
Apocalyptic Symmetry Demo, 1990

MANIACAL RAGE (USA)

There's hardly any "maniacal rage" at display here the band power/thrashing in the good old American way with sweet memories of Metal Church, early Overkill, and Helstar their infatuations with the ballad may be a bit too often revealed for this slab of music to be a sure pick for the hard-boiled thrash metal fan. It's the odd joke song in the middle "So Damn Insane" which goes away with all the aggression being badly produced hard-hitting speed/thrash; the rest acquires a friendlier tone near the end which is fitting to the mellow clean timbre of the vocalist.

No Thanks To You Demo, 1992

Official Site

MANIAK (PHILIPPINES)

Old school black/thrash sounding like a better version of early Sodom (before "Persecution Mania"). The music flows in an up-tempo, but sudden black metal "outbreaks of evil" can be caught ("Conspiracy of Faith") as well as sparse aggressive proto-death ones ("Headbangers of Steel"). If we exclude those rare moments, the sound is typical thrash although the fuzzy guitars and the evil black metal vocals may throw you into other directions. Some of the band members also take part in the pure evil black metal act Korihor.

Black Thrashing Genocide Full-length, 2009

Official Site

MANIATICO (CHILE)

Based on the full-length debut, this act, who is just two guys, pull out abrasive modern thrash which acquires melo-death tendencies on "El Meca" and the aggressive exploder "Pequefo Demonio Alcoholico". "Carroero" is a brisk thrasher, and "Rock Mercenario" is an acceptable friendly galloper. Towards the end the guys harden the course again with shorter edgier cuts bordering on hardcore, but the main flaws remain which are the sloppy production and the not very rehearsed, hoarse semi-clean vocals.
"Confinados al Exterminio" serves old school thrash which rides the horses with the bursting galloping title-track, the guttural death metal vocalist scaring the latter away a bit, the speed/thrashing show staying intact on the ravaging "Horrorizer", before "Madre Muerta" throws in a more brutal deathly veneer over the proceedings. No such surprises later on, the guys taking care of business with a string of brisk speedy energizers, "Gorefagia" trying something more technical to a sound round of applause, the closing "Master of Disaster" following a similar intricate trajectory, the band having a few cool tricks up their sleeves for display.

Morgue Hotel EP, 2010
La Maldicion De Tu Karma Full-Length, 2015
Resurreccion Inmoral EP, 2019
Confinados al Exterminio Full-length, 2022

Official Site

MANIAXE (AUSTRALIA)

Based on the full-length, this Aussie power trio pull out venomous blitzkrieg old school thrash along the lines of Kreator's "Extreme Aggression" and Necrodeath's "Fragments of Insanity". "Heavy Metal Onslaught" is more along the lines of the early German speed metal models, but the guys don't dwell on such respites for too long, the mid-paced stomper "Impaler" the other less intense proposition. Shades of proto-death spring up on the final brutalizer "Hail Goatlord", the vociferous shouty deathly vocals fully finding their match on this isolated piece of extreme aggression.

Sacrificial EP, 2013
Canticles of Corruption Full-length, 2018

Youtube

MANIC (USA)

This is cool retro speed/thrash which at times gallops with the finest ("Human Beings") in the best manner of the veterans Wrath, at times attempts something a bit more modern-ish and pounding ("Don't Follow the Leader"), at times indulges in steady mid-paced semi-technical shredding ("True Destiny"). Serious rowdier headbangers ("Rivalry of Radicals") aren't exactly a rarity, either, the cool show partly ruined by the lengthy dragging "My Only Memory", a plodding not very eventful composition which anti-climactic presence is exonerated by the vivid shorter "Rebellion" and the Bay-Areasque mosher "New Age Philosopher". The singer is a James Hetfield reminder, but manages to move away from the emulation stint with a few more intense throatier shouts.
�Centuries of Spilled Blood� is a more aggressive offering, the guys mixing more measured Bay-Areasque moshers (�Il Colose�) with stomping pensive excursions (�Sacrificial Ruins�) and straight-ahead headbangers (�The Conqueror�), the pounding gravity of �Die by Fire� standing for the highlight, if we exclude the stylish more technical extrapolations of �Under The Crow� and by all means the moody brooding pensiveness of the minimalistic �Robotic Citizens�.

Injection of Self Full-length, 2021
Centuries of Spilled Blood Full-length, 2023

Official Site

MANIC DEPRESSION (RUSSIA)

Graced by the presence of one of the veterans of the Russian metal scene Max "S Boltom" Layko (Korrozia Metalla, D.I.V.), this band plays a good mix of modern and classic thrash. Recent D.I.V.-influences (their early 90's works) could be heard at least on half of the album ("Who Deals the Pain"), but it's the other, more classically-inclined, half which delivers the goods in a better way. The album has an uneven structure with the groovy numbers placed in the second half. The vocals are a bit of a drawback sounding close to the ones used by Peter Steele on the Carnivore albums. The guys have the interesting and original tendency to insert semi-balladic sections where one could hear semi-whispered voices as well.
"You'll Be With Us Again" is quite a mixed bag and doesn't really do the band justice. At least the guys don't waste the intro, like many other acts, but start thrashing from there, in a more laid-back fashion, preparing the listener for the coming of the intense thrashing "No Future". But after it comes the bland dull heavy rock piece "You'll Be With Us Again", followed by the slightly better groovy "Cold Hard Reality". The good speedy cover of Twisted Sister's immortal "Come out and Play" restores the faith a bit, and "Chilling Eternity" isn't too bad mixing romantic balladic moments with intense semi-technical thrash. But then we have another awful hard'n heavy number ("Hymn to Freedom") which seriously pulls this release towards the negative side where it actually belongs.
The "Lost in Time" single is three tracks of decent modern thrash, a huge improvement over the lacklustre EP, one of them being a brisk headbanger ("Afterlife") with a more classic vibe, the other two being cool mid-pacers with nice melodic hooks and a pinch of power/gothic metal.
"Impending Collapse" features the three songs from the single which come all together after the imposing headbanging opener "Nightmareality", a straight-ahead retro thrasher. After them comes another all-out moshing delight: "Global Collapse" which puts the spirits high although the next two numbers do little to keep it on the same level being calmer slower modern thrashers. "Buried Alive" is another "shot in the target" thrashing fast and tight, but its impact could have been bigger if it wasn't for the bland groovy filler "Phobia" following it. Still, this effort won't leave you cold especially with brisk moshing closers like "Mutual Hate" which exits the album with dignity bringing slight technical implements as well as a great speed metal mid-section. The band are obviously much better when sticking to the full-length format where there are always enough cool "metal thrashing mad" numbers to compensate for the obligatory fillers.
The "Uncertainty" single comprises three songs which are decent modern thrashers "Suicide on the Battlefield" being fast and crossover-ish, whereas "Fell so Low" is a mid-paced proto-groover. The title-track is a ripping more classic-sounding piece with lashing guitars providing cool headbanging opportunities.
"Technocracy" features all the three tracks from the earlier released single; the rest is the expected from the band modern thrashisms spiced by less (the radio-friendly rocker "Divided Nation") or more (the excellent technical Annihilator-esque riff-fest "Ghetto") desirable "distractions". The second half becomes too mild livened up by the cool cover of the veterans Kruiz's "In Flames" which precedes the awful rocky closer "Premonition". A weak effort as a whole not making the guys a very hot proposition from the Russian metal scene where they will always remain unsung underdogs, more or less deservedly.
"11 Pristupov Depresii" notches up the modern flair by expanding on the palette from relaxed hardcorers ("Suicid na Pole Boia", "Tehnosumashestvie") to blitzkrieg classic-prone thrashers ("Vsemirnuj Haos"), to the staple for the band more ambitious proto-groovers ("Sudba Atlantida"). "Razdelennui Narod" is a friendly heavy rocker but homogeneity has never been the name of the game in this band's camp.
"Symphony of Depression" is another diverse recording which rips through the speakers with the moshing headbanger "New World Disorder", a symphonic keyboard element added to the lashing rifforama. The vocal diversity is bigger this time, ranging from shouty hardcore-ish tirades to cleaner more emotional singing. Later on the band embark on their variegated journey which takes them through mild balladic dramas ("Poteryanny vo Vremeni", "Skazhi Mne Pravdy"), sinister pounding power/thrashers ("PozyciyaNesoglasiya"), and at least one more rousing exploder, the thrash/crossover joy "Suicide on the Battlefield", and by all means the no-bars-held violator "Buried Alive" at the end, the singer acquiring a more brutal deathly baritone on that one.

Who Deals the Pain Full-length, 2003
Planned Spiritual Decay Full-length, 2005
You'll Be With Us Again EP, 2007
Lost in Time Single, 2009
Impending Collapse Full-length, 2010
Uncertainty Single, 2014
Technocracy Full-length, 2015
11 Pristupov Depresii Full-Length, 2017
Symphony of Depression Full-length 2018

Official Site

MANIC OUTBURST (USA)

The debut: the good old Germanic thrash is given another spin here by these Yankees who thrash on with inspiration following the paths carved by acts like Assassin, Tankard, and Necronomicon. More engaging thrashing arrives with "Warstorm", but the simplistic barrage is seldom interrupted the fast blitzkrieg delivery helped by the very clear sound quality and the very capable bass presence (check out "The Instigator"). A few points, though, should be taken away because of the hysterical over-shouty singer.
"Violent Agitation" offers pretty much the same delivery as the one on the debut save for the noisier, more abrasive guitar sound and, of course, the more restrained vocals which this time are more on the semi-shouty death metal side, not favouring the merrier purer speed metal material ("Violent Agitation", "Project Annihilation") too much. The final "Beer on the Mosh Floor" is a sheer thrash/crossover joy, closing this effort with unadulterated optimistic aplomb.

Manic Outburst Full-Length, 2014
Violent Agitation Full-length, 2018

Official Site

MANIFEST (ARGENTINA)

This is heavy clumsy post-thrash, the type of music on which one wonders what the possible need for it could be being trite and utterly boring for most of the time repeating rehashed groovy rhythms for the thousandth time and beyond. Enough said...

Hate Loaded Full-Length, 2002

MANIFEST (BRAZIL)

Three cuts of retro thrash/death; vicious stuff as a whole with death metal ruling the proceedings, the heightened musicianship on "Suicide of Soul" easily putting this composition among the Death repertoire even. The rest isn't nearly half as striking, unfortunately, "Back To the Power" being a short immediate ripper, and "Recrucify" flirting with doom on a clumsy melodic base. The brutal shouty death metal vocals are alright, but this all remains in the shadow of the vastly superior opener.

Suicide of Soul Demo, 1996

MANIFEST (DENMARK)

Interesting, somewhat progressive, power/thrash metal which sounds like a better version of the Americans Aftermath; the band effortlessly switches from complex technical song-structures with very cool pagan guitar melodies (here one could hear Sabbat-like moments) to speedy outbursts (a great example of both styles mixed together is "Excetra"). A similar balance could be heard in the guitar department as well: sharp thrashy riffs take turns with nice melodic lines which sound quite appealing, and are never repetitive. Two of the songs are really elaborate, going over the 6-min range, and are quite engaging musical experiences where one can hear smashing intense thrashy parts alternating with beautiful pagan/folk flute melodies, and slow doom passages. The only disappointment would be the undeveloped, emotionless, one-dimensional vocals which are a stark contrast to the better music. This is another good example (Pixie Killers, Rigid Domain, Desexult, etc.) that once upon a time there was more thrash than just Artillery and Invocator in Denmark.

Opressed by Heirachy Demo, 1987

MANIFEST (NORWAY)

Based on "Written In Blood", these guys offer decent modern thrash metal which hesitates between heavy groovy sections and intense headbanging ones ("The Worst is Yet to Come", which can fit into any of the last couple of Annihilator releases; the excellent short "bomb" "Lullaby (Bedtime for Bastards)"). The lead guitar work makes a lot of sense, though, and this guy can really hit it big if moving to a more technical, and more classic-sounding, band. "Pitch Black Inside" is a nice atmospheric doomster, and "Letter from the Grave" is a very surprising unexpected exercise in quiet semi-acoustic ballad with deep gruff semi-clean vocals which amazingly fit the music. The musicians also play in the classic heavy metal outfit Griffin, and the thrash/death metal formation Exeloume.
"And for This We Should Be Damned?" is another cool recording the band losing it a bit on the shorter numbers ("Stretched & Strung") where the approach becomes too brutal with shades of death/grind. Generally the tempo is quite vivid and makes a good use of all the modern gimmicks (groove, industrial, dent, etc.) creating chaotic hallucinogenic landscapes ("Sancta Venere") of sterile robotic intensity. Things take a nice avantgarde direction on the elaborate mind-scratcher "The Cadaver On Your Mental Doorstep"; but two immediate hardcore-ish rippers follow suit to put the situation back on track the second one ("Immune") not without a weird riffy portion. Catchy Oriental motifs permeate "Burning Brimstones", but "v" is nothing like being a brutal deathster with dissonant guitars. So far so very good, but comes the closer "Olympia Cathrin", and almost ruins everything with its meditative balladic/doom histrionics, another eclectic affair, but of an entirely different kind. Still, this effort would be an engaging listen for quite a few fans who would be perplexed more than just now and then trying to swallow the quirkiness at play.

Lifelong, Painful Co-Existence EP, 2001
Half Past Violence Full-length, 2005
Hedonism Full-length, 2007
Written In Blood Full-length, 2010
And for This We Should Be Damned? Full-Length, 2015

Official Site

MANIFEST DESTINY (USA)

A mix of Testament (the early works) and Pantera; the first two releases are really worthy Bay Area-influenced thrash efforts with touches of modern 90's thrash, whereas "Within" is the other way around: modern thrash takes a bigger part from the sound, but the hard-hitting classic riffage is also there, and the overall music reminds of Sacred Reich's swansong "Heal" quite a bit, maybe a little heavier, or Testament's "Low". The music is never too aggressive and fast; the focus is on heavy meaty riffs which work well most of the time. There are even exercises in doom: "Lost Again", but with a thrashy edge. There is also one completely non-metal, but very cool ballad: "As I Am", as well as one excellent lead guitar-driven short instrumental: "Broken". The singer does a fine job with his voice coming as a mix between John Bush (Anthrax, Armored Saint) and Phil Anselmo.
It's really sad that the band's career never took off due to tragic circumstances (the untimely passing of two of the band members: the vocalist Steve Bryant and the guitar player Brent Wheatley), something which they truly deserved, although the "Your World has Died" EP could hardly be considered their finest hour. The sound is more on the heavy modern side the dramatic seismic riffage pretty consistent throughout, albeit quite samey and predictable. The singer tries to imitate Phil Anselmo and at times forces his throat to seemingly damaging proportions. "Within" was a good step forward, but with Wheatley (R.I.P.) passing away at a close to the time of the EP's release, the band's progress would obviously slow down again.

All Life, All Minds Full-length, 1996
What you fear Full-length, 1997
Bury The Living / The One EP, 1999
Within Full-length, 2001
Your World has Died EP, 2007

Official Site

MANIFESTATOR (SRI LANKA)

A primal primitive sound quality detracts from this intense, but unrehearsed, tribute to the early black/thrash school which is sustained in a speedy Possessed-like manner with the post-thrash approach of early Venom ("G.O.D.") springing up in the middle. To distinguish more would be quite hard since everything comes as a wall of sound with the rough vocals on top. The end is a mixed cover of Bathory's "Sacrifice" and the Japanese Sabbat's "Darkness and Evil", the Bathory cover a bit easier to recognize, still remaining on a pretty amateurish level. Some of the band members are also busy with the black metal project Plecto Aliquem Capite.

Doom Over Live Demo, 2012

MANIFESTIC (GERMANY)

A fairly convincing progressive variation of the good old speed/thrash blend is on offer here, stuff along the lines of the guys' compatriots Paradox and the Danes Manticora, played with the requisite doze of professionalism, the high-speed antics flying in quick succession, the obligatory epic slowdowns ("Wide Open") not ruining the hyper-active facade too much. "Time Will Collapse" is an excellent progressiver, a smashing contrived speed/thrashfest nicely opposed to short, much more immediate blistering speedsters like "Spiritual Abyss". Purer all-instrumental takes on the progressive metal idea ("Silicon War") add more to the fun alongside headlong thrashing sprees like "Code of Silence" and the closing maddening roller-coaster "Pillars of Democracy".

Anonymous Souls Full-length, 2019

Official Site

MANIFIESTO (ARGENTINA)

The debut: the classic speed/thrash of Argentina (Horcas, Hermetica, Lethal) comes up almost intact here except for the rough shouty vocals. The sound is a bit harder with heavier guitars reminiscent of their compatriots Serpentor as well, but the same classic aesthetics is shared all over with the frequent adherence to speed, the obligatory slower breaks, the melodic leads, the galloping rhythms, etc. "Mira A Los Ojos" is more epic, more melodic power/thrash, and "Solo Una Vez Mas" is a happier power/speedster in the spirit of the 90's, but the rest is firmly on the harder side. The singer of the aforementioned act Serpentor Guillermo Temo Romero guests on two tracks.
"La Ley del Talion" is a commendable fare once again, the band proudly riding the classic speed/thrash wave, even touching the realms of death ("Rendicion") inadvertently, the calm mid-paced trots of "Bajo la Ley del Talion" restoring some balance in a somewhat uncertain timid fashion, before "El Rostro de la Inquisicion" returns to the more active models, the alternation between the two currents lasting till the end, the closing "A la Mierda el Sistema" abandoning both for a frolic raucous thrashcore trip.

Insano Full-length, 2006
La Obra maestra del Odio Full-length, 2015
La Ley del Talion Full-length, 2022

My Space

MANILLA ROAD (USA)

This highly respected band have also given their fair share of thrash metal to the music scene. These four albums included here are the ones where thrash metal could be heard- just hints on the first two, and quite a few moments from the last two. "The Deluge" only slightly suggested that the guys were considering stepping on a thrash metal ground, and "Mystification" served well to check whether the band would be welcome in the thrash fraternity. "Children Of The Night" opens nicely with mighty speedy riffs, quite close to the previous year's Helstar effort ("Remnants of War"), and "Death By The Hammer" carries on in the same vein, showing no signs of compromise. It's on the third song: "DragonStar", when the sound recalls the band's early works being a fine progressive ballad. Then "Haunted Palace" speeds up again, but doesn't go over the mid-pace and remains crushing and heavy. "Masque Of The Red Death" is a fine mid-paced power/thrasher followed by the softer, but very cool power metal winner "Mystification". "Spirits Of The Dead" is a typical heavy Manilla Road composition, before the closer "Valley Of Unrest" comes up with a great fast-paced rhythm which could even rival some tracks from the Agent Steel debut.

"Out Of The Abyss" had by all means been a surprise to the band's fans switching onto heads-down thrash metal, quite fierce and aggressive at times, like on the opening "Whitechapel", which will satisfy even fans of Slayer and Dark Angel with its brutal riffage. "Rites of Blood" will take away some of the shock, experienced with the opener being a heavy traditional for the band composition, before "Out of the Abyss" thrashes intensely once again, but in a more controlled manner, not as frantic, and with a genuine technical edge. "Return of the Old Ones" is the epic metal with which we all know the band, but "Black Cauldron" is another feast for the headbangers- a fine galloping speed/thrasher, the way Attacker used to do them around the same time, but this one thrashes its soul out. The alternation between the two styles on the album finishes here, as the guys choose to proceed with the thrash metal attack, with "Midnight Meat Train", which is another delight for the thrash fans. "War in Heaven" is mid-paced and heavy, still carrying a slight thrashy charge, and the next "Slaughterhouse" returns to the speed/thrashy patterns once again: a short masterpiece of tight sharp riffs graced by effective short leads. The last "Helicon" is epic and progressive (one of the band's finest achievements), but after all this is a Manilla Road album, and has to have an appeal to their hard-core fans as well; watch out for the final minutes where the guitars turn to intense speed/thrash; hardly can one think of a better finale to this marvellous song. With this great effort the band have "sold their souls" to thrash metal, but it remained to be seen how long they would stay within the confines of the genre.
"The Courts of Chaos" promises more thrash entertainment with "(Vlad) the Impaler" which sounds like a leftover from the previous album with its speedy hard-hitting riffs. "A Touch Of Madness" is a very cool heavy thrasher with intriguing aggressive, slow guitars, coming like a fine amalgam of thrash and doom. "D.O.A.", which is a cover of a song of one very unknown underground act Bloodrock, develops as a not very impressive ballad, but one can't help but admire the stylish switch onto lead-driven speed/thrash in the final part which elevates this song almost to the level of the preceding two. "Dig Me No Grave" is high-octane pounding thrash with a more technical edge with another whirlwind of leads, and up to this point this effort sounds even more appealing than "Out of the Abyss". "From Beyond" provides more first-class heavy technical thrash with a hectic speedy section, a unique one-of-a-kind approach which unfortunately the band left unrealised. The high level of the material would hardly make one look for the typical Manilla Road composition here, but here it comes, the title-track, an excellent sprawling epic doom track with the lead performance being the highlight along with the great melodic vocals which are some of the best Shelton ever produced. "Road To Chaos" is an odd offbeat instrumental which features ambient noises, atmospheric gimmicks, and some guitars near the end. "The Books Of Skelos" begins in a traditional epic fashion, but the band rage on very soon after with some of the most furious guitar play ever heard on their works, turning this number into one of the best long achievements (8-min) of the whole genre although the technical decorations heard previously here are missing as the concentration is on hard-hitting thrash for most of the time. "The Prophecy" is the other representative of the band's staple style with Shelton in fine form again. Overall this recording may not be more satisfying from a thrash metal point of view than "Out of the Abyss" although it's not too far behind, but in terms of musicianship it's by all means the band's finest hour, logically closing the first period of their career.
The band resurrected in 2001, with "Atlantis Rising", a strong comeback by all means which contained some of the sharp thrashy riffage, but has also added a clear progressive edge to the songs, making them compelling listens all the way. Their thrash metal period can be clearly felt on each of their albums from the new millennium which along with the more complex structures of the new material makes Manilla Road once again one of the leaders of the metal underground.

