The Thrash Metal Guide

Copyright (c) 2007 THE THRASH METAL GUIDE

0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

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

M.A.D. (CANADA)

Based on the debut: quite good classic thrash metal which will remind you of many bands from the 80's: Anthrax, Exodus, D.R.I.'s late period, etc. There is 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 tember, and the bass performance is really impressive.

Taboo of the Western World Full-length, 1991
Songs for the Ugly Full-length, 1992

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: 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, and 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 / Wrum / M.A.D: Goya Split, 2007

M.A.S.A.K.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.

Sin Piedad Full-length, 1988
Demoledor Full-length, 2000
En Pie de Guerra Full-length, 2004
On The Warpath Full-length, 2006

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 metalish.

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

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.

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

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 is a certain shade of thrash/crossover at times ala the more thrashy 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.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

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

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

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 "Animlized" can not possibly be ignored. The rest is a weird mix of mods 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 4 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 doom 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.

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

MACBETH (GERMANY)

Based on "Gotteskrieger", these guys 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.

Macbeth Full-length, 2006
Gotteskrieger Full-length, 2009

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 Léché", 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

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 song "Doomsday for the Deceiver" from their debut). This track is a mighty progressive thrasher with great sharp riffs and galloping tempos. "A World Without Heroes" is a heavy stomping composition 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 number "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

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 incorpotating 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.

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

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 06 Single, 2006
Last Bridge Burning Demo, 2006

MACHINEMADE GOD (GERMANY)

Typical modern death/thrash metal with hardcore elements.

The Infinity Complex Full-length, 2006

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.

Degeneration Full-length, 2006
The Passing Full-length, 2008

MACHT (USA)

These are the guys from Wehrmacht who have shortened their name, and have started playing nice technical thrash with quite a few interesting tempo changes, and not as frenetically fast as the guys' previous efforts. The music really packs a punch, with really good guitar work, quite choppy and technical, but unfortunately it's only three actual songs: the last two are voices and noises put together, no music. This definitely could have served as a draft for something really cool, but the band disappeared without a trace after this release.

Vice Grip Demo, 1990

MACROCOSMIC EMOTIONS (SWEDEN)

This is a strange band (check out the album titles): the sound could only loosely be described as thrash metal; it is 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 Contemporaneous Explosive Atmosphere Full-length, 1995
Her Soft Emotional Announcement EP, 1998

MAD DRAGZTER (BRAZIL)

The band 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" is not a Kreator cover.

Strong Mind Full-length, 2003
Killing The Devil Inside Full-length, 2006

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 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 preparing something new.

Mad Machine EP, 2004

MAD MASTER 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

MAD POLTERGEIST (ITALY)

This is very energetic, but also amateurish thrash. 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 RIPPER (FRANCE)

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 doomy opus "My Victim"), and invigorating galloping pieces like "Rituals" should have been more. Still, this is not as tiring as it may seem having a strong classic edge bringing it close to the 80's Americal power/thrash metal patterns.

A Night in Whitechapel EP, 2010

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, 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, now 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 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 are not 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

MADE OF HATE (POLAND)

Melodic thrash/death 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 are not 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

MADDOG (USA)

These guys started under the name The Plague, and managed to record two demos under that name. here we have 4 songs of laid-back 90's 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 the heavy/power. The singer has already managed to acquire the suitable proto-angry tember of Phil Anselmo, but also carries a lot of melody of the soulful type.

MadDog Demo, 1992

MADHOUSE (FRANCE)

The french answer to Suicidal Tendencies; both albums follow closely the Suicidal's more thrashy 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 gives the music a more thrashy 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 "Chilian 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)

This 4-track demo offers quite a few styles: "Tormentors" is vintage Slayer, 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; "Slow Death" is a typical American power/thrasher with cool melodic leads ala Wolf Hoffman.

T.F.O. Demo, 1989

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

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

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

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)

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 is 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 is not bad capable of pullng out cool clean cords 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 marvellous "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 3 songs of standout technical thrash, which partially abandons the examples followed previously, and comes up 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: the nice progressive opus "A Futile Crusade". "Arise" is another complex speed/thrasher, with fine lead guitar work, not as frantic as the preceding number, also offering a cool keyboard background and sparce female vocals. "Predestined" 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" dimensions ala Bal-Sagoth; this is the only track which partly lets loose from the thrash metal patterns, and reminds of the more brutal nature of the band's past output. As a whole this is more than just a warm-up for the eventual full-length, and shows 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 4 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 headbanging 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 isntrumental "Lament Of The Fallen" which is a bit more smooth in the transitions, but the virtuoso sections are quite a few with 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 doomy insertions, both sides mixed together to an overwhelming operatic effect. And this is not 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...

Demo Demo, 1989
This Battle to Make History, Yet History Never Comes Demo, 1991
It Was Predestined EP, 2008

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

MAFIA (RUSSIA)

Like many Russian thrash metal bands of the early-90's, Mafia also disappeared after only one album; which is sad, because this is first-class retro thrash metal, with no shades of 90's thrash whatsoever, recalling Shah, and especially early Master. This is mostly fast stuff with good sharp guitars which acquire fine technical edge 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. "In Prison" is another fine deviation coming with slower stomping riffs and good leads.

Magical Call Full-length, 1994

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 quite heavy and semi-technical, and are similar to the ones on Rosicrucain's "Silence", or Geisha Goner's "Catching Broadness".

Define the Menace Full-length, 1996

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

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.

Off To LegoLegoLand Demo, 1996
Observing The Ridiculous Demo, 1997
Mirror Of Hypocrisy Demo, 1997
Fuck Hilversum Demo, 1998
Born Witless Demo, 2008

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 are not 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 is 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 6 tracks, as well as one very good Shrapnel-like lead driven instrumental: "Spickatto Maestro In Am".
"Superior Entities" scores higher, 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 Agliareth´s Black Winds" and "A-Brno (The Exorcism of Lea Kyprova)". Oh, and there is 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

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 spontaineous 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 is 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 is not a bad comeback album, but the thrash metal fan will not find much thrash here.

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

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

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 is 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".

The Endless Struggle Against Time Full-length, 2005
Perseverance Full-length, 2007

MAIMED FOR LIFE (USA)

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

Maimed for Life EP, 1985

MAITREYA (SWEDEN)

Thrash/death metal of the new generation with nice melodic tunes, but not a stranger to brutal blast-beat 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

MAJESTER (CANADA)

"Misguided Faith" is a fine piece of technical, heavy thrash, rubbing shoulders with Defiance's "Void Terra Firma", Heathen's "Victim Of Deception" and late-80's Metallica. Their exit from the metal scene (the EP) is almost as good, even heavier at times, but features some "updates" moving the sound towards the fashionable at the time modern tendencies ("We Cannot Lie").

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 I 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 is 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. "Pád" is longer, but the speedy rhythms never stop. "V Údolí Vèiel" is slower, more melodic, before the finishing explosion of blistering speedy guitars. Time for a break with the short, fine peaceful instrumental "Zaèiatok Konca", after which come the album highlights: the great technical, pounding, but also fast "Posledný Den", and the sheer lesson in lightning speed metal "Zapáhte 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.

Svata Zvrhlost Full-length, 2007

MAKINA (MEXICO)

Based on "Anabiosis", Makina 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

MALA FIDE (GERMANY)

Ths 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 dramatism at times, but always playing a secondary role to the melody-infused guitar sound and the sinister shrieky vocals ala Dany Filth (Cradle of Filth).

Flucht Full-length, 2010

MALADAPTIVE (FRANCE)

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

Maladaptive Demo, 2005

MALAGÜERO (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 Increíble Ataque de los Moros Zombie Full-length, 2004

MALAKYTE (USA)

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 is room for slower pounding breaks, which usually come in the middle, and are devoid of the vocals, which are mean semi-declamatory.

Zero Hour Demo, 2011

MALAS (USA)

The full-length is good intense thrash/death metal with Slayer being the main influence from the thrash 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 insanity reigns supreme on "Legion Of Legions", the 1-min ball of fury "In Terror", or the lashing opener "Salvation", but there is enough variety here to offer a relief and entertainment.

CD Sampler EP, 2004
Conquest Full-length, 2005
Chicago Metal Hell Split, 2007

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 the effort, 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

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 parametres. The singer does a pretty decent job with his dramatic clean, mid-ranged tember.

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 is 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 levelled, 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

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

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 qualitties, 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".
"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 progressive metal works: "Cruciform", "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 is 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

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 Argentinian 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 Argentinians 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 Argentinian metal scene, should put them aside after hearing this album.

Malicia Full-length, 1999
Mundo Mitómano Full-length, 2001
Agresivo Full-length, 2004
Raices Full-length, 2007
Conciencia Full-length, 2008

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 3 demos released within less than a year.

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

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".

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

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 1st 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 2nd 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 sparce 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.

Devilization Full-length, 2003
War and Power Full-length, 2005
...From Above Full-length, 2010

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)

Brutal thrash metal bordering on proto-death with a dark haunting atmosphere which prevails over the musicians' skills. If you can imagine a more aggressive version of early (yes, you guessed right from the band's name) Razor (the first three albums)...

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 are yet to surpass.
"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 beleive 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

MALICIOUS PROPHECIES (MEXICO)

Based on the debut, this obscure Mexican band plays heavy dark thrash/death metal with brutal low vocals. The style will interestingly remind you of the Greeks Nightfall with a similar alternation between slower and faster sections. The former kind of predominate, but this is hardly a complaint since they come highly atmospheric; the latter carry 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 doomy 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 is little thrash to be heard, whereas the death metal is of the slower doomy 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 sparce female vocals are a nice addition to the richly atmospheric delivery.

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

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/thrash metal strongly influenced by Motorhead including in the vocal department where the guy tries hard to sound like Lemmy, and succeeds 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

MALÓN (ARGENTINA)

The band is a continuation of the Argentinian 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 second album takes turn towards aggressive modern thrash and is quite good, too.

Espíritu Combativo Full-length, 1995
Justicia o Resistencia Full-length, 1996
El EP, 2002

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"), doomy 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 Impurità"), but watch out also for the atmospheric doomy 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 doomy thrasher ala more recent Satyricon and Thorns, but the following "Essenza" is pure ambient. There are only 6 compositions here, and the eerie soundtrack semi-musical nature of at least half of them will be a problem for one to fully experience this strange effort.

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

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.

Diagnoosit EP, 2006
Tulikomentoja EP, 2009

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

MANAGAINSTCATFISH (USA)

This is inetresting 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 parametres, 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 indstrialized 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 a 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 are not many of those here, or the bursting machine gun-like riffage on "Automatic Artillery", which will crush you, and 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 which was later followed by many other bands, and virtually started the Dutch technical metal scene.

Initial Velocity Full-length, 1988
Perfect Progeny Full-length, 1989

Vibrations of Doom

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 motives permeate the album which could have benefitted from more speed: now this colourful, but not very energetic, mid-paced effort will blend with the countless similar albums of recent times.

Concept Of Chaos EP, 2007
Universus God Single, 2009
Carbon Black Full-length, 2009

MANDATORY DEATH (CANADA)

The album-title might mislead you, but rest assured that this is not 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

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 parametres 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 is not fast stuff at all, also featuring one exercise in pure ambient/noise ("Rios de Sangue").

Sacrificial Metal of Death Demo, 2010

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/thtrash 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

MANHOLM (DENMARK)

This is raw evil brutal black/thrash metal with a very primal sound quality the guys seeemingly 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.

Fake EP, 2008

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

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 doomy 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 second 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-doomy 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 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 broken that rudely. The singer does a good job with his forceful angry Phil Anselmo-like vocals.

Buried in Hell Full-length, 2010

MANIACAL GENOCIDE (USA)

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

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

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 sparce 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-ish 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

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" is not 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 3 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 3 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 headbanging 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 coud have been bigger if it wasn't for the bland groovy filler "Phobia" following it. Still, this effort will not 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.

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

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 10-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 doomy 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.

Demo 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.

Lifelong, Painful Co-Existence EP, 2001
Half Past Violence Full-length, 2005
Hedonism Full-length, 2007
Written In Blood Full-length, 2010

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.

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

MANIFIESTO (ARGENTINA)

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.

Insano Full-length, 2006

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 3rd 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 riffage, 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 the opener "(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 not 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: "Into The Courts Of Chaos", an excellent sprawling epic doomy 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 is by all means the band's finest hour, logically closing the 1st period of their career.
The band resurrected in 2001, with "Atlantis Rising", a strong comeback, 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

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.

Eros & Thanatos Full-length, 2004
Succube Full-length, 2006

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" is 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 enegry 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.

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

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 is 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

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 (POLAND)

An interesting, anantgarde, 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 tnings 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 paricularly 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 deathy blend at times.

Prelude to Sonic Destruction Full-length, 2010

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.

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

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

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

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, except on the last one. "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 2nd 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 2nd 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 oustanding speed/thrasher finishing the whole saga with style compensating for the more laid-back approach on the 1st part.
On "Safe" the guys don't play it "safe", but jump heads-down into thrash metal, stil 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 riffbase; 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 final "Safe" 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 is 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 even overshadowing their compatriots Artillery's last year's "When Death Comes".

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

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. 4 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 falcetto 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 4, although it will also require a more careful listen since the drums deafen the guitars quie 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 4 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.

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

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

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 spirits 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 good 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 Eighth Day of Creation Full-length, 1991
Next Chapter Full-length, 2003
Heimo Full-length, 2007

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

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 thrashy shredding which does not sound exactly like any of the previous heroes; it's not as brutal and chaotic as the music peformed 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 musucians 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-thrashy shred "Victim In Shred". The number of the more peceful flamenco-oriented compositions have been increased the latter now occupying more than half of 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

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 where 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 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

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 were not that many at all before, and kill the good pace accumulated previously in the other material.

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

MARK OF CAIN (CANADA)

A cool fusion of thrash and death metal of the old school with the singer possessing some very deep growls, and music which is very heavy, but also with nice melodic guitar work present at times.

Traumatizing Demo, 2005
Only Dead Fish Swim With The Stream/The Art Of Revenge Split, 2007

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 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

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

MARTELO NEGRO (PORTUGAL)

This new Portuguese act pulls out sludgy black/thrash metal not far from early Celtic Frost spiced with the more intense deathy hook ala eary Six Feet Under. The funereal hypnotic mid-pace of the legendary Swiss is well captured, leaving brutal death metal outbursts like "Winds of Carrion" haging 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/drind purveyors Namek and Systematic Collision; the symphonic death metallers Rise of Ophiuchus; but above all the talented technical death metal outfit Neoplasmah.

Sortilégio dos Mortos Full-length 2011

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

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...

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

MARTTYRIUM (BRAZIL)

Based on the "Bloodpath" EP: this is atmospheric stuff mixing haunting doom/deathy 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 controled 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

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

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.

Maniac Full-length 2008

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 is 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

MARTYRIUM (CHILE)

4 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

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.

Lost Generation EP, 2011

MAS OPTICA (USA)

This obscure act has a fairly interesting approach to metal mixing acoustic parts with more aggressive thrashy 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 would not be too appealing to the thrash metal fans, and some songs excel in complexity, staying firmly on progressive metal grounds ("Way Out"), recalling Psychotic Waltz. "Fences" is a curious number, which combines heavy doomy 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.

Choose to see more Full-length, 1993

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

MASHIAJ (VENEZUELA)

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

Loser Demo, 2010

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 Orderhttp://www.facebook.com/mashiajbandahttp://www.facebook.com/mashiajbanda 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

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

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 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, which 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 3 songs of good headbanging retro thrash with one pure Slayer-worship done with style: "Global Assassin".

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

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 which 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

MASS MADNESS (RUSSIA)

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 are 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.

Mass Madness Full-Length, 2010

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

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 longer, also served with a much better sound quality and ehavier, 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

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 tember, 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 pretty accomplished, forceful thrash/death 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/deathy 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, tember. 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". Tne 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 is 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

MASSACRATOR (MEXICO)

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.

A Massacrator Has Been Unleashed Demo, 2008

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

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 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.

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

MASSAKRE (CHILE)

On "Crematorium" this band specializes in aggresive 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 umpromising start with heavy, semi-technical guitar work, and awkward gothic/doom numbers ("Temblor del Cielo" and "Y al Final la Guerra Terminó"), which 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

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

MASSDISTRACTION (SWEDEN)

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 7 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.

Succubus Full-length, 2010

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 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.

Rehearsal Demo, 2003
Breaking Your Head Demo, 2004
Possessed by Alcohol Demo, 2005

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 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 (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 doomy 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 Commited".

"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 4 solid albums released so far.

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

MASTER FURY (USA)

Based on the demo, this band offer quite good speed/thrash metal which starts with an excellent energetic instrumental piece: "Hell Party" 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 marvellous 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 will be any mercy shown here. Well, your prayers will be answered almost immediately, with "Son of Man" which is a heavy stomper in the 1st 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 Demo, 1988
Circles Of Hate Full-length, 1989

MASTERSTROKE (ITALY)

This is pretty good old school speed/thrash with echoes of Angel Dust, Exumer's debut and Paradox. There is 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 7 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 is not 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 (USA)

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 noone has thought about paying a similar tribute to classic thrash metal before.

Lethal Legacy EP, 2005

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" is not 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").

Holocausto Mental Full-length, 2000
Desde Las Tinieblas Full-length, 2003
Carnivora Full-length, 2005

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

MASTURBACE (CZECH)

Based on "Teplo Domova Vychází 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.

"Nablinkáno, Nakakáno, Spapáno" 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 Vychází Z Pochvy Full-length, 2005
Nablinkáno, Nakakáno, Spapáno Full-length, 2010

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

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

MATERIA GRAVE (ITALY)

Heavy mid-paced death/thrash metal with gothic/doomy 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 sparce 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-declamates in a scary chanting manner fitting well the minimalistic sinister musical approach.

Lai Na Lunu EP, 2011

MATTHIAS STEELE (USA)

Based on the debut, this is a fine slab of classic power/thrash metal. This is mid-tempo heavy stuff with nice 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 marvellous 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.
"Revelation" arrives after a gigantic 16-year pause to show the guy 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 sleezy hard rockers ("Yer-N-Love") are also around to frustrate the fan even further. After having been absent for so long, the man 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.

Haunting Tales Of A Warrior's Past Full-length, 1991
Demo Demo, 2007
Resurrection Full-length, 2007

MATRIX (USA)

This band features many 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 prospectives looked good, and it seemed as though this very gifted outfit could make it easily to the first division.

The Matrix Demo, 1985

MAURICIO FILHO (SPAIN)

This guy provides 4 songs of modern doomy power/thrash metal, 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

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 doomy 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 more thrashy 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 doomy overtones. "Fire Of Rage" is a very fitting closer with its faster galloping riffage and hard lashing thrashy 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 tember. "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

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 metallish, 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)

Spped/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 punk-ish "Couch Potato", the Motorhead-like "Fuk-u", the interesting "Aerobic Genocide" the latter introducing very cool melodies. One of their unfluences 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

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 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.

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

MCGALLIGOG (IRELAND)

This Irish act provides (based on the full-length) decent modern thrash, which is both intense and semi-technical on occasion (the latter). The carefree attitude can not possibly be disguised on crossover joys like "Death and Glory" or the sing-along "Powered by Death". "The Sound of Speed" will hardly reach "the sound of speed", but is a pretty cool speed metal hymn ala the happy 90's. "The Gravedigger" is nothing like its title, but is a pleasant, albeit a bit overlong, ballad, influencing the closing "Demon Killers", which is a bit faster with power metal shades. The Irish folk heritage nicely springs up here and there, providing the necessary melodic relief, may be a bit too much in the 2nd half.

Delusions of Madness EP, 2010
Powered By Death Full-length, 2011

MEANSTREAK (USA)

An all-female power/thrash metal band who play power/thrash of the more melodic variety recalling at times 80's Chastain, with excellent female vocals. It's not deprived of good headbanging numbers: the intense thrashy opener "Roadkill", for example, but the rest is a mix of power and thrash metal clinging more towards the power metal side.

Roadkill Full-length, 1988

MEANTIME (BELGIUM)

Like their compatriots from Channel Zero, these guys started in an awesome fashion, resurrecting the glorious Bay-Area sound, opposing to the modern trends of the 90's. Meantime are perhaps even better than the other more popular band, with their music being more technical and overall better executed. Forbidden's debut is the main influence, including in the vocal department, but the music here has a slightly more technical edge, which at its best also smells another Belgian act: Target. Unlike Channel Zero, this band voted to split up right after this demo, before turning into another Pantera-clone, like the other one.

Demo Demo, 1993

MEATLOCKER (USA)

Hardcore meets the groovy deviations of Helmet and Pantera, on the more aggressive parts; the former Intruder guitarist Rotten Ron Hanisco plays here, but hardly reminds of himself, although the music is quite energetic, and some tracks are cool up-tempo headbangers ("Who´s Your God", "Triangle Of Pain"). Certainly, there are fillers which had better be skipped (the punk-ish "OI Hate").

Triangle Of Pain EP, 1994

MEATLOCKER SEVEN (CANADA)

The interesting name comes from their rehearsal place, which was a real meatlocker. A place like this certainly inspires for nothing else, but thrash/death metal of the modern type, with a more aggressive approach than the lot, and cool technical riffs ala Morbid Angel.

Corrode EP, 1997
The Biological Mechanism of Hate Full-length, 2003
Depression Earth EP, 2004
2005 Sampler EP, 2005

MEATWAGON (CANADA)

Good modern thrash metal similar to what Overkill and Cyclone Temple were doing around the same time, plus a few technical, Jeff Waters-like, riffs. The sound takes a very groovy orientation at times ("Laid to Rest"), but contains enough impressive energetic thrashers, like the album opener "You Speak With Lies" and the album highlight "Mouthwired".

Left With Nothing Full-length, 1996

MECHANISM (CANADA)

This new formation is another vehicle for the talents of the drummer Gene Hoglan. The style is fairly complex progressive modern death/thrash metal with sharp technical riffs, frequently changing tempos, and, of course, precise expert drumming. To describe the band's style would not be a very easy task, but if you can imagine a cocktail of Nevermore, Biomechanical, Meshuggah, Obliveon, and their compatriots Martyr, you may get somewhere. The vocals are divided between screechy black-ish and brutal death metal ones; oh, and let's not forget the semi-clean ones springing up from time to time. The lead guitar work is quite good, and works very well combined with the very complex, vortex-like riffage. The guys don't rely on very long songs, the only exception being the 7-min progressive opus "Hall Of The Gods" which is a wild mix of moods and time changes ranging from sprawling head-spinning sections to very short blasting moments. Even short numbers, like "Awake" or the less-than-2min furious "Lord And Thief", are very heavily technically-charged, leaving a little room for straight headbanging passages. The closer "Hellmutt" will scare you with its very brutal blasting beginning, and is the only death metal number on the album, a somewhat illogical exit from it, having in mind that there was no trace of brutal stripped-down death metal to be heard earlier. Still, it remains a fairly satisfying slab of technical/progressive metal, and may do well to fill in the gap left by Obliveon as the leaders of the modern side of the genre in Canada.

Inspired Horrific Full-length, 2009

MECHANIX (GERMANY)

Having taken their name from the last track from "Killing Is My Business,...", this band's style shouldn't be hard to define: pretty cool melodic thrash which sticks close to 90's Megadeth (1992-1997), but more aggressive ("Aggressive"), and the vocal lines of Dave Mustaine. The lead guitar work is particularly impressive featuring great melodies, and the guys do an admirable job bringing to mind the technical, sharp riffs of their renowned peers. With Megadeth being on the edge of falling from grace in the late 90's, Mechanix came right on time to keep their style "alive", and even nowadays they seem like their worthy competitors. I can see quite a few of you banging wildly their heads on the excellent "44 Masterplan" which is a slightly modified version of Megadeth's early thrash hymn "Devil's Island" from "Peace Sells...".
I was quite surprised to find that "History Re-Rotten" contains completely different tracks from the ones included in the obscure Best of Compilation on which I based my review above; but the style remains the same: melodic semi-technical thrash along the lines of Megadeth, with the vocals even more resembling Dave Mustaine. This is very good stuff; mid-paced, with deviations into a faster play: the fine headbangers "Zero Point", "Passive/Agressive", and especially the mighty short outburst "27", again following the way Megadeth used to do it in the good old days (remember "Holy Wars" and "502"). These guys are a pleasant surprise, although they hardly offer anything outside pure Megadeth-worship.
The intro to "Sonic Point Blank" is already a fairly intense, "mechanix" affair with a strong industrial flavour, but later on the Megadeth worship is in full swing being of the softer mid-90's (think "Youthanasia", above all) type for most of the time, with occasional outbursts of rage (the death metal mid-break on "Collateral Damage"). "Skarface" is a surprising 2-min thrash/crossover piece, but on the other extreme we have the 6.5-min dreamy, pensive ballad "Point of No Return". Then more hardcore happiness follows suit (the 1.5-min joy "My Style"), before the epitomized Megadeth delivery comes back to stay until the end, supported by good meloidc Mustaine-sque vocals. This album sounds amazingly close to Megadeth's "Thirteen" which was released a year later, if we exclude the more immediate crossover "jokes", and as such can hardly be ranked along with the band's earlier output, which had both more edge and energy.

Mindfucked Demo, 1997
Masters of Self-Destruction EP, 1999
History Re-Rotten Full-length, 2003
Point of no Return EP, 2005
Sonic Point Blank Full-length, 2010

MECHANIX (POLAND)

Based on the "The Very First Heavy Release" demo, these guys were quite capable of pulling out cool technical thrash along the lines of early Megadeth (up to "Rust in Peace"), an influence also betrayed by their name; the singer has a voice quite similar to Dave Mustaine, maybe a bit rougher. The music is not aggressive, but the musicianship is quite good with nice leads and a heavy bass bottom. Reportedly the band have given up thrash on later releases, and have joined the nu-metal legions.

The Very First Heavy Release Demo, 1993
Diverse Opinions Demo, 1997
Never-fail Fix Demo, 2003

MECHANIX (RUSSIA)

Melodic power/post-thrash, strongly influenced by Metallica's Black Album; this is much inferior, though, with borrowings from other genres (the hard'n heavy "Disclose The Secret"), and numerous melodic elements, including one cool ballad at the end: "Feel The Pain", which is the best song on this below average effort.

Gravewish Full-Length, 2008

MECHANIZATION (USA)

Based on "Kenosis", this band plays derivative unsurprising modern thrash/death metal which is suitably heavy and steam-rolling, but its tank-like approach has been adopted by quite a few contemporary acts already. The guys show their more brutal side ("Boiling Point"), but there are absolutely no risks for one to break his neck here, despite the really heavy nature of the music. The singer is your average death metal growler with echoes of Karl Willets (Bolt Thrower).