The Deluge Full-length, 1986
Mystification Full-length, 1987
Out Of The Abyss Full-length, 1988
The Courts of Chaos Full-length, 1990

Official Site

MANIMAL (FRANCE)

Based on "Succube", this band pulls out frantic, chaotic, but quite listenable mix of thrash and a little bit of death metal which borrows some of the avantgardism of early Misanthrope, but embodies it in a more modern atmosphere, all this topped by a couple of vocal varieties, and a constant change of rhythms and tempos to a hallucinogenic effect. The sudden switches from very fast ripping passages to much slower, peaceful ones are at times not very well thought-out, at least to these ears (some may find this a sheer display of genius). There is funk involved ("Straw Dogs") as well, even direct hard-hitting thrash ("La Melodie Du Bonheur"- well, this is subjective, since this song could be quite hard to swallow to some). The quiet, semi-balladic moments, however, are well embedded in the overall picture ("Le Choix Des Armes"), and these are the times when intriguing clean singing can be heard. Certainly the tag "technical" can by all means be attached to the band, especially after one hears noteworthy Voivod-esque abstract compositions like "Night Must Fall", or "Biomechanical-meets-Darkane" "mad hatters" like "Angel Heart", which is anything but an "angel heart". The band's technical genius finds a more controlled expression on the excellent, still quite wild "Cadavres Exquis" which at least never leaves the mid-tempo parameters. "Buffet Froid" starts in a tender balladic manner, but later on turns into one of the more unbridled frenetic exercises on technical thrash on the album, spiced with occasional peaceful interludes. "Tous Les Matins Du Monde" closes the album in a wonderful fashion, lashing steel complex riffs from all sides in a manner no worse than Altered Aeon and late period Coroner. Some of you may throw this away after the very first listen which would be a mistake since this album is a grower, and it would reveal itself to the listener little by little with each subsequent listen, but only to those who have time to spare, and like the really complex, extreme side of the genre.
"Multiplicity" features nine songs each titled after a name, but the guys have lost their technical touch and now all the numbers are ordinary modern thrashers with shades of metalcore those making this effort even more annoying. The harsh shouty vocals intercept with better emotional clean ones which are the only saving grace here the latter taking over completely on the soulful closing ballad "Edmond".

Eros & Thanatos Full-length, 2004
Succube Full-length, 2006
Multiplicity Full-Length, 2012

Official Site

MANINNYA BLADE (SWEDEN)

The full-length is a light-hearted speed metal affair the band not hiding their fascination with the early examples from the German school: think Warrant, Vectom, Atlain. There's not much real thrash to be savoured except on very isolated moments; that's why the material from compilation would come as a complete shock to the unsuspected listener who will encounter some really aggressive thrash with lashing macabre riffs: just check out the opening sinister rifforama "Incubus". "Tribal Warfare" is incessant speed/thrash barrage, and "Traveller In Time" is perhaps the sole reminder of the mellow character of the full-length being a mid-paced power metal hymn. "Bounty Hunter Eyes" is speed/thrash at its rawest and most primal, and "Discipline Of Speed" is the speed metal anthem Helloween never released. The last two pieces are moderate power metal, but still deliver with their consistent heavy riffs and cool melodic tunes. The vocals are on the weaker side with their dispassionate semi-declamatory timbre, and it would be quite hard for one to see any vestiges of more technical performance having in mind that the technical thrash heroes Hexenhaus rose from the ashes of that band. By the way, most of the band members are alive and well at present playing modern power/thrash with shades of metalcore under the name Slowgate.

Merchants in Metal Full-Length, 1986
A Demonic Mistress from the Past Compilation, 2001

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MANIPULATED SLAVES (JAPAN)

Power/thrash metal with gruff death metal vocals; there are epic tendencies in their music and melodic cheesy passages (with female vocals and all the rest), but the thrashy pieces manage to save the day in each of their albums. Their debut is their most aggressive, but not best, offering, boasting really hard-hitting pieces: the opener "Obey the Moon", "Come Down From the Skies", even one brutal 1-min death metal explosion: "Damnation's Edge". Moments from the groovy 90's scene are also present: "Greed", as well as those on which there will be a bigger concentration on the future efforts, the power/epic metal opuses ("Halfway to Heaven").
"The Legendary Blackjade" may be considered by some the band's finest hour, not as aggressive, but faster and more varied, filled with pure speed/thrashing metal delights: "The Way of the Emperor", "The Broken Chain", "Capital Punishment", in the best tradition of Paradox and the Polish Hellfire. The odd death metal track is here again, this time coming with more tasteful, melodic guitar work, and longer, but equally as fast and relentless, even bordering on black metal: "Assault on the Enemy". Even the more epic numbers ("Bearing the Final Pain") come with fast, more aggressive sections.
"Oath in Black Tears" shows the band keeping to the already established formula of classic speed/power metal with the odd more intense thrash/death metal element. Despite not offering anything new, the album has quite a few worthy moments: the cool galloping "Lost Memory", which also boasts a fine female vocal presence; the classic speed metal delight "Escape"; the progressive speed metal killer "The Reason To Die". "My Grave Post" is a Motorhead-ish merry heavy/speed metal with a nice melodic lead guitar edge. The full thrashers come in the form of two short intense pieces: "Man of Work" and "All Over Foe" (this one really bursts out), but watch out for the speed/thrash smasher "To the Wilderness" which, despite the cheesy melodic hooks, is a fairly satisfying finishing touch to this effort. And I'm not mentioning the three fine short acoustic instrumentals at which the band gets better and better...
"Back From The Damnation" is an almost full-fledged speed/thrash metal effort of the modern variety crossing Swedish influences with soaring speed/power metal melodies. "Believe" is the awkward hard'n heavy "cheese", but the rest is full of energy and vigour the main flaw being the brutal death metal vocals, albeit interrupted by more melodic ones from time to time, plus nice female inclusions. Watch out for the closing "Follow the Sign" (not many relations to the Kai Hansen instrumental music or text-wise): a 14-min progressive opus with a wide gamut of moods and melodies covered, finished with a glorious melodic epic/doom passage.
"Love & Death" is the expected from the band melodic speed/thrash offering with the catchy speed/power metal tunes again a penchant mark. The songs sound more epic and pompous now and the middle is occupied by slower, almost balladic, tracks which are abundant on melody, but there's no edge to the guitars and at some stage the album turns to a full-blooded 90's speed/power metal affair. The vocal delivery is also more restrained now more on the cleaner side with the casual more aggressive deathly shout popping up more or less expectedly.
"Past in the Black": the band are back after a lengthy hiatus, and they sound hungry for rowdy belligerent tunes as evident from the impetuous speedsters "Obey the Moon" and "Come Down from the Skies". "Halfway to Heaven" is a cool progressive odyssey where nice female vocals pop up to everyone's delight, and remains the highlight here although both "Silently Falling Asleep" and "Burst into Blue Flame" are interesting diverse speed/thrashers with echoes of Manticora and Hellfire.

Burst Into Blue Flames Full-length, 2000
The Legendary Blackjade Full-length, 2001
Over The Black Ocean Full-length, 2004
Oath in Black Tears Full-length, 2006
Back From The Damnation Full-length, 2009
Love & Death Full-Length, 2012
Past in the Black Flame Full-length, 2020

Official Site

MANITOU (POLAND)

This is not very linear irregular retro death/thrash which combines fast sweeping passages with frequent quiet lyrical escapades, the gruff death metal vocals not changing their approach anywhere. "A Blaze of Ritual Fire" is a nice representation of the mentioned amalgam, with "My Dream" creeping in a subversive atmospheric fashion. "An Object of Existence" is a miasmic serpentine piece, its macabre aesthetics also captured by "Excalibur", but dispersed by the more dynamic jarring riffs on the deviant Demilich-esque "Dead Indians Tradition", and by the openly headbanging character of the closing "Mass Depression", a moody rowdy shredder with echoes of Phlebotomized and Sacrosanct.

Wounded Knee Full-length, 1994

Youtube

MANNGARD (NORWAY)

Based on "Circling Buzzards", this act pulls out modern thrash/death metal of the quirky, even progressive type. The music is very jumpy and frantic switching from one style to the other abruptly stylishly adding the mechanical technical riff ala Meshuggah and Baghead here and there. The tempo goes up quite a bit at times, but there's a certain amount of groove present as well. Still, this less ordinary take on the modern trends has its appeal also introducing weird funky/jazzy passages not too far from Cynic even, only without any sense of melody, relying on the mechanized industrial-tinged guitar sound the whole time. The chaotic, starting out of nowhere, leads are also another interesting addition although the synthesized hardcore shouty vocals are hardly another one.

Circling Buzzards Full-length, 2006
European Cowards Full-length, 2007

Official Site

MANNIX (UK)

Based on the EP, this band provide crunchy classic power/thrash which develops in consistent mid-tempo without too many deviations from the norm except for the more intense passages on "No More Pain". Later they hit the doom buttons with the cool brooding "Father in Darkness" which is vintage early Cathedral in the beginning before it starts thrashing with more force in the second half with dark formidable guitars and apocalyptic proto-death vocals which surprisingly sound quite suitable to the seismic musical delivery.

Mannix Demo, 1992
Suffer EP, 1995

Official Site

MANOS (GERMANY)

This album is a wild mix of death, grind and thrash metal; most of the time this is brutal relentless stuff, but has its more controlled moments, where the approach recalls Motorhead and Tank ("Mirror of Truth"), or is heads-down classic heavy metal ("Execution"). "Rage After Death" is a frenetic blend of grindcore and punk, and "Teacher's Pants" is slow ponderous doom.

At Mania of Death Full-Length, 1998

MANSLAUGHTER (CHILE)

Rough-around-the-edges but inspired energetic old school thrash which combines contrived round-abouts ("Condenados al Silencio") with direct ripping extrapolations ("La Conspiracion"), the gruff hoarse hardcore singer not ruining the setting much, especially on the cool diverse roller-coaster "Culto Insidioso", the highlight here, closely followed by the furious crescendos on "Asesino" and the authoritative semi-intricacies of the closing "Sentenciado".

Imperio del Caos Full-length, 2023

Official Site

MANSLAUGHTER (POLAND)

An interesting avantgarde blend of thrash, death and black metal; the guys change the pace and the mood quite often, but never speed up a lot and create a slightly disorienting feeling since they never pull out the stops technicality-wise, but frequently mix things up with more direct passages. The overall approach is close to Cadaver's "In Pains" and early Therion, only that the guitar delivery here is more on the thrash side. There is a use of keyboards at times, and the leads are particularly good, both melodic and technical with a very characteristic surreal feel to them. In the middle the sound gets a bit more aggressive (the faster-paced "Mediality"; the short pleasant proto-blaster "Foretell the Past"), and in the 2nd half the songs are shorter seldom going over the 3-min mark except for the closing "Lies" which is a nice diverse shredder with great melodic leanings. The singer is a scary subdued black metal rasper with a more hoarse deathly blend at times.
"Earthborn Daemon" is another cool effort the band not sacrificing their original delivery the stylish semi-technical riffs and the orchestral arrangements all packed within 3-4min compositions where a lot of things happen within a short span of time. The expectations shouldn't be on the fast-paced side, the abrasive semi-technical headbanger "A Tale of Pessimism" is one such exception, and partially the short technical puzzler "Brilliant Annihilation". Operatic black metal comes to help on "Chaosonomy", and morose doom sections grace "Declaration". "The Negation" raises the technical level up at the end with a portion of stop-and-go movements before the final title-track wraps it up with a cavalcade of moods and diverse musical decisions covering black, thrash, death, and more. This is a sure step towards greatness, and one more album of the same level would surely place the band on the very top of the Polish scene.

Prelude to Sonic Destruction Full-length, 2010
Earthborn Daemon Full-Length, 2013

Official Site

MANSLAUGHTER (USA)

Modern abrasive thrash/death which marches forward in a very heavy, volcanic fashion without changing the pace a lot consequently starting to drag a bit towards the end since the only respite from the monotonous seismic delivery is the more technical section on "Inside My Head". The vocals are gruff guttural death metal ones which generally merge with the squashing musical landscape.

Through The Tombstones Full-Length, 2016

MANSOUL (USA)

This act were previously known as Ninthour where the style was pretty much the same intense thrash/death metal blend of the semi-technical variety. The guys shred with vision at times ("...Some Kind Of Revolution") which comes close to Merciless and Invocator, and even goes into a more weird territory with the jumpy, almost funky, "Sarx Thusia". The singer is a major spoiler, though, with his rending shouty throat which he doesn't spare, but should have.

Demo Demo, 1993

MANTAK (MALAYSIA)

Based on the "The Eastern Desekratorz" split, these stalwarts of the black metal idea in the Far East come up with vicious brutal black/thrash metal reminiscent of several heroes from the scene: Impaled Nazarene, the Italians Vexed, early Bathory, Dimmu Borgir, early Cradle of Filth, etc. The music is mostly black metal topped by the ultra-shrieky unholy vocals drawing comparisons with Burzum. The thrash comes wrapped in an epic "shroud" in the vein of mid-period Bathory ("Blood, Fire, Death"): "Thy Paranormal Feminine", or in the form of cover versions of thrash metal veterans: Sodom's "Blasphemer", done in a very aggressive vicious manner.
The "666" EP mixes a brutal blasting track ("Antichrist 666") with a slower epic-tinged one ("Hellfernal Blasphemies"), before the covers start pouring out: Black Sabbath's "Electric Funeral", done in a fast energetic black-ish way, pretty interesting; and Tankard's "Alcohol", done in a faithful jolly crossover fashion.
The "Evilust Nekrolust" EP is a brutal back metal attack ala Impaled Nazarene and the Australians Berserker, so consequently there is not much room for thrash except on the blitzkrieg Bathory cover of "Armageddon" where the guitar sound remains fuzzy and fast, but is more controlled and audible. "Ov Semen And Blood" at the end is a more atmospheric cut ala early Burzum and could pass for the best and most digestible song on this ultra-extreme sonic downpour.

Dark Borneo Art EP, 2000
Eye Of Deviant Full-length, 2002
Polymorphous Perversion Full-length, 2004
Eastern Sexxxrigalust EP, 2005
Raping God's Law Split, 2006
Nekrosimon - The Art Ov Blasphemies Split, 2007
Sabahell's Blasphemer Full-length, 2007
The Eastern Desekratorz Split, 2008
Baptized By Beers Split, 2008
666 EP, 2009
Diabolical Psycholust Full-length, 2009
Amput Rogol & Sodomi EP, 2009
Evilust Nekrolust EP, 2012

Official Site

MANTHRA (CHILE)

Based on the quite long, 8-song "Born To Hate" EP, this young Chilean band offer a good fast and intense old school mixture of thrash and death metal recalling Death's early days, Possessed's "Seven Churches", and the German veterans Sodom and Kreator.
"Outbreak the Terror" contains 3 songs of very good intense Bay-Area thrash ala Vio-Lence with a pinch of Slayer showing the guys equally capable handling various influences from the thrash metal spectre. This is good headbanging stuff which is not a "stranger" to stylish guitar work, especially in the lead section.

When The Evil Rises Demo, 2003
Born To Hate EP, 2005
Rehearsal 2006 Demo, 2006
Outbreak the Terror Demo, 2008

My Space

MANTIC RITUAL (USA)

This is the same band known previously as Meltdown. Here the guys have just re-recorded the last Meltdown album, without any added bonus tracks or alterations; those of you who already have the album under the Meltdown name need not bother.

Executioner Full-length, 2009

Official Site

MANTICORA (DENMARK)

Manticora's style has often been defined as "progressive power metal", which is not a very accurate description. Thrash and speed metal take a considerable place on almost every album. "Roots of Eternity" is a strong debut, more in the speed metal camp, obviously influenced by early Blind Guardian, especially in the vocal department and the catchy choruses; the thrashy, progressively-laced masterpiece "Intoxication", and the shorter, nice little speed/thrasher "Private Hell", are the highlights here as well as the epic 12-min long "Roots Of Eternity".

"Darkness With Tales to Tell" embraces both the progressive and the speed metal idea even tighter, but the second part enters the thrash metal arena with full force. "Lost Souls" is a great speed/thrasher: a non-stop riff-fest from beginning to end, followed by "The Twilight Shadow" which is a fine galloping power/speed/thrash metal piece. The album closer "Shadows With Tales To Tell" is a fine progressive speed/thrashterpiece. This is a great album with amazing guitar work and brilliant songs which will satisfy all metal fans.
"Hyperion" starts thrashing from the very beginning and pretty much remains in the speed/thrash metal camp for most of the time. The songs are again long, even more complex, but the brilliant musicianship keeps them compelling and interesting with not a single dull moment.
"8 Deadly Sins" is a fine mixture of progressive, speed, thrash, and power metal; it is quite contrasting, though, consisting of some of the most quiet and most aggressive compositions written by the band.
"The Black Circus" Part 1 begins with the sweeping speed/thrash metal delight "The Black Circus" which carries the title of the whole saga, and is indeed a glorious beginning with its mighty riffs and haunting melodies. Actually, the actual start is the 2-min intro "Enter the Carnival", followed by numerous others which serve as pauses between the songs, and are annoyingly many without being any valuable addition to the overall idea. Unfortunately, the magnitude of the opener is nowhere reached the guys settling for a more moderate power metal sound with hints at thrash, more obvious on the dynamic semi-speedster "Forever Carousel" and the intense speed/thrashing "Gypsies' Dance Part 1". As a whole this effort is a slight step down from the band's earlier output the band apparently sparing themselves for the second part.

"The Black Circus" Part 2 is the better achievement, again containing the interludes, this time fewer due to the decreased number of the compositions; and also beginning with a vigorous potent speed/thrasher "Beauty Will Fade". "Gypsies' Dance Part 2" is slower than the 1st part, but is edgy and aggressive as well as longer with clear progressive aspirations. "Haita Di Lupi" is an excellent speedy instrumental with great leads and fine bass performance with Oriental leanings. "When The Soulreapers Cry" is standout progressive speed/thrash metal with memorable melodic sections followed by the more direct speedster "All That Remain" boasting brilliant lead guitars, the song Blind Guardian never wrote. The closer "Of Madness In Its Purity" is another outstanding speed/thrasher finishing the whole saga with style compensating for the more laid-back approach on the first part.
On "Safe" the guys don't play it "safe", but jump heads-down into thrash metal, still decorated with shades of speed, to produce one of the most exciting albums of 2010. "In The Abyss Of Desperation" is the traditional for the band strong opener, speed/thrashing with passion graced by equally as compelling heavy stomping passages. "Silence The Freedom" is steam-rolling speed/thrash of the galloping variety with a great quiet atmospheric break in the middle, followed by a crushing riff-section which also comes up for the heavy doomy ending. "Complete" is direct blitzkrieg speed/thrash metal in the vein of early Angel Dust. "From The Pain Of Loss (I Learned About The Truth)" is gorgeous technical thrash mixing fast and slow passages on a razor-sharp riff-base; one of the band's finest achievements. "A Lake That Drained" is brisk thrash with Bay-Area overtones, again of the more technical type, with a fine memorable chorus recalling Blind Guardian. "Carrion Eaters" starts misleadingly with heavy pounding riffs, but soon after the guys start lashing with force although later on slower rhythms spring up again, and the composition ends up being an ambitious diverse progressive offering with excellent vocal performance and a couple of really intense, almost proto-death sounding, moments. The closing title-track wraps it up in a larger-than-life encompassing manner lasting for 14-min featuring heavy semi-doomy sections alternating with fiery speedy ones; there's a short balladic break and swirling leads all over. This effort can easily pass for the band's finest hour with its top-notch musicianship, immaculate song-writing, both aggressive and technical guitar play, and deep emotional vocals. Everything is just perfect here, easily overshadowing their compatriots Artillery's last year's "When Death Comes".
"To Kill to Live to Kill": wow, the band are back after a lifetime of absence, but their staple flamboyant multi-layered delivery is pretty much intact with the opening "Echoes of a Silent Scream" offering everything from epic grandiosity to scarily death metal-ish accumulations. "Through The Eyes Of The Killer-Towering Over You" is a more homogenous proposition without too many scatterings, the expected from the band bombastic speed/thrasher with "The Farmer's Tale Pt. 1-The Aftermath Of Indifference" slowing down for a more dramatic, more poignant approach, before the instrumental "The Devil In Lisbon" brings forward choppy pounding rhythms and spacey trippy decisions. "Growth" is indeed a grower being a pensive quasi-doom opus the rude awakening served in the form of another instrumental, the short bursting "Humiliation Supreme". The alternation between the two sides carries on with the heavy ballad "Nothing Lasts Forever" and the vitriolic thrashterpiece "Katana-Opium", a standout dramatic sweeper which leaves its mark on the remaining two numbers "Through The Eyes Of The Killer-Revival of the Muse That Is Violence" serving the finest leads on the album, and "The Farmer's Tale Pt.2-Annihilation at the Graves" focusing more on the razor-sharp speedy riffage for a grand closure to this smattering display of musical dexterity.
"To Live to Kill to Live": there can be no disappointments with Denmark's finest at the moment, and the tale-telling 14-min opener "Katana-The Moths and the Dragonflies/Katana - Mud" already enchants in spades, the guys sounding belligerent and thrashy from the get-go, with "The Farmer's Tale, Pt. 3-Eaten by the Beasts" stomping with authority, the seismic rhythms still carrying a decent epic tinge. "Slaughter in the Desert Room" is the staple for the band progressive speed/thrasher, the doomy broodiness of "Through the Eyes of the Killer - Filing Teeth" nicely adding to the diversity, the technical shredder "Katana - Death of the Meaning of Life" livening up the spirits in a major way. "Goodbye Tina" is a lyrical balladic tractate, but run for cover on the uplifting speed/thrashing odyssey "Tasered/Removal", the more dramatic accumulations on the still pretty restless closer "Katana-Beheaded" gracefully wrapping on this great effort which will easily top a lot of "album of the year" lists.