Holon Full-length 2007
Kenosis Full-length 2011

MEDIEVAL DEATH (GREECE)

An obscure demo from the Greek underground offering cool dark intense speed/thrash along the lines of Infernal Majesty and Slaughter's "Not Dead Yet". There is a keyboard background here and there ("Eternal Death") which gives a nice surreal touch to the music, and will also remind you of the early "exploits" of their compatriots Nightfall. The sound is energetic in up-tempo with good sharp but also melodic guitars (the leads are particularly cool), but the singer may be a flaw to some with his indifferent declamatory chants which can hardly be called singing, and would better suit a magical evocation ritual.

Moments of Silence Demo, 1990

MEDIOCRACY (ROMANIA)

Noisy hardcore-ish thrash of the modern type, rough and semi-industrialized, with shouty hardcore/semi-death metal vocals. The guys bash a bit one-dimensionally, with simplistic direct riffs and a few doomy sprawls, which are the better side, and come with a strange ambient vibe.
"Asoma" offers the same crusty, industrialized sound, this time the vocals screaming unpleasantly with an annoying hysterical pitch. The album again takes off on the slower moments (the doomy industrializer ala Mindrot "Destroy/Rebuild"), whereas the rest smells metalcore quite a bit. Some of the musicians practice much more aggressive music in the death/grind outfit Cap de Craniu.

Human Progress-Endless Regress Full-Length, 2010
Asoma Full-length, 2011

MEDIUS (USA)

Hard, jumpy modern thrash which delivers in the headbnaging department in a way no worse than early The Haunted and Carnal Forge pulling out short blitzkrieg thrashers like "Big Stick", "War Cry" and "Filicide". The guys spare no speed, which completely obliterates the few groovy attempts ("Spine"; the light-hearted power/groover "The Way") which would have otherwise suited the expressive shouty vocals.

Burns Going Down Full-Length, 2012

MEDUSA (FRANCE)

Based on "Dream Machine", this is melodic power/proto-thrash metal with a slight progressive edge which sounds like a more melodic Drifter (Switzerland). Most of the songs are long, with all the atmospheric and balladic passages included, as well as a certain epic/pagan atmosphere present. The singer is the highlight with his emotional mid-ranged clean tone. The music is mostly mid-paced, but often moves into slower waters, and there is at least one track which will make you move around, but just a bit: "Eternida".
"Etherias" arrives 7 years later to provide similar stuff, progressively-laced power metal with shades of thrash, the riffs lashing harder and faster this time producing nice galloping moments ("Son Of Etherias"). "The Blaze Of The Setting Town" is a fresh invigorating speedster ala Savage Grace surroundded by quiet balladic interludes which are quite frequent, by the way, and could have been skipped. "Lacercians" is another more energetic offering, a sharp power/thrasher in mid-tempo, before "The Soldier's Letter" embraces the speed metal idea once again. The closer "Torments Of Hell" is a more ambitious take on epic power/thrash, longer but also slower, with the vocalist doing a very good job with his dramatic semi-high blend. Now he doesn't seem to be the clear highlight the music staying pretty much on par with him this time comtaining much more energy and vitality. Some of the band members are still around with the death metal act Xtrunk, and the guitarist Gilles Giachino is also a member of the modern power/thrash metal stars Kragens.

Dream Machine Full-length, 1995
Etherias Full-length, 2002

MEGA MOSH (GERMANY)

On "Different Kind Of Meat" Mega Mosh play thrash metal with slight hardcore influences, close to Nuclear Assault. This is enjoyable, unpretentious energetic stuff graced by furious speedy tracks: "Organ Dealer", "You Forced Me", which would have been a hit even on Slayer's "Reign in Blood". On the other extreme are the punk-ish jolly songs, like "Euphoria", but they sound cool as well. The guitar work is sharp and tight, serving right the direct, short explosive songs.

Fight the Epidemic Prince EP, 1988
Call to Account Full-length, 1989
A Different Kind Of... Meat Full-length, 1992

Vibrations of Doom

MEGACE (GERMANY)

"Human Errors" is very good progressive thrash metal similar to Lost Century and Depressive Age, predating the latter's debuts with a whole year, characterized by the slightly rough, but fine female vocals. The delivery is both more aggressive and more hectic, accentuated by the excellent lead guitar work. The album begins in a fairly impressive manner with the first three songs, which are shorter, effective technical thrashers full of stupendous technical riffs. Later the song-structures get more complex, the guitar lines become harder to swallow, but remain on a high level. The music never lacks coherence, and one would find himself quite entertained moving around this labyrinth of interesting, non-conventional stuff, although here the moments for the regular headbanger are not many at all. "Monofaces" arrives to provide a fair amount of intense energetic, but again quite technical, riffs, but moments of the kind are really rare. This album is one of the more interesting, and also the earliest, works from the progressive/technical thrash metal wave which overtook for a while the German metal scene in the early/mid 90's.

Alas, instead of keeping the inertia accumulated with the debut, the band inexplicably disappeared from the scene to come back 8 years later, when very few of the fans could remember who they were. "Inner War" offers the same hectic delivery, but the song-writing is a lot more conventional; there are no longer, more thought-out numbers, which were the highlight on the debut. Still there are a few interesting technical decisions to be heard ("Industrial Dictatorship"), but the dull moments are here as well: the odd ballads "Ciphers" and "Rain", which sound as though the girl was preparing to join The Third and the Mortal, or Theatre of Tragedy, followed by one pure heavy metal number: "Synchronicity". Despite the lack of any detrimental groovy tendencies, this album showed that 8 years are too big a gap to be filled properly. Later the guys (and a girl) continued their musical career under the name Step Into Liquid where they started playing more melodic progressive metal.

Human Errors Full-length, 1991
Inner War Full-length, 1999

MEGADETH (USA)

By kicking Dave Mustaine out, Metallica indirectly created a major rival for the title "best American metal band". And while Metallica left the thrash metal department a while ago, with "Death Magnetic" finally showing signs of waking up, Megadeth have been treading the true path with just a few deviations. The unpolished and slightly naive approach on "Killing Is My Business,..." was hardly the best answer to Metallica's first two stellar efforts seeing Mustaine's gang having a long way to go to catch up. "Peace Sells... But Who's Buying?" was a much better offering, the band this time sounding much more convincing, with the title track remining one of the definitive thrash metal hymns with its razor-sharp mid-paced main rhythm. "So Far, So Good...So What!" acquired a darker heavier sound, well reflected on the excellent "My Darkest Hour", which was actually written two years previously after Mustaine found out about Cliff Burton (R.I.P.)'s death. Even the uplifting cover of Sex Pistols' "Anarchy in the UK" fit well into the overall not very optimistic (atmosphere and text-wise) picture.
This album, however, could not be even viewed as a rehearsal to the glorious "Rust in Peace": a masterpiece of sophisticated technical thrash which saw the band hitting the top in every department. Here is the place where the name of the newcomer Marty Friedman should be mentioned as one of the main reasons for this, his great talents providing the best possible support for Mustaine's guitar pyrotechnics. The 90's saw the band experimenting with more melodic genres, although "Countdown to Extinction" was pretty much a classic thrash offering, not as technical as its triumphant predecessor, but still delivering with its catchy infectious approach, producing the megahit "Symphony of Destruction". "Youthanasia" steered away from thrash a bit, even flirting with the balladic genre on "A Tout le Monde". "Cryptic Writings" continued in the same vein, and was the first indication that the band were loosening up. It eventually led to the disastrous "Risk", which saw Mustaine finding it hard to "bury" the shadow of Metallica trying to produce an album in the modern non-thrash vein akin to "Load" and "Reload". "Risk" was a "risk" indeed, and not a very well measured one at that since it threatened to cause damages of the "Cold Lake"-proportions, especially after the follow-up was just a bit better. Still Megadeth managed to pull themselves together (not without the considerable help of the Drover brothers from Eidolon who came as a kind of replacements for the departed Marty Friedman (yeah, sometimes it takes two to replace a genius)), and their last couple of releases brought the band's sound almost back to "Rust In Piece" on their best moments.
"Endgame" (I'm not sure if the album title reflects Mustaine's intention for this album to be the band's swansong, but having in mind the quality of the music on offer here, it would be a pity; really) sticks to the safe successful formula from the previous 2 works, mixing the stylish technical thrash of early Megadeth with the more melodic approach of their 90's efforts; what makes this one superior to the previous two is that here the concentration is clearly on hard-hitting thrash, with not a single filler, even among the mellower material. It opens with the soft heavy metal instrumental "Dialectic Chaos", which is miles away from the thunderous ominous character of "Into the Lungs of Hell", the instrumental which started "So Far...So Good" more than 20 years ago. Mustaine, however, can not possibly keep you in "nomansland" confused as to what's going on here, and quickly blasts out with the cool energetic speed/thrasher "This Day We Fight!", sounding as though directly taken from "Peace Sells...". Don't expect two of the kind in a row, and the following "44 Minutes" is a nod to the romantic melancholic style of "Youthanasia". Then "1,320" thrashes on again, vintage classic Megadeth, with "Bite The Hand That Feeds" carrying on in the same vein, maybe a tad more melodic. "Bodies Left Behind" is a heavy stomper more in the spirit of their 90's output, with nice lead performance and fast closing speed/thrashing minutes. "Endgame" is even heavier with doomy overtones in the beginning, later evolving into standout technical thrash, well deserving to carry the album title. More romance on "The Hardest Part Of Letting Go... Sealed With A Kiss", which is a fine semi-ballad, more aggressive, and better, than "Tout Le Monde". Grab your seat for the next "headcrushing" "Headcrusher", splashing raging thrash, the most brutal song in the band's discography. "How The Story Ends" offers just a slight relief, being slower, but the riffs crush no worse on this one. The final "The Right To Go Insane" is a bit of a letdown, which could have been placed somewhere earlier, since it is another reminder of the band's more "tender" period, although the 2nd part serves a cool portion of more dynamic headbanging thrash. There should hardly be anyone dissatisfied with this album, which effortlessly manages to provide an entertaining cross over the band's previous output, sounding both fresh and true to the classic tastes.
Quite a few bands have been running out of imagination recently (Overkill, Tankard, etc.; I'm sure noone out there has forgotten how to count, especially when it comes to his/her favourite band) preferring to use numbers for album-titles rather than coming up with another cool catchy phrase/sentence (check the earlier titles here) for the fans to sing-along ("Peace Sells, but Who's Buying...). Anyway, what have Mr. Mustaine and his gand cooked this time? And would this 13th warrior... sorry, album in the band's career be at least on a level with "Endgame"? Well, it would largely depend on which stage of the band's career you like, since this new effort is very faithful to the guys' more radio-friendly period (1994-1997), with a pinch of the naive rock-ishness of "The World Needs a Hero" ("We The People", and elsewhere). It's definitely not the "end of the game", neither is it the end of the world, to listen to this pleasant mild power/thrash rhythms, which at least on the opening "Sudden Death" promise quite a bit of moshing around. The rest, however, doesn't bother to reach this intensity, with just separate cuts lashing with more passion ("Never Dead", "Wrecker"). It's a fairly easy effortless, feelgood listen which would not require any big concentration or physical strain, since the headbanging sections are not many at all. It by no means beats "Endgame" in any department, although the final ballad "13" (there is another, semi-one, "Millennium Of The Blind", earlier on, also quite good) is the best attempt tried by the band in this field. Those expecting Megadeth to flop again (no more "risks", hopefully) will have to wait until number 14; this album would definitely satisfy those who consider the post-"Rust in Peace" era of the band as more than just thrash, and with its wider gamut of styles and moods this "fatal" offering would be welcome with more smiles than frowns in the long run.

Killing Is My Business...And Business Is Good Full-length, 1985
Peace Sells... But Who's Buying? Full-length, 1986
So Far, So Good...So What! Full-length, 1988
Rust In Peace Full-length, 1990
Maximum Megadeth EP, 1991
Countdown to Extinction Full-length, 1992
Youthanasia Full-length, 1994
Hidden Treasures Best of/Compilation, 1995
Cryptic Writings Full-length, 1997
Risk Full-length, 1999
The World Needs A Hero Full-length, 2001
The System Has Failed Full-length, 2004
United Abominations Full-length, 2007
Endgame Full-Length, 2009
Th1rt3en Full-length, 2011

MEGAHERA (ITALY)

Based on the ambitiously-titled (and pompously, some may say) "Metal Maniac Attack", this band offers quite cool speed/power/thrash metal along the lines of Warrant and Not Fragile. Expect speedy numbers galore, some coming with a harder thrashier edge ("Before the Night"), others being more sprawling power/heaviers ("Nasty Savage"; no relations music-wise to the US band of the same name). "Nostalgia" even reaches towards a more epic Manticora-sque complexity, also speed/thrashing incessantly, but expect a total stoner/doom madness on the psychedelic "The Electric Wizard", which this time justifies its title being a nice nod towards the British cult act of the same name. Prime speed/thrash with a cool progressive edge will befall you for just above 7-min on "Apocalyptic Ride", and "Thrashing Mad" is exactly what the title promises: speed, I would also add, thrashing mad with lashing guitars, virtuoso leads, and sweeping melodies. "Along the Rainbow" is the staple 90's power metal happiness with a nice epic shade, followed by the ultimate speed/thrash metal hymn: the 8-min long "Megahera" which adds cool sing-along choruses among the fierce riffage the latter replaced at the end by a quiet balladic outro. The singer is a less impressive semi-cleaner who could have changed his mid-ranged delivery from time to time with a more detached higher note. This is a really nice surprise from Italy offering a harder, and faster, alternative to the pleiad of Rhapsody and Labyrinth clones which have plaqued the scene in recent years.

Lethal Noise of Violence EP 2009
Metal Maniac Attack Full-length 2011

MEGALITH (USA)

Good energetic music, blending the speed/thrash approach of early Angel Dust ("My Evil Now") with the heavy doomy style of Anvil and Jag Panzer ("Nail Us to Your Cross"). The singer is a bit annoying with his gruff semi-clean drunken voice slightly recalling Lips (Anvil) and early Denis "Snake" Bélanger (Voivod).

Risen From The Grave Demo, 1986

MEGALOMANIAC (SWEDEN)

The drummer Oscar Moritz from Immaculate is here to take part in the recording of this energetic take on the good old thrash/death metal which comes with fast crispy riffs and gruff death metal vocals. The guys thrash with no mercy with the early German school paid special attention. "Speeding Death" is more "speed" than "death", a fast brisk number which, however, is beaten in terms of pace by the following "Megalomaniac" which is a blasting proto-deathster; and the final "Hypocrites Demise", which is the last "ball of fury", again death metal-laced, on this cool nod to the old sound.

Speed Demon Demo 2011

MEGALON (BRAZIL)

Based on the "Hands Of God" demo, these guys play thrash/death metal of the classic school, the sound ranging from all-out brutal pieces ("Macabre Insemination") to heavy doomy ones ("Buried Beauty"). "Ticket To Neverland" is a surprisingly mild gothic affair, more suitable for the Finnish acts Razorback and To Die For, and the final "Preludio" is a nice progressive melodic instrumental.

Hands Of God Demo, 1998
Gattaca Demo, 2000

MEGASLAUGHTER (SWEDEN)

The full-length: this is mostly death metal stuff with touches of thrash, similar to Agressor and Entombed in their earlier stages. The demo is more thrash-fixated, containing three lengthy tracks, concentrating on up-tempo aggressive thrash along the lines of early Pestilence, maybe not as fast, offering slow breaks on every song, as well as vicious gruff death-ish vocals.

Death Remains Demo, 1990
Calls from the Beyond Full-length, 1991

MEGATHERIO (BRAZIL)

This album is a collection of the band's old demos released in the mid-80's, plus a few new tracks added, and show an act playing a speedy crossover version of the classic thrash sounding quite close to both the early and later efforts of their compartiots Ratos de Porao. The lead guitar is surprisingly cool albeit too short, and there is no energy and speed lost, the uplifting atmosphere further aggravated by the two covers near the end: MC5's "Ramblin' Rose", and the S.O.D.'s emblematic medley "March of the S.O.D./United Forces".

Megatherio Full-length, 2009

MEGAZETOR (HUNGARY)

This act shares members with the progressive power metallers Ad Astra. Based on the full-length, the music is minimalistic technical/progressive modern thrash mixing complex with more direct passages with fine performances in both the bass and lead guitar sector. The tempo changes constantly, sometimes suddenly ("Interform", which introduces brutal blasting sections even), but one-dimensional hypnotic numbers ("Ribcaged") work almost as well, despite the cold industrial flavour which accompanies them. "Cause Or Effect" is a hardly necessary blatant groovy non-sense, a situation partially improved by the aggressive thrash/death shredder "The Traitor Of Absence", which scores high in the bass department. The last "Dying Process" shows the band in a stage of "dying"; kidding, of course, but this is a lengthy monotonous modern thrasher-ism which undesirably abandons the more technical patterns.

The Drug You Daily Crave EP, 2004
Dying Process Full-length, 2008

MEGERA (SERBIA)

This obscure Serbian band come up with well done energetic thrash metal without any modern leanings: pure old school stuff which will remind you of many veterans from the 80's: those from the Bay-Area scene, above all. The pace is up-tempo with several clever attempts at a more technical play ("Radost I Bol", the excellent instrumental piece "Megera"). The singer is kind of a setback with his unemotional semi-hardcore delivery.
The "Probudi Se" EP is 3 tracks of pretty derivative modern post-thrasgh with little of the vigour of their early material left, mostly felt on "Iza Nas" which thrashes harder with a cool speed metal edge. The singer now is angrier and lower-pitched with death metal overtones.

Iza Nas Full-length, 1992
Probudi Se EP 2008

MEGIDDO (CANADA)

Old Bathory-worship made in Canada; a cool black/thrash metal band who have done a good job resurrecting the Bathory sound from their first three full-length albums. There are also touches of Venom and Bulldozer. The band have a penchant for covers, but surprisingly from the four covers featured on their efforts, there is not a single one with the Bathory name on it (the albums contain covers of Exciter, Razor, Onslaught and Warfare).

The Devil And The Whore Full-length, 2000
The Atavism Of Evil Full-length, 2002

MEGORA (SWITZERLAND)

Based on "The Fog", these guys had all the skills to stand right beside Celtic Frost, Coroner and Apocalypse: excellent power/thrash similar to Apocalypse and Wargasm, maybe even more technical and varied. The music is energetic and up-tempo, with nice leads and great bass work. "False Game" is an awesome technical number, which will also remind you of early Megadeth; the vocals are also reminiscent of Dave Mustaine. "Suppressor" speeds up with mighty intense riffage followed by the last song "The Fog": a nice combination of speedy and technical guitars. It would be interesting to check whether the band managed to develop their potent style further...
"Illusions" bears few resemblances to the debut demo; it's much more melodic and is full of modern elements. It's not completely deprived of sharp riffage, and "Time for Illusion" is a good thrashing number, but of the less intense variety. The other songs are laid-back modern power/thrash numbers with numerous peaceful balladic breaks.
"...And At Last - Moonstill Waters" is 4 songs of heads-down intense thrash metal ala early Testament, and "Neither Fish Nor Fowl" could perfectly be on "The Legacy"; the singer sounds very close to Chuck Billy, mixed with hoarse tones in the vein of Dave Mustaine again, and does a great job behind the mike. "Matter Of Course" could be a bit unnerving, with the innovative funky touches, but the rest is pounding mid-paced thrash, quite cool. "Stop The Noise" thrashes with full force adding genuine technical guitars, and a brilliant quiet interlude in the middle. "Moonstill Waters" slows down, but the heavy riffage is all over it, and this track hits harder no worse than the preceding one.
"Waiting" is a disappointment, seeing the band softening considerably, with only the three songs already heard on the last demo, here present with almost no alterations, providing a few more aggressive headbanging moments. The new material is your average heavy/power metal, still appealing, though, considering the time of release.

The Fog Demo, 1989
...And At Last - Moonstill Waters Demo, 1991
Waiting Full-length, 1994
Illusions EP, 1997

MEKONG DELTA (GERMANY)

One of the most original and innovative bands in metal history, started by the Aaarrg label owner Ralph Hubert (he produced and supported quite a few technical/progressive thrash metal bands during the 80's, virtually founding the technical/progressive thrash metal scene in Europe: Target, Living Death, Calhoun Conquer, Ravenous, Pyracanda, etc.; he also gave an enormous push to the Holy Moses career, by releasing their first two albums, including the legendary "Finished with the Dogs") in the distant 1985. In the beginning he was just the composer, and the bass which he started to play later, was handled by Peavy Wagner (Rage). Since the band members were involved with other bands at the time, an agreement was made for the guys to use pseudonims so that their real names would not be revealed to the public. Apart from Hubert, the other musicians who took part in those spawning stages were the Living Death guitarists Frank Fricke and Reiner Kelch, and the German drum hero Jörg Michael, for whom this first formation was a good field for honing his "weapon". The debut was a stylish technical affair, albeit a bit rough around the edges, with a couple of heavy-handed pieces (the doomy off-context "Black Sabbath", which is a stylish tribute to the legendary British band, by using some of the Brits' song titles for the lyrics, resulting in a really clever textual amalgam), plus the band's 1st "flirtation" with classical music (the excellent variation on Mussorgsky's "The Hut of the Baba Yaga") which actually gave birth to the technical thrash scene in Europe, along with the works of Coroner, Target, and of course, Living Death, whose same year's "Protected from Reality" bore more than a few passing resemblances to the Mekong Delta debut, leading some specialists to believe that the two acts were sharing members. Later on those resemblances completely disappeared, with the band elaborating their style quite a bit, and it was the second metal act to be labelled as "progressive thrash", after their American colleagues Watchtower. A string of two classy progressive thrash albums and EP's followed, but Hubert wanted to embrace the classical idea even tighter, by adding more melody to the band's delivery as well, and the cold technical shredding of Fricke and Kelch did not quite serve his purposes anymore, so both of them had to go after the release of "The Principle of Doubt" (Fricke actually left after the "Tokkata" EP, and couldn't take part in the recording of that album).
The band continued thriving in the early 90's, first with "Dances Of Death": a fabulous blend of furious thrash riffs and classical music, and then with "Kaleidoscope", which toned down the complexity a bit, and was for the more mainstream-inclined fans, but was a truly satisfying slab of classic technical thrash ("About Science" is one of the finest progressive/technical thrashers ever, ably supported by the furious speedy interpretation of the Armenian composer Aram Chachaturian's famous "Sabre Dance", and the brilliant surreal cover of Genesis' "Dance on a Volcano", here turned into a head-spinning thrash crescendo). The guys could now reveal their identities, as Hubert had managed to find full-time members, with no attachments to other acts, with only Michael preserving his pseudonim. "Vision Fugitives" concentrated more on the instrumental side, with only two vocal tracks present, the rest being top-notch complex thrash with, of course, numerous nods to classical music. "Pictures at an Exhibition" is purely instrumental, with no ties to thrash, quite deeply emerged into classical stuff, consequently being of little interest to the band's die-hard fanbase, and to thrash metal fans in general.

After a long, 10-year break Hubert has gathered a very respectable line-up: Leszek "Leo" Szpigiel (Scanner, Wolf Spider), Uli Kusch (Helloween,Gamma Ray, Holy Moses), Peter Sjöberg (Theory In Practice), to start a new chapter in the Mekong Delta history, and with such a stellar cast one knows that the sky would be the limit: "Lurking Fear" offers state-of-the-art progressive thrash, and is easily one of the main pretenders for "album of the year" for 2007. The sound is not as elaborate as the band's works of the 80's, but opts for a more accessible one similar to "Kaleidoscope"; the classical elements are all here, and combined with some of the finest technical riffage not heard in a long time, make up for a great musical experience. Once "Society in Dissolution" starts with its dissonant rhythms and abrupt time-changes, one knows that this is unmistakably a Mekong Delta effort. Szpigiel perfectly fits the picture with his emotional, but at the same detached, clean high delivery. "Purification" is another masterpiece of complex progressive thrash, a bit less hectic than the opener, with brooding minimalistic riffage, and a few faster speedy breaks. "Immortal Hate (Accepting Prayers of Supremacy)" will remind you of the immortal (no pun intended) "About Science" with the immediate, without any warning or introduction, jump on the technical abstract riff wagon, later on introducing a nice melodic semi-chorus and more aggressive thrashy sections. "Allegro Furioso" is the traditional for the band instrumental "flirtation" with classical music, mixed with sharp guitars, and haunting keyboards: quite a sinister piece. "Rules of Corruption" is a heavy mid-paced sleeper with very good leads where the music speeds up for a while. "Ratters (Among the Dead)" is the most melodic song, sounding like a more typical progressive metal composition with more retouched guitars and melodic chorus lines, but Szpigiel saves the day with his great performance. "Moderato" is another "classical-meets-thrash" instrumental, this time calmer, with less presence of the hard-hitting riffage. "Defenders of the Faith" (by all means not a Judas Priest cover) is the longest track, a progressive opus, an endless whirlwind of riffs and moods, graced by fine lead guitar work and a brilliant acoustic flamenco hook. "Symphony of Agony" is a staple abstract progressive thrasher, after which comes the closer "Allegro": a nice jumpy hectic slassical instrumental variation, with a considerable presence of the lead guitar, and a great bass support. Progressive thrash is back on the map, and done in a way very few acts would be able to match; hopefully the eccentric Hubert will be able to keep this talented line-up longer.
Hubert is preparing to strike again, hopefully soon, although he couldn't keep anyone from the "Lurking Fear" line-up, and has summoned under the banner the singer Martin LeMar from the progressive metallers Tomorrow's Eve, the guitarist Erik Adam H. Grösch from the talented technical/progressive outfit from the not so distant past Annon Vin, and the drummer Alex Landenburg, who has hit drums in Annihilator, Axxis and At Vance.
"Wanderer on the Edge of Time" is structured as a classical piece which will keep the listener on the edge of his seat (not "time") with the constant change of moods and tempos which is, of course, to be expected by a Mekong Delta release, although in this case it is done kind of mechanically, workman-like, with not much soul put into it. The peaceful intro ("Concert Guitar") may scare the fans being a direct nod to the band's brief non-metallic period ("Pictures at an Exhibition", that is), but "Ouverture" breaks in, and the complex multi-layered thrashing begins on full-throttle; not for very long, though. "A Certain Fool" (Le Fou) // Movement 1" introduces the singer who was missing from the picture up to this point, and his clean mid-ranged tone fits the elaborate pieces well, although to these ears he is too dramatic and attached for such a technical delivery; the song is not much to talk about being a pompous orchestral ballad. Enormous relief will come after "Interlude 1 - Group" which is less-than-1-min of precise technical shred followed by the next vocal track ""The 5th element" (Le Bateleur) // Movement 2" which is a dramatic semi-ballad, and one may want those vocal compositions to be less for the future. Well, not quite since ""The Apocalypt - World in shards" (La Maison Dieu // Movement 3" is a nice hectic progressive thrasher with orchestral implements. ""King with broken crown" (Le Diable) // Movement 4" follows the same pattern, but is slower, again with shades of ballad, and also doom; a creepy minimalistic approach not very common in the band's discography. The aftertaste will be considerably dissipated after the excellent instrumental "Intermezzo // Movement 5" which is not all-out thrash, but creates a cool more intense duo with the following "Interlude 4 - Group". Time for the vocalist to pour his emotions on the acoustic ballad ""Affection" (L'Amoureux) // Movement 6" which will confuse the listener as to where exactly to put this effort. His impression will be corrected (probably) on the much better ""Mistaken truth" (Le Hérétique) // Movement 7", which is another creepy ambitious thrasher which comes the closest to "Lurking Fear" with its steel technical riffs. The "Finale" is a fine abstract instrumental with surreal leads and frantic riffs, and will keep the listener quite busy, albeit for just under 3-min.