Dead End Solution EP, 1997
Roots of Eternity Full-length, 1999
Darkness With Tales to Tell Full-length, 2001
Hyperion Full-length, 2002
8 Deadly Sins Full-length, 2004
The Black Circus Part 1-Letters Full-length, 2006
The Black Circus Part 2-Disclosure Full-length, 2007
Safe Full-length, 2010
To Kill to Live to Kill Full-length, 2018
To Live to Kill to Live Full-length, 2020

Official Site

MANTIGORE (GERMANY)

This band play retro thrash/death/black which rushes with a lot of speed and vehemence, the shrieky black metal vocalist racing with the extreme riffage every bit of the way. The officious epic character of "Vanish, Rise" is well noted but you have to run for cover on extreme outbursts like "Hathor" and "Martikhoras", the friendlier speed metal veneer of "Primitive Propaganda" contrasting with the black metal-ornate expletives of "A Special Feast". Some of the musicians are also occupied with the black/death hybriders Oracle of Worms and the classic thrash cohort Reflexor.

Martikhoras Full-length, 2023

Official Site

MANTRA (COSTA RICA)

Based on the debut, these islanders offer energetic, albeit flawed, classic thrash/proto-death which is marred by the fuzzy guitar sound. The overall tone is dark and brooding and has a somewhat computerized aura around it which may get annoying by the end especially on the several blast-beating moments. The singer shouts in an authoritative manner and his attached death metal rendings may pass for the finest aspect of this recording.

From a Decadent World Full-length, 1996
Desde un Mundo Decadente Full-length, 1998
Planeta Odio Full-length, 1998
Autone9mesis Full-length, 2000
Creature Full-length, 2004
Building:Hell Full-Length, 2010

Official Site

MANTRA (FRANCE)

Post-thrash mixed with more complex, progressive arrangements; this is heavy, atmospheric stuff with changing rhythms, never fast though, also relying on slower balladic sections which have enough time to develop the compositions being 5-7min long. The vocal duel between subdued gothic-like and clean ones is well achieved the latter lacking the depth and emotion of the former.

Toward The Light EP, 2012

MANTUS (USA)

This obscure outfit play fairly cool intense thrash in various tempos and very highly-strung clean vocals which scream in a way no worse than Rob Halford on "Painkiller" and beyond. So expect high drama here and razor-sharp guitars the whole time, plus a few wild untamed moments: the brutal proto-death shred on "Heartfailure". "We Attack At Dawn" is aggressive thrash to-the-bone, a precursor to the Sadus debut. "Pit Viper" is a more controlled shredder sustained in mid-pace except for the chaotic lead sections. This is an effort full of energy and vigour, and although the characteristic vocals would take some time to adjust to, the music is very well executed aggressive thrash with a wise look into the future (death metal, that is).

Lord of the Dead Demo, 1987

MANUNKIND (USA)

An obscure 3-tracker of edgy power/thrash, still on the classic side with uplifting mid-tempo guitars and good attached clean vocals. "Shadow Of Tears" is somewhat of a spoiler being a nice, but overlong, ballad/semi-ballad with good lead guitar work.

Demo Demo, 1993

MANYAC (SLOVAKIA)

Based on the full-length, this band play modern power/thrash which alternates between heavy melo-stompers ("Tears of Baghdad") and speedy more aggressive cuts ("March Of The Dead"). "Fuck Them!" is a more relaxed crossover proposition, and "Leadershit" is a cool attempt at the semi-ballad, this number partly ruined by the not very expressive semi-clean/semi-shouty vocalist.

Face to Face EP, 2016
Death Sentence for Tomorrow Full-length, 2020

Official Site

MANZER (FRANCE)

Based on the Split with the Japanese "samurai" warriors Abigail, this act delivers the goods in a retro speedy thrash/black metal fashion, not far style-wise from the one of Abigail, with shrieky witch-like vocals. All the three musicians are taking part in numerous other black/thrash/death metal bands around France, Japan, Greece, and elsewhere.
The live album comes with an ultra-awful sound quality so to review it would be a really big challenge. After several repeated, very concentrated, listens these ears managed to discover, under the fuzzy noise, raw primitive black-ish speed/thrash metal crossing early Venom with Sabbat/Abigail. Four covers are included, neither of them easy to recognize: Mercyful Fate's "Come To The Sabbath" where the mid-levelled singer tries to reach the King Diamond's falceto to a very laughable effect; Abigail's "Attack With Spell" which merges so much with the original tracks that one would find it very hard to distinguish it; Venom's "Acid Queen", impossible to recognize even after 10 listens; Motorhead's "Ace of Spades" (how can this recording pass without a cover of this immortal hit?!), the easiest to get of the four although it will also require a more careful listen since the drums deafen the guitars quite a bit. One may find it hard to believe that Shaxul, the drummer of Deathspell Omega and the Japanese Sabbat, takes part here...

The 2011 split with the Turkish black metal purveyors Godslaying Hellblast, features two songs which are awkward mixes of blasting black metal sections and more restrained crossover ones alternating the whole time in almost equal dozes with the singer this time sounding more comprehensive even acquiring slight hardcore tones at times.

The "Orgy and Profanity" EP offers four songs of black/thrash, this time staying more on the thrash side with vigorous riffs and cool melodic hooks showing the guys at their more melodic except for the singer who brings back his more vicious blacky style.
The full-length debut is finally here and it doesn't disappoint producing evil ultra-active retro black/thrash the guys lashing with inspiration and a great sense of melody (check out "Terroir Squad", and especially the fascinating title-trak) which makes their otherwise misanthropic delivery way more tolerable. Dramatic epic thrashing takes over on "Pictavia", and "Le Boufe-Churai" is a cool "wink" at the early speed metal days. "Primeval Instincts" is a battle-like hymn putting the second half into more moderate waters the closer "Manzer" another more peaceful number, a melodic speed/thrasher boasting cool wa-wa leads which give the album a strange archaic (think the 1970's) colouring, something not very commonly heard nowadays.
"Beyond the Iron Portal" is a happy bashing roller-coaster the alleviation coming in the form or more relaxed epic passages ("Veisalgia Damnation") and infectious melodic hooks, like the ones on "Prepare Your Soul To Die". "890" is also affluent on melodies which are superseded by the more simplistic Motorhead-ish approach on "Maetre E Cunpagnun" and the rousing battle-causing joy of the closing "Hard Metal Jackhammer".

Pictavian Bastards Demo, 2010
Pictavian Invasion in Paris Live album, 2010
Pictavian Samurais Split, 2010
Pictavian Kara Metal Split, 2011
Orgy and Profanity EP, 2011
Light of the Wreckers Full-Length, 2013
Beyond the Iron Portal Full-Length, 2016

Official Site

MAOT (GERMANY)

Based on the "Order to Slaughter" demo, this act plays classic speed/thrash metal ala early/mid-period Sodom with direct riffs, fast pace and raspy black metal vocals.

Live Rehearsal 2006 Demo, 2006
Order to Slaughter Demo, 2007

My Space

MAPLE CROSS (FINLAND)

Maple Cross are the longest running thrash metal band in Finland though they only have three official releases up to this point; their demos date back from the mid-80's where their style has been classic 80's thrash. On "The Eighth Day of Creation" the guys let all their avantgarde spirit loose producing a fairly eclectic affair which hits the mark most of the time combined with the more straight-forward delivery. "True or False" opens the album in a jazzy/funky fashion, but later on one will catch quite a few hard-hitting riffs even bordering on proto-death; the jazzy experiments never return, but the song remains pretty jumpy and technical. "Recoming" is a nice lashing technical/progressive thrasher with steel riffs, and "Never Ending Dance" follows the same path being a bit more spacey with the funky tunes coming back for a while in the middle. "The Force of an Eagle" is a superb complex technical affair, a mad piece of fast-changing tempos and illogical time-signatures packed in just under 3-min. "Creo Tempus" is a wild slab of technical brutality with frantic aggressive shred all over. "Sacrificed Humanity" is relatively direct recalling the Bay-Area moshing out fast and tight. "Something to Believe in" is another frenetic track mixing intense speedy riffs with a couple of jazzy hooks the latter a bit overused stretching into whole passages in the middle. "The First Last Town" is more controlled technical thrash with excellent melodic lead guitar work, and "The New Picture of the Universe" is another weird combination of lashing thrash metal and pure sincere jazz which works pretty well preceding the similar attempts made by Atheist and Pestilence a few years later. The closer "Going Around" is heavy, almost doomy, thrash with very heavy guitars and great leads again, a satisfying sure-handed epitaph to one of the most original efforts to come out of Finland, and one of the last great releases before the genre's demise.
The band members split after their only full-length and some of them were later seen in various other projects: the black metal act Sethery, the gothic/doom metallers Embraze, etc. The time of action is 2003 and the guys are back together for the release of the "next chapter" from their history. Their old fans will hardly be happy seeing their idols playing ordinary modern thrash with just a few more intense classic headbanging moments, the rest being all over the place including groove, grunge, alternative, punk, ballads, etc. The fresh innovative spirit of the debut is nowhere to be felt the guys sounding like hundreds of other bands around at the time.
"Heimo" is obviously an improvement over the lacklustre comeback effort now thrashing pretty hard the sound often approaching the classic standards. The promising fast-paced beginning, unfortunately, finds no match later on the music becoming slower and more modern although it doesn't lose its appeal completely and still holds a few surprises for the headbangers, albeit of the heavier pounding variety.
The debut demo is a cool start although from a production point-of-view it leaves a lot to be desired. Still, the guys thrash with precision their brave experimental spirit at a very spawning stage. The approach is fairly intense bordering on proto-death with some brilliant melodic distractions ("And Then...") which are simply a wonder to listen to surrounded by a couple of morose dark cuts ("Day In The Grave").
The "Cool Maggots" demo is quite a departure from their intricate, aggressive beginnings the guys shredding in a mild modern-ish post-thrashy manner still complicating the environment with the surreal jarring riffage on "So Cruel". "Till the Dawn Comes" is a nice melodic semi-ballad, and the title-track is a frolic rocker partly ruined by the very shouty deathy vocals.
The "5th for Us" demo is an eclectic avantgarde follow-up to the smattering full-length with death metal completely erased from the memory. "Darkside" is a hectic serpentine piece with great twisted riffs and sudden speedy passages the latter in their turn intercepted by jazzy/funky breaks; a most surreal concoction of influences and moods. "Top of the Clouds" jumps even higher and lower turning into a cannonade of oddball riffs and orthodox shredding sections those reaching a dramatic pitch in the second half. "Ten Miles With Tinga Joe Shoes" is a catchy carefree speedy rocker, the obvious joke here; and "Outlook on World" is a progressive extravaganza recalling Killing Joke's 1990 opus "Extremities, Dirt and Various Repressed Emotions", and the early Treponem Pal exploits. The final "Guns'n'Cats" is close to being another joke with its serene funky layout and an unexpected harder-hitting exit. The guys have spaced out quite a bit here, kind of paving their way towards more modern fields by retaining their original, out-of-the-box thinking.
The "Sacrificed Humanity" demo can definitely be considered a rehearsal for the outstanding musicianship on the full-length debut, and the title-track is by all means an eye-opener with the lengthy sax-guided intro and the choppy staccato rhythms which combine outlandish alluring tunes with some hard vicious moshing thrashing. The musical audacity carries on on full-throttle on "Escape From Reality", a surreal hectic masterpiece with a wide range of tempo shifts, the guys predating Atheist's "Piece of Time" in terms of unpredictable twists and turns. "Mesmerize" will "mesmerize" the listener with a wild amalgam of quirky melodic hooks and stylish more technical walkabouts all this eventful carnival contained within less than 3-min. "Il Duce" is another pleasant surprise albeit of a different nature; this is a creepy mid-paced piece with sudden marginally more intense escalations and again a couple of really captivating melodic pirouettes. This is another testimony of the creative, visionary inclinations within the Finnish metal roster, with this outfit easily one of its most distinguished representatives.

Thirteen Witches... but One of Them Demo, 1988
Sacrificed Humanity Demo, 1989
The Eighth Day of Creation Full-length, 1991
5th for Us Demo, 1992
Cool Maggots Demo, 1994
Next Chapter Full-length, 2003
Heimo Full-length, 2007

Official Site

MARATONGA (GERMANY)

This is classic thrash/death metal which doesn't hold to the Swedish school patterns the entire time, but shades of the latter can clearly be felt save for the longer heavier material ("Drunk on Pride") and the more laid-back melo-thrasher " ... Of Time". The vocals are the typical for the style shouty deathy ones, staying more within the less hysterical confines.

Worth Fighting For Full-Length, 2018

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MARAUD (USA)

Based on the "Raid the Streets" demo, this is vintage old school speed/thrash metal recalling Exumer's "Possessed by Fire" and Toxic Shock's "Change from Reality"; fast-paced and very well executed music.

The Countdown Begins Demo, 2006
Raid the Streets Demo, 2006

My Space

MARAUDER (GERMANY)

Based on "Human Waste", this act offer classic power/thrash with overshouty thrashy vocals. The guys mix the two genres as the slower compositions ("King Of A Dying World", "Consumed By Demons") tend to drag a bit due to the lack of any more interesting moments. The faster and shorter cuts ("The Serpent Has Spoken", "Terror With Terror") by all means deliver the better the guitar stifled a bit by the hissy sound quality.

Dying World EP, 2013
Deathinfection EP, 2013
Human Waste Full-length, 2016

Official Site

MARAUDER (UKRAINE)

These Ukrainians pull out intense speedy thrash/crossover which is not far from the expressive angry antics of early S.O.D., the delivery becoming a bit more serious on the melodic speedster "Machinist" and on the excellent speed/thrasher "Ritual Dances" which boasts a fine guitar "duel". The end is kind of ruined with a lame cover of Anthrax's 'N.F.L." which mostly suffers from the buzzy guitar department and the dispassionate declamatory vocals, also lacking some of the energy of this great anthem.

Machinist EP, 2012

Official Site

MARC RIZZO (USA)

Another skilful shredder has come up on the scene, and it was high time since most of the more aggressive instrumentalists have disappeared. Marc Rizzo is a regular assistant of the Cavalera Brothers, having done time in Soulfly, and now is a full-time member of their new formation The Cavalera Conspiracy. The man's style is a nice mix of speed, thrash, power metal and flamenco; it's purely instrumental except for the last two tracks on "The Ultimate Devotion" album, which are major intense technical thrashers with a more brutal death-metal edge. There are a few entire acoustic flamenco instrumentals, but the majority is aggressive thrash shredding which does not sound exactly like any of the previous heroes; it's not as brutal and chaotic as the music performed by early Toby Knapp, although at times it's not that far; it's not as technical and complex as the one of Tony Fredianelli; the approach is probably closest to Jason Becker's "Perpetual Burn" with a more thrashy edge; the guy definitely possesses some of the Yngwie Malmsteen speed, but he doesn't rely on it all the time. There are plenty of cool headbanging moments as well as more intricate and furious sections; this is by far one of the most talented musicians on the metal scene nowadays.

"Legionaire" would be of little interest to the thrash metal fan except for two tracks: the heavy technical pounder "...by Great Odins Beard" which is indeed a great slab of instrumental power/thrash with cool more quiet insertions; and the more aggressive proto-thrash shred "Victim In Shred". The number of the more peaceful flamenco-oriented compositions has been increased the latter now occupying more than half the space. Still, it remains a good work of all-instrumental music with Rizzo taking it easy giving more freedom to his more classically-inclined nature.

Colossal Myopia Full-length, 2005
The Ultimate Devotion Full-length, 2007
Legionaire Full-length, 2010

My Space

MARCA ACME (URUGUAY)

Thrash/death metal, more on the classic side, "courting" both styles in equal dozes, sticking to fast tempos assisted by rough low-tuned death metal vocals. When the band slow down ("Masacre"), they kind of lose it, sounding clumsy and dragging, descending to power/doom metal. Fortunately, the speedy approach is well sustained throughout (check out the very cool death/speedsters "Venganza" & "Fetos Muertos"). The other time when the guys lose it to an extent is on the closing "Automutilacion-Quiero Muerte" which goes to the other extreme grinding/blasting wildly at some point.

Nuestra Ira Full-Length, 2000

MARCH OF CHRONOS (USA)

Modern death/thrash with death metal vocals which come dual: one very guttural, the other screechy and hysterical. The music is frequently intense and bashing, citing the Gothenburg school as an influence at times like on the excellent melodic shredder "Immortals", the highlight here. A marginally more technical delivery ("Necromancer's Tower") sneaks in here and there, and "Ultra Vanquishing" is a stylish more hectic thrasher, but those moments should have been more as they give a cool, more attractive aura to the album.

Warforged Full-length, 2017

Official Site

MARCH OF HATE (BRAZIL)

Based on the full-length, this band provides an uneven mixture of fast modern thrash/death metal and doom-laden groove. The speedy sections are not bad except for the times when they become too fast for their own sake bordering on grindcore, but the slower ones are simply bad, drony and clumsy, completely losing the inertia.

Promo EP, 2006
Atitudes Massacrantes Full-length, 2007

Official Site

MARDUK (MEXICO)

Based on the "Vida Derramada", this is nothing like the blasting black metal of the much better known Norwegian cohort of the same name. This is a roller-coaster blend of power, speed and thrash which suffers a lot from the very muddy sound quality the latter boosting the bass to the point of absurdity making the solos sound too thin. "Vida Derramada" is an imposing dramatic thrasher, and "12 de Octubre de 1492" is a heroic speedster with echoes of Paradox. Later the guys continued their career under the name Votan, but only survived for one demo in 1996 (the style pretty much the same) before disappearing.

Bel-Marduk Demo, 1990
Vida Derramada Demo, 1992
El Militar Demo, 1994

MARIA CHUANA (SLOVAKIA)

Based on the debut, this formation play boring dragging, modern post-thrash which crosses insipid balladic moments with the ever-present groove to a muddling effect. The singer merges with the bland picture with his semi-clean/semi-shouty timbre which still contains more life than the life-taking music. Some of the musicians do a much better job with the death metal outfit Pyopoesy.

Hashrock Full-length, 1996
Bullshit Full-length, 1999
Me9auge Full-length, 2002
Eridani Full-length, 2006
Mendax Illusio Full-length, 2012

Official Site

MARIONETTE (SWEDEN)

Swedish death/thrash metal with orchestral implements, groovy sections, good clean vocals, and more; still all these additions don't help lift this music on a higher, more original level, and despite the energy and professionalism put into the makings, it will hardly leave a more lasting trace in your mind.
"Enemies" is very close sound-wise to the debut, the keyboards are here again, even more accentuated on, and they kind of retouch the sharpness of the guitars, bringing the music close to Children of Bodom. The change comes in the form of slower groovy passages which weren't that many at all before and kill the good pace accumulated previously on the other material.

Spite Full-length, 2008
Enemies Full-length, 2009

Official Site

MARK J. BRENNISER (USA)

This guy specializes in fast intense modern thrash with a touch of hardcore which ranges from short brutal spitters ("M.A.D.") to some serious creepy thrashers ("The Morning After"). Mark sings in a synthesized shouty manner seldom revealing his more lyrical bravado which should be given more room in the future.

Turn The Screws Full-Length, 2016

MARK OF CAIN (CANADA)

Based on the demo: a cool fusion of thrash and death metal of the old school with the singer possessing some very deep, not very intelligible, growls, and music which is very heavy with seismic, crushing qualities, but also with nice melodic, also semi-technical on occasion, guitar work present.
"Programmed Decimation" is a big step forward the guys pulling out astounding technical thrash/death, fully justifying their origins. "Code: Eradicate" is a hyper-active super-technical death shredder the guys constantly switching the pace, the resultant highly-stylized melee carrying on on the even less predictable "Hate Incarnate" which stays more on the thrash side of the spectre with some of the most spell-binding time-signatures of recent years. "Rotting the Cradle" is a more atmospheric pacifier, but expect no intricacy lost on this creepy roller-coaster. "Containment Failed" is a feast for the ears with melody and technicality seamlessly blended together, with gorgeous staccato Coroner-esque riffs invading the aether alongside less patient blast-beating escapades. "Epic Grindcore Ballad" is a short bouncy joke relief, and "Robbot Jeff" is a masterpiece of sheer spastic, shape-shifting metal putting together Nomicon, Mekong Delta, and Coroner for a most mesmerizing showdown with angular, atonal riffage piling in quick succession, leaving the listener absolutely stupefied as to what he/she should expect to come next. "Among the Corpses" "winks" at the guys' compatriots, Martyr, a thrilling ride through challenging labyrinthine riff-formulas and brief flashy lead explosions. "Mechanical Infestation" shreds with more brutality and a more jarring rhythm-section those gimmicks amplified on the technical death metal winner "You Put the Mental in Fundamental" which calms down later to insert the next in line super-mazey stroke. "Born in the Network" is a surreal piece of brilliance ala Nomicon with impetuous dashes crossing "swords" with more abstract psychedelic motifs, "the tussle" ended, or rather aggravated by "In the Name of Vengeance", another anomalous riff-fest with supreme technical riffs rushing onward, but without speeding up unnecessarily, a total no-brainer of musical dexterity that the Canadian scene is yet to surpass. "Divine Intervention" can only be an afterthought after such an exemplary showdown, but the band can't possibly leave the closer hanging awkwardly at the end, and load it with innovative decisions one of which is the more pronounced participation of the lead guitarist again.
This is a magnanimous achievement in the annals of technical/progressive metal, arguably the finest one to ever come out of Canada, and that says a lot.
"End of Man" would be a disappointment the guys opting for a more sterile, more mechanical, less technical sound, still intriguing enough, but of a fairly different nature. "Fed Through the Teeth" captures some of the manic complexity of the preceding magnum opus with an increased presence of the dissonant additives, but watch out for the superb melodic leads which here play an overall bigger role. "Caveman vs. Robots" isn't too far behind the guys moshing in a less bridled, but still pretty intelligent, manner the latter captured by a string of short (1-2min) explosive cuts where even some grindcore can be detected with echoes of the Czech avantgardists T.O.O.H. "Ecophagy" is a more conventional death metal number, and "Staring into Dead Eyes" is another twisted more intricate mosher bringing to mind Martyr, Gorguts, and Necrophagist save for the several stomping abstract breakdowns. Musicians of the kind can't produce anything unworthy, and this album still delivers, albeit in a less exuberant, less audacious way. The band members continued creating music for the serious, more adventurous metal fans after this band's split-up, with Akakor and Okazaki Fragments, both technical death metal cohorts, with a lot of pleasant surprises for those who would like the music on offer here.

Traumatizing Demo, 2005
Only Dead Fish Swim With The Stream/The Art Of Revenge Split, 2007
Programmed Decimation Full-length, 2009
End of Man Full-length, 2012

Official Site

MARKIZ DE SADE (POLAND)

Based on the debut demo, this act offers speed/thrash metal influenced by Vector and Tyrant. The sound quality is rough, but the guys pull it out with fast riffage, a strong bass-bottom and a dynamic speedy delivery. The singer semi-shouts in a raw semi-clean manner and doesn't really sing. Compared to the early efforts of Turbo and Kat, this short work sounds way more aggressive and could easily pass for the first genuine more successful attempt at speed/thrash metal from the Polish scene. Some of the musicians try their hands on more aggressive music in the death metal formation Effect Murder.
"Sen Schizofrenika" is a hit-and-miss affair featuring the already heard 15 years ago old school speed/thrash metal with groovy modern post-thrashisms and is quite disappointing with its below average musical approach and inexpressive semi-death metal vocals. "Sen Schizofrenika" is a revelation at the end coming with brisk speedy guitars and great melodic leads, but is hardly enough to make anyone's brows raise.

Promenada Club Session Demo, 1985
Zdeptani Demo, 2009
Sen Schizofrenika Full-length, 2010

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MARKO BOJKOVIC (SERBIA)

Modern corrosive thrash which is strictly on the mechanical sterile side, the man both moshing with passion (the opening title-track) and complicating the landscape with more contrived prog-decisions ("Category 5", "Lifelong Bloodshed") and less attractive not very sightly tributes to father groove ("Agony of Loss"). Shades of Darkane fly around on then stylish "My Strength Returning", Marko supporting his musical exploits with both a semi-shouty deathly growl and a cleaner more passionate croon.

Venom Full-Length, 2022

Official Site

MAROON (GERMANY)

Based on "Endorsed By Hate", Maroon play modern thrash metal with a certain Slayer-vibe (their heavier, late-80's period); the problem is that the music too frequently steps on a metalcore ground.

Captive in the Room of the Conspirator EP, 2000
Antagonist Full-length, 2002
Endorsed by Hate Full-length, 2004
When Worlds Collide Full-length, 2006

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MARRANO (PUERTO RICO)

Based on the full-length, this band play old school thrash sustained in various tempos ranging from heavy stompers ("Early Checkout") to fast-paced moshers ("Vile") as the former side dominates also reflected in the nice atmospheric semi-ballad "The Shredder" which is nothing like a shredder. The singer provides a deep semi-clean baritone which leads the show without shining too much.

Marrano EP, 2015
Nuclear Death Full-length, 2017

Official Site

MARTELO NEGRO (PORTUGAL)

This new Portuguese act pulls out sludgy black/thrash metal not far from early Celtic Frost spiced with the more intense deathly hook ala early Six Feet Under. The funereal hypnotic mid-pace of the legendary Swiss is well captured, leaving brutal death metal outbursts like "Winds of Carrion" hanging awkward in the balance. The singer is the ultimate scary low-tuned growler, but interestingly suits the minimalistic musical approach which at its most morbid (tales) also echoes Khold and Beherit. The guys are all over the music scene in Portugal taking part in numerous other acts: the death/grind purveyors Namek and Systematic Collision; the symphonic death metallers Rise of Ophiuchus; but above all the talented technical death metal outfit Neoplasmah.

Sortilegio dos Mortos Full-length, 2011

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MARTHIRIA (BRAZIL)

Based on the demo, this act plays heavy groovy post-thrash in a sleepy doomy pace which at its best shares some of the sludgy charm of Crowbar ("Leao d' Judah"), the more energetic relief offered at the end by the title-track which mixes fast aggressive riffs with the staple groovy ones.

Sentenciado Demo, 2007
Sobrevivendo ao Caos EP, 2008
Instinto Assassino EP, 2009

Official Site

MARTHIRIO (ARGENTINA)

A hellish Argentine trio who serve really intense, on the verge of death at times, classic thrash comparable to early Hirax and Sacred Reich's "Ignorance". The heavy pounding "Exterminio Nuclear" is a deviation, but not the angry semi-shouty deathly vocals which are often accompanied by curt shouty choruses. Watch out for "RxPxE", a frolic speedy roller-coaster with echoes of hardcore.

Mosh Till Death Full-length, 2021

Official Site

MARTIRE (AUSTRALIA)

On the first demo this band offer surprisingly vicious and brutal death/thrash metal which could easily pass for the most aggressive recording over there of the 80's. This is fast merciless stuff recalling the early works of the Swiss Messiah and Death- no kidding...
"Brutal Legions of the Apocalypse" is apparently a more "brutal" elaboration of their full-length debut, and indeed, this is an aggressive, brutal assault on the senses which relentless bashing for most of the time, still of the more intelligible variety, with not much thrash present: it comes as a black/death metal blend for most of the time. The majority of the songs are short and to-the-point, without any unnecessary deviations; there will be no mercy here. The band, by the way, us run by two legends from the Australian underground: The Great Righteous Destroyer and The Serpent Inquisitor who are responsible for numerous other acts including the black/death metal formation Cauldron Black Ram; the power/speed metal outfit Johnny Touch; the death metallers Lord of the Command; and are also former members of the technical death metal "psychos" Portal.

Demo 1 Demo, 1988
Demo Demo, 1990
Martire EP, 1991
Demo Demo, 1992
'88-'92 Best of/Compilation, 1993
Promo 1995 Demo, 1995
Lucifer EP, 1998
Winds of Desecration Split, 1999
United in Hell Split, 2004
Legions of the Apocalypse Full-length, 2007
Brutal Legions of the Apocalypse Full-length, 2012

Official Site

MARTTYRIUM (BRAZIL)

Based on the "Bloodpath" EP: this is atmospheric stuff mixing haunting doom/death sections with more intense thrashy ones producing as a result a cool "duel" between the guitars and the keyboards on almost every song with a very good support from the melodic leads. The pace jumps from mid to up the whole time "Blood Path" being the only less controlled composition blasting with passion at some point. The singer is a brutal low-tuned growler of the more intelligible type.

Marttyrium EP, 2007
Bloodpath EP, 2011

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MARTVA ZONA (BULGARIA)

Retro thrash metal of the calmer darker variety with decent melodic hooks which starkly contrast to the harsh death-y vocals. The guys' infatuation with melody give a cool gothic "decoration" to the proceedings, and with a better sound quality, from which mostly suffer the good melodic leads, this band can strike more cords. More speed added for the future would also be desirable, and would make the slower gothic overtones more appealing.

Grobishte Za Dushi Demo, 2007

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MARTYR (USA)

The album is divided into two parts: the first one is brutal death-ish thrash metal recalling Devastation with a nice instrumental piece in the middle ("If You Like This"); the other one is much more melodic crossover thrash. Apparently this was a compilation of demos reflecting different periods of the band's development.

Wickenstraut Full-length, 1993

MARTYRD (USA)

These New Yorkers provide a pretty decent mix between the classic and modern school which boasts a very clear sound quality and a good sense of melody. The albums starts in a sweeping manner with the brisk headbanger "Blue & Black", but there are more clever, less immediate moments to be heard later (the more technical approach on "Seeds Of Vengeance"; the dramatic speed/thrasher "Trapped Within"). The attack carries on with "Pressure" which raises the bar to death metal heights, and the classic thrash delight "Soldier Of Fortune" (which is, of course, not a Deep Purple cover). "Six" is the balladic relief offered in the middle, after which the guys find time for some more mosh with "Betrayal", but "Mask" is a different story: more serious semi-technical thrash with heavy stomping riffs. The Bay-Area is nicely touched on the energizing "Maniac", which is vintage early Metallica, but "Bombs Away" will rock your world big time, thrashing wildly in a similar classic fashion, pouring quite a bit of melody as well, in the lead guitar department. The final "Casualties" is another thrashing "Bomb away", finishing this promising debut with aplomb. The singer is not bad, either, singing with an attached mid-ranged clean tone.
The guys are back in business, but the lengthy 4-year hiatus has taken its toll, and now the band don't sound as inspired and original. They have even incorporated power metal into the proceedings considerably softening their approach, and one should be by all means thankful for the short speedster "Sinner" which arrives after a string of mellow unimpressive cuts. "Be Forever", which follows, is possibly the worst continuation imagined: a tender ballad with a few more intense guitar histrionics. Then comes the loner, progressive material which is passable, albeit hardly extraordinary, pulling all the stops once only, with the aggressive shredder "Avarice" which comes right before the closing trilogy "This Mortal Coil" the latter nothing too striking piling up conventional mid-paced riffs on top of each other to no effect. The good vocals remain now the man being the star of the show considering the not very convincing musical delivery.

Maniac Full-length 2008
The Mortal Coil Full-Length, 2012

Official Site

MARTYRDOM (HOLLAND)

Based on the "Sodomy and Crush" demo, this is a pure Venom worship, their early, arguably most interesting, period. Everything is well imitated, even the Cronos-like vocals which sound a bit strained as though the guy has really made an effort to follow on the steps of the Venom vocalist. And as expected, there's a cover version of Venom ("Lady Lust"). The music has almost no relations to Sodom music-wise, despite the demo title.

Blackstench Demo, 1994
Sodomy And Crush Demo, 1995

Official Site

MARTYRIA (ARGENTINA)

Based on "Enfrentando al Sistema", this Argentine trio serve heavy modern post-thrash which is too melodic to make a serious impact, but the few angry rhythms and the confrontational shouty vocals may make a few heads turn, including the lively jump-arounder "Mundo Inverso". The galloping "Extincion" is another more intriguing proposition, and the remainder tries to provide a similar kind of entertainment, "Efimero" moshing with moderation, and the closer "Violencia" swerving a portion of brisker speed metal-ish riffs.

El origen EP, 2018
Resiliencia Full-length, 2019
Enfrentando al Sistema Full-length, 2021

Official Site

MARTYRIUM (CHILE)

Four songs of quite good classic speed/thrash with a very cool sharp guitar sound, which moves from pure speed metal ala early Helloween and Warrant ("Age Of Destruction") to really intense Slayer-esque thrash ("Fucking Dictator"), without forgetting about the crossover aesthetics ala Nuclear Assault (parts of "Years Of Tension"). An encompassing effort which in just 4 numbers tries to review, and fairly successfully, the best from the 80's thrash metal scene.

Violent Showcase EP, 2008

MARTYRIUM (HOLLAND)

Based on "Abandon Hope", this act serve an intense black/thrash/death amalgam which is very long on aggression and brutality, with unbridled blast-beats peppering the landscape, with short Impaled Nazarene-sque jolts ("Abandon Hope", "Painless Death") aggravating the setting even more, the more laid-back epic arrangements on "Untamed Devastation" a nice deviation from the hyper-active approach the latter aptly assisted by vicious raven-like black metal vocals.

Ideology of Death Full-length, 2001
Abandon Hope Full-length, 2020

Official Site

MARTYRS SHRINE (AUSTRALIA)

Old school thrash/death brought by ex-members of Mortification and an actual continuation of the short-lived death metal formation Cybergrind who released one album in 2000. The style here is more on the thrash meal side the band relying on heavy moody riffs sprawled into long (6-8min) numbers their monotonous character partly dissipated by sudden fast-paced explosions and sparse flashes of technicality (the stylish shredder "Valley Of Darkness"). The title-track is another highlight with its dramatic build-ups, but the final "Apparition" is a catchy gothic doomster ala later-period Lacrimas Profundere with a hit potential if the guys are willing to carry on with this project which doesn't seem very likely based on the latest news from their camp.

Martyrs Shrine Full-Length, 2007

MARY BRAIN (ITALY)

Based on the demo, these Italians play cool diverse speed/power/thrash which "flirts" with both the modern and classic trends softening down to heavy metal formulas at times, but sounding catchy and attractive all the time in a merry light-hearted manner the feelgood atmosphere helped by the clean soulful vocals, lost only on the brooding proto-doomster "Sodom & Gomorrah" (but run for cover on the furious outro) which is followed by the 1st ever cover of Motorhead's "Ace of Spades" (finally someone thought of covering this immortal hymn!) done in the expected frolic speedy fashion the singer not sacrificing his soft warm voice giving the number a more individual colouring. Some of the musicians (certainly not the singer!) are also involved in the death metal project All in Vain.
The full-length doesn't stray too much from the already chosen path, and as such should satisfy fans of all things classic: power, speed, thrash, and even beyond those. The tone is quite friendly, though, the band now preferring the more lyrical side of the mixture which takes a nicer shape on the longer progressively-laced compositions in the middle ("Insane Asylum", "Sodom & Gomorrah"). "...We'll Be Alone" is a prime lasher which would be a "rude awakening" near the end, ably supported by the dynamic galloping closer "Army Of Terror" which is an epic epitaph to this diverse merry-go-round affair.

Pay for Your Sins Demo, 2009
Regression Of Human Existence Full-Length, 2013

Official Site

MARY CRIES RED (USA)

Groovy djenty post-thrash/post-death with industrial elements ala Pitchshifter and Godflesh; this is heavy abrasive minimalism which clings more towards the doom side with sparse faster-paced escapades ("Darkness Beneath Us", the hectic semi-technical shredder "Serenity") the vocal support being on the dual side with hysterical shrieks alternating with very deep guttural reverberations.

Visceral Anathema Full-length, 2017

Official Site

MARY JANE (RUSSIA)

This obscure Russian formation pulls out retro thrash, mid-paced and sharp ("Evil God"), or faster and more intense ("Fucking World"), or laid-back with a pinch of power/heavy metal ("Solitary Mad"). There is also one cool cover of Cryptic Slaughter's "United Forces".

666 & 777 Demo

MARYBETH (RUSSIA)

Energetic modern thrash with a pinch of classic-ness; the guys know their craft, and if they manage to deepen those more interesting technical decisions ("My Hope is War"), they would call for more "thrash ambulances" in the future, like the title of the closing track says.
The full-length is another professional offering and there is plenty of energy involved the riffs lashing with force and a bit of technicality (check out the interesting headbanger "Straight to") which again hasn't been covered fully. The approach is now more classic-sounding and the shadow of more recent Exodus looms over this effort. As a whole this outfit shows quite a bit of promise and the obvious enthusiasm behind the proceedings clearly shows and would inevitably win the band fans for their cause.

Lost Generation EP, 2011
Hell Arouses Full-Length, 2012

MAS OPTICA (USA)

This obscure act has a fairly interesting approach to metal mixing acoustic parts with more aggressive thrash ones. There are times when the acoustic nature of the music takes the upper hand ("The Feeling", "Dying Season"), and these are probably the ones which wouldn't be too appealing to the thrash metal fans. Some songs excel in complexity, staying firmly on progressive metal grounds ("Way Out") recalling Psychotic Waltz. "Fences" is a curious number that combines heavy doom riffage with jumpy funky sections. "My House Is Green" is a nice intense progressive thrasher which beginning will remind you of Flotsam & Jetsam's "No Place for Disgrace" although later on it never speeds up too much, but remains quite good. This is by no means a full-blooded thrash offering, but it has its more aggressive moments, and the musicianship all over is quite high. The guys were previously known as Renegade, and managed to release one very good album ("Social Pressure") in 1988 the style vintage US speed/power metal with progressive overtones.

Choose to see more Full-length, 1993

Official Site

MASADA (UK)

An obscure British trio who specialize in heavy, proto-doom/post-thrash which sometimes stretches the clumsy delivery into long opuses ("The Means, The Motive") to a pretty boring effect. The riffs are tedious and mid-paced at best, and the singer doesn't improve the situation a lot with his husky semi-clean tone. "Sufferings End" is a cool quirky piece with jumpy Voivod-esque decisions, but the rest is much more ordinary, except for isolated moments from the Roxette cover... ha ha, joking!, "Joy Ride" which is a pensive doom affair with more interesting lively passages.

Virtually Real... Full-length, 1994

MASADA (USA)

Based on the "Til Death" demo, this band play quite cool aggressive thrash with short, 1.5-2 min tracks recalling Sodom's "Persecution Mania", and good mean vocals sounding like a mix between Mille Petrozza and Quorthon (R.I.P.).

Til Death Demo, 1987
Witness This Genocide Demo, 1989

MASCARA (COLOMBIA)

Modern groovy post-thrash with echoes of early Pro-Pain; so expect some memorable melodic hooks (check out the catchy closer "Corrupt Flesh" for some of those) among the prevalent mid-paced semi-thrashing riffage which will make a few heads turn on the more aggressive shredder "Killing Machines" and on the ripping steam-roller "Control". This is rehashed themes done with style and inspiration, and as such this effort could pass for one of the better productions from the groovy side of the style.

Mascara Full-Length, 2013

MASH (RUSSIA)

3 songs of minimalistic classic thrash with not very pleasant semi-shouty hardcore vocals. The delivery is mid-tempo the guys producing something genuinely faster and more technical on the final "Gun Makes Law" which recalls their compatriots Shah with its original, less predictable style. The sound is a bit muffled making the guitars not very clearly heard.