The blend between the instrumental interludes and the vocal numbers is by all means achieved, but the intensity of the previous album is very seldom felt, let alone the one of the band's older output. This is an ambitious progressive metal opera which doesn't quite belong to the thrash metal field the whole time, and it works better as separate pieces rather than as one whole, the latter not sticking together constantly, with the sudden unexpected drops of mood and intensity. If "Lurking Fear" was a glorious comeback raising the level almost back to the old one, this release shows Hubert and the ever-changing Co. full with style which is sadly not matched by the enthusiasm.

Mekong Delta Full-length, 1987
The Gnome EP, 1988
The Music of Erich Zann Full-length, 1988
The Principle of Doubt Full-length, 1989
Dances of Death (and other Walking Shadows) Full-length, 1990
Kaleidoscope Full-length, 1992
Classics Best of/Compilation, 1993
Visions Fugitives Full-length, 1994
Pictures at an Exhibition Full-length, 1997
Lurking Fear Full-length, 2007
Wanderer on the Edge of Time Full-length, 2010

MELIAH RAGE (USA)

A good power/thrash metal band whose debut is their best, and most thrashy, release; the music is simplistic, but catchy and memorable, and it wouldn't take too many spins for one to remember the songs here. It develops in a heavy, mid-paced fashion, until it hits "Meliah Rage": the band name carrier is an overlong melodic power metal instrumental, which "excuses" itself for the lost inertia with cool energetic thrashy ending. "Deadly Existence" is the most aggressive number on this one, thrashing with confidence. However, instead of pulling out all the stops with a couple of more tracks of the more intense variety, the guys move back to the heavy/power metal patterns, producing a very bland result, in the form of the toothless heavy metal anthem "Enter the Darkness"; a situation partially saved by another furious number: "Impaling Doom"- speed/thrash at its finest and heaviest, which tries something more technical, and succeeds. "The Pack" is not too far behind, smashing with force, closing this work with style, making up for the several dull moments before.
"Solitary Solitude" is more consistent than the debut, and contains well executed melodic power/thrash, which moves from shorter, energetic numbers ("No Mind") to longer, heavy doom-laden ones ("Decline of Rule"), plus one very cool acoustic ballad: "Deliver Me". The second half is probably less striking, with a more power metal-based sound, with the guys refusing to add more intensity to the proceedings.
"Unfinished Business", recorded in 1992, but released whole 10 years later, is closer in spirit to the debut, being again a more uneven effort, jumping from one extreme to another: the raging thrashers "Decade Dreams", "Mind Stalk", which are some of the most aggressive material the band ever composed; on the opposite side of the spectre we have the slow, melodic "Possessing Judgement", "Ruthless" (which is anything but ruthless), and the last two, more edgy, but still more power metal-sounding tracks.
"Death Valley Dream" again scores higher in the consistency department than its predecessor, without leaving the thrashy aspect aside, and cool headbangers are here to make your day: "War Journal", but watch out for the funk-ish experiments on "The Last Detail", the modern groovy sound on the opener "Death Valley Dream", and other offbeat, maybe not very desirable moments elsewhere. The hidden track "Scarred" should have been hidden more carefully: just kidding, it's a cool semi-ballad, pretty much in the vein of the traditional for the band approach. This album remained the guys' last offering for quite some time.
8 years after their last release, Meliah Rage are back on the metal field with "Barely Human", but this is "barely" the edgy power/thrash metal sound known from their past: the last two albums tread the classic heavy metal path with nods to the American power metal scene, and with almost no traces of thrash. Both works are actually sure picks for the fans of traditional metal, and are a good example of a band moving on, without betraying their roots.
"Masquerade" is the band's best offering from the new millennium, finally bringing the thrash back. "Lost or Found" is a commendable dark heavy opener with nice Oriental hooks and a cool speedy ending. "Chosen" is a smashing speed/thrasher, arguably the most aggressive track the guys ever produced. More moderate power/thrash comes on "History Will Tell", before "Dreamer" explodes in another ball of speed/thrashing fury with an early Metallica flavour. Slower heavy/power metal rhythms with balladic overtones reign on "Seeker". They stay around for "Hour Glass" and the cool ballad "Masquerade", but on "Last Rites" all hell breaks loose once again, this one being vintage galloping American power/thrash. "Whatever it Takes" thrashes like there's no tomorrow for about 7.5-min, finishing this album in the best possible way, showing the band looking back at their roots where their real power (and "rage") lies.
"Dead to the World" possibly, but definitely not "dead to thrash": the band are back with another, even better, offering showing their teeth from the get-go with "Up In Flames", a very cool thrashing headbanger, remaining the highlight on the album, which gives way to the more melodic power metal delight "Valley Of The Shadowless Souls". Two contradictory semi-instrumentals follow suit, before heavy hammering riffs overtake you on "Where Nothing Ever Grows", a more serious, heavy take on thrash, which becomes a tad more energetic on "Never From Me". Time for more jumping around with the speedy "Cold Cruel Fate", before "Time Won't Let Me Breathe" drowns you with another portion of more officiant, semi-balladic dramatism. The final "Awaken Sorrow" is expectedly a vigorous cut, with hard thrashy riffs galore, fine melodic leads, and a nice balladic twist at the end. Fans of "Masquerade" will by all means be happy with this one, as well those who have left their heatrs in the 80's/early-90's; the mixture of fast thrashy and slower & heavier numbers is well achieved, the band confidently carving a niche for themselves without strictly belonging to any style in particular, standing even more proudly than during their early days.

Kill to Survive Full-length, 1988
Solitary Solitude Full-length, 1990
Death Valley Dream Full-length, 1996
Unfinished Business Full-length, 2002
Barely Human Full-length, 2004
The Deep and Dreamless Sleep Full-length, 2006
Masquerade Full-Length, 2009
Dead to the World Full-length 2011

MELISSA (SWEDEN)

Based on the "A Flight To Insanity" 2-track single, this is raw, brutal unappealing thrash with proto-death metal moments, not too far from early Messiah, or Devastation's "Violent Termination".

Demo Demo, 1987
Garage Demo Demo, 1988
A Flight To Insanity Single, 1992

MELTDOWN (USA)

Based on the two demos: a promising new band who play Bay Area-inlfuenced thrash along the lines of Exodus' "Bonded By Blood" topped up by some cool guitar solo work.
"Executioner", the band's full-length debut, fulfills, if not surpasses, all the promises. The opener "One by One" melts speed and thrash metal in a way not heard in a long time. The opening riff of the next track will throw you into Destruction-territory ("Mad Butcher"), and from then things only get better and better. "Death and Destruction" will bring you to tears with the memories of Metallica's debut (compared to what these guys are playing now...). The following "Murdered to Death" is a lesson in speed, and the remaining tracks are not too far behind. It would be a miracle if Meltdown don't grab the "Best Metal Debut" Award for 2007.
The band are at present operational under the name Mantic Ritual, and the first step of the guys was to re-release "Executioner". Nothing new there, so those who have the album reviewed here, need not bother.

Live Demo Demo, 2005
Executioner Demo Demo, 2006
Executioner Full-length, 2007

MEMORAIN (GREECE)

This band boast the presence of Nick Menza, the legendary Megadeth drummer. Based on "Reduced To Ashes": the style has something in common with Megadeth, but it's closer to recent Annihilator (Jeff Waters actually takes part on their last album, playing solo on "TV War", which is not an Accept cover). This is thrash metal on the more melodic side with slight technical tendencies ("Facing My Demons" is a good more aggressive thrasher, and is the best track on the last album bringing you back to early Megadeth).

"White Line" is pretty much in the same vein, but this time the music actually recalls Megadeth more often, but their 90's, more melodic works. One of the best songs is actually a ballad: "Condemn Me to Obscurity", a really good achievement in the genre; there is another heavy, semi-balladic instrumental later on: "Silent Cry", which is almost as good. So in other words this is quiet and peaceful stuff, mostly mid-paced, with not much edge in the guitar department, which sometimes makes the music sound like pure heavy metal (the closer "My Choice"). It was good that later the guys hardened the course a bit...
The debut is a not very impressive mix of power and thrash metal again clinging towards the Megadeth 90's works, but lacking quite a bit in the more aggressive riff department relying too much on calmer mid-paced to semi-balladic patterns which may bore the listener well before the end.

Digital Crimes Full-length, 2002
White Line Full-length, 2003
Reduced To Ashes Full-length, 2006
Evolution Full-length 2011

MEMORIAL (DENMARK)

Based on "Shatter the Art", this band serve your average modern thrash ala The Haunted and Carnal Forge. This is both heavy and fast stuff, both sides well covered, with an appropriate vocal assistance staying within the gruff semi-shouty death metal parametres. The sound gets surprisingly classic at times, and this is when the band sound close to the British legends Benediction ("When Everyone Starts to Forget", "Ave Agression") with a more thrashy twist.

Collision Scenario EP, 2006
In the Absence of All Things Sacred Full-length, 2009
Shatter the Art Full-length, 2011

MEMORIAL DEATH (PORTUGAL)

Modern thrash of the heavy mid-paced variety; this is moody and atmospheric music with doom/gothic overtones ably supported by the low-tuned death-y vocals recalling early Pyogenesis quite a bit.

New Order EP, 2008

MEN EATER (PORTUGAL)

Based on the "Men Eater" EP, this act pulls out modern hardcore-ish thrash with doom/sludge overtones. The faster and slower side are equally given share both occupying two songs, the latter coming in the beginning creating a cool headbanging atmosphere. The abrasive shouty vocals are a bit hard to bear, though.

Men Eater EP, 2006
Hellstone Full-length, 2007
Vendaval Full-length, 2009

MENACER (USA)

These guys deliver furious speedy thrash metal of the old school not far from early Hirax and Vio-Lence's "Eternal Nightmare". The band lashes non-stop adding the casual crossover ("Temptress of the Night") hook, or the desirable slower ("Slaughter in the Green Room") break. Some of the band members are also involved in the splatter/gore death genre taking part in prominent practitioners like Engorged, Frightmare, Lord Gore, etc.

Slave to the Stein Demo, 2006

MENCEA (GREECE)

Typical modern thrash/death metal which at times jumps on the technical wagon, and this is when the music may remind you of late period Death ("Ardad"). The sound has its progressive, as well as gothic elements, although the sudden blast-beat interruptions do not serve the band right, but if we exclude them, this is not very aggressive stuff, and there are numerous melodic hooks thrown in. The closing "When Strife And Greed Collide" is a nice ambitious, multi-faced composition, which could make even Opeth proud, although to these ears this one is more satisfying, thrashing intensely on quite a few moments.

Dark Matter Energy Noir Full-length, 2008

MENGELE (USA)

Based on the "Abominable Thoughts" demo, this band offer a lot more than some of the longest (and strangest) song titles: this is first-rate thrash quite close to the works of Destruction ("Bestial Devastation") and Kreator ("Extreme Aggression"). The tempo is fast, quite intense at times, with a very slight death metal flavour, and the riffage is technical and sharp.

Kuusamon Demo, 1988
Senseless Extermination EP, 1989
Abominable Thoughts Demo, 1989
Thrashing Relics Volume 1 Split, 2006

MENTAL AMPUTATION (GERMANY)

Based on "Utter Subordination": this is a vicious and often quite aggressive mix of thrash and death metal. The blast-beats are too many, decorating almost every song, and might pull back the more faint-hearted, but those who choose to stay with the music will find quite a few thrashy riffs to enjoy. The guitars are quite technical recalling Suffocation and Morbid Angel.

Mass Crisis Full-length, 2001
Utter Subordination Full-length, 2007

MENTAL CARE FOUNDATION (FINLAND)

Based on "Alcohol Anthems", this is groovy thrash along the lines of Pantera and Machine Head.

Alcohol Anthems Full-length, 2005
The Holy Bastards Demo, 2006
Hair Of The Dog Full-length, 2006

MENTAL CRYPT (SWEDEN)

This is mostly death metal stuff with more quiet thrash metal passages; quite brutal and well done: will appeal to fans of Massacre, Agressor and other similar bands from the early 90's. There are several stylish technical guitars to be heard ("Warzone") although the focus is on direct assault with no compromises.

Extreme Unction Full-length, 1998

MENTALLY DEFILED (GREECE)

This "thrash brigade" from Greece specializes in energetic Bay-Area thrash, clinging between Forbidden and Vio-Lence. The album is quite an entertaining headbanging effort, full of fast sharp riffs and screaming leads. The songs are up-tempo, and the first more mid-paced moments are introduced in the middle, on "Lunar Chaos", which is still intense, with good bass implements. "Politisize" speeds up again, but comes up with a couple of more interesting semi-technical guitars. "Leatherface (Watch Me Die)" is a ball of aggression, touching Slayer, and the closer is an extended version of the already heard previously "Thrash Brigade", maybe not a very necessary one since the changes can hardly be felt. This is a confident debut, something which the Greek metal scene needed to break the spell of the circle of dominant black/gothic metal acts.

The Thrash Brigade Full-length, 2009

MENTICIDE (FINLAND)

The second demo, which perhaps has one of the longest titles in music histroy, is dark depressive music crossing intense thrash/death metal ala Massacra with heavy doomy riffs taken from the Beyond Belief or the early Cemetary catalogue. The sound quality is a bit muddy, and the singer is a really brutal death growler not miles away from Dave Ingram (Benediction).

Enforcer Single, 1990
Some Call It Educational And The Others Just Domestic Violence Single, 1990

MENTOR (PORTUGAL)

Decent retro thrash of the more melodic variety with touches of power metal; things get tough on the intense "Head Bangers", which really deserves its title moshing out with force in the best tradition of early Metallica. The rest is more mid-tempo, and the singer delivers with his melodic mid-ranged tone recalling Jan Lubitzki (Depressive Age).

Demo Demo, 2005
Demo Demo, 2007

MEPHISTO (ITALY)

Based on "Tyrant's Return", these guys come up with a vicious and quite brutal blend of thrash and black metal, resembling Impaled Nazarene most of the time. The band don't bother to calm down, except on "Necro Satanik Magick", which is a direct nod to early Celtic Frost, serving also to justify the album-title probably, and on "Mayhemic Demons" which is an excellent atmospheric doomy number and will remind you of Enslaved's viking period and Bathory's "Blood, Fire, Death".
"Metal of Death" quietens down, and is much closer to thrash, which varies from a morose doomy tone ala early Celtic Frost ("Megiddo", the excellent sinister funeral hymn "Maniac"), to an edgier Germanic one ("Zombie Terror"), to a happy Motorhead-ish one ("Motordeath").

Metal of Death Full-length, 2005
Tyrant's Return Full-Length, 2007

MERAUDER (USA)

Intense, aggressive groovy thrash, which sounds quite good, and reflects well the fashion of the times. At times the guys switch onto more energetic riffage ("Master Killer", "Downfall Of Christ"), and generally the guitar work moves around, never sounding stale or repetitive producing nice headbanging moments.

Masterkiller Full-Length, 1994

MERCENARY (USA)

The line up here includes two former members of more celebrated bands: one from Mordred (Danny White), and one from Heathen (Sven Soderlund). Based on the 1986 demo, this band come up with very good thrash metal resembling Wargasm's "Why Play Around" and early Testament, with great melodic leads which are clearly the highlight here.

Demo Demo, 1986
Demo Demo, 1987

MERCILESS (BRAZIL)

A 4-track demo of primal Germanic thrash ala Destruction and early Exumer; vicious mean vocals ala Schmier, razor-sharp fast guitars, a sparce use of solos and other unnecessary gimmicks; these guys are really "possessed by thrash", like the demo-title suggests, which is an obvious allusion to the legendary Exumer debut.

Possessed by Thrash Demo, 2008

MERCILESS (SWEDEN)

Merciless' debut is a first-rate death/thrash metal effort, which put to shame most of the releases at that time with its merciless (no pun intended), brutal approach. "The Treasures Within" follows a similar path, with a forceful sound, closer to death metal: brutal relentless pieces like "Mind Possession" and "Darkened Clouds". Despite the aggressive delivery, cool technical hooks ala Death can be caught ("Book of Lies", "Shadows of Fire"), but the guys' desire to play as fast and brutally as possible leave these moments unfinished. Still, this was a solid release, showing the band standing proud among the sea of 90's death metal acts.
"Unbound" was expected to emphasize on the technical side of their music, but it was actually stripped down direct thrash, nicely mixing the old school sound with modern "updates", resulting in another strong work. The guys thrash with full force on "The Land I Used to Walk" and "Feebleminded", but the more appealing side appears to be the long, pounding mid-paced thrashterpiece "Back to North", "decorated" by nice epic/atmospheric passages: an obvious, and a good nod to mid-period Bathory. After another raging number ("Silent Truth") comes another brilliant epic thrasher: "Lost Eternally", combining frantic thrashy sections with superb doomy riffs. "Nuclear Attack" is lightning speed/thrashing madness, which sounds like a leftover from the debut. And finally, something softer: the speed metal delight "Forbidden Pleasure", with magnificent melodic guitar lines all over.
After 3 fine efforts the guys took a well-deserved break, maybe a bit longer than necessary, to emerge with their 4th self-titled offering. This album showed the band having preserved their skill to play good thrash/death metal of the old school. There are modern implements added, and the overall sound is close to the Kreator works of the new millennium, maybe more classic-sounding. The music is mostly thrash, with few traces of death metal, and outbursts like "Cleansed By Fire" and "Cold Eyes Of Grey" are pure gems of fast headbanging thrash metal as well as most of the songs. This is by far one of the better comebacks made by old veterans, an impressive work finished with a slower, heavier, hypnotic number ("In Your Blood") in the vein of late-80's Slayer.

The Awakening Full-length, 1990
The Treasures Within Full-length, 1992
Unbound Full-length, 1994
Merciless Full-length, 2003

MERCILESS DEATH (USA)

Based on the debut: this is cool stuff: heads-down speed/thrash quite close to Cranium, Solitaire and Razor's heydays ("Shotgun Justice", in particular). This is a true speed monster, from beginning to end, no slower breaks or intermissions, just merciless, lightning speed thrashing. Well, there is one more peaceful track (this is very relative here), but only the 1st half: "The Final Slaughter", but it quickly turns into the next violent speed/thrasher in the 2nd one.
"Realm of Terror" is another fine slab of straight, all-out retro thrash, but more aggressive and more "merciless" than the debut. This is really violent music which goes well beyond "Shotgun Justice", easily rubbing shoulders with proto-death, and as such is closer to late period Protector on the most brutal moments (check out the ultra-aggressive ball of fury "Tormented Fate", which would make even Slayer and Dark Angel cringe; or the lightning speed monster "The Gate"). It's surprising how fast and intense these guys can play the whole time, without pausing for a single break; well, no complaints, as this is one more gem added to the thrash metal crown of 2008.

Evil in the Night Full-length, 2006
Realm of Terror Full-length, 2008

MERCILESS ONSLAUGHT (ITALY)

This young Italian band specialize in an old school blend of thrash and black metal, quite well done, not too aggressive, nicely staying within the mid to up-tempo range. There is a slight shade of death metal, coming mostly from the vocals, which have both a death and a black metal vibe. The interesting thing is that these guys do not sound like anyone else from the old veterans; maybe Sacrifice's early period could be a reference point, or, from the newer names the Portuguese Alastor, but the music here has a more genuine black-ish atmosphere, and has no shades of speed metal.

Italian Warfare Demo, 2006
Promo Demo, 2007
Merciless Onslaught/The Krushers Split, 2007

MERCILESS TERROR

3 songs of classic up-tempo thrash of the German school with a modern production, bringing it close to the more recent Dew-Scented works; the difference comes in the form of the two vocal styles, both of the death metal school (one shrieky, the other one low-tuned), and the few blast-beats scattered around.

Deeds of Inhumanity Demo, 2009

MERCINARI (USA)

An excellent 4-song demo of energetic, fast-paced thrash along the lines of the Forbidden debut; the vocals also remind of Russ Anderson, maybe a little lower. These guys are a bit more aggressive and more technical coming up with really intriguing riffs. The tempo is fast the whole time with occasional slowdowns where the guitars start to crush really heavily.

Demo Demo, 1989

MERCY KILLING (BRAZIL)

Good energetic thrash metal of the old school with crossover touches.

Under the Acid Rain Demo, 2001
Life Live Demo, 2002
Dominant Class Demo, 2003

MERCYLESS (FRANCE)

Mercyless are a part of the wave of bands from the French scene who showed up in the late-80/early-90's with the intention to "marry" the old school thrash sound with the coming death metal trends. They are one of the better practitioners of this sub-genre (second only to Massacra probably), and their first two albums are prime examples of well executed death/thrash metal mixing brutal blast-beat parts with genuine semi-technical sections. The music is probably more death metal-based, but the good moments are simply too many for it to be ignored by fans of good quality metal in general. Like Massacra, they changed their style in the mid-90's to sound more modern, but, unlike them, their works from this period are far less impressive.

Vomiting Nausea EP, 1990
Abject Offerings Full-length, 1992
Coloured Funeral Full-length, 1993
Cold Full-length, 1996
Sure to be Pure Full-length, 2000

MERCYNARY (USA)

Based on the "Plagues of Death" demo, this is cool speed/thrash similar to the Forbidden debut, but with a dirtier sound, and a more aggressive attitude. The vocals are another thing worth mentioning being of the high-pitched semi-clean type sounding like a harsher version of Russ Anderson (Forbidden again).

In Memory of the Dead Demo, 1988
Plagues of Death Demo, 1989
Publishing Death Demo, 1990
Beliefs Demo, 1994

MERCY OF DEVIL (ITALY)

Fast aggressive black/thrash which has a clear old school sound: maybe the works of early Sodom and Bathory are close soundalikes as well the bands from the thrash/black metal wave from Japan: Abigail, Sabbat, Barbatos. This is basic stuff without many musical merits, the way it used to be done in the very early days.

Sodomy Attack EP, 2005

MERENDINE ATOMICHE (ITALY)

The band's style is in the modern camp. There are certain Metallica influences from the Black Album and modern day Anthrax ones (especially on "Raw").

The Holy Metal EP, 2000
Walk Across Fire Full-length, 2003
Raw Full-length, 2006

MERSINARY (USA)

The band's output includes both classic American power metal similar to early Helstar or Griffin and good speed/thrash in the Agent Steel tradition. The singer at times sounds like a lower-pitched John Cyriis attempting some wailing vocals in his vein.

Choose Death EP, 1987
Dead Is Dead Full-length, 1988
Dead Is Dead EP, 1990

Vibrations of Doom

MESETIAH (FINLAND)

Based on "A Force To Recognize", this band plays modern thrash/death metal of the dry, sterile kind. The jumpy riffs carry a certain technical charge (check out the stylish puzzler "Eaten By The Sun"), but as a whole the approach is more predictable, steam-rolling forward in a consistent mid-pace, which makes more intense pieces like "Bones In The Basemenent" and "There Will Be Blood" more than welcome. "Gruesome Blues" is indeed an attempt at blues, but done in a more aggressive, thrash/doomy manner, contrasting to the final "The Inevitable" where finally the guys lose it to blast out with the wildest out there for a while, with some of the most dispassionate, mechanical guitars of more recent times.

The Purpose Of Our Existence Full-length, 2009
A Force To Recognize Full-length, 2011

MESHUGGAH (SWEDEN)

A very original and distinguished band; from the Metallica-influenced, technical thrash on their debut they developed gradually into progressive, dry, industrialized, "mathematical" thrash/death which can not possibly be described. A unique band, but definitely not for everyone.
"Obzen" is a nice, and desirable deviation from the abstract robotic sound of the last few releases into a more accessible and faster one. "Combustion" opens the album in a nice headbanging fashion, last heard on "Contradictions Collapse" probably. "Electric Red" returns to the more industrialized style, introduced with "Chaosphere", but the follower "Bleed" thrashes again in an awesome way with great technical mechanical riffs. After that the songs mix both styles, and although they don't surpass "Bleed", are quite worthy with their choppy dry guitars (check out the complex and very intriguing "Pravus"), which will also bring to mind Coroner's "Grin" and the Americans Baghead. Those of you who had given the band up after the hard-to-swallow music the guys started playing on "Nothing" and after, will be delighted to hear their idols back with full force to their earlier more accessible dynamic style.

Psykisk Testbild EP, 1989
Contradictions Collapse Full-length, 1991
None EP, 1994
Selfcaged EP, 1995
Destroy Erase Improve Full-length, 1995
The True Human Design EP, 1997
Chaosphere Full-length, 1998
Nothing Full-length, 2002
I EP, 2004
Catch 33 Full-length, 2005
Nothing (New Edition) Full-length, 2006
Obzen Full-Length, 2008

MESSENGER (HUNGARY)

Based on "Mivé Fajul A Világ": this band play groovy 90's thrash, quite close to Sepultura's "Chaos AD", edgy and mid-paced for most of the time, with angry vocals not miles away from the ones of Max Cavalera. Heavy riffs, choppy rhythms, more playful crossover tunes, but other than that the music bears no surprises for the genre's connoisseurs.

Pokoli világ Full-length, 1998
Élsz, Ahogy Élsz Full-length, 2000
Más törvény Full-length, 2002
Savvá válik a vér EP, 2004
Mivé fajul a világ Full-length, 2005
Isten tervez, Ember végez Full-length, 2008

MESSENGERS (USA)

These newcomers from Dallas play a potent mix of classic and modern hardcore-ish Pro-Pain-esque thrash which is high on energy, especially on short bursts like "Palerose", the latter well compensated by 10-ton hammers like the doomy winner "Anthems", and the only seeming shortcoming would be the characteristic shouty vocals.

Anthems EP, 2010

MESSIAH (ARGENTINA)

Expect groovy thrash/death metal of the playful Six Feet Under-type, still crushing majorly whenever necessary with shattering 10-ton riffs ("1982").