Demo Demo, 2010

MASHET (CHILE)

This new act offer fairly inspired, and very competently done, technical thrash/death which is on the creepy suggestive side without any speedy outbursts. This is very intriguing stuff which even reminds of the legends Theory in Practice due to the several mazey serpentine-like passages which appear out of nowhere, and disappear out of somewhere. The shredding is more on the modern side the sterile edge of the guitars at times betraying it, and some great lead sections bring the requisite doze of melody into the complex picture. "Ngen" is just under 3-min of musical virtuosity also reverberating later-period Death and Atheist, and leaves its shadow on the remaining material among which "Blood Is Shed" is a more dynamic number with a few intense up-tempo passages. The complexity never falters even for a split second, and the abstract proto-blasts on "Fractal On The Fourth Dimension" are just another stylish insertion into this appetizing "cocktail" which will be a sure top-ten pick for many metal fans around the world for 2014.

The Unconsciousness Acts Full-Length, 2014

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MASHIAJ (VENEZUELA)

Pedestrian post-thrash affair in a boring mid-tempo with sparse faster passages ("Muerte Eterna") and not bad attached clean vocals.

Loser Demo, 2010

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MASHIBA (USA)

This US duo specialize in heavy steamroller classic thrash that tramples all over with the cataclysmic seismic opener �Feel It Come Alive� before �Die and Be Mine� brings the speed furies for a bit, the confrontational tank �Lifeless� quite suitable to the singer�s subdued but authoritative death metal timbre. Expect also a nice short epic instrumental (�Diabolic 109 (Dylam Guitar Session)�) and a confrontational rowdy closure (�Awakening Storm�).

Written into Existence Full-length, 2023

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MASK OF SANITY (USA)

A disheveled song-writing leaves a lot to be desired from this slab of relaxed abrasive thrash/crossover which throws the over-8min "Sterilize" at first, but since nothing too extraordinary occurs on this one-dimensional chugger, the listener may as well pack up his expectations which will be further shaken on the boring mid-pacer "Thrash Sabbath" and on the rock-ish piece of boredom "Child of Man". In fact, there's not much actual thrash to be savoured here if we exclude the early-Voivodish winner "M.C.I.S." and the choppy mid-tempo anthem "Running out of Time". The vocalist is a semi-drunken/semi-clean throat who emits both anger and passion in equal dozes without singing too much. The musicians are also busy with the heavy/doomsters Lavaborne and the power/thrash cohort Charonyx.

World Full of Sin Full-length, 2019

Official Site

MASKHERA (VENEZUELA)

This is intense modern thrash which is both fast and slower alternating the groovy sections with more intense riffs the resultant "therapy" staying more on the predictable side the guys obviously possessing all the requisite "tools of the trade" (soaring melodies, pounding breaks, attached semi-shouty vocals, etc.), but delivering in a kind of mechanized, not very inspired manner. The more surprising moments come towards the end: the short brutal "Klon", and the closing 6.5-min ballad "Despierto Otra Vez", the latter a bit overlong, but engaging and well-executed especially the enchanting acoustic passage which is simply brilliant.

Caracas Full-Length, 2012

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MASKIM (ITALY)

One of the better thrash metal albums to come out of Italy; very good technical thrash similar to Koma's "Cepi" and Terrahsphere's "Third in Order of the Sun". There are also straight aggressive thrashers: "Lethal Solution", but it's technical opuses like "House on Trial" which elevate this album to a higher level. Even the ballad "Wise Man Never Stalls" is a nice "calm before the storm", followed by the furious smasher "The Xperiment". The vocalist is a find with a style which is a mix between Mark Osegueda (Death Angel) and Warrel Dane (Nevermore) with the slightly annoying tendency to high-pitch scream which could be scary at times. This is another fine example of how aggression and technicality could co-exist so well.

Maskim Full-length, 1992

MASOCHIST (USA)

This act specialize in fairly good retro progressive thrash which will remind of Heathen's "Victims of Deception" at times, but there are other influences to be detected as well like Testament, late-80's Metallica, etc. The compositions are long with quite a few nuances embedded inside, as one of the highlights would be the brilliant melodic pirouettes on "False Superior", an otherwise pretty energetic ripping thrasher; and the hectic staccato rhythms on "Morphine" the band unleashing an admirable riff fiesta on this one that could easily rival the one on Dark Angel's "Time Des Not Heal" even. The title-track is a less exuberant mid-pacer, and "The Abnegation" is a really impressive progressive shredder with a wide array of time and tempo changes with a couple of wild unrestrained passages, not to mention the few really stylish intricate vortexes. The vocals are passable intense semi-clean ones with a tendency to shout more dramatically on occasion.

Masochist Full-Length, 2018

Official Site

MASON (AUSTRALIA)

Based on the full-length, this act specialize in sharp crunchy modern thrash which mixes classic and modern influences to produce an energetic affair which seldom slouches, and even finds time for several catchy melodic tunes ("Product of Hate"). The middle is occupied by intense mid-paced shredders which also work well surrounded by more aggressive pieces like "Ways of the Weak" which is vintage more recent Annihilator the shadow of the Jeff Waters' act also obvious on the last few songs which flirt with more technical hooks. The singer is a gruff semi-cleaner who can sing, but prefers to semi-shout with a forceful authoritative timbre still leaving a generally positive impression.
"Impervious" offers more "impervious" modern thrash which impresses more with flying stylish shredders like "Tears of Tragedy" and the nice technical diverser "The Afterlife". The title-track shares a few moments with the Gothenburg movement, and "Cross This Path" and "Sacrificed" are cool impetuous speedsters which will keep the headbanging going all over, including on the short roller-coaster "Hellbent on Chaos" and the more varied, more complex closer "Created to Kill" which blends fast furious riffs with intriguing melodic configurations ala later-period Death.

Mason EP, 2011
Warhead Full-length, 2013
Unmerciful EP, 2016
Impervious Full-Length, 2017

Official Site

MASQUE (UK)

A small gem of power/thrash, more along the lines of the works from the American scene at the time; the guys rely more on the galloping up-tempo ("Back With a Vengeance", "No Light to Die by"), switching onto more intense speed/thrash on "Confined Insanity". "The Dead of Night" is a very good heavy ballad, fitting perfectly the melodic high-pitched voice of the singer.

The Dead Of The Night EP, 1988

Fan Site

MASQUERADE (SWITZERLAND)

Standard modern melo-thrash/death affair which is pleasantly melodic and progressive-tinged; lengthy meandering compositions where alot of things happen as more coherence bears better "fruit" like the excellent energetic vivid "Masquerade of Society". The singer is the staple for the genre aggressive shouter. The band members are involved with many other acts like the progressive metallers Stream of Consciousness, the technical death metal formation Taste of Tears, etc.

Soul Deception Full-length, 2017

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MASQUERADER (TAIWAN)

The self-titled EP: this band play decent fast-paced old school thrash the songs richly deserving their bombastic titles ("Thrasher Commandos", "Atomic Funeral") with the loads of rapidfire riffs flowing out of them. There's seldom mercy shown here the band thrashing onwards adding the odd more stylish technical hook ("S. A. T. A. N.") whenever needed. The singer is a deadringer for Schmier, maybe a bit more dramatic and higher-pitched, and the sound quality is crystal clear making the guitars cut like a knife, the intense rhythm-section topped by good short, proficient melodic leads.
The full-length is a very good progressive/technical thrash affair which outlandish nature is marvelously expressed on the mazey opener "Fast Forward Genesis" which also features a spacey balladic break. "Second Guessing" makes no "second guesses" as to what direction it's going to take being another unorthodox cut of the more quiet, balladic variety. "Anonymous Existence" is a modern jumper, the most normal composition here, but comes "Rehabilitation Sequence" and the quirkiness reaches new heights with headbanging passages intertwining with strange, illogical laid-back ones, the madness even bigger on "Exit Wound" due to its more aggressive character. "A Minute Past Midnight" is an unnerving contrasting combination of ballad and blasting extremes, the delivery moving towards Voivod on the surreal shredder "Incompatible Override", a consummate amalgam of fast-paced and sterile riffs. "System Overload" is an eclectic mosher calming down near the middle, before "Dream Escape" unexpectedly offers 7.5-min of tender acoustic balladisms. Not to worry since the closing "Rabbit Hole Singularity" takes care of business with another much less ordinary portion of weird fast-paced decisions on top of imposing stomping quasi-doom undercurrents emerging in the middle. The guys have done their best to produce one of the most impressive recordings from the Far East in recent years, and it seems as though they have more up their sleeves to be displayed on future exploits.

Masquerader EP, 2011
Singular Point EP, 2013
Vortex Day Zero Full-length, 2016

Official Site

MASS CONFUSION (AUSTRALIA)

This obscure act is the brainchild of Phil Gresik, the guitarist who previously took part in the thrashers Hobbs' Angel of Death, and is at present a member of both Bestial Warlust and Destroyer 666. The music of this band is a direct take on early Nuclear Assault, both in the music and the vocal department. At times the guys are quite merciless and fast (the opener "Mangler"), but later on the songs lose the intensity and settle for a mid-paced, but still cool, sound until the coming of "Look Back in Anger" which brings back the fury and speed which in their turn produce the raging thrasher "Out Of" straight after. A couple of short 1-1.5min joke songs are thrown in with a jazzy/funky feel. Fans of the more aggressive side of thrash/crossover need to dig this band out.

Confusion Intrusion Full-length, 1990

MASS CRYSIS (AUSTRALIA)

Based on the full-length, this act serve modern/classic thrash/power that doesn�t exactly cause an earthquake with the fast-paced �Earthquake� but should keep the headbangers happy with the brief immediate �Boom�. �Shit Politician� is a quasi-groovy filler, and �Fit of Nerves� is a cool tribute to mid-90�s Megadeth, a well-measured power/thrasher with a capable Mustaine imitation behind the mike. Later on the fiesta continues with another groovy semi-nonsense (�Ego Never Died�), a soulful tender semi-ballad (�This Is the Game�), and the frivolous speedy closer �Blues�.

Die Totale Early Thrashin' Days, EP 2012 EP, 2013
Imposing Truck Full-length, 2023

Official Site

MASS DECLINE (HOLLAND)

Based on the full-length, this act serve speedy blitzkrieg classic thrash but expect several more officiant, not as dynamic arrangements ("Demonic Butchering"). Still, the unbridled vehemence of the proto-death "Dorothea Puente" and the "Reing in Blood" leftover "The Shrine of Jeffrey Dahmer" raise the tempo quite high, the hysterical shouty vocals aggrandizing the environment to near-fever pitch proportions. Watch out for the stomping drama on the closing "Goddes Rejoice", the only more tamed passages on the album.

E.P. Bitches! EP, 2016
Demonic Full-length, 2020

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MASS DECEPTION (HOLLAND)

The debut: good old school thrash with crisp guitar work, raspy semi-shouty death metal vocals, and a few stylish semi-technical quirks; the band keep the energy high as seldom the tempo goes below the up the short frolicker "They Live" relaxing for a bit with a portion of more moderate mid-paced riffs also providing the finest leads on the album. "Architects Of Control" elaborates the approach towards progressive dimensions with spacey, oblivious semi-leads; and "Ancient Of Days" calms down the situation being a quiet acoustic instrumental. The thrashing carnage continues in the second half "Unslaved" being another more intricate composition with interesting time and tempo-changes on a dramatic, pounding base. All the way to the cool cover of Slayer's "Criminally Insane" rendered faithfully with a more polished guitar sound. Some of the musicians are also involved with the progressive deathsters Defcon One, and the modern/classic thrash formation Engine of Pain.
"Redemptions" is a both more melodic and a less technical affair, the guys shredding in a somewhat samey manner from beginning to end with short to-the-point cuts where mid-paced riffs alternate with more dynamic ones in a predictable, not very exciting fashion, with "The Prepper" calling thrash/crossover in for help, the superb melodic leads on "The Gunslinger" stealing the show towards the end, the more flexible structure of the closing "Social Justice Warriors" another relatively positive occurrence.
The "Halls of Amenti" EP mixes power, speed and thrash (the ripping "Red Dawn") in a somewhat expected fashion, although the less bridled veneer of "Zin Uru" is surely a positive occurrence, as well the more serious progressive clout epitomized by the creepy heavy title-track, this composition also receiving a nice melodic colouring thanks to the talented lead guitarist.

Revelations Full-Length, 2016
Redemptions Full-length, 2019
Halls of Amenti EP, 2022

Official Site

MASS DISORDER (PORTUGAL)

Based on the full-length, this band play crisp modern thrash with boosted production and throaty semi-shouty death metal vocals, with the headbanging parade ensured by uncompromising smashers like "Modus Operandi" and the appropriately-titled "Violence". "Vicious Circle" offers a more laid-back approach bordering on the progressive which later leads to the interesting diverse shredder "Premonition" and the more pounding "Illegal Ambition", both pieces having more elaborate, more intriguing side. Some of the musicians are also involved with the retro thrashers New Born Chaos.

The Way to Our End EP, 2014
Conflagration Full-length, 2018

Official Site

MASS EXECUTION (ITALY)

Right as rain classic thrash ala early Exodus and Vio-Lence, the band thrashing with gusto without much ado, touching the good old crossover ("Black Clouds") on the shorter material. Not surprisingly, a cover of Exodus' "Lesson in Violence" materializes before the listener's ears near the end followed by the longer and more engaging "Illusion" which forms a nice spell-binding symbiosis with the lyrical atmospheric outro which loses the intense shouty vocals the latter an otherwise capable addition to the hyper-active musical background.

The Day Before The Execution Full-Length, 2018

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MASS EXHIBIT (USA)

The band's style nicely clings between the classic and the modern 90's sound. The mixture works well being heavy and mid-paced most of the time, and will remind you of Cyclone Temple's "My friend Lonely", Sacred Reich's "The American Way", and Accuser's "Reflections".

No Trial Runs Demo, 1994

MASS EXTINCTION (IRELAND)

"D.B.A.T." is quite good classic thrash that will remind you of old heroes like Exodus, Slayer, Vio-lence, among others. The opener "Nuclear Dawn" is a smashing thrasher in the best tradition of Slayer's "Reign in Blood"; "Bound in Flesh" carries on in the same headbaning fashion, but it's the last track "Harbinger of Torment" which shines the brightest with its crushing semi-technical mid-tempo riffs.
"Creation's Undoing" is something more of the same: "The-Bay-Area-Meets-Slayer" style for the production of another three songs of good moshing retro thrash with one pure Slayer-worship done with style ("Global Assassin").

D.B.A.T. Demo, 2005
Creation's Undoing Demo, 2007

Official Site

MASS GENOCIDE (USA)

Thrash/crossover having its both more melodic (early Suicidal Tendencies) and more aggressive moments (early Prong); everything is early here... which is good.

Demo Demo, 1987

MASS GRAVE (FRANCE)

Based on "Screams of Underground" split with Infinite Translation, this act pulls out modern thrash/death metal with both fast and slow parts taking turns topped by brutal low-tuned death metal vocals. The guitars hold a melodic edge that doesn't get lost even on the most extreme sections which are close to grindcore.

Mass Grave Demo, 2005
Mass Grave / Dunkelnacht Split, 2007
Screams of Underground Split, 2008
Live Split Tape w/ Zebarges Split album, 2009
Becoming The Horror EP, 2009

Official Site

MASS HYPNOSIA (PHILIPPINES)

A capable trio specializing in a modern/classic thrash metal mixture which knows how to mosh with vigour with sharp cutting riffs and mean Schmier-like vocals, may be a tad more vicious and a bit death-like. The guys' penchant for aggression goes at times towards the death metal camp ("Traumatic Violence"), but the big sense of melody permeates those sections getting bigger with each passing song until it rules supreme in the second half reaching almost later-period Death proportions with the proficient leads leading the pack. Those logically leads to the closing track which is a Death cover of "Denial Of Life" from the Americans' legendary debut, quite faithfully rendered the fury preserved all over even notched up a bit.

Attempt to Assassinate Full-Length, 2010

MASS HYPNOSIS (RUSSIA)

AlexFromBeyond, also from the thrash/death metal outfit From Beyond, is responsible for everything here which clings towards the classic thrash arena with covert elements of death metal including in the vocal department where Alex pulls it off with impressive agonizing shouts. The tempo is fairly fast with casual softer crossover shades ("Tragic Fate"). The aggression escalates at the end with "Zombie Generation" and "Schizophrenia", both raging headbangers which lift the mood and make the future seem brighter for Alex if he plans to focus more on this project.

Waiting for the End Full-Length, 2016

Official Site

MASS HYSTERIA (NORWAY)

This is classic quasi-progressive thrash which tells it all on "24 Hours", an effective tractate from the Bay-Area save for the not very rehearsed semi-death metal vocals, a labyrinthine shredder which could have fitted on Dark Angel's "Time Does not Heal" even. "Twisted In Despair" is a brutal proto-death madness with weird spacey build-ups, and "Betrayed Feelings" is an atmospheric mid-paced trot with a cool lyrical digression, "Ultra Violence" expectedly exhibiting some violence of the semi-headbanging bass-driven variety.

In The Kitchen Morning Demo, 1991

MASS MADNESS (RUSSIA)

The full-length debut: pretty acceptable retro thrash metal of the energetic intense type with shades of crossover; there are a couple of heavy mid-paced tracks, but they're cool detours with an aggro-touch. The annoyance comes from the brutal death metal vocals which are not a match to the better, and much more melodic, music. Some of the band members also play with the power/thrashers Shadow Host, and the drummer Andrey Ischenko is the most celebrated drum guru in Russia at present, having participated in over 40 formations.
"Rise Again" sees the guys "rising again" with more hysterical, higher-pitched vocals which still create quite a bit of noise in the background. The music is right as rain classic thrash with both proto-death and crossover implements scattered around. There's not so much speed to be savoured, though, and the steam-rolling style of Cerebral Fix can be heard as well, especially on major squashers like "Facing Death" and "Blind Faith". The closer "Murder Song" turns to purer hardcore to bang the fans' heads, and succeeds with its vitriolic attitude.
"Innerbeast" doesn't betray the band's staple sound, the band shredding with passion on ripping headachers like "I Am the Power" and "Extreme Defense", the calmer mid-tempo lustre of "Bring It Down" and "Wasted Tool of War" bringing a few modern touches with a sniff of Pantera and the likes.

Mass Madness Full-Length, 2010
The Cage EP, 2013
Rise Again Full-length, 2014
Angry n' Raw EP, 2018
Digital Waste EP, 2020
Innerbeast Full-length, 2021

Official Site

MASS MURDER AGENDA (SWEDEN)

Industrial thrash which is both dancey and aggressive; strange, but true. So imagine a concoction of mid-period Front Line Assembly, Die Krupps and Rammstein's "Mutter", a blend which is chokeful of raging guitars, haunting keyboards, choppy rhythms, and shouty distorted vocals topping this wild show which boasts some fine headbangers: "Man Kill Man", "Becoming God", etc. The atmospheric cuts deliver no worse: "Drawing Flies", and if we add the crushing drama of "Ad Nauseam" and the maddening mechanical shred of the closer "Piece Of Shit" one could hardly wait until he/she gets a hold of this diverse, and fairly listenable, saga.

Bring The Violence Full-Length, 2012

MASS MURDER MACHINE (GERMANY)

An excellent demo of classic Slayer-inspired thrash metal; the music is up-tempo and aggressive, and although there is a little more than Slayer-worship shown here, such music done with dedication and gusto will definitely appeal to all thrash fans.
The EP is more aggressive, bordering on proto-death at times, but there are a couple of smashing heavy mid-paced tracks as well with a certain late-80's Slayer vibe. Still, the majority is fast headbanging thrash, this time recalling early Pestilence. The vocals are throaty death-tinged ones, again more vicious than the vocal style of the demos.

Receive Your Death Demo, 2003
Good Day to Die Demo, 2008
Becoming The Horror EP, 2009

Official Site

MASS MURDER PHENOMENA (USA)

2 tracks of classic death/thrash metal, offering one crunchy mid-paced ("Descent") and one faster ("The White Light") number. The guitar sound is fairly noisy, thinning the leads quite a bit; and the singer is a gruff mid-ranged death metaller who mostly recites in a scary, devilish manner.
The EP is another offering of slow and faster songs mixed this time twice as long also served with a much better sound quality and heavier, thunderous riffs which carry a light doomy edge akin to Asphyx and Beyond Belief. "Pile The Dead" is a surprising more technical piece, a dynamic cut with lashing guitars and more dramatic developments.

Mass Murder Phenomena Demo, 2011
Necrotrophic Demo, EP, 2011
Drones Full-Length, 2013

Official Site

MASS PUNISHMENT (USA)

This is really "punishing" stuff the guys squashing the listener with tons of heavy seismic riffs which arrive from all sides to create a claustrophobic feeling which seldom gets dissipated the sole exception being the very cool ballad "The Desert Rogue". The songs are all lengthy without any particular deviations from the super-heavy formula topped by very angry quarrelsome vocals which are especially tender on the aforementioned ballad, and show the guy's more proficient side. Out of the blue comes "Your Nightmare" to thrash your horizons with a short portion of brutal speedy guitars, but such escapades are not to be encountered later the final "Line of Departure" still banging the head with a slice of more dynamic riffage.