Messiah EP, 2010

MESSIAH (SWITZERLAND)

This legendary Swiss band provided a respectable answer to the extreme "products" which came from the other side of the Atlantic (Slayer's "Reign in Blood", Dark Angel's "Darkness Descends", etc.) in 1986, and along with Kreator's "Pleasure to Kill" helped Europe get even with the States. Of the 4 mentioned albums "Hymn to Abramelin" is clearly the most brutal achievement ("Messiah" and "Thrashing Madness" are pure death metal predating the Death and Protector debuts with a whole year) although in terms of musicianship it is also quite clearly the least capable one.
Things didn't get much better on "Extreme Cold Weather", which was a less consistent effort mixing furious death/thrash numbers with much more laid-back ones with a doom/gothic shade, and the latter could be considered one of the first genuine gothic compositions, released at a time when the Paradise Lost members didn't even know each other. A couple of cool touches are scattered throughout the album, though: the tender balladic instrumental "Mother Theresa", dedicated to... well...; the brutal metallic take on Johann Strauss' "Radezky Marcht"; the excellent melodic atmospheric instrumental "Hyper Borea", which nicely mixes raging riffs with melodic atmospheric passages. The bonus tracks at the end are recorded live, but they are not present on any of the two full-lengths, and are some of the most brutal stuff released at the time: bashing outrageous death metal, bordering on grind.
Having the first two albums in mind, one could hardly expect what a big musical step the guys would take with "Choir of Horrors" which put them right along Celtic frost and Coroner as the finest extreme metal practitioners from Switzerland. With a much better production, and much superior musicianship, this album remains one of the finest crosses of thrash and death metal to come out of Europe. The music nicely switches from one style to the other with great sharp riffs, fast tempos, and smart semi-technical "decorations". The pace is quite speedy, but the slower sections are quite frequent as well, making this work a fairly interesting, not predictable listen. The fine instrumental "Northern Command" is a perfect example of this combination, which also reveals the guys' more technical side, which would soon find a better expression on the closing "Weena": a very good semi-technical death/thrasher, with the best lead guitar work on the album.
"Rotten Perish" appeared just several months later, and it captures the listener from the very first note with the brilliant acoustic intro "Act of Fate". "Living With A Confidence" fulfills the promises for more technical, but also more controlled, performance, suggested on a couple of songs from the previous recording, and this great number will strongly remind you of the more recent Death output ("Spiritual Healing", "Human"), albeit served with a big doze of thrash. The speed is not lost completely, though, as is evident from the following "Raped Bodies", which thrashes intensely, without losing the technical edge. Talking about technicality, this can not be even considered a prelude to the excellent "Contrition", which apart from the heavy technical riffage provides fine quiet acoustic moments, and more. "Dreams Of Eschaton" is a surprising, but well made cover of Manilla Road from "Crystal Logic"; it has no ties to the band's style, but serves as the necessary intermission, after which the assault continues on the furious "Anorexia Nervosa", the technical riff-fest "Deformed Creatures", and the combination of the two "Alzheimers's Disease". "Ascension Of A Divine Ordinance" is a good epic progressive track, scoring high in the technical department again, with the pounding twisted 1st part, making a summary of what was heard on the album within its 10-min, finding also time for one of the finest outros, which starts like the intro, with a fine acoustic theme, before the main doomy riff overwhelms you.
This work was seemingly the band's creative peak, so it was not a surprise when they scattered around after it, with the mainman Andy Kaina summoning other musicians under the Messiah-banner (including Christofer Johnsson: the founder and leader of Therion, who sang on the album) for the recording of "Underground", which saw the band moving into a gothic metal territory similar to Paradise Lost's "Gothic" and Cemetary, to finally fully develop those gothic tendencies heard on their early efforts.
The "Psychomorphia" EP is the first indication for the band's growth containing forceful thrash/deathsters, one of which ("Psychomorphia") is a diverse, almost progressive opus, quite an interesting musical journey finished with a nice ambient outro; another ("Right For Unright") being a more direct lasher with sharp dramatic riffs: and one ("M.A.N.I.A.C.") a ultra-brutal death metal outrage lasting for 2-min.

Hymn to Abramelin Full-length, 1986
Extreme Cold Weather Full-length, 1987
Psychomorphia EP, 1990
Choir of Horrors Full-length, 1991
Rotten Perish Full-length, 1992
The Ballad of Jesus EP, 1994
Underground Full-length, 1994

MESSIAH (USA)

Based on the "In the Flesh" demo, this band specialize in interesting mid-tempo thrash with simplistic, but quite effective guitar work, and an excellent heavy bass bottom. The tracks are 5-6min long, but there isn't anything technical going on; just cool, not aggressive thrash, which doesn't sound like anything else out there.

In the Flesh Demo, 1988
Look Unto The Cross Demo, 1989

MESSIAH DEATH (JAPAN)

Based on the "Invocated Unholy Souls", this band must have been the first extreme thrash/death metal formation in the Far East, with allusions to their Swiss colleagues also made with the name. The style is brutal, but very well done, with a sound which will remind you of Pestilence"s "Consuming Impulse", or Massacra's first three efforts.
The debut demo is another pretty aggressive affair boldly venturing beyond the borders of thrash, even surpassing their namesakes from Switzerland in terms of brutality, coming closer to the more stripped-down, purer death metal "massacre" of Protector's "Misanthropy". This a raw, but controlled, aural assault which by all means has its raw charm not without the help of the brutal Martin Van Drunen-like vocals.

Gore of the Crucifix Demo, 1987
Immortal Kingdom Demo, 1988
Invocated Unholy Souls Demo, 1989

MESSIAH FORCE (CANADA)

A one-album wonder from Canada with a very capable female singer (Lynn Renaud is the name); the music is mostly speed metal ala the Germans Warrant and Steeler, with also touches of 80's Chastain and the Germans Not Fragile. This album has definitely been a big influence on the 90's power/speed metal scene. The brisk opener "The Sequel" is the definitive speed metal delight, after which "Call From the Night" hardens the course with heavier, thrashy riffage, without losing the speed. "Watch Out" is speed metal at its purest once again, followed by the more moderate heavy/power metal of "White Night". "Spirit Killer" will not only not "kill your spirit", but will lift it much higher with its meaty galloping riffs, a tendency continued on the following "Silent Tyrant". "Hero's Saga" switches onto a full-frontal speed assault, before "The Last Day" adds more pounding power/thrash to the proceedings. "The Third One" closes the album in a flying speed metal fashion setting a very strong example for hundreds of acts to follow in the 90's making this effort one of the ultimate speed metal works on the scene. The leads are quite good, short and melodic, and Renaud shines all over with her emotional delivery ala Doro Pesch, with a more frequent adherence to the higher registers than the German metal legend.

The Last Day Full-length, 1987

Vibrations of Doom

MESSIAHS BEARD (SWEDEN)

Abrasive hardcore-ish thrash which also shares some of the death metal intensity, all this packed into 1-2min tracks, some of them pure "outbreaks of evil" graced by shouty choruses and direct lashing guitars, without too many musical merits.

All Work And No Slaughter Demo 2006

MESSINA (HOLLAND)

Competent aggressive thrash metal recalling Slayer and Devastation, with a more technical edge and longer songs; the band play fast and tight, varying things with heavy stomping riffage: "Nothing Will Change". The guys are quite good at making longer compositions sound aggressive, without speeding too much, relying on crushing, mid-paced, semi-technical riffs: "Who's for Dinner", "Ritual Killings".

Terrortory Full-length, 1990

METAL BEER (COLOMBIA)

The flag of germanic thrash is raised high in Colombia, with copious amouns or "metal" beer spilt as well, in the manner of none other but Tankard. The band play fast'n tight almost reaching a proto-death intensity ("Veneno Infernal") on the more aggressive moments. So one will have no problems walking (or driving, if you're more careful) on this "highway of beer", which come spaved later with a pretty cool cover version of Slayer's "The Antichrist".

Highway of Beer Demo, 2011

METAL CHURCH (USA)

One of the pioneers of the speed/power/thrash metal movement, these greats never gained the recognition they truly deserved, which went to other far less impressive acts. "Metal Church" is an extraordinary debut, which even unbiased encyclopaedias, like "A to Z of Heavy Metal" can not help but call "phenomenal" (the only time this word is used in the encyclopaedia, by the way). It's needless to go into further details about this perennial classic, which contains some of the definitive riffs in metal history (the opening machine-gun like one on the title track remains my personal favourite all these years; David Wayne (R.I.P.) couldn't resist to use it later for the opening number from his controversial solo effort "The Choice"). "The Dark" was even more thrash-fixated, abandoning the heaviness and the epic feeling that have permeated some of the songs from the debut, and it probably needed just one more effort of the same calibre for the band to seal their fate on the pedestal of metal fame along with their colleagues from the Bay-Area and the East Coast, but the leaving of David Wayne closed the thrash metal page from the band's career. With the coming of Mike Howe from Heretic Metal Church entered the power metal arena where they are still one of its most distinguished representatives, despite the numerous ups and downs witnessed both in the musical and the personal (remember the ill-fated attempt for a reunion with David Wayne ("Masterpeace") for both) sector.

Metal Church Full-length, 1985
The Dark Full-length, 1986

METAL DUCK (UK)

Most of the time the music here is cool thrash/death metal along the lines of later period Protector, but with a darker sound and fierce grindcore outbursts which could have been avoided. On the other hand, there are good leads present as well as pure punk-ish pieces ("Mean, Green and Pink").

Auto Ducko Destructo Mondo Full-length, 1990

METAL GENOCIDE (CHILE)

Nice energetic retro speed/thrash in the tradition of Angel Dust and Iron Angel (too many "angels" here, one may say...); the guitars lash with passion seldom slowing down, ably supported by mid-levelled semi-clean vocals quite close to Jörg Weiss (the first Angel Dust singer). Some of the band members are also involved in another thrash metal act: Impact.

Send the Posers to Hell Demo, 2006

METAL INC. (USA)

A 3-song demo containing thrash done in a sure-handed classic manner with a strong technical edge, not far from mid-80's Voivod. There are more aggressive speedy moments present, but the clever more technical "decorations" are always at hand to make this an intriguing off-the-track listen, ably supported by cool mid-ranged clean vocals.

Demo Demo, 2009

METAL MERCY (SWEDEN)

Based on the demo, these folks indulge in laid-back heavy/power/proto-thrash with clear NWOBHM references sounding not far from Tank also offering the odd galloping rhythm ala the American scene ("Between Life And Death") at around the same time. The singer is not bad with his mid-ranged, albeit uemotional, clean tember recalling Tim Branom (Fifth Angel) and Blaze Bailey (Wolfsbane, Iron Maiden).

Liferide EP, 1987
Demo Demo, 1987
The Unborn Child EP, 1989

METAL MESSIAH (UK)

Good Bay Area-influenced thrash, with Metallica the prime target for worship (their early period); even the vocals resemble the slightly undeveloped James Hetfield-ones used on "Kill'em All" (in the higher tones they might also remind you of Jeff Martin from Racer X). The lead guitar is particularly striking, even having a certain Shrapnel vibe, and is the highlight here. The music is quite energetic and fast, and loses steam once, but only a little: on "The Awakening", which is a power metal-based number, and would also recall the early Racer X works.

Honour Among Thieves Full-length, 1989

METAL MIKE CHLASCIAK (USA)

This talented guitarist also has a side-project: Painmuseum, and is a full-time member of the Halford team. On his solo works the man does a fairly good job serving hard'n heavy thrash metal mixing the modern and classic trends, with more references to the former which is of the heavy, but pretty dynamic, type with numerous up-tempo implements. The concentration is more on riffs, though, unlike most of the guitar wizard efforts, except for the short instrumentals (the opening and closing ones mostly), and the fans will be delighted to hear intense thrashy sections all over with a big headbanging potential. The tracks are almost purely instrumental, the exception being a totally unnecessary tribute to Yngwie Malmsteen on "Terrotory: Guitar Kill!!!" with a cover version of the Swede's worst song probably: "Bedroom Eyes" from "Eclipse", an utterly out-of-context softer amidst the much more aggressive surroundings. There are pounding groovy passages as well, but they never drag and are well combined with the faster moments. "The Spilling" may annoy the listener a bit, though, with quite a few numbers being just either plain noise, or overlong balladic variations, or purposeless dialogue samples, etc. Still, fans of the instrumental side of thrash metal will be quite pleased for most of the time with the Chlasciak's riff-oriented thrash-friendly, not boasty or flashy, delivery.

Rock-Et Boulevard EP, 1991
Grind Textural Abstractions Full-length, 1996
Terrotory: Guitar Kill!!! Full-length, 2000
The Spilling Full-length, 2001

METAL MILITIA (USA)

The band name says it all: Metallica and nothing else matters. Well, although Metallica are an obvious influence on some tracks, the overall style reminds more of early Megadeth, with the exception of some speedy numbers ("The Impending Holocaust", "Slave of Darkness") where one could hear Slayer-esque riffs as well. Nice guitar solos and heavy riffs make this album an enjoyable listen.

Perpetual State of Aggression Full-length, 2003

METAL ONSLAUGHT (USA)

Energetic, noisy thrash metal with hardcore touches not too far from the Acrophet debut, but a lot less professionally done. This would probably appeal to some if they can tolerate the screeching vocals which recall some modern day black metal singers, and are actually the distinctive feature of the band, distinguishing them from many other similar acts.

Cease To Exist Full-length, 1987

Vibrations of Doom

METAL REQUIEM (GUATEMALA)

Based on "Unorthodox", this act plays fast aggressive thrash/death metal of the retro type with an abrasive guitar sound and brutal death metal vocals. The "requiem" is thrown as an intro, but there is nothing classical later on, as the guys thrash hard adding a few interesting Oriental motives. As a whole the style resembles the one of early-90's Messiah ("Choir of Horros", in particular), but the music here is not as interesring, especially near the end when it loses the speed almost completely "resurrecting" it a bit on the cool black metal-tinged closer "Evil Detonator". Some of the musicians involved here also take part in the power/progressive metal outfit Sierpe.

Inquisition EP, 2002
Illusions Of Fire Full-length, 2004
Unorthodox Full-length, 2010

METAL STORM (GERMANY)

Having taken their name from the Sodom song, this band are not as vicious as the style on the album to which this song belongs ("Obsessed by Cruelty", that is), but are more in the speed/thrash metal camp, occupied by acts like Vectom, Iron Angel, Atlain, etc. Their music is not constantly fast ("Soldiers of the Nite" is more laid-back power/thrash; "Paranoid" is pure classic heavy metal; "Hiroshima" is a slightly overlong tender ballad), and some of their speedy material has this simplistic, crossover shade ("Sometimes a Barkin' Dog May Bite"). Still, full speed ahead we have on at least half the numbers: "Burnin' Metal", "Suicide Commando", "Outbreak of Evil". As a whole this is just a passing release with not much to impress the thrash metal fan who by that time has raised his standards quite a bit.

Outbreak of Evil Full-length, 1987

METAL WARRIORS (GERMANY)

An early mix of power, speed and thrash metal reminiscent of early Exciter and Vectom; the music here is probably more melodic, staying more within the confines of power/speed metal, and the musicianship on display is considerably inferior.

Metal Race Demo, 1985

METAL X (GERMANY)

4 songs of early classic speed/thrash metal mixing the early German trends with the American wave: the Metallica debut, Exciter, etc.; cool stuff, with a slight crossover potential ("Let the Evil Begin") as well. The music is moderately fast assisted by hoarse semi-clean vocals with a certain punk-ish tember.

Into the Grave Demo, 2009

METALATOR (AUSTRALIA)

The full-length shows a band dedicated to the retro thrash idea executed in a more thought-out, almost progressive-sounding at times, manner with several more intense numbers (the opening "Mdmx"; the edgy speedster "Fight the Lightning") "roaming" around, resulting in a decent Bay-Area influenced sound ala Defiance and Xentrix. "Bear & the Wolf" adds power and epic to the picture, but the rest has a dark vibe, which reaches the climax on the heavy, doomy semi-ballad "The Returned...Annihilation Zone" near the end. The singer sings in a semi-deatached semi-clean way recalling Chris Astley (Xentrix).

Fuck Posers! EP, 2009
Enter the Metalator Full-length, 2011

METALCHRIST (ROMANIA)

One of the few thrash metal bands from Romania, Metalchrist mix 90's speed/power metal with thrash. The music at times reminds of the Germans Brainstorm. It's a melodic stuff, might not appeal to many thrash metal fans.

Nihil Sine deo Full-length, 1994

METALEPSIA (ARGENTINA)

These guys play thrash/crossover not too far from early Nuclear Assault. In other words, this is simplistic, but catchy stuff, fast and energetic, maybe a tad more melodic than the music of the aforementioned Americans. The singer is bad with his undeveloped raspy delivery which doesn't quite suit the better music. "Victime del Futura" is a melodic mid-paced track with a power/epic feel, but deviations of this kind are not too many.

Violencia y Metal EP, 2006
Crucificados EP, 2007

METALETY (GERMANY)

This band, who boast the presence of a beautiful female guiatrist (Anna Olejniczak is her name) specialize in modern power/thrash metal with several classic leanings. The music resembles the one of their colleagues and compatriots Perzonal War and Runamok, developing in a dynamic mid-tempo helped by heavy meaty riffs, but the intense speedster at the end "Beyond Reality" shows another side of the band's skills, and one may wish this side would be better covered on future efforts.

March To Hell Full-length, 2010

METALHERTZ (ARGENTINA)

A retro mix of power, speed and thrash metal emulating for the thousandth time their compatriots Hermetica and Horcas. The music is both sleepy and energetic, with more emphasis on the former side which comes served with screamy high-strung thin vocals and slightly noisy one-dimensional guitars.

Sere Asi Por Siempre EP, 2009

METALIUM (TURKEY)

The band's debut is classic thrash of the German school similar to Necronomicon and their compatriots Mezarkabul: intense, heavy music, which is not all-out speed all the time; actually it starts with heavy, mid-paced thrashers, before it moves onto the faster material, where the guys simply take no prisoners with their uncompromising delivery: check out the excellent instrumental "No Descent". The cool, Schmier-like vocals are also worth mentioning.
5 years later the band are back with "Suffer", and with the very first song it's obvious that the guys will show no mercy once again. The sound, however, is more aggressive and vicious, with nods to death metal, in a way similar to the Swedes Merciless' debut, or Massacra, at least on half of the tracks, but there is a fair number of songs, which are not fast at all, and even come with shades of doom: "Circle of Despair". The vocals have changed as well, now sounding more along the lines of Fred "Death" Duval (R.I.P.) from Massacra.

Behind The Power Full-length, 1990
Suffer Full-length, 1995

METALIZER (BRAZIL)

Based on the "Weapons of Metalization" demo, this act pulls out vicious classic speed/thrash with the German school an obvious influence. The music is simplistic, but delivers being energetic and intense the whole time assisted by intelligible vocals which resemble Paul Baloff (R.I.P) quite a bit, adding the casual high-pitched shout ala Schmier.

Electric Homicide Demo, 2005
Weapons of Metalization Demo, 2007

METALLIC ASS

2 tracks of classic thrash/crossover, fast but melodic with cool crisp riffs and clean punk vocals.

Distorsi Menendang Bokong EP, 2009

METALLICA (USA)

The "fathers" of the whole genre, along with Slayer; their 80's works are of an immeasurable significance to music in general. The first thrash metal band to break it really big and rival even pop-artists like Madonna and Michael Jackson in terms of albums sold. Even the Black Album is a compelling listen with its dark, post-thrash sound which later had a huge influence on the 90's scene. Metallica lost interest in thrash metal later in the 90's, and although "St. Anger" features some aggressive riffage not heard on the band's works in a long time, it's nothing more than just another modern metal album. It raised some hopes, though, and I'm sure that there are quite a few of you out there who believe that "Master Of Puppets 2" is lying in wait ready to strike at the right time.
"Death Magnetic" is finally out, and it was interesting to see whether the band would be able to shut the mouths of the hordes of "weenies", who quickly denounced the band after the change of course during the 90's, pouring piles of crap over them on blogs, forums, etc. (not that Metallica ever cared about what this or that one would write about them), blaming them in what the hell.
Well, "Master of Puppets" 2 this is not, and if one comes to think of it, it is hardly necessary for this great album to be revised. "Death Magnetic" sounds exactly the way the guys said it would: it serves as a fine bridge between their 80's legacy (their output from the 2nd half of the 80's) and the post-thrash sound epitomized on the Black Album. This is not all-out retro thrash, but comes quite close on quite a few times. "That Was Just Your Life" starts the way the immediate follow-up to "...And Justice for All" should, and although it's not "Blackend", it's a fairly satisfying energetic heavy thrasher, a number which was missing from the band's albums for a loong time. "The End of the Line" offers more laid-back riffage, along with a couple of more modern-sounding sections, but overall the sharp guitar sound is not completely lost. "Broken, Beat & Scarred" is in a similar vein, not thrashing out intensely the whole time, but never leaves the thrash metal field, and fine leads which Kirk Hammett hasn't unleashed in quite a while, can be heard on this one. "The Day That Never Comes" is mostly a ballad, quite good at that, except for the nice speedy ending, but the guys needed this break; after all, they haven't thrashed for three whole tracks in a row in a long time. "All Nightmare Long" introduces a more technical guitar play, which this album was missing up to this point, and is a very cool mid to up-tempo thrasher with a fine melodic chorus, and great crushing riffs. "Cyanide" is a reminder of the style metamorphosis the band has been going through since 1991, but the fine lead section saves it from being just a filler. "The Unforgiven III" is... but of course, the second ballad, which this work hardly needed, weaker than the first, let alone the original "Unforgiven". Enough with more modern deviations, one may say, and here comes "The Judas Kiss", which is a combination of the classic and the modern sound, containing genuinely impulsive headbanging parts. "Suicide & Redemption" is the instrumental piece, 10-min long, but unfortunately is far from the high standards established by the band 20 years ago, and is a little more than mid-paced modern post-thrash, with occasional more stylish decisions in the 2nd half, where the music speeds up for a while. The listener can not help, but have mixed feelings about the new Metallica output up to this point, and his judgement would largely depend on the last song "My Apocalypse" which seals the fate of the album in a sure-handed way, putting it on the front row, closing it with great classic fast-paced thrash rhythms, blitzkrieg screaming leads, and fine more technical implements- a thrash masterpiece, which alone serves as a big slap on the face of all those who were bitching about the band for years, for having betrayed their fans, and what not. The slap could have been harder, since there were "fans" who more than deserved it, but there will be another one later, and why not a punch, which will hopefully deal with those who survived this one. Metallica are back in the game, plain and simple, and this is hopefully just the rehearsal for what would befall us later.

Kill 'Em All Full-length, 1983
Ride the Lightning Full-length, 1984
Creeping Death EP, 1984
Whiplash EP, 1985
Master of Puppets Full-length, 1986
Garage Days Re-Revisited EP, 1987
...And Justice for All Full-length, 1988
One EP, 1989
Metallica Full-length, 1991
Death Magnetic Full-Length, 2008

METALMEN (MEXICO)

Decent retro thrash with touches of crossover and brutal throaty death metal vocals; the guitars bite despite the slightly noisy background, concentrating on a speedy delivery whch gets mixed with heavier passages on the 2 longer compositions. 2 coolcovers await you at the end: one would be familiar: the good, relatively faithful, rendition of the French Killers' self-titled track; the other a tribute to the Spanish classic heavy metal legends Angeles del Infierno, with a cover of "Maldito Sea Tu Nombre".

Metalmen Demo, 2004

METALMORPHOSIS (SOUTH AFRICA)

These guys provide gruff thrash/death with heavy, crunchy riffage and very brutal underground vocals. The album develops in a consistent mid-tempo, with the steam-rolling guitars doing the necessary damage, although there is no variety in the approach, and in the long run one may not be able to distinguish between songs. The concentration is exclusively on crushing chugga-chugga riffs, with no shade of melody whatsoever. Points should be given to the band, though, for trying something purely classic during those very modern times.

Embrace Your Creation Full-length, 1994

METALOURD (USA)

Based on "Self Destruct", this is typical modern thrash, heavy and slow, with influences ranging from Pantera to White Zombie, with some flashes of the 80's scene.

Self-destruct Full-length, 1999
American Nightmare Full-length, 2003

METASTASIS (CHILE)

An excellent aggressive demo of thrash/death metal of the old school, not miles away from the Swedes Merciless' debut and Devastation's "Idolatry"; the guys thrash with force and speed, occasionally adding the more stylish semi-technical hook, also providing a couple of cool both screaming and melodic leads along the way. The singer is a bit noisy mixing semi-hardcore shouts with a more brutal death metal singing sounding like the early style of Fred "Death" Duval (Massacra).
The promo is three studio tracks of fairly good aggressive thrash/proto-death metal again, the last one ("Under the Snow") already familair from the demo, followed by 6 live songs with a very bad sound quality.

Under the Snow Demo, 2007
Promo Single, 2010
Executioner\'s Rise EP, 2010

METHEDRAS (ITALY)

The band's style is a combination of present day Entombed and modern thrash metal. "Katarsis" is an intense release, with heavy crushing riffage, and tries to keep the tempo up for most of the time, although the 10-ton groovy sections are present on almost every track, but combined with more energetic ones deliver in a way no worse than a more recent Pro-Pain. The vocals, though, are gruffer with a certain death metal edge which suit the steam roller approach well. The bonus track at the end is a cool deviation: a nice gothic number ala their compatriots Lacuna Coil with fine female vocals.

Recursive Full-length, 2004
The Worst Within Full-length, 2006
Katarsis Full-Length, 2009

METHEDRINE (USA)

Based on the "Crawl...Before You Walk" demo, these guys come up with good energetic thrash/crossover which sounds like a mix between Nuclear Assault and Cryptic Slaughter. There are really fast aggressive numbers (parts of "What's Your Point" and the excellent "Lullaby") and heavy pounding, but equally as effective tracks ("Welcome to the End").

Meth Til Deth Demo, 1988
Crawl...Before You Walk Demo, 1989

METHOD (SOUTH KOREA)

A cool debut crossing the classic and modern sound; the vocals are of the death metal-type, and seldom can one hear a more Gothenburg-influenced guitar. The band play aggressively with conviction, frequently changing the pace from fast to slower. At the end there is a cool cover version of Testament's "D.N.R." from "The Gathering" (the overall approach actually is quite close to that Testament album).
"Spiritual Reinforcement" has moved more towards modern Swedish death/thrash metal, and is consequently not as interesting, although the fast-paced numbers would be worthy to be placed even on the best Dark Tranquillity and early In Flames works, with the "inhuman" furious thrasher "Inhuman Rights" leading the pack there. The lead guitar work is really good, and "Black Eagle" is a great bass-driven instrumental, a stylish touch which this otherwise pedestrian album doesn't really deserve. At the end the fans will hear a re-mastered version of the bombastic raging "Coldest Fear" from the full-length.

Survival Of The Fittest Full-length, 2006
Spiritual Reinforcement Full-length, 2009

METHODS OF DOUBT (USA)

Eclectic stuff based on the 90's post-thrash idea with several more aggressive, even proto-death, elements and nods to jazz, funk, alternative, stoner/doom, and more. So the picture is quite varied with loads of jumpy riffs and virtuoso bass exploits. Headbanging potential- zero, of course, but this kind of music is not completely without merits, if you have the time to spare and listen with care. Ironically, the only vocal track is the closing "Instrumental" which is the worst number being a bland insipid semi-rap "atrocity" ruining the final impression beyond repair.

The Self-Titled Album Full-Length, 2010

METHUSELAHS (RUSSIA)

This Russian trio plays minimalistic retro black/thrash with a very fuzzy guitar sound and snarly mean vocals, quite close to the ones of Gard from Khold. Seriously, these vocals are so deeply "underground" that some of you may spontaneously burst with laughter, while listening to them. The music has something in common with early Barathrum, Khold as well, but Bathory and Venom haven't been forgotten, either, although the music seldom reaches the speed of the early 80's Bathory works, but is mid-paced with a depressing doomy atmosphere. Weird noises and ambient tunes are also well implemented into the sound: an interesting, albeit a bit one-dimensional, listen as a whole, with a very cool mix of the most aggressive riffs on the album, and nice melodies which could have been taken from a Russian folk song on the closing number.

Ëèêàíòðîïèÿ Full-length, 2006

METISFOR (COLOMBIA)

Modern thrash with a hardcore edge; this is expectedly metalcore-ish, but it's pretty fast and energetic to be completely ignored; even more traditional classic crossover rhythms can be caught on "Camino Al Infierno".

Camino Al Infierno Demo, 2011

METRALIATOR (BRAZIL)

After the overlong boring intro, the guys throw pretty decent classic speed/thrash metal which sounds more appealing when it's sustained in an all-out speedy manner, like on the appropriately titled "Speed Metal Machine", or the moshing delight "Kill The Oppression". The "speed metal machine" produces other good results later on: the relentless "Misanthropic Way", a speed/thrasfest in the spirit of the Angel Dust debut; the lightning speed metal killer "Weapon Of Truth"; the very enjoyable 9-min opus "Medicinal Sickiness", which seamlessly blends power, thrash, speed and crossover; the excellent closer "Força Alcoólica", reminiscent of Exumer's "The First Supper" from "Rising from the Sea", with more emphasis on speed. The thing which one may not like a lot here, would be the bad shouty vocals, similar to the ones of Tony Portaro on the Whiplash debut. Music-wise this is a commendable effort, which will hopefully help the guys establish their name as a promising young hope on the Brazilian scene.

Satanic Machine Full-Length, 2009

METRALION (BRAZIL)

Metralion will remain in music history as one of the few bands who have tried to metallize Pink Floyd throughout the years, in this case the British's most famous number "Another Brick In The Wall": a pretty faithful version, if you ask me, but not matching the rest of the material on this album, which is more dynamic and interesting. The band's style has nothing to do with progressive music, although the songs on "Mosh In Brazil" are quite lengthy, with cool riffs and a few semi-technical twists. The music only occasionally picks a lot of aggression, and on those moments it is not too far from the proto-death metal field (the beginning of "No Way Out"). "Disorder" is a cool more complex number with sudden faster sections, and it would have been better if those sections had been a bit more.

Quo Vadis Full-length, 1988
A Mosh In Brazil Full-length, 1989

METRALLA (ARGENTINA)

Members of two good Argentinian thrash metal bands (Horcas and Serpentor) have decided to join forces here, and the result is cool classic power/thrash, quite close to the works of early Horcas. The music nicely flows from power to thrash metal on the various songs; maybe a bit more sharpness in the guitar sound would have made things better. Now quite often does the ball remain in the power metal field, not far from more recent Horcas. Probably the guys should have chosen the more hard-hitting Serpentor style as an example to follow here.
"Sotanas de Satanás" is the better effort; now the guys thrash with more edge and sharpness also adding cool melodic licks wherever needed. The music is full-fledged thrash with a few decsents into power metal. After a quick string of dynamic blitzkrieg thrashers comes the semi-balladic "Fuerte Como Un Roble", a nice pounding piece slightly ruined by the indifferent semi-clean vocals. The music doesn't lose steam afterwards, however, and even goes up the speed scale with headbangers like "Crisis nerviosa", "Kilometros a mil" and especially the excellent cover of Hermetica's "Ardiendo En Llamas" which is not the closer; it comes after it and is called "Nido De Viboras": another cool energetic speed/thrasher which ends this work in a high note. Some of the band members are also active in the death/thrash metal formation Exthremony.

Fuego en las Mentes Full-length, 2007
Sotanas de Satanás Full-length, 2010

METRALLA (MEXICO)

The full-length is passable retro thrash/crossover with pretty brutal death metal vocals. The guys play competently, albeit in a fairly stripped-down fashion, with a more overt both hardcore ("Tetrico Final") and death metal ("Anti Héroes") edge at times. The songs all develop in an energetic, albeit samey, way still creating the necessary headbanging atmosphere. The closing "Decrepito Cadaver" is a prime thrasher, with the more speed metal-based "Cráneos de Guerra" a faithful "companion". The fans will have no problems recognizing the cool cover of Unleashed's "The One Insane" from their "Across the Open Sea" album, done in the expected heavy, solid mid-paced style.

Cráneos de Guerra EP, 2010
Cráneos de Guerra Full-length, 2011

METRALLA (SPAIN)

A really nice demo of intense speed/thrash of the old school with great melodies; "Fok A La Barraka" will split you at the seams with raging fast riffs, setting the tone for the remaining numbers which keep the level high, sometimes turning into pure speed metal ("Warra"), sometimes acquiring nice technical tendencies ("Setas") in the best tradition of the Polish Hellfire. This excellent demo simply screams for a full-length...

Fok A La Barraka Demo, 2009

METROCK (ROMANIA)

Based on "Kind Of Hell", Metrock play power/thrash with a modern edge. There are some classic thrash remains("Black Evil": a nice aggressive thrasher), but the rest is not really interesting.

Castelul de nisip Full-length, 1984
A Kind Of Hell Full-length, 1994

METROZ (SWEDEN)

Speed/thrash in the German tradition, not bad, but badly produced, and with unsuitable death metal vocals, similar to the ones used by Toxic Shock on "Welcome Home...Near Dark".

Brain Explosion Demo, 1989

MEZARKABUL/PENTAGRAM (TURKEY)

Arguably the greatest Turkish thrash metal band; "Pentagram" is superb speed/thrash metal in the vein of early Destruction and the first Exumer album- fast, intense music which will make you headbang for days; there's no speed lost here, except on the offbeat melodic, orchestral track "Metal Not Dead", and on the excellent technical instrumental "Blood Guillotine", which nicely suggests at the band's bigger potential to be revealed soon. The album closer "Los Magandos" shows the lead guitarist at his best with awesome, Shrapnel-like performance.
"Trail Blazer" is another good effort, but the style there has changed into more technical and complex, sacrificing some of the speed and the fury of the first one. It would probably surprise those who expected another ball of speed and intensity, but such well executed music one would not find hard to appreciate. The songs on this one are longer, and some of the guitar work is quite technical, ably supported by brilliant Oriental implements. Another great instrumental awaits you: "Trail Blazer", of a less frenetic, but equally effective variety. "Fly Forever" is a cool ballad, but it might bore you, being more than 6-min long, and too soft. "Brain on the Wall" is a pure heavy metal hymn ala Accept; all these were clear signs that the band were preparing their exit from the thrash metal scene. The vocals are more restrained than the vicious Mem Von Stein-like snarls on the debut, and are almost semi-clean. The band continued producing albums in the 90's and beyond, also high quality ones, but in the heavy/power metal mould.

Pentagram Full-length, 1990
Trail Blazer Full-length, 1992

MEZZROW (SWEDEN)

Cool Bay Area thrash made in Sweden; the line-up features Ulf Petersson, who later founded two more acts: the modern technical thrash masters Rosicrucian and the much more ordinary groovy post-thrashers Slapdash. The guys play energetically and tight, with sharp riffs and cool, Chuck Billy-like vocals; music-wise the band are also quite close to Testament, and more particular "The New Order" and "Practice What You Preach". So apart from speed and intensity one can come across meaty heavy mid-paced bombs: "Ancient Terror", "The Final Holocaust". The full-on fast thrash attacks could rank with the best from the field: "Frozen Soul", "The Cross of Torment", "Where Death Begins", where shades from Exodus' "Bonded by Blood" can also be felt.

Then Came the Killing Full-length, 1990

MG-15 (SPAIN)

Based on "Clon", this trio pulls out a decent mix of classic and 90's thrash with a Sepultura flavour (between "Arise" and "Chaos AD"), plus a pinch of crossover, and are overall more melodic than the Brazilians. The vocals also resemble Max Cavalera. The music is fairly energetic, if we exclude pointless softer numbers ("Danzad, Malditos!"), which are a direct nod to the classic heavy metal heritage. "La Araka" is a cool semi-ballad, followed by the closing cover version of the Black Sabbath's "War Pigs", the only track sung in English. Reportedly on their works from the 80's the guys were playing pure heads-down punk/hardcore, not miles away from the punk legends Discharge with whom they have a split released in 2005.

Derecho A La Vida EP, 1984
Holy Earth Single, 1988
Clon Full-length, 1994
Clonycore Best of/Compilation, 1997
Piromania EP, 2004
MG-15 / Discharge Split, 2005
El Album Negro / The Black Album Full-length, 2007

MICAWBER (USA)

Hectic jumpy modern thrash/death metal with brutal low-tuned growls and some technical pretensions; still the heavy clumsy moments are too many to make this effort a compelling listen, and the lack of speed puts it more on the tiring side.

Bloodrunner Full-Length, 2008

MICTLANTECUHTLI (USA)

A good, albeit flawed album which tries to pack quite a few styles into a not very large space; the base is aggressive thrash/black metal of the old school, but there are epic moments, too, which would remind you of Destroyer 666, but here come the Gothenburg nods, and all of a sudden there is an In Flames or At The Gates-like riff which sneaks into the sound. The pure black-ish thrash sections seem to work best, but the guys quickly catch up with the other styles the very next moment. With a less diverse approach, this band with a very difficult to pronounce (and to write) name, which actually has a meaning: "death" in the old Aztec language, could make a more lasting impression on the metal scene.

Pillars Of Silence Full-length, 2004

MIDAS TOUCH (SWEDEN)

Sweden seems to have quite a long list of one-album wonders which appeared in the late-80's. Midas Touch play excellent technical speed/thrash, quite aggressive and heavy. The technical guitars would remind you of the Dutch Mandator and Living Death's "World Neurosis". The demo is an excellent slab of slightly less technical, but enjoyable speed/thrash metal; the guys never take a break from the fast-paced music, except on the heavy, semi-balladic "Strikezone". "Masquerade" carries a strong technical charge, and suggests at future things to come.
The full-length contains competely different songs from the demo (which, of course, is always good for the fans), and the guitar sound is much heavier, starting with the very aggressive "Forcibly Incarcerated", which sounds as though the music would jump on the death metal wagon at any moment. Well, this never happens on the next songs, but the aggression remains, and the most intense sections are not miles away from Gammacide or Devastation. The guys could have done a marvellous job, if they had carried on through the 90's joining the death metal brotherhood, but this remained their only official release. Later members of Midas Touch formed the industrial metal act Misery Loves Co.

Ground Zero Demo, 1987
Presage Of Disaster, Full-Length, 1989

MIDEVIL (USA)

Good power/thrash similar to Meliah Rage, Liege Lord and early Iced Earth; this is heavy, mostly mid-paced music, with cool vocals, which are not too far from Matt Barlow (Iced Earth). Modern, groovy variations could be heard ("Condoned"), as well as more up-tempo thrashers ("Last Breath"). The debut is lighter, more power metal-based (but better), whereas the sophomore album is heavier and thrashier, but a bit one-dimensional, except for the last piece, which is a very good instrumental ("Zonk"), to which attached are awkward acoustic country variations.

Thee Almighty Full-length, 1996
Expiration Date Full-length, 1997
Forced To Believe EP, 1999

MIDGARD (AUSTRIA)

Swedish death metal in the Dark Tranquillity, In Flames tradition meets 90's aggro thrash ala Pantera and Machine Head. It could have been good if the guys haven't decided to attract the power metal crowd, too, with American power metal elements added which dissipate the pounding sound of the album, making it quite a mish-mash. On top of that there are clean vocals present which make things even worse.

Born From Ashes Full-length, 2005

MIDIAN (USA)

Based on the "The Last War" demo, these guys offer cool energetic Bay-Area thrash akin to the Forbidden debut and Death Angel's "The Ultraviolence" although at times the speed reaches an almost hardcore intensity ("One of Dissadance"). The band are not strangers to a more stylish technical song-writing as well, as evident from the varied "Suicide Pact", a fine blend of fast and slower pounding sections. The singer is very well fitting into the picture with his emotional melodic semi-high tember not too far from Russ Anderson (Forbidden).

The Last War Demo, 1990
First Impression Demo, 1991
The Institute of Audio Research Demo, 1991

MIDNIGHT (USA)

Based on the self-titled debut EP, this band plays Motorhead-ish speed/proto-thrash with harsher black metal overtones at times. There is also one raw version of the early Celtic frost sound ("Unholy And Rotten"), as well as one cool exercise in doom ("Long Live Death"). The singer growls in an intelligible, but ultimately drunken, way, and actually recites most of the time, rather than sings. Some of the band members are more fully involved with the stoner/doom act Terminal Lovers.
"Satanic Royalty" is a laid-back affair, Motorhead-inspired stuff with merry, playful tunes and hooks aplenty. "Black Damnation" is a cool nod to early Venom, as well as the vocals on the whole album, which come as a more shouty version of Cronos. Near the end the guys start lashing with more passion, producing the thrash/crossover hymn "Violence On Violence", the 1.5-min black corer "Holocaustic Deafening", which is a nod to early Celtic Frost; and the longer, more "thought-out" closer "Shock 'Til Blood". It's a cool, party fun all the way, but there has been a reduction of the speed, which in its turn diminishes the speed/thrashy merits of the band's approach.

Midnight EP, 2003
Slay the Spits EP, 2007
Farewell to Hell EP, 2008
Satanic Royalty Full-length, 2011

MIDNIGHT SCREAM (SLOVAKIA)

Based on the debut, this band specializes in pretty decent modern/classic power/thrash metal which, despite the constant keyboard background, doesn't lack an edge although the initial energy of the speedy opener "My Girlfriend Death" is very seldom captured. Still, one can not remain perfectly calm on sincerely epic thrashers like "The Sinners"; even the balladic closer "If I Die Tomorrow" is a compelling epitaph with the very good clean emotional vocalist giving a standout performance. The leads are quite good, and are given enough space to impress even the most skeptical.

My Girlfriend, Death Full-length, 2001
The Storm Is Just Coming Full-length, 2004
Shadowplay Full-length, 2007
War Never Changes Full-length, 2009

MILITANT (USA)

The bad sound quality doesn't give the listener a chance to enjoy these three tracks too much; the music is fast aggressive thrash metal bordering on death with rusty, death-ish vocals which, when they go for the higher notes, will make you run away: and fast. The last track "A Nomadic Soul's Search For Solace" is a semi-acoustic atmospheric instrumental.

Ferocious Dominance Demo, 2004

MILITANT ATTACK (MALAYSIA)

Based on the "Hostile Takeover" demo, this band plays pretty decent classic Bay-Area thrash with good semi-clean higher, slightly screamy at times, vocals. The tempo is mid to up, also recalling the models from the early German speed/thrash metal scene ("Corruption (The New Mayhem)"), and cool melodic implements are present on almost every track (check out "Down The Pecking Order"), although "Systematic Slaughter" is on the opposite pole, thrashing out in an aggressive proto-death fashion, a trend which is apparently the dominant one in their other band, the more death metal-influenced Obsolete.

Violent Riot Demo, 2008
Mortal Slave (Rehearsal) Demo, 2008
Hostile Takeover Demo, 2009

MILITIA (ARGENTINA)

These latecomers on the Argentinian metal scene pull out quite good classic speed/thrash, not too far from their compatriots Lethal. The music is often speedy and energetic, but the band do not forget to insert slower, mid-paced numbers ("Carcelero Del Alma", "Violencia"), which are a tad more melodic, with a shade of power metal. The guys spare no energy, and here come fine speed/thrashers to make your day: "Horror", "Militia", which is a mix of thrash and crossover, the mighty riff-fest with a great lead work "Crimen Azul". To make a few heads turn with this kind of music in the 90's was out of the question, but the band have done a good job keeping the classic sound alive for a little more.

Agonia Infernal Full-length, 1992

MILITIA (USA, California)

The second demo is just 2 tracks of first-rate speed/thrash metal ala Agent Steel crossed with the Bay-Area, with very good high-strung John Cyriis-like vocals, maybe a bit lower-pitched. "Suspended Animation" is a great mix of swirling semi-technical and fast direct riffs, and the untitled track is a fabulous semi-ballad of the heavier guitar-driven variety. This is a no-brainer, and with the band reportedly back in action, it would be great to finally see them on the full-length stage.

Demo Demo, 1989
Demo Demo, 1990
Fiend of Misery Best of/Compilation, 2010

MILITIA (USA, Texas)

This band features the former Watchtower singer Mike Soliz. Militia are not anywhere near the technical exuberance of the mentioned band, but are appealing nonetheless. With three demos and one EP released within the span of less than two years, it was obvious that the guys wanted to get noticed, and it's a surprise they weren't, since the music on all releases is consistently quite good, ranging from American power/thrash ala Helstar, early Laaz Rockit and Liege Lord, to high-speed numbers in the Agent Steel vein. Soliz does a good job, if we exclude the hysterical screams on some of the songs, which is clearly not his favourite range.

The Sybling EP, 1985
Regiments of Death Demo, 1985
Talking to the Stone Demo, 1985
No Submission Demo, 1986

MILK TOAST (USA)

Fans of milk will enjoy this rough hardcore-ish take on the genre where the guys blend short furious outbreaks with sprawling mid-tempo passages, coming as a result with a not very even "marriage" between early Prong and later-period D.R.I., with added shouty choruses and not bad improvised leads. Still, there is a fair bit of energy put into the recordings, and the sincere stripped-down approach of the band will surely win fans of the more crossover side of things.

Demo Demo 1989

MINAS TIRITH (NORWAY)

This band was founded by two members of the black metallers Old Man's Child who here give way to their more thought-out and complex nature. "The Art of Becoming": black metal is nowhere to be found; this is very well composed progressive metal with a strong thrashy edge. The main vocals are clean, and quite cool, with an alternative blend, spiced by the casual death metal growl; the compositions are not sprawling, but compact, although the time changes are quite a few as well. The guitar sound is heavy and sharp, "broken" by the obligatory for the style quiet acoustic moments ala Opeth, which here are much shorter. "Sympathy form the Devil" (no relations to The Rolling Stones music-wise) is a nice acoustic ballad, which precedes the Opeth all-acoustic album "Damnation" and other similar efforts. "The Art of Becoming" is a progressive thrashterpiece, which starts in a fairly furious manner, with fast-paced brutal guitars, which very nicely contrast to the tender clean vocals, and the sparce calmer sections. Some songs are inevitably exercises in an eclectic, elaborate song-writing, still quite edgy: "X=666", which twists and turns in many directions, without losing coherence. Others are built on the contrast made by the quiet peaceful parts and the sudden thrashy outbursts: "In Union We Die". If Opeth are too hard for you, and are not a pick for the thrash metal fan, here is a band who offer similar entertainment with a nice thrashy twist.

"Dissertation Prophetae" is another sure pick for the progressive metal fans, this time with fewer ties to thrash. The change is the singer: there is no romantic soft singing anymore; apart from the brutal death metal vocals, there are the main ones, which now are rougher, but still belonging to the clean department. The ballads ("God of Gods God", the closer "Ferry") this time are not acoustic, but are also good; there is one semi-ballad right after: "The Day My Life Lost Me", which softens the album quite a bit. As a whole the sound is milder, and despite the presence of intense fast sections ("The Tunnel", "Enemykind") overall this effort is more melodic and slower, with the more non-conventional compositions exiting the metal field with ease: "I Am the Night". By all means an interesting listen, this work sees the guys emphasizing on the progressive side, sacrificing in the process the hardness of previous recordings.

Mythology EP, 1992
The Art of Becoming Full-length, 1995
...Demons Are Forever Full-length, 1998
Dissertation Prophetae Full-length, 2004

MINAX (CANADA)

Good retro thrash, quite diverse, covering a couple of influences, to these ears sounding closest to the American power/thrash metal school (Helstar, Laaz Rockit, Savage Grace, even Agent Steel on the more speedy moments: check out "Whirlwind of Darkness" and "Our Justice"). The singer creates a lot of dramatism to a positive effect singing with a high-pitched clean blend reaching the heights of Ski (Deadly Blessing) even. Some of the guys practice playing more straight-forward speed metal with their other formation Striker.

Vengeance Rising EP, 2009

MINCERY (USA)

Very cool music awaits you here: very technical twisted thrash/death, much closer to death metal, crossing Necrophagist and Gorguts, adding quiet jazzy sections here and there, as well as very grunty low pig-like vocals, which should have been left out: noone would pay attention to them anyway, concentrating on this engaging, less ordinary, listen, which will cause you a headspin, since this whirlwind of ever-changing riffs never stops, even for a split second. This is really wild stuff, with very few slower stomping breaks, but at the same time with very few super-fast ones as well.

Demo Demo, 2002

MIND-A-STRAY (FINLAND)

The band have changed their name a few times throughout the years, known first as Holocaust, then Darcane and finally settling down for Mind-A-Stray. As Holocaust they played cool speedy thrash, and this is arguably the band's best period. Later their music is no less impressive, but is less thrashy, drawing similarities to Metallica- their Black Album days (listen to "Sadlife" and tell me which song it reminds you of). A Metallica substitute is badly needed on the scene, so these guys could perfectly fill the gap.

Face the Holocaust Best of/Compilation, 1999
Valley of Misery Demo, 2001
PanDEMOnium Demo, 2002
Survivors of the Holochaust Demo, 2003
The Very Worst of Darcane Best of/Compilation, 2003
Anamorphica Demo, 2004
Sign Of Victory Demo, 2005

MIND-ASHES (GERMANY)

This band is a real find. "The Views Obscured" is a stunning progressive/technical thrash metal masterpiece, by far one of the best achievements of the genre. It is a constant feast of superb technical riffage, sometimes served with a more aggressive attitude ("Pseudo"), sometimes in a very complex, overwhelming way ("Agreementality"), sometimes with a more lyrical, semi-balladic approach ("The Leaf"). The album boasts a very thick guitar sound, which slightly stifles the bass. The singer changes his styles in a way not too far from Ken Nardy (Anacrusis), but the predominant one is a levelled clean one sounding like a lower-tuned Warrel Dane.
It was interesting to see whether the band would be able to keep such a high level of musicianship for another release; "Trend Cemetary" adopts a more conventional, but still quite technical approach, including songs which are slow, semi-balladic and rich in atmosphere (the Scorpions' cover of "China White" from "Blackout" leads the pack there), but the technical brilliance of the debut could be heard on songs like the mighty headbanging piece "Nurse", or the energetic, complex opener "Paradise Beach". Still, this album leaves something to be desired, showing the band in a more melodic, less impressive form.
"Warcore" is quite a letdown, with only small shades of technical play, and an increased number of slower tracks which make it sound more like a mix of thrash and doom. The first two songs at least promise more with their energetic semi-technical riffs, but later the music takes a turn towards much slower, doomy direction, with retouched guitars. The guys' balladic infatuation finds fine forms ("They Don't Die"- a really good ballad), but this is not what the thrash metal fan looks for in such an album. Fans of doom and gothic will definitely find their new hit in "Forensic Nights". "Warcore" comes to awaken the sleeping thrashers, at least those, who have still their players on, but it shouldn't, because the next song (the last one) is a very dreamy doomy instrumental (back to sleep again).

The Views Obscured Full-length, 1997
Trend Cemetary Full-length, 2001
Warcore Full-length, 2003

MIND ERASER (USA)

A heavy, intense blend of modern thrash, hardcore and a bit of grind; this is wild, not very proficient stuff with unpleasant shouty death metal vocals, which also tries to flirt with the doom metal sector, providing the funeral doom cut "Juggling Anxieties" at the end, which comes with an industrial flavour.

Glacial Reign Full-Length, 2006

MIND OF ASIAN (JAPAN)

These guys deliver wild unbridled hardcore/thrash; noisy amateurish music also having something to do with Discharge and the more extreme side of the punk movement, with abrasive guitars and shouty synthesized vocals.

Split Split, 2008

MIND SLAVERY

Heavy, pounding thrash with a shade of hardcore; the music is never aggressive, mostly mid-tempo, with heavy riffage and gruff, hardcore-ish vocals. "Mind Slavery" surprisingly picks up speed near the end, and turns for a while into a cool speed/thrasher, making the listener want to hear something more of the same. "The Media Way" follows exactly the same pattern, offering more energetic moments at the end. The closing "Flesh" is a cool mix of stomping riffage and speedy sections, again slightly hinted at, and a cool balladic intro and outro.

Planet of Ghosts

MINDCOLLAPSE (SWEDEN)

Based on "Vampires Dawn", this band plays good modern/classic thrash with hoarse death-ish vocals. The album begins well with the nice melodic, but intense speed/thrasher "Waiting For Another Dawn". Then a "pause" comes in the face of the slower, mid-paced "Forbidden Land", before "Transforming Queen" comes thrashing with a Gothenburg-like death metal edge, accompanied by the high-octane doom monster "God Abandoned", where the singer (if that's the same one; could be another one...) starts growling in a manner no worse than Chris Barnes himself; the music, however, is a very satisfying slab of doom. "Fear Of Heaven" is vintage aggressive 80's thrash assault, but the inertia is lost once again on the soft gothic, Sentenced/Paradise Lost-influenced "Remaining Time". "Greed For Souls" is another merciless piece of old school thrash, which fortunately sets the tone for the remaning 2 songs, although the closing "Sinking" at some point "sails away" into the fields of gothic again for a while. This effort definitely has its thrash metal charm, but the band is obviously interested in pleasing a wider spectre of metal fans.

Lifeless Full-length, 1996
Vampires Dawn Full-length, 2001

MINDGRINDER (NORWAY)

The band's debut has almost nothing to do with thrash, being industrial death/black metal similar to Dodheimsgard and the likes. "Riot Detonator" moves considerably things into a thrashy direction, and the result is good thrash/death metal album, quite fast, with a modern sound, reminding of Dew-Scented and Terror 2000.

MindTech Full-length, 2004
Riot Detonator Full-length, 2005

MINDLESS CREATION (DENMARK)

4 songs of dark straight thrash metal with touches of death; the approach is moody with mid to up-tempo riffage and brutal low-tuned vocals. The leads are more melodic, but are very thin, stifled by the atmospheric proto-doomy rhythm guitar which will remind you of Asphyx and Benediction.

Mirror of Tomorrow Demo, 1992

MINDLOCK (DENMARK)

Modern thrash which hesitates between the aggro-approach of Pantera and the more dynamic one of Terror 2000 and Carnal Forge; the mix is not too bad creating a lot of dynamics along the way supported by typical angry Anselmo-like shouts, maybe a bit lower-tuned.

Soulfracture EP, 2000

MINDLOCK (PORTUGAL)

Based on the full-length, these guys play run-of-the-mill groovy post-thrash, with a strong shade of the Pro-Pain hardcore aesthetics. Alternative touches are thrown in ("Reality Relativity"), but they fail to give this unimpressive outing the desirable touch of originality.
"Enemy Of Silence" is a heavier affair, also a bit industrialized, and here the guys have also added quite a few faster headbanging sections which make the sound diverse and not as stale. As a result they end up sounding like noone else out there at the moment, except on the heavier moments when the music is not far from Grope or Puncture. The vocalist is a prototypical gruff semi-death shouter, but music of the kind hardly needs a more capable singer.