Proving Grounds, Vol.1 Full-Length, 2014

Official Site

MASSACAUST (USA)

A very late entry into the American power/thrash metal scene, this demo boasts a very good sound quality and cool mid to up-tempo music akin to Meliah Rage, Heretic and mid-period Metal Church (the one with Mike Howe). "Death Charmer" is a more intense take on thrash also recalling early Whiplash. The singer will pull you back with his gruff hardcore timbre, though.

B.L.A.C.K. Demo, 1991

MASSACRA (FRANCE)

Massacra's early demos from the late 80's were one of the first really brutal mixtures of thrash and death metal which, despite the muddy sound quality, displayed a band ready to change the face of metal into more extreme dimensions, and easily rivalled the much more polished offerings of Messiah and Protector on the European underground in the mid/late-80's. "Final Holocaust" might have been a big surprise to those who have heard the aforementioned demos providing a fairly accomplished, forceful thrash/death metal blend which is a full-on death metal madness on the opening "fury" "Apocalyptic Warriors". Things get really brutal on the next "Researchers Of Tortures" which is a blasting piece, and before "War Of Attrition" in the middle one would not come across too much thrash: the latter number is clever mid-paced thrash, but the following "Trained To Kill" cancels that approach bringing the delivery back to the much more speedy patterns by notching up the technicality in a nice Hellwitch-esque manner (please, note that the Americans' debut was released a few months later). Fierce Slayer-like thrash will one encounter on "Final Holocaust", and more variety comes right after with "Eternal Hate" which is a gloomy mid-pacer with doom/death overtones. No more digressions of the kind, the last two songs being forceful thrash/deathsters with more stylish semi-technical leanings. This strong debut quickly established the band on the top of the metal movement in France.
"Enjoy the Violence" continues the thrash/death metal saga on full-throttle, again death metal being prevalent, the singer Fred "Death" Duval (R.I.P.) being a great asset with his forceful brutal, but fairly comprehensive, timbre. Two fast blitzkriegers open the album before "Gods of Hate" introduces heavy stomping riffs, pretty much in the vein of Slayer's "South of Heaven" (read the overall mood on the album, not the actual song of the same title). The stompiness remains for the excellent technical piece "Atrocious Crimes", and again becomes the dominant tone on the following "Revealing Cruelty" for a while. As a whole the speed hasn't been so much emphasized on this time with "Full of Hatred" hitting with doomy gloominess in the beginning before turning into a virtuous fast-paced opus with nice technical decisions, not far from Death's same year's "Human". The technicality reaches heights on the small hectic numbers "Seas of Blood" and "Sublime Extermination", an approach which later Suffocation perfected by giving it a more brutal flavour. The final "Agonizing World" is another masterpiece of brutal technicality exiting this equally as strong effort in the best possible way.
"Signs of the Decline" shows no mercy from the get-go with the ultimately brutal opener "Evidence Of Abominations". Later the guys insert slower sections and things get more tolerable with "Mortify Their Flesh" "flirting" again with the stomping late-80's Slayer-esque thrash at some point. But that's all the listener will encounter from a thrash-metal-point-of-view since the rest is pretty aggressive death metal with a touch of technicality, but by all means not as satisfying as the previous much better album.
"Sick" is a stylish exit from the death metal scene offering pretty cool post-death ranking among the best attempts in the genre alongside Entombed's "Wolverine Blues" and Six Feet Under's "Haunted". There's no fast play at all the band settling for pounding, fairly heavy, riffage without too much variation, but engaging nonetheless, well conformed with the trends of the time and way better constructed than the bland offerings which came from France, in particular, around the same time (remember Mercyless, No Return, etc.).
"Humanize Human" is a straight-ahead post-thrash effort with touches of industrial which again worked well, but soon after the band folded with Duval and the other guitarist Jean-Marc Trisani later forming Zero Tolerance for the recording of one more album of industrialized post-thrash.

Final Holocaust Full-length, 1990
Enjoy the Violence Full-length, 1991
Signs of the Decline Full-length, 1992
Sick Full-length, 1994
Humanize Human Full-length, 1995

My Space

MASSACRATOR (MEXICO)

The demo: noisy raw retro thrash metal, energetic and fast, but the bad sound quality and the shrieky hysterical black-ish vocals are detrimental to the guys' efforts. Still, the band thrashes on without mercy slowing down only for the creepy dark instrumental "Madness" at the end. Some of the musicians can also be seen in another old school thrash metal act, Toxic Rain.
The full-length comes with a much better sound quality and much sharper guitars. As a result the band sound quite confident unleashing fast lashing riffs to no end the slower moments not many at all "Lord of Terror" being a relatively moderate stomper. The rest is intense mosh done the good old school way.

A Massacrator Has Been Unleashed Demo, 2008
Everlasting Nightmare Full-Length, 2016

Official Site

MASSACRE (BRAZIL)

Based on the debut demo, this is vicious aggressive thrash/speed/crossover the guys just bashing violently with not a big professionalism present, just naive fast-paced riffs topped by unrehearsed screamy vocals. The sound quality is simply awful ruining the efforts of the musicians beyond repair. This could have passed for the South American version of "Pleasure to Kill" if the guys had managed to produce a full-length of such seismic proportions.

Donzela Maldita Demo, 1986
Scream for Your Life EP, 2011

Official Site

MASSACRE (CHILE)

This is noisy semi-amateurish bash which is somewhere between death and thrash, and is indeed a brutal affair with very expressive semi-declamatory vocals. A particularly interesting touch are the heavy, Celtic Frost-esque moments which are by far the more proficient side, but are surprisingly missing from the two lengthy compositions at the end which are overfull of stylish melodic leads, and can even pass for semi-progressive thrash/proto-death despite their unpolished, chaotic nature, and the more or less appropriate classical applications (the main motif from Edward Grieg's "The Hall of the Mountain King" is present done in a way not far from Savatage themselves... kidding, of course!).

Altazor Demo, 1986

MASSACRE (GERMANY)

This ultimately raw recording could pass for intense thrash/proto-death which tries to channel the extreme aesthetics of Possessed's "Seven Churches", but the very bad sound quality makes this one big mish-mash played in up-tempo with horrifying death/black vocals topping the musical barrage from which a few screamy piercing lead sections could be distinguished.

Demo Demo, 1985

MASSACRE (PORTUGAL)

A very good demo of German-influenced thrash: think Exumer's "Possesssed by Fire", Necronomicon's "Escalation", Toxic Shock's "Change from Reality"; fast tempo, sharp riffs, and screaming leads.

Mortal Remains Demo, 1989

My Space

MASSACRE OF THE MEGAFAUNA (UK)

Modern melodic thrash metal with shades of doom ("Rumsfeld's Unspoken Fourth Epistemological Insight"), something pretty common on the scene nowadays, mid-paced with balladic references and unpleasant gruff shouty vocals.

MOTM Ep, 2010

MASSAKER (BRAZIL)

The "first attack" (and only so far) from these Brazilians is in the form of sharp "attacking" retro thrash along the lines of early Whiplash. This is good fast-paced music with a pinch of the Bay-Area: Exodus' "Bonded by Blood", in particular ("Toxic Violence"), and slightly hysterical screechy vocals.

First Attack Demo, 2009

MASSAKIST (USA)

Based on the debut demo, this is simplistic fast hardcore-tinged thrash reminiscent of Rigor Mortis, on the better and more intense moments. This is good headbanging stuff, by the way, fairly fast at times, if we exclude stupid hardcore numbers like "You're a Slut", for example.
The EP is a step forward for the band sounding way more complex and more ambitious. "Darkly; the Turn" is a dark power/thrasher with heavy technical riffs kind of predating the sound later heard on the Nevermore albums. "Of All That Is Seen" is a twisting roller-coaster with dark potent guitars with a doom vibe and a faster-paced ending. "The Storyteller" is a progressive opus starting with a sprawling balladic intro before the guys start thrashing with more control staying within the mid-tempo with a few more dynamic gallops provided. "Triskaidekaphobia" is a crisp all-instrumental cut with steady steam-roller riffs and great technical sections, something like a precursor to the more progressive, elaborate style the guys would epitomize for their next project, Surrealist.

Demo Demo, 1989
Plagues of the Mind Demo, 1989
Of All that is Seen...And Unseen EP, 1991

MASSAKRE (CHILE)

On "Crematorium" this band specializes in aggressive thrash akin to Devastation and Slayer; a really good work. "Psychotic Redemption" is another worthy release, albeit with a more modern sound, but the tempo is still fast, despite a certain presence of groovy parts thrown in here and there. The debut is much slower and quite an unpromising start with heavy, semi-technical guitar work, and awkward gothic/doom numbers ("Temblor del Cielo" and "Y al Final la Guerra Terminal") that simply have no place on an album like this, as well as jolly rock hymns, which sound even worse ("Todos Juntos"), which is actually a cover version of a song from one of the best known Chilean rock bands Los Jaivas. Even the thrashy songs have this gothic atmosphere around them, created mostly by haunting keyboard implements.

Massacre Full-length, 1989
Psychotic Redemption Full-length, 2001
Crematorium Full-length, 2005

Official Site

MASSAPPEAL (AUSTRALIA)

Based on the "Nobody Likes a Thinker" EP, this is a thrash/crossover band who sound close to early Prong and Beyond Possession; the music is fast and quite aggressive, without any attempts at a more varied play. "Nommo Anagonno" shows a shift towards an awful, and not very listenable mish-mash of hardcore, post-thrash, grunge and funky/jazzy perversions. This is nothing more than the next ill-fated attempt at offering something more unusual to the point of a total display of bad taste...

Nobody Likes A Thinker EP, 1986
Bar Of Life EP, 1987
Jazz Full-length, 1989
The Mechanic Full-length, 1992
The Zesty Charismatic Personality Chamber EP, 1994
Nommo Anagonno Full-length, 1994

MASSDESTRUCTION (COLOMBIA)

Classic speed/thrash modeled after the German models from the 80's; slower epic-tinged hymns ("Karma") timidly straddle here and there, afraid to clash with straight-ahead headbangers like "Chased by Nightmares" and, of course, "Breathe the Thrash". The singer is a shouty/semi-shouty semi-cleaner quite reminiscent of Uwe Diedfenbacher (Toxic Shock).

Panic Button Full-Length, 2019

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MASSDISTRACTION (SWEDEN)

The demo: classic thrash metal with technical pretensions clinging towards the Bay-Area at times; the delivery strangely reminds of the old school technical thrash metal act Forced Entry: heavy swirling riffs take turns with more dynamic ones the former having this individual stomping quality not very often heard on the scene. The guys play with competence also unleashing stylish melodic leads, and "Sudden Deaf" is a cool all-out headbanger, immediately followed by the short blitzkrieg thrasher "Death Row". There are only seven songs here, and despite the good quality of the music, it has a somewhat unfinished feeling to it; some improvement in the vocal department would be beneficial as well: the shaky semi-death/semi-black/semi-clean delivery of the singer hardly suits the more stylish music.
Half of the songs on "Follow the Rats" are familiar from the demo so we're left with just four new tracks to savour. Those numbers don't disappoint being in the same brisk classic vein the latter getting lost a bit "thanks" to the very modern production. The singer has also moved up the proficiency scale now sounding way more attached and expressive with not annoying semi-shouty tendencies."Walking the Earth" is a particularly interesting composition being slower than the rest, but very well structured with some twists and turns which are not hard to follow due to the less dynamic delivery. "Diluted" is another puzzler with clever insertions again not the fastest number in the world, but satisfying enough with its less predictable approach. "Sane" clings towards the semi-ballad, but is another technical exploit which contains the necessary amount of hard-hitting riffage too keep the mosh going. The closing "Master Manipulator" is more ordinary and not as exciting also smelling modern thrash emitting a lot of melody as well, but can hardly diminish the impact from this assured entry into the thrash metal circle which would make the fans follow both the band and the rats.
"Your Time": an imposing lead-driven "Overture" welcomes the listener who will otherwise be a bit disappointed since the delivery this time is more orthodox without any technical flourishes and with too many uneventful mid-paced tracks ("Deliverance") which are partly excused by more dynamic pieces like "Thou Shalt Not Kill" and "Self Preservation".

Succubus Demo, 2010
Follow the Rats Full-Length, 2012
Your Time Full-Length, 2016

My Space

MASSECUTOR (USA)

A single musician is behind this, the name/alias Joseph Gutspiller, and he specializes in abrasive retro thrash/death, the energy exuded by violators like �Funeral, Burial, and the End� and �Poltergeist� also dripping with overt deathly menace. The Floridian school is a very obvious influence, early Death in particular, but this isn�t exactly �Leprosy II�, the delivery is more straight-forward and concrete, although Gutspiller�s intimidating vocals are near-identical to Chuck Schuldiner�s (R.I.P.) early terror tactics behind the mike. �Conceptual Visions� finely captures the sophisticated complexity of Chuck�s later escapades, the brief lyrical instrumental �State of Insanity...� another dexterous showing, but the pristine hissing sound quality diminishes the pleasure from the expert musicianship on display.

Conceptual Visions Full-length, 2024

Official Site

MASSIVE APPENDAGE (AUSTRALIA)

This is simplistic, but enjoyable thrash, if we exclude the explicit sexual lyrics (which shouldn't be a distraction, and are not meant to be taken seriously). The music nicely varies from jolly thrash/crossover numbers ("War Zone") to cool speed/thrashers in the Tankard vein ("A.N.A.L.", "What's Happening to the World"), to excellent longer, more thoughtful pieces with a slight power metal edge ("Massive Appendage"). All songs are graced by superb lead guitars, which are so good that easily overshadow the rest including the sharp, but a little thin, riffs.

The Severed Erection Full-length, 1988

MASSIVE BLAST (ITALY)

Based on the full-length, this band play choppy modern post-thrash of the calmer variety with nice female vocals interrupting the main throat who is a semi-clean mid-ranger not holding a lot of melody. "Mystical River" is a surprising more dynamic cut, and "The Other Truth" is the other more aggressive shredder the tender ballad "Fortress". The end is occupied by two overlong opuses among which the closer "You Must Kill Me" is the better one with its more intense guitars and the few quirky attempts at a more progressive play.

Out of the Garage EP, 2012
One Good Reason to Kill Full-length, 2015

Official Site

MASSIVE DESTRUKTION (PUERTO RICO)

Classic Sepultura-sque thrash modeled after "Beneath the Remains", above all; no surprises for those who know said album by heart except the more entangled riffage on "Possessed by the Bullet", and the more controlled pounding breaks on "Wasteland". The title-track may remind of the simplistic barrage of the early German speed/thrash movement, and the final "Ultimatum" nearly turns into a death metal listening experience, the gruff spiteful death metal vocals helping the more brutal cause.

Mercenaries Full-length, 2019

Official Site

MASSIVE PAIN (GREECE)

Classic thrash with a slightly boosted modern production; the guys play with speed touching 80's Slayer on the more aggressive moments, but the abrasive guitar sound gives the music a kind of a dissipated quality. Still, the band thrash on with screaming leads and shouty proto-hardcore vocals, producing a decent slab of metal which may also remind you of several other veterans who have also given a more modern boost to their new efforts (Exodus, Onslaught, Mortal Sin).

Demo Demo, 2012

MASSIVE POWER (CHILE)

These guys have the potential to become one of the leading thrash metal bands on the South American scene. The tracks from the "Breaking Your Head" demo are forceful speed/thrash with an excellent production bringing Paradox's "Heresy" to mind. They were actually mastered versions of songs from their "Rehearsal" demo where the production qualities are a bit muddy. Their last demo features some good thrash, too, but the sound is a bit dirtier sounding like something which had been released a long time ago during the band's spawning stages.
The full-length is finally a fact, and is a major ripper from beginning to end comprising energetic shredders with a genuine semi-technical potential. The style is a delightful blend of the Bay-Area and the German school which even goes outside the "head banging zone" on the really aggressive "Head Banging Zone". "March of Destruction" is a "march" of everything which can be called classic thrash, an exemplary composition which influences the next "Moshing Rage" which more than deserves its title with some of the most "raging" riffs around. Time for more brutal thrashing later with "Fight" and the short outburst "Deception and Death", before the closing "Massive Power" wraps it up with its close to 9-min of impetuous swirling speed/thrash in the best tradition of Paradox's "Heresy" and early Deathrow. This album is a winner on all counts, and indeed sees the band one of the main purveyors on the South American scene at present.

Rehearsal Demo, 2003
Breaking Your Head Demo, 2004
Possessed by Alcohol Demo, 2005
Massive Power Full-Length, 2013

Official Site

MASSIVE ROAR (PORTUGAL)

A very good sound quality welcomes the listener who will come across cleverly-constructed power/thrash compositions where the hard-hitting moments intercept milder power metal-ish touches the established symbiosis working well for most of the time although apart from the short ripper "Thinking" there's not much intensity to be encountered, some of the really short (1-2min) joke tracks scattered around probably containing some of it, too. The vocalist does a really good job impersonating James Hetfield, and manages to capture the American's drama for most of the time.

Massive Roar Demo, 1992

Official Site

MASSKILL (BRAZIL)

Based on the "The Cycle" EP, these folks serve diverse classic thrash which straddles between heavy steam-rollers ("Blurry Visions") and fast-paced blitzkriegers ("Down Society"), the effective forceful semi-declamatory vocals doing a decent job to elevate the material to a higher ground the latter also reached with the versatile shredder "Drink It Up". "Fighting to Be Set Free" combines the two sides into one vicious melee, while "Scream in Vain" betrays the heretofore presented old school sound with a couple of groovy post-thrash rhythms.

Biological Hazard EP, 2017
The Cycle EP, 2020

Official Site

MASTABA (CZECH)

These Czechs pull out decent classic thrash with more playful qualities descending to heavy/power metal at times, coming with all the guns blazing on the closing "Deportace", which is an intense headbanger. The rest is mid to up-tempo; feelgood stuff as a whole topped by a bit dispassionate mid-leveled clean vocals.

Signum Diabolicum Full-Length, 2009

MASTEMEY (POLAND)

Dark atmospheric modern thrash which is content enough to tread in mid-pace for most of the time with occasional moments of "violence" ("Wind Of Delusion"). The doom and the ballad easily settle in later on, and it's up to aggressive outbursts like "No other Way" to make the sleepy heads move around. The singer is a hoarse semi-shouter whose antics are too listless to match the atmospheric musical delivery.

Mastemey Full-Length, 2016

Official Site

MASTER (RUSSIA)

One of the first Russian speed/thrash metal bands; the self-titled debut is a really impressive blend of speed and thrash, more on the speed metal side containing some of the definitive speed metal hymns of the Russian metal scene; on "With the Noose Around the Neck" the band unleash a merciless thrash attack, which still remains their finest hour; hard aggressive riffs and fast tempos aplenty; one-dimensional compared to the previous and next efforts, but a great headbanging delight all the way with a nice ballad at the end. "Talk of the Devil" is not too far from its predecessor, but includes some slower songs with more technical guitar work; the end is preserved for one very cool speedy version of Black Sabbath's "Paranoid".
"Maniac Party" has only slightly accepted the modern trends; the classic sound is still present, and the technical edge of the guitars has been increased; some songs are longer, and the bass work is much better. As a result we have a nice technical thrash album crossing the heavy pounding sound of mid-period Metallica with the lighter, but equally as effective, one of Living Death's "World Neurosis". "Songs Of The Dead" has little to do with the band's early works: it shares some of the pounding energy of the last album, but the sound is a lot more modern and groovy; a lot of speed has been sacrificed, and there is hardly a couple of more up-tempo songs. The band's releases of the new millennium have no ties to thrash metal, still good, but in the power/heavy metal mould.
"Master Vremeni" brings some of the thrashy vigour of old, "Mirotvorec" stomping belligerently in an urgent mid-tempo, and "Zloj Vek" speeding up to acceptable radio-friendly parametres. The rest is strictly in the heavy/power metal camp, a style then band have epitomized so well through the years.

Master Full-length, 1987
With the Noose Around the Neck Full-length, 1989
Talk of the Devil Full-length, 1991
Maniac Party Full-length, 1994
Songs Of The Dead Full-length, 1996
Master Vremeni Full-length, 2020

Official Site

MASTER (USA)

Paul Speckmann's contribution to the development of the more extreme music genres is undeniable, and Master is his longest-running and most enduring project. The band's debut album, which remained unreleased until 2003, could have been considered the most brutal recording out there surpassing both "Seven Churches" and "Hell Awaits" in terms of extremity and rawness although in terms of musicianship it was way behind. It was a primal take on proto-death metal with no bars held with a very cacophonous at times delivery which could have taken a nicer shape if Speckman hadn't chosen to found a new act (Abomination, that is) and tone down the aggression. Still, Master was not meant to stay buried, and the guys re-surfaced 4 years later with their official self-titled debut which was a nice addition to the already well-shaped US death metal scene. Another effort followed a few months later along with several other new projects founded by the man with Master remaining his most brutal "child".
Well-fitted into the death metal picture during the early 90's, the band suddenly took a shift into pure old school thrash with "Collection of Souls" showing very little concern with that genre's tragic state at that time. The music on offer is varied starting with the energetic hardcore-ish "Constant Reminders" only to slow down to doom dimensions on the next two gloomy heavy numbers "Taste of Insanity" and "Hidden Stories". "Glorify the Dead" is jolly thrash/crossover in a good headbanging pace, and "Blinded Faith" is a full-blooded thrash bomb followed by the ultra-speedster "Justice or Fate". Compensation is offered on the following two much slower Abomination-esque tracks, before the closer "Silver Spoon" brings forward more dynamic speedy riffage as a finishing touch.
Then Speckman left his main band to rest for a few years concentrating on the other ones, to re-appear in 1998 with "Faith Is in Season". The music remains within the thrash metal confines, and is not a very distant departure from the last offering again mixing slow and fast songs, but with a more simplistic stripped-down sound often close to pure hardcore, probably more speed-oriented with a few modern elements added including the cool balladic instrumental outro "Previously Committed".