Manifesto EP, 2000
Ego Trip Full-length, 2003
Enemy Of Silence Full-length, 2010

MINDSNARE (AUSTRALIA)

Based on "The Death", this is a mix of groove, thrash and death metal, quite fast and intense at times, but mostly reminiscent of Pro-Pain with a more aggressive attitude. When the guys get tired of following the pattern, they manage to come up with cool thrashing headbangers ("The Death").

Hanged Choked Wrists Slit Full-length, 2001
The Death Full-length, 2004
Disturb the Hive Full-length, 2007

MINDTHREAT (GREECE)

A 3-song demo of heavy industrialized thrash with seismic crushing riffs which lose their intensity on the several metalcore passages witnessed. There are also shades of Swedish melo-death ("Not Your fate"), as well as the staple semi-shouted death metal vocals, which here come unpleasantly synthesized.

Amidst Your Bloodlines Demo, 2011

MINDWORK (CZECH)

A really good debut of technically-minded thrash/death metal, which will remind you of the guys' compatriots Scenery on the more laid-back progressive passages, but the rest has a characteristic sound of its own, being heavy and mid-paced for most of the time with sharp technical riffs flowing effortlessly, albeit frequently interrupted by the aforementioned slower sections. "Essence Of Existence" starts thrashing aggressively at some stage, which is a cool addition, nicely contrasting to the peaceful moments surrounding it. Those peaceful moments turn to Cynic or Atheist-like jazz on "Freedom Of Mentality" which is a creepy minimalistic thrasher, before "Wretchlessness" sweeps you with its speedy rhythms, which carry an echo of late period Death. Hats down on the next "Parasite", which is a sublime technical number with smashing maze-y riffs and a couple of nice melodic hooks. "Twisted Priorities" is a milder more conventional composition, relying more on laid-back riffage and a slower pace, before the final "On The Path To Oblivion" moves up the scale speed-wise, exiting this nice debut in a cool progressive thrash manner, offering a great quiet outro. It is always good to hear technical music brought in an original way recalling heroes from the past, without borrowing heavily from neither. The band's guitarists move up the progressive scale with their other project: the progressive thrash/death metal outfit Pessimist.

Into The Swirl Full-length, 2009

MINIER (USA)

This is a solo project of The Crucified's guitar player Greg Minier who wanted to give way to his more classic thrash metal nature as opposed to his main band's more crossover-inclined style. The guy performs all the instruments here and does a very good job; vintage Bay Area thrash metal, one of the last good albums to represent the scene. It's a nice combination of stomping heavy numbers (the opener "Do Not Be Deceived") and energetic, up-tempo ones ("The Skeptic"). "Price" softens down, being a cool ballad, and "Philosophy Of Man" is an attempt at a more technical song-writing in the vein of early Testament.

Minier Full-length, 1990

MINION (GERMANY)

Based on "Exile Of Fear": this band play typical for the time modern thrash/death, with more nods towards death metal; no surprises here, professionally done, but hardly memorable.

Pantera Full-length, 2002
Exile Of Fear Full-length, 2006

MINISTERIO PUBICO (CHILE)

Retro thrash with Slayer and Devastation clear influences; the delivery here is probably more aggressive with death metal lightly touched on the more intense material (the formidable steam-roller "Vampiro Vaginal"; the violent grindy "Violando A Una Retrasada"). The vocalist is brutal and deathy, too, but suits the relentless musical approach.

Mente Enferma Demo, 2008

MINISTERS OF ANGER (USA)

First-rate technical thrash which sounds like a cross between the two Toxik albums: it has both very speedy and technical anthems ("Fields of the Dead") and slower, but also quite impressive ones ("Money Man"). "The Great Escape" is a brilliant combination of the two styles. The guitar work is simply stunning with swirling solos, mighty riffs and unexpected, but utterly coherent time changes. The vocals are lower-pitched than the ones of Mike Sanders from Toxik, and at times recall Sean Killian from Vio-lence. The sound quality is crystal clear; where these guys had gone after this demo, is a big mystery; this is a very obscure, but a very essential gem.

Renaissance Demo, 1990

MINISTRY (USA)

Industrial managed to establish itself as a full-blooded sub-genre on the metal field during the 90's, and although some metal fans are prejudiced against the computerized, electronic sounds and industrial noises with which these works are full, anyone who is more familiar with the style knows that in most cases industrial metal is just badly disguised thrash or death metal.
Ministry were the first band who combined the sharp guitar sound with electronic and industrial elements, and are virtually the creators of the whole genre. Having started as a new wave band, the band incorporated harsh electronic sounds on their later works. "The Mind is a Terrible Thing to Taste" is their first full-fledged effort in the industrial thrash metal field, and a great one at that. Just when the opener "Thieves" hits you with its aggressive, merciless riffage, you know there'll be a lot of moshing around on this one; the album loses steam towards the end, finishing with three pure industrial tracks. But the aggression returns with "Psalm 69": a colossal success for the band, one of the best-selling releases of 1992. The guys take no prisoners with thrashers like "N.W.O.", "Just One Fix", "Hero", "Psalm 69"; the last couple of tracks are again reserved strictly for exercises in harsh industrial. After this effort Ministry took a break from their intense approach, and gave way to their more experimental nature on the next three albums. With the flag of thrash raised high in the new millennium, the band returned to a thrash metal territory, in an even more uncompromising manner with "Houses of the Mole", arguably their most aggressive work to date. "Rio Grande Blood" followed, thrashing quite forcefully as well, at times moving onto heads-down thrash, stripped of any industrial "assistance".
"The Last Sucker" is on the opposite side, at least in the 1st half, heavily industrialized, but quite heavy and crushing, with the thrashy surprises all placed in the 2nd half: the fierce "No Glory", which is fast relentless thrash with a tinge of hardcore; the "purer", more speed/thrash metal based "Death & Destruction"; and the speedy undustrial thrash monster "Roadhouse Blues", recalling "Hero" from "Plsalm 69". "Die In A Crash" is probably also worth mentioning: merry industrial crossover, after which industrial takes over on the 2-part "End of Days", with a very sprawling calm melodic industrial passage, something last heard on "The Land of Rape and Honey", touching even "Twitch" on the more electronic sections.

The Mind is a Terrible Thing to Taste Full-length, 1989
Psalm 69: The Way To Succeed And The Way To Suck Eggs Full-length, 1992
Houses of the Molé Full-length, 2004
Rio Grande Blood Full-length, 2006
The Last Sucker Full-length, 2007

MINISTRY OF TERROR (HOLLAND)

This band offer a nice cross between classic and modern thrash, with shades of gothic, and great dark atmosphere; a fairly interesting sound. This is mostly mid-paced and heavy stuff, strangely resembling the steam-rolling sound of the Brits Cerebral Fix, but songs like "Agony" and "Human Nature" (this one is a hyper-speed number with nice technical licks) thrash like there's no tomorrow. "Darkened" is a great nod to Paradise Lost with a thrashy edge, and "Fall of Life" honours another great British act: Bolt Thrower, with its doomy, death-tinged guitars. This is far from a mixed bag; this is actually one of the more interesting thrash metal albums of the 90's.

Fall Of Life Full-length, 1995

MINOTAUR (GERMANY)

The music on the full length is raw, messy and very badly produced thrash not too far from Necronomicon's first effort. This is miles away from even the average achievements in the genre. On the other side stays the EP, which is a much much better effort, featuring awesome speed/thrashers, similar to late 80's Kreator, and again Necronomicon, but their later, better period. Tracks like "Towards My Eternity" are instant classics, with their fast and sharp guitar work, and cool Mille Petrozza-like vocals. "Total Decay" is "total" fury, a very fast and intense piece, with a death metal flavour, which could overshadow even at least a couple of the songs from the Swedes Merciless' debut, for example. Having found the right way to making some great thrash, it would be a very good idea if the guys could re-release their debut; with the musicianship displayed on the EP, it could finally turn into a winner.
"God May Show You Mercy... We Will Not" is an elaboration on the EP from 16 years ago sounding like it had been recorded right after it, wtih barely a month between them. If we exclude the hysterical high-pitched black vocals, this is quite a good rendition of the retro German thrash sound, in fast tempo, which never lets loose, and the guys are apparently determined to not show mercy in the music department, like the album-title suggests. Among the 11 songs shorter, more laid-back moments can be found: the more speed metal-based "Princess of Hell" (which is not a Mercyful Fate cover) and "Soulless", but most of the time this is relentless old school thrash attack, fast and uncompromising, finished with a cover of W.A.S.P.'s early hit "Animal (Fuck Like a Beast)", where the music loses the speed and the edge, trying to sound true to the heavy metal approach of the original. While the debut was a good example of badly played amateurish thrash, this new effort is on the very opposite pole, showing the guys in a much brighter light, aiming high (hey, don't we all love this Accept song so much!), and well deservedly so.

Power of Darkness Full-length, 1988
Welcome To... EP, 1993
God May Show You Mercy...We Will Not Full-length, 2009

MINUSHUMAN (FRANCE)

Based on "Bloodthrone", this band plays a characteristic brand of dark progressive thrash/death metal with gruff death metal vocals ala Jan-Chris de Koeijer (Gorefest), which also comes industrial-ornated, the latter ingredient giving a gloomy, apocalyptic edge to the album. There are lyrical moments ("Forgotten Fields") as well, those reminding of a more abrasive early Opeth, and it's those moments which are arguably the highlight: the mechanical melancholy of the Katatonia-sque "Godspeed"; the beautiful atmospheric post-blackiness of the enchanting closer "Kill Me". This is not headbanging stuff, but is curiously engaging, serving plenty of moods, albeit mostly of the depressing type. Some of the musicians pull out much more energetic stuff with their other formation, the death/thrash outfit Dark Poetry; whereas other practice equally as serious, progressive music with Athanor.
The debut is a more dynamic affair, and is almost as good. It starts with the energetic mechanical headbanger "Liquid", and the next "6th Mass Extinction" is even faster, producing another portion of intense sterile riffs. Up to this poit resemblances between this band and their compatriots Gojira are inevitable, but enters "Empire", and things get slower, more serious, more atmospheric, and comfortably depressing. When "All Keeps Falling Down" settles in, one can not help, but like this unique concoction of early Katatonia, My Dying Bride, Opeth, with the stomping thrash rhythm-section "roaming" around to keep the intensity, with "Time Zero" and "Watch The World Die" lashing wildly again, with a more traditional melo-death tone. "The New Order" is an instrumental oddity of laid-back alternative progressive, leaving the final depression for the gloomy closer "The New Order".

Watch the World Die Full-length 2008
Bloodthrone Full-length 2011

MIR78 (RUSSIA)

This is pretty cool, all-instrumental, modern progressive thrash/post-thrash, which shreds in a convincing mid-tempo with an unobtrusive keyboard background present, and choppy rhythms ala Meshuggah gracing almost every composition to a dry, sterile effect. The approach is jumpy with funky elements springing up from time to time ("F-82 Twin Mustang Flight"), and melodic progressive sections lying around full of enchanting melodic tunes: check you the great Oriental motifs on "Bort-78", where soaring operatic female vocals can also be heard. The closing "Vremia Vpered Mir78" is a vocal track featuring subdued semi-whispered male vocals, and is an otherwise solid mid-paced thrasher with creepy, not frequnetly changing, rhythms.

Zifferblatt Full-Length, 2011

MIRROR (HUNGARY)

Good, albeit badly produced speed/thrash along the lines of early Kreator and Destruction, with good Mille Petrozza-like vocals (think the ones on "Terrible Certainty"). The bass is put too much up front, and stifles the other instruments, especially the slightly thin guitar sound, but the fast aggressive delivery saves the day.

Dead By Done Demo, 1989

MIRROR OF DEAD FACES

A 3-sond promo of run-of-the-mill brutal Gothenburg death/thrash; fast tempos, some good guitar work, some blast-beats, ... you know the story.

The Suffering Promo, 2007

MIRTHLESS (IRELAND)

This band were earlier known as Descent (a band not reviewed here). The music hesitates between the aggro 90's thrash and the more classic sound of the 80's German school, and despite the presence of cool headbanging riffs, doesn't sound very convincing. On top of that, the vocals are very annoying hardcore shouts.

Vicious Cycle Demo, 2005

MISA NEGRA (CHILE)

Based on the demo, these guys play modern black/thrash with very impressive lead guitar work which will remind you of old masters like Wolf Hoffman (Accept) and Michael Denner (Mercyful Fate, King Diamond). The music otherwise is nothing really special: quite fast and aggressive, with some blast-beats and death metal thrown in as well. There are also some slow, depressive passages which recall early Samael.

Legiones EP, 2003
Antigua Maldicion...Nueva Rebelion Demo, 2005

MISANTHROPE COUNT MERCYFUL (RUSSIA)

Based on "Last Living Man", this young Russian band practice thrash/death metal with both classic and modern elements present; the music is mostly mid-tempo sounding at times close to Bolt Thrower, or Benediction, but with a more modern edge, if we exclude the presence of clean vocals on some parts, and gothic atmospheric numbers ("Last Living Man") recalling Cemetary and modern day Samael.

Life Is Gone Full-length, 2005
Last Living Man Full-length, 2007

MISBEGOTTEN (AUSTRIA)

Based on the band's last two releases, this is heavy, groovy thrash in the tradition of Pantera and the likes, with some faster hardcore parts.

Children For Sale EP, 1995
Perfect World Full-length, 1997
Join The MBG Full-length, 2003
To End All Lies Full-Length,2006

MISCARRIAGE (GERMANY)

Based on the "The Difference Between" demo, these guys pull out a classic thrash/death metal mix, at times atmospheric and technical, at other times fast, but not to the point of brutality. Both sides of their music are well blended together, and thrash is clearly the dominant style, with touches of death metal in the more intense sections. The singer is the downpoint here whose hardcore shouts could be a serious distraction to some.

Heritage of the Past Demo, 1990
Dark Epitaph Demo, 1991
The Difference Between Demo, 1993
Blutsyndrom Demo, 1994

MISCREANTS (HOLLAND)

Modern thrash, with some good guitar melodies, but otherwise not terribly different from acts like Terror 2000, or Carnal Forge.

Welcome the Miscreants EP, 2007

MISER (USA)

These two demos precede the coming of aggressive semi-technical masterpieces like Viking's "Man of Straw" and Torture's "Storm Alert" (could have been an influence on both?). In other words we have fast aggressive thrash mixed with cool technical moments. At times the guys throw away the technical licks, and go straight for the throat with pure aggression: "Open Your Eyes", but after a few repeated listens one would start to discover stylish guitar work there, too. "Nuclear Wastoid" is a punk-ish/hardcore number, the joke song here, and "Heroine Face" is the band's tribute to Slayer's "Reign in Blood": a merciless brutal thrasher.

Demo Demo, 1988
Society's Joke Demo, 1988

MISERICORDIA (USA)

An obscure power trio who used to play decent technical thrash/death metal with brutal deathy vocals. The guys start the damage with the brutal technicalller "Aceton", but things considerably calm down on the next "Misericordia" which acquires milder speed/thrashy dimensions which become the prevalent ones till the end, making a bad use of the much more brutal vocals, also bringing forward a dark gothic flavour ala Nightfall.

The Microbiological Revolution Demo 1996

MISERY (HOllAND)

This is enjoyable power/thrash of the classic kind, with good female vocals sitting somewhere between Doro Pesch and Leather Leone, maybe a bit thinner and higher-pitched than both. The music is mid-paced with consistent crushing riffs intercepted by epic moments (Attis") and cool melodic leads. The sound quality is a bit noisy, making the guitars scream too much. Later the band changed their name to Lost in Misery, and released one album ("Carousel of Memories") in 1997 of solid progressive power/doom metal.

Lost in Misery Demo, 1993

MISERY (USA)

Based on the "Cries From the Dark" demo, this is quite good aggressive thrash inspired by works like Slayer's "Reign in Blood", Vio-lence's "Eternal Nightmare", with a more technical edge ala Gammacide (but less death metal-tinged).

Cries From the Dark Demo, 1989
Flirt With Insanity Demo, 1990

MISERY LOVES CO. (SWEDEN)

This is kind of the continuation of the promising technical speed/thrashers Midas Touch, who have also invited the Entombed drummer Olle Dahlstedt to help them with the recordings. The bombastic speed antics of the Midas Touch works are nowhere to be heard here, so the classic thrash metal fans should stop reading. The truth is that the full-length debut is one of the best takes on modern industrial thrash; a style very close to early Skrew. The music is full of energy, very sharp riffs, angry shouted vocals, and a couple of industrial/noise implements. There is a lot of moshing on this one, and the 90's fans recognized its greatness, turning it into one of the best-selling albums of the genre. Unfortunately the future works of the band abandoned the aggressive approach, and settled for more melodic, alternative post-thrash, not bad, but having very little to do with the debut.

Misery Loves Co. Full-length, 1994
Happy? EP, 1995
Need Another One EP, 1995
Kiss Your Boots Single, 1995

MISERYCORE (CHILE)

Based on the EP: devastating classic thrash metal- very fast and aggressive, calling to mind Hypnosia, Necrodeath and early Kreator (but with a more technical edge). The vocals have this black metallic blend, but suit the relentless music just perfect. The Split with their compatriots Unholy Force sees the guys blasting out in a much less controlled manner, providing very fast brutal music, often being on the edge of falling apart. Impaled Nazarene have achieved something simlar in their early days, but this is more extreme- seriously. This is black/thrash madness, which easily beats the early efforts from the Brazilian metal scene (Sarcofago, Vulcano, Sextrash, etc.), on which it's obviously based.

Civilization Torture Demo, 2005
Get Total Apart EP, 2006
Unleashing Hell's Wrath Split, 2009

MISKATONIC UNIVERSITY (ITALY)

Groovy heavy 90's post-thrash metal lacking the energy of Pantera and early Machine Head; one-dimensional boring stuff.

There Will Be Only One Full-Length, 1995

MISOPSYCHIA (LITHUANIA)

Based on the compilation, this band plays a wild incoherent blend of post-thrash, industrial and hardcore topped by hysterical rending vocals of the shouty synthesized type; the groove by all means leads the show with the faster hardcore outbursts more than welcome to bring in more life to this somewhat depressing picture which also comes with noisy buzzy guitars and sparce stylish leads.

Suppression / Misopsychia Split album (legacy) 1998
Our Purpose Is As Maggots + Mutantabort Compilation 2000

MISSING LINK (DENMARK)

The band were formed by members of Artillery after that band's demise a few years earlier. Don't expect some fabulous technical thrash here: the style is pretty ordinary modern power/thrash, melodic and quite average.

When The Door Is Closed Full-length, 1995
Merry X-mas Everybody EP, 1995
Lobotomized Full-length, 1997

MISSION OF CHRIST (CANADA)

Based on the "Silence in Grave" demo, this act pulls out energetic but badly produced thrash clinging between early Slayer and early Destruction. The music is a little messy sticking to up-tempo, but when it slows down it goes straight to Celtic Frost grounds ("Skies of Revelation"), albeit for a while. Still, it makes sense, and "Nightmare Beyond" is a major headbanger with nice tempo breaks and sharp lashing riffs. The singer may be a pullback with his gruff tember coming as a more hysterical version of Schmier (Destruction).

Rehearsal 26-02-1987 Demo, 1987
Silence in Grave Demo, 1987
Mission of Christ / Fratricide Split, 1987
Demo 1989 Demo, 1989

MISTAKEN ELEMENT (FRANCE)

Modern thrash metal with Pantera/Machine Head-influences and some more melodic touches.

Engraved in Memory Full-length, 2006

MISTER GREEN (FRANCE)

A cool, 3-track demo of Bay-Area influenced thrash, with good melodic, not very hard-hitting guitars; despite the energetic tempo the guys try to keep throughout, the final result is not very intense; will remind you of the Heathen debut.

Mirror Punishment EP, 2007

MISTICIA (COLOMBIA)

This is a curious EP which contains one track of brooding, dark, mid-paced, effective thrash/death metal: "Welcome to Utopia", one very good energetic headbanging piece: "Devastated Paradise", and one quite long, 10-min doomy, atmospheric, beautiful, peaceful instrumental "Llaki Runa", where you can hear numerous instruments (flutes, acoustic guitar, violins, etc.).

The full-length is not as varied albeit much longer, containing modern thrash/death metal with a dry mechanical guitar sound. "Above My Lies" surprisingly brings the "winds of the past" with brisk classic riffs, but the continuation is on exactly the opposite side: "Alergia" is a heavy doomy groover with a much faster contrasting mid-break. Still, one more pleasant surprise comes before the end: the aggressive death/thrash shredder "Course". By the way, half of the band's line-up is based in Germany, and can also be seen in Aardvarks.

Welcome to Utopia EP, 2003
Sickness of the earth Full-length, 2009

MITRA (USA)

Modern post-thrash meets stoner/doom; we've had quite a few of those blends in recent times, and this one will also end up in the pile after one listen: heavy abrasive riffs get repeated throughout with very little variation between songs, and despite the presence of several faster crossover-influenced numbers, this effort as a whole will satisfy the stoner/doom lovers above all.

All Gods Kill Full-length, 2006

MIZERY (USA)

Apart from another mention of the abbreviation F.U.C.K. (you know what this stands for, don't you?), there's not much to write about this band: aggressive semi-technical thrash; some good ideas, but sounds more like a rehearsal for bigger things to come (which never did).

Inauspicious Eulogy Demo, 1990

MNICH (CZECH)

Based on "Nine Shapes of Death", this outfit, which shares a drummer (Martin "Guli" Lukasek) with another talented contemporary technical thrash/death metal act from the Czech Republic: Barracuda, pulls out good technical thrash/death, touching Death on quite a few times, mostly in the vocal approach, where the singer openly emulates the style adopted by Schuldiner (R.I.P.) on the last two Death efforts. The music is more thrash-oriented, and comes close to the one of "The Sound of Perseverance", but is more diverse, serving both very fast (not many, and short) and very dreamy abstract, even jazzy ("Euthanasia") ala Cynic sections, often embedded into one composition ("The Chilly Touch Of Death"), and the word "progressive" may often come to mind while listening to the longer compositions. The more direct thrashers (Death") are not too many, for the sake of pure exercises in a complex technical play ("Puppets", "Total Apocalypse": this one comes with brilliant melodic hooks) with great thought-out riffage and stylish leads. The 2nd half is more melodic, and the sound "courts" melodic death metal more, producing really cool results: the fast energetic "Suicide", the jumpy varied, and quite meandering "Inward Fury". The end comes in the form of "The End": a nice short "leads-versus-acoustic" instrumental (remember Death's "Voice of The Soul") and, finally, a full-blooded Death song: "Crystal Mountain" from "Symbolic", done by the book. Although the contemporary metal field has been filled with quite a lot of technical metal bands following closely on the steps of the legendary Americans, these Czechs have no reasons to worry that they would remain buried under the others, and it would be interesting to hear how those influences have been reflected on their first two releases.

Pøivítej smrt Full-length, 1994
Impervious Gates Of Heaven Full-length, 1996
Nine Shapes of Death Full-length, 2007

MO RAGE (USA)

A cool effort offering pure 80's American power/thrash during the hostile mid-90's environment; "The Storm" is a heavy stomping opener, but the approach softens later to power metal ala the Metal Church period with Mike Howe hardening with the casual galloping riff ala Attacker ("See Ya!"). The singer has a nice melodic tember recalling a less operatic Messiah Marcolin (Candlemass) on the higher tones. He later joined the progressive metallers Archetype.

The Fix Of Rage Full-length, 1996

MOB 47

Fast intense thrash/crossover, simplistic and direct, with short 1-2min songs, and hoarse shouty vocals.

Garanterat Mangel Full-Length, 1995

MOBILE DEATHCAMP (USA)

This power trio, which line-up includes T, more known as Todd Evans, among other pseudonims, in Gwar, plays fast hardcore-ish thrash which doesn't stray away from the intensity of "Reign in Blood" too much packing it into not very long (2-3min) songs which are fast merciless "bullets" with minor exceptions (the heavy pounder "Offensive Release"; the drunken joke track "The Buffalo Song"). The sound moves a bit away from the classic tendencies on some sections, but as a whole this effort could be safely viewed as another addition to the new slassic thrash metal movement.

Black Swamp Rising Full-length, 2008

MOBY DICK (HUNGARY)

The first thrash metal band from Hungary, Moby Dick's debut is a noteworthy start for the scene in this country, with its dynamic speed/thrashing approach, which is admirably aggressive on "Talpon Maradni", which comes right after the more optimistic, more speed metal-oriented opener "Ugass Kutya!". Heavy hammering riffs aplenty will one encounter on "Többet Nem Tehetek", before the crossover happiness "Keresztes Vitéz" makes you pogo into oblivion for about 3-min. More aggressive thrash comes later with the short explosive proto-deathster "Átnevelés". More joy, but of the melodic speed/power metal type, comes with the merry-go-round "Metallopolisz"; as well as an odd industial doomy closer: "Rázd A Rongyot!", which is a bit clumsy and not really on track with the remaining material. The singer provides a cool semi-clean tember with a suitable drunken flavour, a delivery appropriate for several genres.
Some of the musicians have also lid the foundation of other Hungarian acts: the heavy metal heroes Hungarica, and the one-album-wonder Brazzil, who released just one effort in 1995 of slightly modernized heavy/power metal.
"Holnapok Ravatalán" will hardly be a surprise to the band's fans, an objective reflection of the guys' post-thrash period, featuring soft rehashed riffs with a slight bite, topped by the staple gruff semi-clean vocals. A pleasant surprise would be "Ki Mer A Szemembe Nezni?", a short more classic-sounding thrasher, contrasting with the other material, which in the 2nd half starts carrying a light carefree Motorhead-ish flavour. This is by no means a flop, and not without the apt avoidance of any groovy "traps" along the way.

Ugass Kutya! Full-length, 1990
Kegyetlen Évek Full-length, 1991
Körhinta Full-length, 1992
Fejfa Helyett Full-length, 1994
Memento Full-length, 1994
Indul a Boksz Full-length, 1996
Tisztítótûz Full-length, 1997
Golgota Full-length, 2003
Se Nap Se Hold Full-length, 2005
Holnapok Ravatalán Full-length, 2011

MODERN CRIMES (CANADA)

This Canadian outfit mixes jolly thrash/crossover with heavy, power, and doom metal. This cocktail may come as too sotf for the hard-core thrash metal fan, although the forceful death metal-ish vocals add a slight aggressive shade, and are better suited to the faster material.

Modern Crimes Full-Length, 2008

MODIFIDIOUS (USA)

These guys are the same ones who later found one of the most popular extreme metal acts of modern times: Slipknot. Here the emphasis is not on outrageous shows, but on music, although it will hardly make a few eyebrows raise being strictly modern groovy thrash, not too bad, and quite intense at times, and considering the time of release, they could have been one of the first to practice the style. "Indisposed" is a nice heavy steam-rolling thrasher, and "Into O Shadow" adds more intensity to the proceedings with crushing death-tinged riffs. "Ritual Circle" even speeds up a bit, but in a modern groovy way. One needn't have a very big imagination to find traces of this formation's music into the future Slipknot sound.

Visceral EP, 1993
Sprawl Best of/Compilation, 1994
Mud Fuchia EP, 1994

MOIRE (USA)

Based on the "Public Execution" EP, these guys pull out heavy crushing thrash/death metal of the aggro, groovy type with swirling meaty guitars and sparce blasting sections. A surprising taste for melody is shown ("Red") here and there, but the crushing steam-roller riffage rules with full force all over supported by the gruff low-tuned death metal vocals.

Without Place Full-length, 2004
Public Execution EP, 2006

MOKOMA (FINLAND)

One of the more popular metal bands on the Finnish metal scene nowadays; their style is a fusion of the old and the modern thrash school with touches of pagan/viking metal, melodic death, and heavy/power on their early efforts. Their debut, at least from a thrash metal point of view, is hardly the finest album around, providing quite melodic power/heavy/thrash metal. "Mokoman 120 päivää" hardens the course, but just a bit, and to talk about full-blooded thrash on this one is a bit farfetched, since the majority of the tracks are mid-paced at best, with nods to heavy/power metal, crossover, epic and even punk. The band's real "baptism" in thrash is on "Kurimus" which is a nice mix of the modern and the classic sound with sharp, but also melodic riffs, with the majority of the songs sustained in an energetic headbanging tempo. The softer fillers are very few, and they come with a cool epic shade, for which the capable emotional semi-clean vocals are very suitable. On their later works the guys have hardened the course, moving more towards the modern melo-thrash/death wave, typical for their neighbours, abandoning the classic thrash leanings which here are quite frequent.
"Sydänjuuret" is typical modern thrash metal with sparce aggressive death metal passages, both melodic and aggressive the main difference from the pack coming from the characteristic melodic vocals seldom intercepted by much more brutal death metal ones. The music is dynamic, and the fast pieces pack a punch although they get lost in the middle replaced by dull mid-paced power/thrashers with a slightly alternative edge.
"Juurta Jaksain" is a faithful companion to the preceding full-length being mild modern thrash metal this time without any more aggressive "distractions" developing in a predictable mid-pace with balladic overtones and catchy melodic tunes.
"Varjopuoli" is an entirely acoustic album showing the guys' more lyrical aspect; these are actually old songs re-recorded in an acoustic-only version. Expectedly, it's mostly on the balladic side, with a few faster sections with a country feel. It's not compeltely without merits, but would be of zero interest to thrash metal fans.

Valu Full-length, 1999
Mokoman 120 päivää Full-length, 2001
Kurimus Full-length, 2003
Tämän maailman ruhtinaan hovi Full-length, 2004
Kuoleman laulukunnaat Full-length, 2006
Luihin ja ytimiin Full-length, 2007
Sydänjuuret Full-length, 2010
Juurta Jaksain EP, 2010
Varjopuoli Full-length, 2011

MOLECULAR REPULSION (CANADA)

Aggressive thrash/death hybrid which at times sounds quite brutal and fast, at times acquires cool technical tendencies recalling Disciples of Power's debut, at times has a strong crossover touch, bringing to mind Nuclear Assault. "Ephemera" is a nice both technical and aggressive instrumental which displays the band's more skillful side. Although the guys prefer to stick to the more simplistic and catchy part of their music for most of the album, this is varied and enjoyable stuff.

Veil Of Deception Full-length, 1991

MOLEST (BELGIUM)

Based on the demo, this band play fast aggressive thrash along the lines of Devastation and Sepultura. The guys try to experiment with longer songs, but there aren't any technical leanings here (except on "Think"), and the music starts getting a bit monotonous on the longer tracks. Still, this is a cool headbanging experience.
"Milkfish" will be a very unpleasant surprise to those who have heard the demo: this is pretty generic groovy thrash, which lacks speed or energy, except for the punk/hardcore closing joke "What's Up" relying on rehashed repetitive riffs and tempos: not even for the completists.

Looney Tunes from Insania Demo 1991
Milkfish Full-length, 1996
Tep Zepi Full-length, 1997

MONARCH (USA)

This is the good old school thrash metal served with a pinch of technicality: check out the excellent puzzling technicaller "Memories of War"; but generally the guys show no mercy thrashing like demented ("Bloody Assault", "Dawn to Night") with Slayer and Devastation obvious influences. The tempo is fast with a shade of hardcore at times, and the singer is suitably gruff of the semi-shouty hardcore variety.

Dawn to Night Demo, 2011

MONARK (FRANCE)

Very cool, albeit roughly-sounding speed/thrash metal ala Not Fragile and early ADX with clean mid-levelled vocals, sing-along choruses and decent guitar work; the tempo is constantly fast, except for the longer "Minautor", which brings forward epic power metal elements, but the hooks and riffs and the excellent leads are not samey and compensate for the one-dimensional delivery of the singer. "Monark" is a very good galloping instrumental, and the closing "Dictateur" is an example of perfectly executed speed metal, which comes as the definitive pattern for the future 90's power/speed metal bands to follow: fast pace, melodic tunes, catchy choruses, edgy guitars, everything is here.

Demo Demo, 1989

MONASTERY (POLAND)

Based on "Thrashing Pictures", these guys really paint a nice picture of thrash, based on the classic masters. Their music is heads-down 80's thrash metal with strong nods to Slayer, among others, and a sparce use of blast-beats. This is aggressive intense stuff only broken by one very awkward romantic semi-ballad "One Love" in the middle. Two covers await the listener: one in the middle, Sepultura's "Innerself"; and one at the end, Slayer's "Raining Blood".

God Save... Full-length, 1993
Œwiêta Inkwizycja Full-length, 1993
The Evil Has landed Demo, 1996
Shattered Faith Demo, 2003
Thrashing Pictures Full-length, 2005

MONASTERY DESECRATION (GREECE)

Based on the 2-song "Pornoreligion" demo, this act specializes in raw, primitive, frequently blasting, black/thrash with macabre, semi-whispered vocals which, apart from the bashing guitars, offers a curious keyboard background, which takes some of the "pressure", and gives a more stylish flavour to this otherwise pretty basic, semi-amateurish stuff.

Eosforos Over Bethlehem Demo, 2008
Fornication In Sina Demo, 2009
Feeding the Roman Lions Demo, 2009
Pornoreligion Demo, 2011

MONDENKYND (GERMANY)

The groovy post-thrash genre is given an interesting semi-progressive, also doomy, twist by these Germans who prefer to play mid-paced to slow adding casual industrial overtones ("Fat Boy") to the proceedings. The riffage us super-heavy, but pretty one-dimensional, and the listener may get bored since the compositions are not very short (5-7min) without changing the approach too much. "Dein Kleines Leben" is an excellent ballad, though, aptly followed by the closing "Zeit", which also shares some of its balladic calmness adding, here and there, the more intense heavier morose guitars.

Bring Woraus Die Träume Sind Full-Length, 2008

MONDO THRASHO (USA)

Thrash/crossover of the softer, mid-paced variety; it has already acquired some modern groovy tendencies, including in the vocal department where the guy sounds moderately angry. Early Pro-Pain may be a more accurate reference, having also in mind the rappy sections which can be heard on "HIV-RIP". This act can actually be viewed as a side-project for two guys from the speed/thrashers Impaler, who are mostly known for their penchant for painting their faces in the manner of Kiss.

Demo Demo, 1992

MONDOCANE (ITALY)

This band is a side-project of members of Necrodeath and Schizo. The joint efforts of these musicians have produced a good album; style-wise the band's music is closer to Schizo with the same brutal and aggressive thrash metal sound and shades of crossover. Apart from the sheer speed, one could hear nice heavy, slower riffs, too: "Necroschizophrenia". Apparently this band were intended only as a one-album project without any intentions for further development.

Project One Full-length, 1989

MONGO NINJA (NORWAY)

Abrasive proto-modern thrash/crossover done by members of Blood Tsunami in union with musicians from other similar acts (Deathhammer, Lobotomized). This is simplistic playful stuff sustained in an energetic fast pace with references towards punk, hardcore, classic heavy metal ala Motorhead, stoner/doom, and more. A diverse bag as a whole, with gruff semi-death metal vocals.
These guys are pretty productive, and here comes another full-length ,"Nocturnal Neanderthals", following on the steps of its predecessor, providing the same varied mix this time slowing down more often, coming with arguably the more appealing material: the abrasive doomy "Slow Death", the interesting gothic-based "The Bible And The Beatles", the classic heavy metal hymn "Relationshit". The faster tracks are now pure hardcore/crossover pieces, and the guitars lack the sharp edge for at least half the time.

... And the Wrist is History Full-length, 2009
No Cunt for Old Men Full-length, 2010
Nocturnal Neanderthals Full-length, 2010

MONGREL'S CROSS (AUSTRALIA)

This hellish Australian trio pulls out brutal black/thrash metal with a couple of more controlled moody breaks ala Khold and early Bathory. "Mongrel's Cross" shows some mercy from the fast intense sound with a lighter crossover section mixed with a more epic approach ala mid-period Bathory.
The EP is 3 songs of the same, fast relentless black/thrash metal with the atmospheric passages now a tad longer, rather recalling mid-period Immortal this time than the other aforementioned acts.

Mongrel's Cross Demo, 2009
Whoresanna EP 2011

MONKEY HEAD (SOUTH KOREA)

Based on the second album: this band are a good example that apart from Japan, there are other places in the Far East where people can play cool thrash (along with Crash and Sahon). The band's music is a cross between modern (not much) and classic thrash metal in the Exodus-mould. There is a nice reference to "La Bamba", and also a cool relaxing instrumental at the end. Before that you can hear some joke songs, too, but the album is long, and there is enough here to please the hungry thrash metal souls.

Monkey's Ass Full-length, 1994
The Second Phase of Monkey Head Full-length, 1995
Nan Gaeya! Full-length, 2005

MONOGONO (PORTUGAL)

This is very wild stuff sounding like a combination between Atheist, Mastodon, Voivod, and Coroner's "Grin". There is progressive, thrash, death, sludge and even hardcore here. But the music hits the mark most of the time, and never loses coherence despite the insane time-changes and mind-bending technical riffs. The "madness" only stops on the "The Untold Story" and "The Ednless Trip": both 2-part instrumentals. These guys are here to conquer, and I personally have nothing against it if they later become one of the leading bands on the scene.

Amuk Full-length, 2007

MONOLIT (BOSNIA AND HERZEGOVINA)

Based on the "Arcana Balkanica", this act offers mid-paced semi-technical thrash recalling Metallica's "...And Justice for All" and the Brits Slammer. The problem is that the music develops in a predictable mid-paced crunchy tempo, which serves very well the guys' purpose on the excellent semi-ballad "Demona", which is a masterpiece along the ranks of "Fade to Black" and "Sanatorium". This composition kind of splits the demo into two parts, sitting right in the middle; the second half is kind of influenced by it, since the sound becomes softer with power metal elements, and the semi-clean hoarse pitch of the singer acquires more melodic dimensions (they are, actually, very good on the aforementioned "Demona").

Demo Demo, 1989
Arcana Balkanica Demo, 2008

MONOLITH (UK)

This band featured the legendary Nicholas Howard Barker, the drummer who took part in numerous acts throughout the metal spectre (Benediction, Atrocity (Ger), Testament, Dimmu Borgir, Cradle of Filth, etc.). Based on the 2-song EP, this band plays fast-paced thrash/death metal along the lines of early Pestilence and Death. "Sleep with the Dead" is slower and more thrashy, whereas "Maceration" is an aggressive death metal assault. The vocals are pure death metal, sounding like a more vicious lower-pitched Chuck Schuldiner (R.I.P.).

Sleep With the Dead EP, 1992
Tales Of The Macabre Full-length, 1993

MONOLITH (USA, CA)

Melodic laid-back power/thrash metal with a not very good sound quality; the guys mix their American power metal heritage with the NWOBHM-sound, and as a result we have decent mid-paced stuff, without any highlights whatsoever, seldom changing the pace or mood, except on the very romantic tender closing ballad, which sounds like a completely different band, but that hardly matters, since at that stage the listener would hardly care which song, or which band he listens to.

Field of Stone Full-Length, 1991

MONOLITH (USA, VA)

Based on "One Nation Under Metal", this act plays typical modern groovy thrash spiced with hardcore although there is not much speed involved, and the overall approach is not miles away from more recent Pro-Pain. Somewhere in the middle the guys wake up for energetic almost classic-sounding thrash ("Endless Negativity"), but this never happens later on, with the sound safely going back to the safe well-tested groovy formula.

Have A Nice Day! Full-length, 1997
Use Only As Directed Full-length, 1999
One Nation Under Metal Full-length, 2002
FOUR Full-length, 2009

MONOX (CROATIA)

Modern thrash/death metal moshing in a heavy mid-pace seldom reaching the epic atmosphere of Amon Amarth; a bit monotonous without any speedy temptations.

Ending-Begining EP, 2009

MONSTER MASH (BRAZIL)

A 3-song demo of retro speed/thrash metal influenced by the early German scene: Vectom, early Blind Guardian, Iron Angel. This is very good stuff, with excellent deep clean vocals of the mid-range which higher screams are quite effective recalling Ralf Scheepers (Tyran Pace, Gamma Ray). The music is predictably fast-paced blending sharp direct riffs with melodic hooks and swirling leads.

He Gambled with Satan and Lost Demo, 2009

MONSTER X (USA)

This is a rough blend of hardcore, thrash and grindcore, played quite fast and wild for most of the time, accompanied by brutal death metal vocals ala Chris Barnes. THise with more aesthetic preferences should run for cover... and fast.

Indoctrination Best of Compilation, 2003

MONSTERWOKS (NEW ZEALAND)

Thrash metal acts from New Zealand are a rarity. Based on "The Precautionary Principle", this is melodic thrash/death metal-the one we are used to connect with the Swedish scene, professionally done, with nice guitar work. At times the vocals, which are otherwise typical for the genre, take a higher-pitched clean form, and combined with the heavy music, create a somewhat original sound. Another interesting moment is "Metal Is Everything": a straight heavy metal hymn where, near the end of the song, there is a fast aggressive break as a finishing touch.
"Spacial Operations" offers a slightly more melodic approach and is much inferior: the traditional heavy metal moments are more than on the previous offering, and the guitars are not as sharp; there are a few ballads ("November", "Lonely Crown"), and although aggressive pieces like "Stars Malign" , which bring Strapping Young Lad to mind, try to keep the ship floating, it's clear that they are not enough to oppose to the predominantly pop-ish and unappealing atmosphere. The "Metal Is Everything" analogue here is "The Voyage of Magma Maiden" which is a catchy power/thrasher, but it comes too late to save the day.

"Singularity" is slow, sprawling and modern, in other words another step back from the band's earlier more potent style. Thrash metal plays a very secondary role leaving room for gothic, doom, classic heavy/power metal, death/doom (check out the steam-rolling "Death Sentence"), and even hardcore with industrial overtones ("Godkiller"); a very ambititous picture, isn't it? Comes close to the "cocktails" stirred by Devin Townsend on his solo projects and Strapping Young Lad, by the way, and may actually have its appeal to fans of the larger-than-life eclectic efforts (also check the Norwegians Dimension F3H).
"The God Album" tries to reach "godly" dimensions, and expectedly reaches out to embrace as many influences as possible incorporating post-thrash and alternative quite a bit now with the heavy doomy base remaining now having a strong psychedelic flavour. Needless to say, its merits to the thrash metal world are not many at all, the band obviously trying to make a special niche for themselves on the overcrowded music scene; good luck with that...

Dimensional Urgency Full-length, 2000
Rogue Full-length, 2002
M-Theory Full-length, 2003
The Precautionary Principle Full-length, 2006
Spacial Operations Full-length, 2007
Singularity Full-length, 2009
The God Album Full-length 2011

MONUMENT (USA)

Based on "Resting Place", this band offers cool progressively-sounding doom/power/thrash "roaming" the "no-mans-land" between the classic and the modern trends. After the imposing epic opener "In The Name", recalling the Brits Sabbat, the sound moves towards heavier slower waters for two songs, before "The Game" provides more energetic thrashing. Time for pure traditional doom with "Reflections", which would easily overshadow most of the tracks from the last Saint Vitus album, for example. "Mortal Divinity" returns to the power/thrashy progressive music from the beginning in a heavier crushing fashion, but the doom-fixated approach comes back with "Judgement", leaving its mark on the remaining 3 songs, the last of which ("Resting Peace") is pure melancholic doom ala mid-period Anathema and Katatonia. There are definitely moments here which would delight the thrash metal fan, but the overall focus is more on the fields of doom.

Dust EP, 1995
Resting Place Full-length, 1999
The Millennial Death of God Full-length, 2000

MOON OF SOUL (HUNGARY)

Based on "Titokszülõ", this obscure Hungarian band offer excellent dark progressive thrash with nice guitar work, interesting tempo changes, genuine atmospheric moments, and harsh death-ish vocals. The music is not fast, but moves from slow, balladic to mid-paced. This is by no means feelgood progressive stuff; there are plenty of sharp, thrashy riffs; it's just that the songs are long on musicianship and atmosphere, and would attract those who like concentrating on what they listen, and would also please fans of the more sprawling progressive song-structures (Opeth, for instance).
Their demo is more aggressive, offering the same highly technical music, but the time changes are a bit more hectic, and the sound "staggers" towards Atheist and Pestilence on quite a few times. The delivery is tight and intense, despite the presence of the 9-min sprawling opus "Hang-Alkony-Menedék" which, again, will delight fans of Opeth, above all.
"Égforrás" is a very cool debut, fully fulfilling the promises given with the demo, starting greatly with the twisted surreal thrasher "Végtelen Hetedik Szeme", which will bewitch you with its not very complex, but meandering spinning, riffs and the spacey tune which suddenly comes up near the end. "Égfeletti Merülés" is more controlled being more dreamy and semi-balladic, and "Fellegforrás" is not too far behind offering a simiar mix of balladic and sharp technical riffs. This appealing blend gets repeated on a string of songs until it reaches "Sárkánytegnap": an elaborate progressive thrasher providing lashing technical guitars and a couple of more intense headbanging moments, which are not the dominant trend here, but are hardly necessary the band more than acquitting themselves with the stylish technical performance. The closer "Lidérvízmadár" is a compelling weird combination of technical riffs and more quiet semi-alternative passages with a balladic shade which delivers on all counts despite its exits from metal.
"Ébredés" (which can actually be downloaded on the band's website- link provided below) will surprise you with its high-spirited energetic delivery in the beginning well expressed on the opening "Ébredés" which comes as a more aggressive thrashy mid-period Amorphis. "Odaát-Odafönt" is a sweeping potent heavy 10-ton smasher with a few melodic balladic reliefs along the way also coming from the excellent lead guitar work. Then the guys slow down for a string of songs which are doomy, mid-paced at best, before the coming of "Hang-Alkony-Menedék" which is a multi-layered progressive composition, still more in the semi-doomy department, but more intense and thrashy. Expect nothing of the kind on the peaceful acoustic closer "Nincs Más", which is 2-min of tender strings, only for the romantic lovers. The intensity goes down big time near the end, but still this effort has its positive sides, and will consequently attract a wider fanbase, outside the thrash metal spectre.

Hang-Alkony-Menedék Demo, 1999
Égforrás Full-length, 2001
Titokszülõ Full-length, 2003
Ébredés Full-length, 2007

MOON OF STEEL (ITALY)

These veterans on the Italian metal scene first appeared in the late 80's with a fairly cool progressive/epic power metal album ("Passions") to resurface 10 years later with the 4-song EP "Beyond the Edges" which was not too far from the sound offered on the debut. The year now is 2002, and the guys (and a girl: the singer Sarah Bonetti) have a new full-length release, which shows them in a newer more aggressive light. After the quiet balladic intro "What Will Remain?" the band offers nice power/thrash metal of the mid-paced variety with "I Am" which sometimes fluctuates into avantgarde semi-balladic variations ("After All") ala Atrox and The 3rd and the Mortal, sometimes into spacey abstract doomy territories ("I Hear You Call"). Those moments are by all means less than the pounding seismic power/thrashers like "Grey" and "Forced (Your Way)" which come decorated with elaborate progressive and quiet balladic passages. "Details Part 2" is an intriguing combination of doom and thrash metal with sharp jumpy guitars. The girl delivers with her mid-ranged slightly alternative tone singing in a samey manner all over in a way not too dissimilar to Anneke van Giersbergen (The Gathering), maybe a bit less emotional, but the music doesn't really give her chances to unleash something more dramatic and higher.

Insignificant Details Full-length, 2002

MOONCALF (USA)

This very obscure band pulls out intriguing heavy, often up-tempo technical thrash, with an angry, even groovy sound which a few years later would become the fashion of the decade ("What We've Become", the choppy, jumpy "Hi Jesus"). There are certainly several straight intense thrashers ("I Live"), and at least half of the songs are very close to Metallica's late 80's period, but the real winner is the 9-min progressive thrasher "Kill The Fooldead Dummy": an impressive concoction of moods and tempos with great twisted technical guitars near the end. The vocals sound like a rougher version of James Hetfield. It's a pity they disappeared so fast; their music would have quickly found a place under the 90's metal sun.

Kill the Fool Demo, 1990

MOONLESS ACHERON (CHINA)

A cool atmospheric take on the modern thrash metal idea, done in a consistent heavy mid-tempo with brutal death metal vocals which strangely suit the music. The guitars are both sharp and melodic with the leads being really good. "?????" breaks the pattern with more vigorous speedy riffs moving onto an infectious galloping rhythm near the end.

Moonless Acheron EP, 2011

MORAL CRUSADE (IRELAND)

Thrash metal from Ireland; not a very common phenomenon, but this one here is well done. The tempo is pretty fast with razor sharp riffs, along the lines of Slayer and Vio-Lence. There is no much variation throughout the songs, if we exclude the heavy, slower track near the end "A Change in Two Directions", but the intensity of the music makes up for it.

An Act Of Violence Full-length, 1990

MORASS (HUNGARY)

Light modern heavy/post-thrash in a one-dimensional mid-pace; optimistic energetic music with references to punk, crossover, the obligatory ballad, even rock'n roll.

Földlakó ember Full-length, 2004

MORAY EEL (RUSSIA)

A female-fronted thrash metal band; the girl changes from good clean vocals to screechy hysterical ones easily. This is music with a certain modern, industrialized edge and gothic overtones, heavy without any speedy parts. The debut is the better, more thrashy effort, whereas "Priest Hunter" deepens further into modern waters, and with an increased amount of groove and industrial elements, strays from the more appealing and immediate nature of its predecessor.

Psycho: Delusion Full-length, 2005
Priest Hunter Full-length, 2006

MORBID (GERMANY)

A quite good demo which combines the speedy thrash metal of the Toxic Shock debut with the more aggressive sound of Sepultura and Devastation, topped by brutal death metal vocals.

Returning Impossible Demo, 1988

MORBID (SWEDEN)

This is the band from where the legendary Dead (R.I.P.) started his short, but eventful career in metal, before joining the ill-fated Mayhem (and put an end to his life). Morbid are actually one of the first extreme bands in the history of the genre mixing black, thrash and even death metal on their first three demos, and despite the raw and undeveloped nature of the music, it is clear that the guys had gotten together with the clear intention to broaden the borders of metal into more brutal areas.

Rehearsal 07/08/1987 Demo, 1987
December Moon Demo, 1987
Last Supper... Demo, 1988
Death Execution Best of/Compilation, 1995
December Moon EP, 2000
Live in Stockholm Live album, 2000
Death Execution III EP, 2001

MORBID COMMAND (CHILE)

Based on the "Vox Spectrum" demo, these guys pull out cool classic speed/thrash which starts in the most energetic way with the instrumental "Vox Spectrum". "En El Calabozo De Los Condenad" enters to introduce the raw death metal vocalist and slower stomping tempos, but later on the guys have no problems capturing the intensity from the beginning, although the last few tracks have a certain crossover colouring.

Morbid Command Demo, 2010
Vox Spectrum Demo, 2011

MORBID CORPSES (USA)

A 3-song demo of fast thrash/death ala Rigor Mortis; well done, with some surprisingly good, but sparce leads and bass work. The vocals are brutal, but good death metal ones.

Demonstrations of Devastation Demo, 1992

MORBID DEATH (PORTUGAL)

Based on the "Shamless Faith" demo, which contains 3 live tracks, this band play doomy thrash in the vein of early Celtic Frost, but here the doom is more strongly involved. There is no speed present, and except for the more lively "War and Pain" (which is not a Voivod cover) the tempo very seldom goes up.

Nomad Demo, 1993
Shamless Faith Demo, 1997
Echoes of Solitude Full-length, 1997
Secrets Full-length, 2002
Unlocked Full-length, 2004

MORBID DECAPITATION (CANADA)

Noisy grind/thrash which could have been at least half good, if the musicianship had been at least decent: worth hearing just out of curiousity.

Death Anthem Full-length, 1990

MORBID EXISTANCE (CYPRUS)

A hellsh trio from Cyprus specializing in a slightly incoherent thrash/death metal which jumps from funeral depressive stuff ala Hellhammer and early Celtic Frost ("When the Darkness Falls", "Mayhem Reveals Disease") to awkward attempts at a faster play ("Morning Star") the latter recalling very early Messiah. The musicianship is well below average, the sound gives an unfocused distorted tone of the guitars, and on top of that we have an agonizing super-brutal low-tuned growler who stifles the instruments on quite a few times without leaving the best impression.

Morbid Existance Demo, 2010

MORBID FEAR (SWEDEN)

Aggressive thrash/death, quite close to the Merciless debut, with some cool semi-technical guitar work, and a very strong bass bottom. The vocals have this distant John Tardy echo, but are lower-pitched, and less intelligible.

Darkest Age Demo, 1990

MORBID INSULTER (SWEDEN)

Black/thrash metal of the fast extreme type (based on the 1st EP); the music comes as a mix between early Impaled Nazarene on the brutal moments, and early Bathory on the more controlled ones which are way less than the former.
The "Antichrist Blasphemies" EP is another aggressive black/thrash affair maybe blasting a bit more than on the debut EP siding with Marduk and Watain this time. Thrash takes a second place here, felt here and there, but this is mostly black metal assisted by gruff low-tuned death metal vocals.

Thundering Evil EP, 2008
Antichrist Blasphemies EP, 2010

MORBID MINDS (PORTUGAL)

Just one song seeing a band of heavy abrasive modern thrash with drunken death metal vocals and a surprisingly stylish lead section. Apparently the guys are too busy with their other projects to record something more. They also take part in Crackdown where the sound is pretty much the same (this song could be a leftover from a Crackdown album?), and more recently in the classic thrash/crossover act Assassinner, with all bands still being on a demo stage.