"Let's Start a War" sees the guys returning to their death metal roots, although thrash metal is still present (the speedy opener "Cast One Vote" and "Disturbed", the hectic thrasher "Command Your Fate"; the Slayer-sque closer "Disturbed") making this mix much better than the last album. The approach is pretty fast-paced and vigorous making some groovy variations ("Every Dog Has It's Day", the bluesy instrumental joke "Purchase A New Handgun" which is almost 6-min (!) long; quite a joke, if you ask me) quite inappropriate; still, the guys should be praised for the cool, albeit a bit rough, version of the Nazareth hit "Miss Misery" which gives the album a nice rock-ish edge for a while. On the next "The Spirit of the West" the transition to full-fledged death metal was complete and the band haven't looked back since with four solid albums released so far.
Master failed to join the "old elite" in the good "old" days, but here they are among "The New Elite". Their passion for thrash has returned, and this offering sees them thrashing with passion in the good old school manner and will inevitably leave numerous sprained necks along the way. Their darker, death metal, side springs up, of course, and "Remove The Knife" will nail you down to the floor with its ultra-brutal rhythm. Actually, the band seldom let the pace down, and stomping steam-rollers like the formidable "Redirect The Evil" and the dark late-80's Slayer-esque "Guide Yourself" are certainly a rarity. Speckman doesn't betray his forceful venomous vocal approach, neither has he forgotten to put the odd surprise in the album, which this time comes in the form of the clever technical semi-instrumental "Souls Of Dissuade" which even "flirts" with funk at some point. The final "Twist Of Fate" closes the album in an assured thrash/deathy manner in the spirit of early Death confirming further the positive impression from this fresh rendition of the old genre canons.
"The Witchhunt" is another fairly enjoyable release the band thrash/deathing with gusto without re-inventing the wheel. Imposing stompers ("Another Suicide") take turns with wild headbangers ("The Parable") to a generally positive impression as the signs of rude behaviour (the brutal hyper-blasts on "Remove the Clowns") have been minimized quite a bit making thrash the dominant genre for most of the time.
"An Epiphany of Hate" is the next in line thrash/death roller-coaster the guys entertaining themselves with direct, straight-forward tracks sustained in the expected up-pace clinging more towards death metal this time with signs of the early Swedish school (the Unleashed-esque "The People of the Damned") and casual sparkles of jumpy semi-technicality ("Senses All Will Be Controlled").
�Saints Dispelled� sees Speckman and Co. well-equipped to sound relevant on the field, the moshing fury that is the opening �Destruction in Jun� nicely backed-up by the corrosive urgency on �Walk in the Footsteps of Doom� and the crusty gravity of �Minds under Pressure�. The speed/thrashy optimism of �Find Your Life� brightens the horizon a bit, but watch out for the near-hardcore intensity of �Marred and Diseased� and the steam-roller complexity of the closing �The Wizard of Evil�.

Unreleased Full-Length, 1985
Collection of Souls Full-length, 1993
Faith Is in Season Full-length, 1998
Let's Start a War Full-length, 2002
The New Elite Full-length, 2012
The Witchhunt Full-Length, 2013
An Epiphany of Hate Full-Length, 2016
Saints Dispelled Full-length, 2024

Official Site

MASTER DAMNED (ITALY)

This is dark atmospheric modern power/thrash which has its moments, but the noisy production takes away considerably from the guys' efforts who have admirably tried to capture post-thrash aesthetics of both The Black Album and the Flotsams' "Quatro" the lack of true dynamics another not so overt downside ably compensated by the well performed ballads ("Life" is a particularly good one). When one least expects it the guys will start thrashing with force ("Hate") leaving quite a positive impression the latter gimmicks never applied later on; on the contrary, the guys get more and more fascinated with the balladic forms producing another two in quick succession near the end inevitably evoking frowns of the fans' faces. The singer is not bad at all with his gruff semi-clean tone recalling James Hetfield and early Nick Holmes (Paradise Lost), maybe less melodic than the former and by no means as expressive and aggressive as the latter.

So Blind Full-Length, 1996

MASTER DESTRUCTOR (USA)

M.D. from Fueled by Fire is involved her with two guys from the classic thrashers Detonator, and this 43-song effort shows another cold school thrash purveyor which begs to differ from the father bands with a more complex sound and long effective compositions ("Master Destructor") where quite a few things occur the dominant tone being quite intense and fast-paced. The more immediate material ("Contra Attack") is pure speed metal delights with added sing-along choruses and some infectious hooks. The singer is appropriately hoarse semi-clean with a few melodic tones present to make him more relevant to the fast, but also melodic, musical delivery.

Evil Rising Demo, 2009

Official Site

MASTER FURY (USA)

Based on the debut, this band offer quite good speed/thrash metal which starts with the excellent energetic instrumental title-track with great, Russian folk tune-influenced guitars; the rage continues unabated with "Crash": a total early Angel Dust and Iron Angel worship, another great number. The demo carries on in the same merciless vein (it's 8 songs long, and there is another marvelous instrumental later on: "Semper Furious"), until it reaches the last song: "Riot", which despite its name is the most melodic piece here, still energetic, but more along the lines of early Exciter and Savage Grace. This is a gem which is worth the long time invested to track it down, and immediately makes their full-length a highly sought-out item.
"Circles Of Hate" is a no-brainer, well worth the time invested to track it down offering 8 brand new songs of furious speed/thrash metal now coming Slayer-decorated. "Die in Your Sleep" is a raging opener thrashing far and wide spraining a lot of necks along the way. "Lies" is even more aggressive, a brutally sincere headbanging piece, and when "Circus of Hate" nails you down in the same way, you may start worrying whether there'll be any mercy shown here. Well, your prayers will be answered almost immediately, with "Son of Man" which is a heavy stomper in the first half, but the 2nd one wants your neck again; badly. The aggression carries on with an almost hardcore-like intensity with "Corporate War", but "The Way" will show you "the way" to some peace and (relative) quiet finally, offering a surprisingly restrained more complex, almost progressive, approach; a very nice shift showing the band's other, more serious, side. But that's all since the remaining songs are raging thrashers to the bone leaving you shattered all over the floor. This obscure effort is more than a worthy companion piece to same year's Evildead's "Annihilation of Civilization" and Devastation's "Signs of Life" being more direct and uncompromising, still remaining within the confines of the thrash metal genre despite the obvious efforts put by the guys to remain there.

Hell Party Full-Length, 1988
Circles Of Hate Full-length, 1989

MASTER OF CRUELTY (PARAGUAY)

Based on the full-length, this outfit specialize in a classic blend of thrash and death metal where brutal blasting rhythms intertwine with more controlled stomping passages the resultant "therapy" quite close to the early examples from the Floridian scene with not much thrash incorporated in the second half where a few sincere hardcore moments can be encountered as well among other "helping hands". The vocalist growls in an authoritative semi-shouty manner and albeit quite brutal, leaves a generally positive impression assisting this ultimately aggressive musical downpour.

Spit on the Holy Grail Full-length, 2012
Depths of a Cold Abyss EP, 2012

My Space

MASTERLESS (IRELAND)

These young Irishmen provide intricate progressive modern thrash which starts shredding with admirable complexity from the very opener "Eternity". "The Arms Of An Empire" is a bit more linear, and "Extinction Praefinitum" is another headbanging winner without too many complicated riff-patterns. Comes "Waning Heaven", however, and the situation becomes a bit harder to swallow with choppier riffage, but with also a few cool melodic tunes and a sing-along chorus. "End Of Days" serves hard sterile thrashing with wild blasting passage, before "The March To War" notches it up in the melodic department with a portion of brilliant virtuoso lead passages. The guys take themselves too seriously in the 2nd half offering three gigantic compositions easily going over the 9-min mark, and despite their undisputable merits, especially the 10.5-min saga "Red Sun Rises", they throw too much music at the listener for them to be truly impressive achievements. A major pullback would be the constantly hissing sound quality which particularly mars the vocals the latter not very clearly heard for most of the time.

Vendetta Unaccounted Full-Length, 2016

MASTERMIND (PARAGUAY)

The demo: South America is the most widely awoken for classic thrash place in the past 10 years so acts like this one shouldn't surprise anymore. The guys play melodic retro power/thrash with a few addictive melodic lines recalling both Iron Maiden and 90's Megadeth. "Strange aggression" will overwhelm you on the long elaborate shredder "Strange Aggression" which is nothing aggressive really, but is a captivating exercise in virtuous guitar performance containing some really engaging passages, and is quite an achievement in the all-instrumental sector with the plenty of moods and riff-patterns intertwined within. "Violence and Force" is not an Exciter cover, but is a really cool speedster with lashing expressive guitars. The final "Tripod Attack" is the only oddity here being a calmer bass-driven instrumental which still displays the guys' skills in producing clever, but also quite dynamic, music which should find a fuller realisation not far from now.
The full-length is a fact and it comes served with the support from the demo including the aforementioned "Strange Aggression" which is the "godfather" of the album. The approach is quite energetic with plenty of headbanging opportunities: check out the speed metal hymn "The Triple Alliance", or the intense semi-technical shredder "The Nightcomers". "Terrible World" is a formidable galloper with lashing hard riffs, and "Victims of Faith" is a short rager with some fine leads. "Violence & Force" near the end isn't an Exciter cover, but is an acceptable mosher with good fast-paced rhythms. The final "In Memory of a Soldier" is a more melancholic mid-pacer with a cool progressive edge, a slightly awkward epitaph to this really cool energetic old school affair.
"Unstoppable Drunks" is another full-on attack on the senses the guys relaxing a bit with mellower rhythms although the speed has been by all means retained; still, "A Lesson of Thrash" could have been made more aggressive to be a really meaningful "lesson in thrash"... The second half is more melodic with crossover taking over ("Wish You Were A Beer") as well as the fixation on beer, before the cover of Venom's "Black Metal" arrives towards the end to show the band in their brightest light producing a prime speedster putting even their British peers to shame with their inspired, invigorating rendition of this immortal hit.
"Conceiver Of Doom" impresses from the very first notes of the opening diverse shredder "The Final Command", and this more complex delivery is sustained for a number of cuts among which "April The 9th" is a cool atmospheric pounder, and "Through The Night" is a dark semi-ballad with a surprising speedy exit. The guys take no prisoners on shorter ripping pieces like "Islamic Suicide" and especially the speed metal delights "Conceiver Of Doom" and the total early Metallica and Exciter worship that is the closing "Underground".

Under Fire Demo, 2011
Strange Aggression Full-Length, 2013
Unstoppable Drunks Full-Length, 2015
Conceiver Of Doom Full-Length, 2018

Official Site

MASTERMIND (UK)

Based on the "The Masters' Orders" EP, these lads offer fast blitzkrieg retro thrash/crossover with short jolts serving for the tracks, "Old Hat" pounding its way with in an angry steam-roller fashion, the confrontational quarrelsome vocalist suiting either side, including the raucous hardcore uplifter "Stuck in a Rut". Watch out for the frivolous power metal semi-galloper "The Mastermind" as well, the guys finding various ways to entertain the masses.

Bad Reaction EP, 2019
The Masters' Orders EP, 2022

Official Site

MASTERPIECE (BRAZIL)

This Brazilian outfit should try harder in order to come up with a "masterpiece": now this competent, but pretty generic, slab of modern post-thrash spiced with more relaxed heavy/power metal passages won't hold water for very long. The riffage is heavy, though, but the melodic leads (check out "Hecatombe") are also here, and they surpass everything else heard on the album. "For Their Heirs Of Freedom" is a nice mix between the ballad and thrash, but rest assured that slower, doom excursions ("Lane") are also presented the latter recalling the spirit of The Black Album quite a bit which is actually the closest soundalike. The singer is a detriment, though, with his gruff deathly tone although he surprisingly finds the way to a more stylish singing on the more quiet parts (the aforementioned "Lane").

Heirs of Freedom Full-length, 2012

Official Site

MASTERS OF METAL (USA)

While the world is waiting for the next chapter of the Agent Steel saga, here come a new formation comprising the exactly the same line-up. Why the name change (could be another friction with Cyriis?) few would know, but the truth is that the guys haven't lost the knack of speed/thrashing hard, and the fans will get plenty of hard-hitting riffs, some enchanting melodies, and very good attached clean vocals courtesy of the guitarist Bernie Versailles who should have discovered his vocal talents earlier since he is really cool. The expected approach only stumbles lightly on the modern proto-groover "M K Ultra (Mind Kontrol)" which is just a filler to contrast with the rest. The final "Lunacy" is a power/speed metal winner with great guitar "duels", and with James Rivera lending his vocal abilities as well. The future looks bright, but shall we forget about Agent Steel... lest we forget...
"From Worlds Beyond": the opening "Supremacy" is vintage early Agent Steel, and the more sentimental will have no choice but to shed a tear or two listening to those gorgeous speedy guitars and those angelic soaring John Cyriis-like vocals; it's not him, but it's one of the Agent Steel founders Bernie Versailles, and one can be perennially mystified as to why he doesn't handle the vocal duties on his main band exploits. The genuine impetuousness of the opener isn't quite captured later, but the fans will have their fun on the pounding headbanger "Third Eye", also graced by a cool memorable chorus, and the aggressive lasher "Tomb of Ra". More modern rhythms sneak on "Eclipse", but "The Mindless" thrashes with no remorse right after, a tendency sadly abandoned on a string of numbers which cling more towards the power metal side. The end is by all means worthy, though, first due to the crushing speedster "Evolution of Being", and then thanks to the closing sweeper "Vengeance & Might" which sees none other than Mr. James Rivera taking over the mike. As a whole there's nothing wrong with this uplifting opus which sees the band trying to stay comfortably away from the shadow of their main occupation by not trying to run away too far from the speed/thrash metal spectre.

Masters of Metal EP, 2013
From Worlds Beyond Full-Length, 2015

Official Site

MASTERSTROKE (ITALY)

This is pretty good old school speed/thrash with echoes of Angel Dust, Exumer's debut and Paradox. There's not much "silence" to be encountered here: the band thrash on with confidence by producing longer, more thought-out numbers also rubbing shoulders with Manticora and Hellfire. There are only seven songs here, though, and they end quickly with just a few "last tries" at a more moderate play (the peaceful heavy/power metal cut "Last Try"), the rest racing with the speed of light ("Lord of Life"). The closer "Kill 'em All" is an encompassing speed/thrasher thrashing with passion incessantly for over 7-min: not much Metallica here, neither vocal not music-wise. Mentioning the singer, he does a good job with his high-strung, clean voice covering several gamuts. Some of the band members have done (and still do) service in the power metal veterans Domine.

Silence Full-length, 2011

MASTERWORK (FINLAND)

A cool mixture of power, speed and thrash metal obviously influenced by early Metallica, but the music isn't thrashy all the time, featuring more restrained power and traditional metal sections ("Penitention Sermon" goes down to doom metal even, and is quite an achievement in itself), where the good clean vocals fit a bit better.

Bad Power / Penitential Sermon EP, 1990

MASTERY (CANADA)

Excellent instrumental thrash; the music in not overtly technical like the one of Electro Quarterstaff or Vomitron; it's pure classic shredding, intense and frequently fast. The music is not original, but this is a good idea, especially since no one has thought about paying a similar tribute to classic thrash metal before.
It took the guys a lifetime to record a full-length after the excellent start, but better late than never, like they used to say... Well, in their case the wait was not really worth it: the band having made the worst possible choice to sign none other than Mr. Billy Milano (yeah, that same one) to take over the mike and the man's characteristic hardcore barks don't do justice to the music. That same music is not much to talk about, either, the guitars having a thin synthetic edge lacking power and energy their only saving grace being the very good proficient leads which are the highlight here by a long shot if we exclude the very good sound quality. There is no imagination, not even enthusiasm to be felt: this is as workmanlike as thrash metal can possibly be nowadays with all the technological advances available not requiring a very big effort to "spit" a few notes out. And that's really sad since the EP was a really promising slab of music seven years ago...
"Severing the Earth": "Severing the Earth" is a better-constructed affair, the classic thrash attack occupying the front seat with the moshing title-track, the dramatic stomps on "Revolution" hardly causing a revolution, but are totally acceptable with their nervy dynamic fluctuations. Otherwise, it's the frenetic headbanging pace that dominates the setting, with the maddening "Purgatory" and the more entangled "The Akashic Record", with "Death From Below" attempting something heavier and Bay-Areasque, leaving the melodic lead-driven histrionics for the closing instrumental piece "The Last Chapter".

Lethal Legacy EP, 2005
In the Key of Kill Full-Length, 2012
Severing the Earth Full-length, 2020

Official Site

MASTIFAL (ARGENTINA)

Based on "Desde Las Tinieblas", this is a blend of classically-tinged thrash and Swedish-styled death metal ala At the Gates and Dark Tranquillity. The thrashy riffs lose the battle, and the overall sound is closer to death metal, more brutal than the one of their Swedish counterparts, with a more frequent inclusion of blast-beats.
The debut "Holocausto Mental" is the better achievement, at least from a thrash metal point of view. It offers cool energetic, up-tempo thrash with simplistic, but enjoyable riffs, and short, but nice melodic leads. The style follows closely on the steps of the band's renowned compatriots Horcas and Hermetica. Shades of death metal could be heard: the intense blast-beat section on "Cuando el Sol Crucifique Mi Nombre", but on the other hand we have sheer power metal tracks: "Fabricia de Monos", reminding of the American power metal scene of the 80's.
"Carnivora" isn't miles away from its predecessor offering a similar furious blend of thrash and death, this time with fewer blast-beats, and with some pure thrashing headbanging delights ("Mas Alla de la Razon") plus softer power metal numbers ("Hacia Ningun Lugar").
"Cultura Brutal" deserves its "brutal" title to an extent although the band slow down creating a couple of admirable heavy stompers ("El Disparo", "Fuego a Las Carceles"). The blast-beats have been reduced considerably and now the approach has a somewhat playful tone having something to do with the 90's groovy post-thrash scene ("Cabeza de Trueno", the closing "Corazon de Adrenalina").

Holocausto Mental Full-length, 2000
Desde Las Tinieblas Full-length, 2003
Carnivora Full-length, 2005
Intermundia Full-length, 2010
Rock Podrido Full-length, 2013
Cultura Brutal Full-length, 2015

Official Site

MASTODON (USA)

Mastodon are not a real thrash metal band, but in their diverse sound one could easily pick influences from Metallica, Voivod, Slayer and other 80's veterans; a very original band who would definitely appeal to thrash metal fans, especially their early period.

Slick Leg EP, 2001
Lifesblood EP, 2001
Remission Full-length, 2002
Leviathan Full-length, 2004
Call of the Mastodon EP, 2006
Blood Mountain Full-length, 2006
Crack the Skye Full-Length, 2009

Official Site

MASTROYANY (CZECHIA)

Based on the "Hyperactive Chicks" demo, this band play choppy not very pretentious modern thrashcore/crossover with freaky melodies and a couple of crunchy semi-technical decisions ("Thousand Tastes"). The very shouty vocals can be an annoyance on occasion, but their presence is frequently interrupted by humorous cleaner insertions, the latter gracing the playful joker "The Real Thing" and the more serious stomper "The Paradise Lost". Brace yourselves for some rowdy brutal bash on "Denouncer", and for soulful sleep-inducing rhythms on the dreamy semi-ballad "Dreams". Some of the musicians were also busy with the thrash/black hybriders Exhaustor.

Sarcasmus Demo, 1994
Hyperactive Chicks Demo, 1995

Official Site

MASTURBACE (CZECH)

Based on "Teplo Domova Vyche1zed Z Pochvy": this is a mix of thrash and death metal which at times sounds vicious and aggressive, at times slows down acquiring groovy tendencies, at times leaves the aforementioned styles going into other directions (crossover, alternative, etc.). This diverse work resembles quite a bit the later efforts of the Polish Quo Vadis.

"Nablinke1no, Nakake1no, Spape1no" is quite underwhelming concentrating on groovy post-thrash with not very frequent faster insertions. Consequently the music lacks dynamics although a few stylish melodic jazzy/foxtrot passages break the monotony albeit sounding a bit awkward on the uneventful base.

The Labyrinth Of The Round Square Full-length, 1994
Komplet Full-length, 1999
Teplo Domova Vyche1zed Z Pochvy Full-length, 2005
Nablinke1no, Nakake1no, Spape1no Full-length, 2010

Official Site

MASTURBATHOR (POLAND)

Brutal and raw thrash/death metal similar to early Messiah and Protector, amateurish and badly produced; Messiah are honoured with an awful cover version of "Space Invaders" from their debut "Hymn to Abramelin".

Blood of Vanity Demo, 1991

MASTURBATION MASSACRE (USA)

Three songs of gruff raw modern thrashcore which is both speedy and groovy, but is ultimately ruined by the buzzy sound quality and the awful synthesized vocals.

Masturbation Over Nation EP, 2009

MATABRUJOS (ARGENTINA)

This is playful power/post-thrash with too many balladic distractions to keep the thrash metal fan's attention for long. This is stuff for parties but only used as a background since there is not much to make the listener sit down and listen with care.

Apocolapsis Full-Length, 2011

MATAHERO (CHILE)

Based on the Split, these guys pull out aggressive fast thrash/crossover, not far from the early efforts of Cryptic Slaughter and even Wehrmacht. Short blitzkrieg tracks, stripped-down attitude and vicious declamatory vocals: mosh till death!
The full-length is the modern answer to Cryptic Slaughter's classic "Convicted". Expect 13 lightning speed bullets, maybe a tad more moderate than the ones from "Convicted", but pure rage and fury most of the time, and definitely longer (half of them easily cross over the non-desirable 2-min line).

El Poder Implacable Split, 2005
Implacable Demo, 2005
Matahero Full-length, 2008

My Space

MATARTE (ARGENTINA)

This trio serve abrasive modern thrash/post-thrash which is too repetitive and slow to really strike a chord. The guys dirge on in a tedious mid-tempo not making the listener very happy with this seemingly never-ending supply of rehashed proto-doom riffs topped by hysterical, very shouty death metal vocals. In the second half the approach becomes more melodic and thrash almost completely disappears.

Ellos Deben Morir Full-Length, 2015

Official Site

MATER MACHINA (ITALY)

Sterile, mechanical industrial thrash/death/post-thrash which at least has a good sense of rhythm ("Whole World Hush") as well as the dramatic urgency of the early Fear Factory works. "A Sea of Skin" is a curious variation on the industrial semi-ballad, but the rest is just plain noise for most of the time with all the expected industrial gimmicks lined up at the band's service.

[.compendium machinery vibrates.] Full-Length, 2004

My Space

MATERIA GRAVE (ITALY)

Heavy mid-paced death/thrash metal with gothic/doom overtones sounding like a thrashy Bolt Thrower; the singer is a really brutal death metal growler shouting ungodly at times in the way Chris Barnes used to do it. The sparse lead guitar work is really good, and some faster sections can be heard ("Brutale Evidenza Dell' Esistenza": this one is really "brutale") as well as intriguing deep female vocals on "Vecchia Sentenza".

Dammi una Vita Demo, 1998

MATHRUS (RUSSIA)

These Russians provide wild frenetic modern thrash/death metal with chaotic riffs and several allusions to Beherit-like black metal, plus a few puzzling technical decisions which may turn into something more special with time. Even the brutal bashing on the shorter tracks sounds intriguing assisted by the dry sterile guitar sound. A sense of melody sneaks on the creepy "Viju ne Viju", including stylish backward playing ala Morbid Angel on the final "Skoro Stemneet". The singer semi-recites in a scary chanting manner fitting well the minimalistic sinister musical approach.

Lai Na Lunu EP, 2011

MATRICIDE (USA)

Cool, albeit very pristinely produced, demo of intense thrash ala Rigor Mortis with some finely atmospheric moments (the macabre bells on the instrumental opener "Warrior of the 7th Domain"). This is actually the "brainchild" of John Ortega, a future member of Morbid Angel. Virtuoso guitar work ala Mike Scaccia (R.I.P.) can be heard coming from the man on each track, and it's quite striking despite the very raw sound. The guy pulls it out really well on the short extremer "Shadows Beyond the Unseen Realm" and on the closing saga "Evil Dead" which is another violent basher with the lead relieves leading the pack all over. Ortega is a subdued semi-shouter/semi-reciter behind the mike with a deep death metal baritone.

Mother's Day Demo, 1987
Elysium Demo, 1988

MATRICIDIUM (BRAZIL)

Based on "Cerberus", this Brazilian trio pull out heavy pounding modern thrash/post-thrash which is at times a tad more ambitious (the diverse jumpy "War Never Changes"), but overall this isn't very intricate stuff, the dynamic headbanger "Sisters of Destruction" leading the show alongside the more deathcore-laced "D.I.E.". "Into the Void" is not a Sabbath cover, but it has a sniff of doom into its stiff skeleton the latter not moving beyond the stomping mid-tempo in the second half, the band hitting eventually the doom realms with the closing behemoth "The Face of Hellucination", the throaty guttural singer a sinister presence all over, pitching a tad higher resembling Chris Barnes.

Rise the Army Full-length, 2012
Cerberus Full-length, 2021

Official Site

MATRIX (USA)

This band features quite a few names from the Texan underground metal scene: two future members of Assalant, the singer Jon Deplachett who later joined the death metal pioneers Necrovore, and one of the early American guitar wizards Phillip Patterson, who, unfortunately, never managed to make a career despite his great talent, also displayed on the Militia demos. The music here is excellent power/thrash metal, mid to up-tempo, but is much more technical than the one of Assalant and Militia, with fabulous complex riffage which at its best reminds of Juggernaut's finest moments, and even Watchtower ("Traveller", "Fortress"): Matrix have actually opened a few shows for Watchtower back in the days when the perspectives looked good, and it seemed as though this very gifted outfit could make it easily to the first division.

The Matrix Demo, 1985

Fan Site

MATT DANGER GOORAHOO (USA)

Based on "Age of the Monolith", this one-man-show delivers a decent semi-technical blend of power and thrash, at least at the beginning, which sounds comfortably meandering and jumpy on the opening "Age Of The Monolith Pt. I". Matt notches up the aggression on the following "Age Of The Monolith Pt. II" by retaining the intricate moments, also providing a wide vocal palette ranging from angry quarrelsome death metal growls to shrieky blacky "ravens". The approach becomes more serious and more progressive on "Age Of The Monolith Pt. III", but the harder thrashing is brought back with "The Fermi Paradox", albeit for just this isolated track. The second half is very experimental the guy throwing in too many influences to make it a pleasing listen for the thrash metal fandom, including a lot of balladic tenderness on top more acceptable rock hymns (the closing "Run To You").

Enceladus Full-length, 2016
Age of the Monolith Full-Length, 2017

Official Site

MATTHIAS STEELE (USA)

Based on the debut, this band provide a fine slab of classic power/thrash metal. This is mid-tempo heavy stuff with nice semi-technical guitars and very good clean high vocals. The compositions are long, within the 5-8min range, and the overall style takes the seat between later-period Helstar and early Iced Earth. The first half is truly a revelation containing the best and the most aggressive tracks among which are the great technical thrash instrumental "Warriors Anthem", and the galloping headbanger "Father Has Risen", topped by truly striking soaring, high-pitched vocals. The second half softens a bit with more power metal-based songs, not as fast and intense, but still intriguing and technical. Just when one starts thinking that the guys would not thrash again, comes another heavy thrash opus: "Tribunal", and the marvelous speed/thrashing closer "Beyond Stygian Creek". The guitar sound is crystal clear, and slightly stifles the bass which, when clearly heard, is quite impressive. Although the two genres covered here are not mixed very well together, with a kind of a borderline between them, this is definitely worth your attention.
"Resurrection" arrives after a gigantic 16-year pause to show the guys alive and well, but the listener will hardly be fascinated by this new offering which completely lacks the technical flair of the debut settling for not very eventful classic power metal with almost no shades of thrash, adhering to doom ("Spyders in the Sky") at times, and generally very seldom speeding above the mid-pace. Ridiculous sleazy hard rockers ("Yer-N-Love") are also around to frustrate the fan even further. After having been absent for so long, the musicians could have put more effort into this record to at least partially match the much more stylish approach on the debut instead of providing this pedestrian uninspired affair.
"Question of Divinity": the thrash metal fan is advised not to bother with this recording which is simply another step down towards the very bottom. This is some careless, very relaxed old school heavy/power metal with no merits whatsoever with references to stoner/doom and other not very compatible styles. It's a real pity that once a very promising beginning will most likely be left without any, even decent, follow-up...

Matthias Steele Demo, 1987
Haunting Tales of a Warrior's Past Full-length, 1991
Demo Demo, 2007
Resurrection Full-length, 2007
Question of Divinity Full-Length, 2016

My Space

MATWRAK (NORWAY)

This is first-rate old school thrash performed by an all-female cast. The girls unleash plenty of style and energy form the get-go with "Inhuman Supression", a diverse roller-coaster which rolls on with steel technical riffs and sudden fast-paced throw-ins, the overall delivery recalling another female-fronted outfit, the Germans Battlefield. The battle here goes on with "Vigo the Carpathian", a more epically-executed slow-burner with steady mid-paced guitars, the more atmospheric, also minimalistic, layout tolerating a couple of marginally rowdier expletives, the latter enhanced severalfold on "Slow Death", a varied shredfest with vehement speedy urgencies alternating with more intricate vortexes and nice melodic lead sections. "Massemord" is a short breezy tribute to the speed metal movement, a fast no-bars-held blitzkrieger which is superseded by "Covenant with Death", a noteworthy speed/thrash anthem that seldom takes prisoners, moshing with glee for the most part, also adding the odd more technical quirk to the generally hyper-active proceedings, those enhanced by a great speedy tractate and a hammering pounding closure.

...Was Here Demo, 1993

MAURICIO FILHO (SPAIN)

This guy provides four songs of modern doom/power/thrash, all-instrumental stuff, except on "Endangered Species" where the man pulls out pretty effective deep clean performance, with good leads and solid mid-paced to slow riffs. "Rock Blues Baby" is a very melodic deviation delivering what the title promises: rock, blues; but, hey, where is the "baby"!?

Apocalypse EP, 2010

MAX KARON (USA)

This guy specializes in modern, all-instrumental, technical/progressive thrash with heavy, abrasive riffs and sudden switches onto more aggressive, headbanging rhythms. The riffs are choppy and hectic, but the more melodic, progressive relieves ornate almost every track, and co-exist well with the harder sections. "Evolutionary Infancy" is a stylish cut: meandering music with a surreal atmosphere akin to both Canvas Solaris and Electro Quarterstaff with a good spacey lead guitar work. "Mental Constructs" is a brutal-ish shredder with a shade of death metal which lifts the mood up a notch, which in its turns "bears" the speedy technical thrasher "Out of Place". Time for high-octane progressive thrash with the 8-min saga "Ecdysis" which is a great blend of hard-hitting passages, brilliant melodic abstract lead guitar work, and sudden deathly insertions. Another bow to the man for the final "[N]ever Present" which is another hit with its twisting patterns with a pinch of mid-period Meshuggah and again, very surreal leads. The guitar maestros are not a rarity nowadays, but this one should have no problems finding his fanbase with his versatile compositional approach and the more accessible, still "for the thinking generations", style.

Will To Exist Full-Length, 2012

MAXIMUS (USA)

An obscure power trio who released two really good albums of classic Americanized power/thrash metal. The debut is a heavy stomping affair starting the squashing from the very intro "Coming Alive" which is just a heap of chaotic steam-rolling doom riffs, the latter well translated on the opener "God Is Watching", a cool doom-laden piece. "Psychotic Repair" is hectic and jumpy, a bit faster, and despite its semi-technical merits pales before the excellent "Bid Your Farewell": an exemplary 80's American power/thrasher with great heavy riffs, fine vocal performance, and a memorable chorus. "Overcome" is not far behind, but is thrashier and more dynamic. That same dynamics gets lost a bit on "Lightning In Your Eyes" which again prefers to jump up and down to still a good effect. "Lost In The Change" is a formidable thrasher in a crushing mid-pace, but "Answer Man" beats it all: excellent technical power/thrash with dramatic complex riffage and dark doom overtones. "Fire Of Rage" is a very fitting closer with its faster galloping riffs and hard lashing thrashing riffs also offering nice melodic leads which lack something in the proficient department, but nicely take away from the intensity.
"Caught In The Storm" starts in a mellower epic manner with "Hallowed Be Thy Father" which doesn't promise much thrash, neither does the next "Never Said Goodbye", which is a tender ballad. But then "Rain" comes "pouring down", and will literally shatter you with its brutal aggressive riffs and much faster tempos sounding like a full-blooded thrasher, and a very "angry" one at that. The aggression goes down immediately on "Tornados and Trailer Parks", which is an otherwise pretty acceptable piece of heavy semi-technical power/thrash metal with great lead performance which was kind of missing a year earlier. "I Still Remember" is power/doom at its very best, with the Swedes Memory Garden a very close soundalike, with standout vocal performance which is consistently good on both albums, by the way. "Destiny" is already faster and more intense thrashing in a hectic "busy" fashion, an approach also translated on the following "Dissed" which provides very strong bass support. "If There's a God" is obviously the filler, ordinary heavy/power metal with the singer again saving the situation singing with an emotional dramatic timbre. "Shedding the Light" is intense galloping power/thrash which crashes with heavy sharp riffs in a formidable steam-rolling manner. The closing "Tear Or Rise" is a short speed/thrasher, an aggressive merciless piece which brings this album even higher than the debut offering more entertainment for the thrash metal fan, and a generally wider variety of styles and moods. It was really difficult to fight against the dominant fashion during those most difficult for metal times, and after trying hard twice the guys had split up with neither of the three ever seen in any other act.

Fire Of Rage Full-length, 1994
Caught In The Storm Full-length, 1995

MAXIMUS THRAXX (UK)

Two songs of abrasive old school thrash with Bay-Areasque reverberations, "Sacrilege" sticking to then semi-technical mid-paced dimensions, the lead guitarist winning the most points for his exemplary screamy inclusion. "Rites of the Undead" is the probable headbanger here, a lively piece with steady pummeling riffs, the not bad semi-clean singer emitting the right amount of passion for this kind of music.

Rites of the Undead Demo, 1987

Youtube

MAYHEM (BRAZIL)

This is the early incarnation of the legends The Mist. Based on the debut 2-song demo, they played quite well-constructed thrash with nice melodic implements and a generally fast pace which decelerates a bit on "Insane Minds" the latter capturing the unique dark atmosphere of the The Mist works quite well being a sure precursor, and probably a template, for the future exploits of the band. The singer is a really brutal deep death metal growler, though, although the music has nothing to do with this style. This is indeed a promising beginning for one of the most original bands to come out of Brazil.

Adrenalin Demo, 1986
Morti Moriturius Demo, 1988

MAYHEM (GERMANY)

Another early aggressive entry into the thrash/proto-death metal genre (hey, there were quite a few of them out there in the good old times). This is actually the other band where the legendary workaholic Mem Von Stein (Exumer, Sun Descends, Of Rytes) was adjusting his vocal abilities to the demands of thrash, along with the early incarnation of Exumer: Tartaros. The band's sound is reminiscent of Whiplash's "Power and Pain" and Possessed's "Seven Churches". Unfortunately these guys are worse musicians than their American colleagues, and their music is frequently pure bashing, quite intense, but also too one-dimensional. The drums are put too forward in the mix, and sometimes what you would hear is just violent drumming, starkly contrasting to the screaming lead guitars. The Von Stein vocals here are semi-death metal-ish, quite violent and shouty. But, kudos should be paid to the band for attempting such brutal stuff at such an early stage.

Chains of Death Demo, 1985
Evil Pentagram Demo, 1986

MAYHEM (USA)

Speed/thrash, quite typical for the time and country, not too far from Sentinel Beast's "Depths Of Death" and Anvil Bitch's "Rise To Offend"; the guys here have a less serious attitude perhaps, sharing some of the jolly light-hearted mood of the crossover scene at times. Apart from the obligatory brisk speed/thrashers, we have cool more moderate tracks like the merry melodic punky "Couch Potato", the Motorhead-like "Fuk-u", the interesting "Aerobic Genocide" the latter introducing very cool melodies. One of their influences has been given a tribute at the end: Motorhead with... you have the right to make 3 guesses: but of course "Ace of Spades"! The singer Matt McCourt later sang for other acts, like Wild Dogs, Dr. Mastermind, etc.

Burned Alive Full-length, 1987

Fan Site

MAYHEM INC (USA)

This band features the famous guitar player Louie Svitek who later took part in other much more famous bands: Mindfunk, Ministry, M.O.D. (he definitely likes the acts whose names start with the letter M), Zoetrope, as well as the drummer Bill Schmidt who later helped Paul Speckman both in Death Strike and Master. This 3-song demo is really cool speed/thrash metal which recalls strong albums like Blessed Death's "Destined For Extinction" and Heathen's "Break the Silence". The tempo is fast, except on "Matter in the Universe" which is a nice heavy thrasher with a more technical edge. Svitek does a very good job; especially his leads are quite striking, and the vocals are worth mentioning being quite high-pitched, but suiting the music just fine. The guys could have forged themselves quite a career if they had voted to carry on with this fine band.

Demo Demo, 1985

MAYHEMESIS (USA)

This band specialize in aggressive thrash with a strong Slayer-influence mixing their early more aggressive period ("Prey on Terror") with their heavier more restrained one ("Crunchy Frog"). The demo is long, and there is room for deviations from the pattern: the excellent speedy "Mirror of Judgement" which is a nod to the German school.

Dead From The Skyroom Demo, 1989

MAZE OF TERROR (PERU)

Based on the full-length debut, this formation serve intense modern thrash/death which is mostly fast up-tempo music producing some hard vitriolic pieces ("World's Dead Side") the wild riffing admirably sustained for over 6-min on at least one-third of the material. The biggest ambition, however, is shown on the final 10-min "giant" "Gilles de Rais", an impressive progressive achievement with a large participation of the harsh, shouty death metal vocalist. Some of the band members also play with the classic thrashers R.I.P. with whom they are yet to reach the official release stage.
"Offer to the Fucking Beasts" is another not very restrained offering despite the relatively lengthy compositions among which "Blessed by Sickness and Death" is a cool Oriental shredder. Elsewhere it's either violent mosh ("Blood Horror Cult") or epic quasi-doomsters ("A Millions Kills") that cross swords, the hardcore noisorama "Starbeast" adding more brutal drama to this hyper-active effort.

Skullcrusher EP, 2012
Ready to Kill Full-length, 2016
Offer to the Fucking Beasts Full-length, 2021

Official Site

MAZE OF TORMENT (SWEDEN)

One of the first Swedish bands (along with The Haunted and Carnal Forge) who introduced the modern thrash/death metal genre on the scene. Maze of Torment are more aggressive than the other two, with their works placed closer to death metal. Not so much on the raging "Faster Disaster", a pummeling entertainment that seldom takes prisoners with wild tunes like the proto-death outburst "Five Inch" and the unfettered Slayer-esque ball of fury "Horror Visions". Mentioning the US legends, the overall delivery is quite comparable to the one from the mythical "Reign in Blood", the Swedes also relying on venomous spatout declamatory vocals and a couple of marginally more melodious crossover-prone ("Bite the Dust") developments.
"The Unmarked Graves" is a more flexible proposition with the interesting semi-technical spin-arounder that is the title-track, and the brooding atmospheric creeper "13th Disciple". Elsewhere it's still business as usual, the shattering death metal madness "Fortress of Doom" gelling well with the equally virulent "Demon's Rape" and the excellent full-on intricate cannonade "Enter the Holocaust". Watch out for the mellower but effective odyssey "Burn till Death" and the dirgy hypnotic closer "Blinded by Illusions".
"Hidden Cruelty" is a sheer Slayer emulation, with even the vocals now resembling the ones of early Tom Araya for the most part. The whole range from the Americans' repertoire has been covered, from the uncompromising moshers ("This Vision", the title-track) to the devious mid-paced hymns ("Death Inhaled", the closing crunchy cavalcade "The Chasm's Flame"), with even their more modernized late-90's period courted with the corrosive quasi-groover "A Few More Bullets".

The Force Full-length, 1997
Faster Disaster Full-length, 1998
Death Strikes Full-length, 2000
The Unmarked Graves Full-length, 2003
Hammers of Mayhem Full-length, 2005
Hidden Cruelty Full-length, 2007

Official Site

MAZEMATH (CHILE)

Classic thrash the band moshing out in a straight fashion, the overall delivery recalling the German school (Darkness, Assassin, Tankard). "Apophis-Killer Asteroid" is a wilder cut with shades of proto-death, and "In Cold Blood" is a relaxing friendly mid-pacer. The vocalist is a passable semi-clean presence with echoes of Tom Angelripper (Sodom).

The Illusion of Freedom Full-Length, 2016

Official Site

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