Sons of Misery Demo, 1994

MORBID RITES (FRANCE)

Based on the "Celtic Thrash Metal" demo, these guys offer speedy "celtic" thrash metal in the spirit of Rigor Mortis and mid/late-80's Sodom. This is good stuff, constantly fast, seldom lashing out in a more aggressive proto-death manner ("Destruction", which is a great headbanger also reminiscent of the early Death approach). The only stop from the intense moshing is in the from of a heavier Celtic Frost-like section on the aptly-titled for the purpose "Celtic Thrash Metal".

Bestial Attack Demo, 2000
Celtic Thrash Metal Demo, 2001

MORBID SAINT (USA)

"Spectrum Of Death" is a fabulous debut featuring furious thrash metal sounding like a mix of Necrodeath and a more vicious late-80's Kreator.This is great fast-paced music, with mighty sharp smashing riffs and direct 3-4min explosive tracks (the exceptions are "Assassin" and "Scars", which are about 7-min, but are not deviations from the aggressive formula). "Beyond the Gates of Hell", the album closer, reduces the speed for the sake of the up-tempo riffage, and is the only slight break from the merciless thrashing.
"Destruction System" is actually an unreleased album, and carries on in the same uncompromising vein: great aggressive thrash, this time containing slower, but equally as intense pieces: "Destruction System" and "Halls of Terror" (this one speeds up here and there). The whole work has this genuine dark atmosphere, created by the thick, brooding guitar sound. Few were the bands in the 90's, who managed to sound as fresh and as true to their roots after such a long break.

Spectrum of Death Full-length, 1988
Destruction System Demo, 1992

MORBID SCREAM (USA)

Very good aggressive thrash metal made in Texas: the band's style bears resemblance to the Rigor Mortis debut, but these guys vary things more with tracks which are not based entirely on speed, but are also graced with nice stomping riffs recalling Nasty Savage's "Ignorance". The guitar work is sharp and heavy, and never strays into death metal territory. The vocals are particularly good sounding like a mixture between Nasty Ronnie and Bruce Corbit.

Demo Demo, 1987
Morbid Scream Demo, 1989
The Signal To Attack: 1986-1990 Best of/Compilation, 2007

MORBID SIN (USA)

Based on the "Cauldron Of Souls" demo: power/thrash metal in the early Metal Church-vein, or Laaz Rockit's "Know Your Enemy"; good stuff with slower epic tracks. At the end there is a live cover of Mercyful Fate's "Evil".
The guys are back inspired by the example of many of their colleagues from the 80's/early-90's, and "Sins of the Flesh" is out, and their old fans will not be disappointed. The album begins in a heavy power/doom metal manner sounding close to the works of the Swedes Memory Garden and Mercy, and it's "Heaven Help Us" which starts crushing in a more aggressive thrashy way ala Sanctuary. But then comes the pure doom delight "Witch Window (Return to Salem)" followed by the nice ballad "Child of Darkness (Child of Light)". More lively galloping riffs on "Jesus Wept" as well as a more complex early-Queensryche sound on "Beyond Wickedness", and finally one full-blooded headbanging thrasher as a final touch: "Torn Apart". The vocalist Bobby "Leatherlungs" Lucas shines all over with his clean high-strung emotional tember which has previously graced acts like Overlorde, Seven Witches, etc.

The Arrival of the Sin Demo, 1988
Cauldron Of Souls Demo, 1992
13th Child Demo, 2005
Sins of the Flesh Full-length, 2010

MORBID TERMINATION (USA)

"Aggressive Destruction" is very good American power/thrash reminiscent of Abattoir and Attacker, quite heavy and aggressive at times ("Life for Violence"). "Target Earth" surprisingly tones down the thrash ("Fight, Kill, Slaughter, Burn" being the only exception), and is more power/speed metal-based, and the inclusion of very awkward death metal vocals on "Pyrokinesis" makes things even less appealing, despite the presence of some interesting moments ("Technical Death").

Aggressive Destruction Demo, 1985
Target Earth Demo, 1986

MORBID THEORY (USA)

Based on "Harbinger", this band offers modern melodic thrash metal wirh very cool Oriental elements. The problem is that the album develops in a predictable mid-pace recalling the Jews Orphaned Land quite a bit on the mellower moments, also offering a similar to the latter "gruff-clean" vocal duel. Needless to say, the delights for the headbangers are very few: "Going Under" comes to mind being an intense death/thrasher, but the rest is "plagued" by gothic, ballads, groove, folk, etc. A diverse blend as a whole, which will definitely find its audience, but the thrash metal fan will not be fully pleased.

Rise Up EP, 2003
Seven Sins Full-length, 2004
Chaos Breed EP, 2007
Harbinger Full-length, 2010

MORBID VISION (DENMARK)

Very cool headbanging old school thrash comes all of a sudden from Denmark, of all countries, for the country to give its contribution to the awakening of thrash metal. Unfortunately it's done in the form of 4 tracks only which, despite their furious classic thrash nature, are far from enough to turn Denmark into a major contributor to the process. The guys play fast and tight, with sharp riffs and timid nods to the more technical style of their renowned compatriots Artillery ("The Glory"), which never developed further since soon after the release of this EP the band went their separate ways.

The Firstborn EP, 1998

MORBID YELL (SPAIN)

Based on the last split, this band play a raw vicious mix of black, death and thrash metal with low-tuned death metal vocals. The music favours black metal most, but some sharp thrashy riffs could be heard, which may remind you of Absu's "Tara".
The "The First Desecration" compilation is a really brutal affair, and will not delight the thrash metal fan. This is bashing black/death for most of the time with a very bad sound quality and grunting very low-tuned, absolutely unintelligible, vocals. The guitars form one impenetrable wall of sound without any solos or melodic hooks.

Death Desecration Demo, 2004
Ritual Sacrifice Demo, 2004
The First Desecration Best of/Compilation, 2006
Chainsaw Death Fuck Demo, 2006
Akerbeltz / Avangh Dhür / Morbid Yell / Hellthrone Split, 2007
Körgull The Exterminator / Morbid Yell Split, 2008

MORBIDA (ARGENTINA)

4 tracks of heavy proto-groovy thrash metal sounding not as stale as the Pantera followers of the same time, if we exclude the throaty angry vocals. The music has an edge, and adheres to some 80's gimmicks ala the Bay-Area. Certainly there is groove to be "enjoyed", but "El Placer De La Vaciedad", on the other hand, is a good headbanging fun although on the others the heavy, slightly monotonous, mid-tempo dominates.

Ideas Desfiguradas Demo, 1996

MORBIDOX (CANADA)

Based on the first demo, this band plays good edgy thrash metal with nice flashy lead guitar work and forceful deep clean vocals. The guys mix faster and slower numbers, the former delivering a bit better, especially those coming with a touch of crossover (the excellent speedster "Truth Or Consequence"; the thrashcore happiness "Sh(italy) Wops").

C.R.D.K. Demo, 1989
Strange But False Demo, 1991

MORBUS INFERNO (BRAZIL)

This is aggressive fast old school thrash with nods towards late-80's Kreator, so expect also a few more technical moments among the fast, but intelligible, downpour which comes assisted by forceful husky vocals not too far from more recent Mille. The Brazilians' infatuation with melody is bigger, though, resulting in a couple of more memorable melody-driven ("Alchemy Of Pain") passages.

Alchemy of Pain Demo 2003

MORCEGOS (SPAIN)

This Brazilian trio specializes in simplistic retro thrash metal with proto-death shades. This is not totally fast stuff, but comes served with slower breaks and more optimistic crossover-laced tracks ("Corrosion Death"). The guitar sound is very thin, and the singer is an awful synthesized shouter.

Thank God!!! Full-length, 1994

MORDAB (SPAIN)

The Spanish progressive/technical metal scene is expanding fast with quality acts from all walks of metal (thrash and death mostly), and this band is another addition to the wave. This is diverse music crossing thrash and death metal on a more complex progressive base. "Darker Than Grave" is an intense speedy hectic opener, a very good start for this album with vigorous sharp riffs, despite the decrease in speed from the beginning to the end the latter coming in the form of a nice acoustic guitar, which stretches into a whole track on the following "Psychotic Depression", which is a cool balladic instrumental. "World Of Vaccum" is intense technical thrash/death, again quite jumpy and occasionally very fast. "Phrentic Dream Of Earth" is a calmer Oriental-infused composition of the atmospheric type, and the final "Ascenssion" (yes, this is a very short full-length) is a doomy/balladic instrumental. There are only 3 full-blooded songs here, and overall this effort may be considered a draft for something bigger to come soon.

Darker than Grave Full-length, 2008

MORDOR (SPAIN)

Based on the debut, this is typical modern thrash metal with awful hardcore vocals, and a handful of joke songs scattered all around.

Hogar, Dulce Hogar Full-length, 1994
¿Evolución?… Full-length, 1997

MORDRED (USA)

Mordred were kind of pioneers on the scene who, along with Death Angel and Re-Animator, started adding funk-elements into their music. On their debut these elements are very few, and for the most part it is really well-done, mid-paced to up-tempo thrash. "State of Mind" is a great fast-paced opener with sharp intense riffage and nice melodic vocals. "Spectacle of Fear" continues the riff-fest with full force, slower, but with a more clever technical guitar work, and strong bass support. "Every Day's a Holiday" brings forward the experimental spirit, which would later be the main driving force, on the band's next effort: a funky, jolly number, scarily non-thrash. But once the introductory riffs of the next "The Artist" hit you, you will have no problems forgiving the guys this innocent deviation: what follows is another hard-hitting intense thrasher, which will make you jump around in no time. "Shatter", apart from the great riffs, has a very catchy chorus, and is arguably the most memorable song here. "Reckless Abandon" is another mighty, up-tempo piece, again coming with a more catchy chorus, followed by the rock-ish cover version of Rick James' "Super Freak", which at least this time doesn't abandon the thrash metal idea completely, and is quite cool. Another big excuse is brought in the form of the marvellous aggressive thrashing closer "Numb", graced by superb leads (which, by the way, are on a very high level throughout the whole album, but here they beat anything); there's no way you won't accept it. This was a truly impressive entry for the band, and they hardly needed to go into a much more adventurous sound on the follow-up, at least not as much.
"In This Life" is where the band let loose their experimental spirit, and showed that a mixture of two contrasting styles could not produce very good results. The music has lost its thrashy appeal almost completely, being some "funk meets metal" mish-mash. Their last effort has very little to do with the past, and is actually a good attempt at a more ambitious progressive song-writing with a modern flavour.

Everyday's a Holiday EP, 1989
Fool's Game Full-length, 1989
Falling Away EP, 1991
In this life Full-length, 1991
Vision EP, 1992
Grand Summit EP, 1994
Splinter Down EP, 1994
The Next Room Full-length, 1994

MORE THAN HATE (SPAIN)

Heavy abrasive thrash/death metal with touches of doom/gothic; soulful solemn stuff in mid-pace with rough death-ish vocals and heavy hammering guitars.

Diluted Souls Demo, 2005

MORENA (RUSSIA)

Based on "Smuta", these guys offer a not very convincing blend of intense fast retro thrash and modern groove. Certainly the former is the more appealing side of the album, and there really cool sharp riffs can be heard on quite a few times. The singer is not bad, either, assisting the music with good mid-ranged clean vocals, which do not really suit the slower modern passages, but nicely become more aggressive on the faster ones.

Russian Album Full-length, 2002
Smuta Full-length, 2003
Monastic Days Full-length, 2005

MORFEUS (BRAZIL)

Morfeus have been wandering the Brazilian metal underground for quite a few years, having released two capable aggressive thrash demos in the late-80's, and when they finally got lucky to sign an album deal, it was the mid-90's, and the thrash metal scene had almost retired. However, this didn't prove an obstacle for the band to provide us with great stylish technical classic thrash, one of the finest achievements of the Brazilian metal scene, and one of the best works of thrash metal from the 90's. The music is intense, aggressive and fast for most of the time, but the band never forget to serve it with a certain doze of technicality. The guys start lashing from the get-go with "Rigor Mortis": fast tight thrash with nice both melodic and technical decorations, and a strong bass-bottom. "Hopeless" excels in the lead guitar department, and is another very fast technical thrasher. "Witness" focuses on the twisted technical play, and is consequesntly slower, with the leads reigning supreme again and a super-fast ending which will make your head spin. "Human Degradation" is speedy thrash from beginning to end with a more aggressive proto-death metal edge; "You Die" is equally as fast and relentless, but adds more technical guitars which on the slower passages are quite head-spinning. "The Creep In My Grave" is just a bit slower, but the technical edge of the guitars has been increased; it goes another level up on the progressive thrashterpiece "Dead Gods", which sacrifices some of the aggression again, for the sake of impeccable technical performance, still finding room for melody (there is one short balladic moment near the end) and a few more direct headbanging passages throughout its 6.5-min. "Ratkill" closes the album in a brutal direct manner, with the bass scoring really high with a virtuoso mid-section. This gem sums up the best from earlier works of more technical aggressive thrash metal, like Midas Touch's "Presage for Disaster", Invocator's "Excursion Demise", Gammacide's "Victims of Science", Anacrusis' debut; it doesn't really reach the more extreme proto-death heights of the last three, but in terms of musicianship it's probably only second to the Invocator effort.

Disbelieved World Full-length, 1993

MORFIUM (HUNGARY)

Based on the "Preda" demo, this band pulls out modern thrash with elements of stoner/doom; heavy stuff with crushing riffs and rough semi-hardcore vocals. The sound of the guitars is too buzzy, which takes away some of both the sharpness and the melody. Still on "Ha Ugy Akarom" they manage to sound interesting and even semi-technical, with the exclusion of the very fuzzy screaming leads.

Bûnöd és hibád Demo, 2002
Préda Demo, 2003
Ellenõrzés (Control) Demo, 2004
Öreg Sátán Demo, 2006
A Mester alkot Demo, 2009

MORG (FINLAND)

Based on the "Monolith" demo, this band play aggressive thrash/death of the modern school with frequent blast-beats spiced with slower groovy sections. On "Buried" the guys continue the carnage in a more controlled manner considerably increasing the presence of the groove which disappears for the excellent mid-tempo semi-technical "Strife" at the end.

Enter the Morgue Demo, 2004
Return to the Soil Demo, 2005
Buried Demo, 2006
Monolith Demo, 2007

MORGANA LEFAY (SWEDEN)

Often considered one of the "holy three" (Iced Earth and Nevermore, in case of some you wonder which the other two are) of the darker, more aggressive side of the modern power/thrash metal movement, this act began their career at a time when the style they had chosen to pursue was quickly going underground, and not many were those who enjoyed their excellent debut back in 1990, which was a potent blend of power, thrash and doom metal with a heavy dark sound similar to the Candlemass more thrashy compositions (particularly those from "Ancient Dreams"), with the singer Charles Rytkönen adding a great semi-high passionate melodic blend, not too far from Savatage's Jon Oliva. They persevered through those hard times, and 3 years later were ready with two more albums: the faster and more thrash-fixated "Knowing Just As I" and the less dynamic, but equally as effective doom-laden "The Secret Doctrine", which was way heavier and truer to the 80's than Candlemass' previous year's shaky "Chapter VI". 1995 was a time for some retrospection, done with the "Past Present Future" compilation, which collected songs from their 3 full-lengths, as well as two cool cover versions: one a tribute to their pop music compatriots ABBA ("Voulez Voux"), the other one a nice take on Crimson Glory's ballad "Lost Reflection". A few months later another LP was released: "Sanctified", which was a bit disappointing, serving a more epic/power metal sound, straying away from thrash and doom. The guys quickly went back on track with the great "Maleficium", considered by many their finest hour. Just when they literally hit the top, with their sales steadily increasing, and their having started sharing the stage with the most popular acts at the time, internal frictions led to the band's demise. Rytkönen and the guitarist Tony Eriksson were determined to continue, but since they did not possess the rights for the band name, they had to modify it a bit, to Lefay, and under this moniker they relased 3 more albums, the first one a re-mastered version of Morgana lefay's debut; the style there is more conventional power metal, without too many borrowings from other genres.
Suddenly in 1999 another full-length sprang up from their camp, self-titled, done by the other half: those who didn't take part in Lefay, with the only purpose to clear them of any contractual obligations towards the label; don't bother to track it down: it has nothing to do with the band's old style, being tedious dull groovy nu-metal. With this obstacle put aside, Rytkönen and Co. were ready to resume their career under the old name, the Co. part consisting of members from the Swedish groovy metallers Fantasmagoria, who have already worked with him (and Eriksson) on the Lefay albums. On the first album with them "Grand Materia" their groovy past shows clearly on a couple of tracks; the sound after the return is more "updated", more complex, bordering on progressive on the longer compositions, bearing resemblance to Nevermore and the Germans Courageous and Psychotron. Needless to say, there is a lot from their old days present, too, which, combined with the new elements sounds almost as good and compelling.
A harder course has been taken with their latest offering "Aberrations Of The Mind", which is their most aggressive work to date, which in this case doesn't mean the best. "Delusions" is the most fierce opener the guys have ever composed, and although later on such speed is nowhere encountered (with the possible exception of the cool speed/thrasher near the end "Vultures Devouring"), the album remains within the thrash metal realm for most of the time. The modern implements are here, the sound at times taking an angrier, almost Pantera-like attitude, but there is an increased presence of more peaceful semi-balladic sections, which sometimes too strikingly contrast to the hard-hitting guitars, and are not very well embedded into the overall picture. Some fillers roam around as well: the modern alternative post-thrasher "Where I Rule", the heavy semi-ballad "Over and Over Again", which is miles away from the high standards in this field witnessed on their older material ("The Secret Doctrine", in particular). There are no longer songs, and consequently there is nothing too complex or progressive going on, a tendency which was nicely started on "Grand Materia", but here not even hinted at. If the previous album had quite a few ties to their past, this one tries to pull the band's style into a new, and not a very desirable direction. Hopefully this new vision reaches further than the "comfort" of ending up like any other modern power/thrash metal act.

Symphony of the Damned Full-length, 1990
Knowing Just As I Full-length, 1993
The Secret Doctrine Full-length, 1993
Sanctified Full-length, 1995
Past Present Future Best of/Compilation, 1995
Maleficium Full-length, 1996
Morgana Lefay Full-length, 1999
Grand Materia Full-length, 2005
Aberrations Of The Mind Full-length, 2007

MORGGORM (MALAYSIA)

This Far East trio comes up with very cool retro thrash in the Germanic tradition (based on the full-length), and more particularly, early Kreator. The music is fast with sharp riffs, sparce more aggressive proto-death sections ("Mutation From Devastation"), and light joke numbers ("Broiler Price"), typical for acts like Sodom, Tankard, Necronomicon, etc. "Independence" is a more laid-back track, a good speed/thrasher in the spirit of Warrant and Paradox. "Warmth of Blood" is a nice touch: a slower, mid-paced track, with good melodic licks. But, as if to compensate, the band place the most aggressive song after it: "New World Prosecution" which, apart from the furious riffage, doesn't forget to add some melodic tunes. Having fulfilled their responsibility towards the thrash metal fans, the guys take it easy, producing one more crossover-laced piece ("Scumbag"), and one noisy sinister outro ("Dead Souls in Abyss").
The "Cruelty Devastation" EP is a small version of the full-length, with half of the material also included there, the other two new tracks ripping in a way pretty similar to the rest being fast tight thrashers with a very good sound quality, with the formidable steam-rolling cover of Slayer's immortal "Postmortem" a valuable addition at the end, the only drawback being the vocal choice which on this particular song are low-tuned death metal ones contrasting to the high-pitched black-ish rasps featured on the others.

Cruelty Devastation EP, 2006
The Eye Of Gorsha Dimmag Full-length, 2007

MORIA (UKRAINE)

Base on the EP, these Ukrainians play heavy abrasive modern post-thrash with both alternative and groovy elements, plus a couple of faster more dynamic moments. There are also a few melodic gothic-laced hooks and gruff death metal vocals.
The full-length is a better affair being heavy dark thrash metal in mid-tempo with less adherence to groove, but with an increased presence of melodic hooks bordering on stoner/doom ala Down. Near the end the sound gets mellower, and the guitars lose both the heaviness and the speed trying to capture the doom metal atmosphere more fully; they succeed, but those last moments will be a total waste of time for the thrash metal fan.
"Pain Shreds" is heavy, intense stuff which doesn't sound terribly different from the previous efforts, but the groovy crushiness at times is nicely interrupted by more energetic cuts (the deathy shredder "Fragments Of Thoughts"). "The Outlaw" is a cool alternative melodic piece, and the closing "Truth And Lie" boasts some of the finest melodic leads around. As a whole there is a slight tendency towards modern melo thrash/death ala the Gothenburg school, which in this case would be a good move, judging by the appropriate insertions here.

PSY. Full-length, 2009
Clouded Mind EP, 2010
Pain Shreds Full-length, 2011

MORIA (USA)

A modern mix of thrash and death metal with interesting stylish guitar work present, but with brutal grindcore sections as well. This is really wild at times stuff, especially when the more aggressive passages sometimes come suddenly, without warning, to break a cool thrashy one. Still, some hooks are quite melodic, and are a nice contrast to the very heavy music, and as a whole this style will have a wider appeal, not strictly to thrash and death metal fans.

No Light Ahead (Upcoming Full Length) EP, 2006
No Light Ahead Full-length, 2007

MORIORR (CZECH)

This is an early recording of these black/death metal stalwarts, dating back from the times when they were playing some vicious, aggressive thrash/proto-death with echoes from the early efforts of Messiah and their compatriots Assesor, including in the brutal, death metal vocal department (Messiah), only that the guy here is more clearly heard. The music at play here makes more sense, though, and the guitar proficiency is by all means bigger than the one of the aforementioned Swiss, descending at times to more coherent speed/thrash graced by stylish leads. This is a live recording, but the guys make good use of the settings sounding almost as convincing as when in the studio, with audible guitars and drums, the only pullback being the boosted vocals which stifle the instruments at times.

Live At Death Metal Session Prague Demo, 1988

MORITURUS (RUSSIA)

An obscure release of melodic power/thrash with classic echoes, seldom branching out into something more modern. This is moderate stuff with a few more technical touches ("Reject Yourself") recalling Destruction's "Cracked Brain", and several references to the ballad, including a cool full-blooded one ("Blood Of Your Lips"). "Death With Dignity" is a surprising vigorous headbanger, which soars above the predominant mid-paced material. The singer is not bad at all, singing in an attached semi-clean manner, pulling out really cool clean vocals on the balladic sections, then recalling Hansi Kürsch (Blind Guardian) and Lars F. Larsen (Manticora).

Black Thoughts Full-Length, 1996

MORKILL (PERU)

Dark melodic stuff which clings between power and thrash metal on a modern base. It starts quite promisingly with the creepy gothic thrasher "Extrano Despertar" recalling the excellent French one-album-wonder (at this stage) Skeleton Crew in a very good way. "Re - Existe" is not far behind crawling for ward with stylish technical riffs, but they kind of disappear later replaced by more ordinary modern power/thrash which remains until the end. The other flaw for some may be the consistent mid-tempo with not too many attempts at a more dynamic play; and probably the singer whose low-tuned death metal growls may be annoying to some.

Instinto Full-length, 2010

MORPHEMA (ITALY)

This Italian trio comes with 4 tracks playing laid-back modern gothic-tinged thrash with a clear concentration on melody as opposed to the very low brutal death metal vocals. This is not fast stuff, and the nods to doom are more than passing.

5th Rebirth EP, 2010

MORPHEUS (USA)

Melodic thrash/crossover, with a strong punk-ish attitude; this is enjoyable music, with memorable, catchy songs, but might not be to the taste of the more hard-boiled thrash metal fans. The band later took an unexpected turn to death metal, where they changed their name to Morpheus Descends.

More for Us Demo, 1990

MORPHOSIS (FINLAND)

These guys unfairly passed unnoticed, since they were one of the more extreme practitioners of the genre from Finland in the late-80's/early-90's offering intense speedy thrash/proto-death metal with an almost hardcore intensity on the faster material. Both demos are sustained in an aggressive all-out speed manner, with very few moments breaking the brutal formula, in the form of odd joke punk/hardcore passages. After the split-up some of the band members were seen in the much more melodic progressive heavy metal formation Ancient Dawn in the 90's, with which the guys keep on releasing demos on regular bases up to present times apparently still waiting for their chance for an offical release.

Sick Standard of Living Demo, 1989
And the Pain Is.. Demo, 1993
Thrashing Relics Vol. 1 Split, 2006

MORPHOSS (FRANCE)

Based on the "Marches for the Condemned" demo, these French offer typical late-80's/early-90's thrash/death metal sounding more restrained than the outbursts of their compatriots Agressor and Loudblast consequently ending up with better more proficient execution recalling another French effort from those times: No Return's "Contamination Rises". The music siwtches from fast intense to slower pounding passages the whole time as the former lead the pack, except on the more laid-back power/thrasher "March of the Condemned" which is unexpected, but is a pleasant deviation. The following "Dark Obscenity" is another unexpected, this time turn towards technical death metal: a really stylish mix of twisted technical and brutal blasting sections. The outro "The Sentence" is not too far behind pulling the demo into the other extreme being ponderous slow doom with funeral guitars.

Condemned to Thrash Demo, 2004
Marches for the Condemned Demo, 2006

MORPHOSYS (GERMANY)

Bassed on "A Face of Leather", this act plays an intense classic-sounding mixture of thrash and death metal not far from the Japanese Torture Squad, so expect a more death metal-fixated sound, but without many blast-beating elements. The speedy numbers follow in quick succession until the coming of the hammering mid-pacer "Buried in Your Own Blood", a cool epic track with good screaming leads. Things get back to normal after it even reaching grinding proportions for a while on the short furious piece "Crucifixion", and the closing remake of "Necromaniac" features Mr. Paul Speckman (Master, Abomination, etc.) who lends his vocal abilities to make the song even more "necro".

Der Blutmond EP, 2006
The Chopping Block Full-length, 2009
A Face of Leather Full-length, 2011

MORROW MORNING (GERMANY)

Based on the "Purgatory Cries For More" demo, these guys offer your average melodc Swedish thrash/death metal with interesting folkish melodies ala the Finns Gandalf, and even mid-period Amorphis. The band prefer to play it mid-tempo with retouched melodic riffs which also smell gothic on the more romantic moments.

Demo Demo, 2005
Purgatory Cries For More Demo, 2007

MORS SUBITA (FINLAND)

Based on the full-length, this act indulges in your average melodic death metal, the main difference coming from the drier, compared to their Gothenburg counterparts, guitar sound which doesn't carry a lot of melody, if we exclude the sparce nods to Amon Amarth ("Human Waste Compressor"; the officiant epic cut "Entrance Of Sickness"). The tempos change quite a bit within one song, leaving just one pure headbanger ("S.C.S.") to keep the dynamics.

Sound Of Spite EP, 2009
Human Waste Compression Full-length, 2011

MORTAGE (BRAZIL)

Excellent 80's speed/thrash metal in the tradition of Exumer's "Possessed By Fire" and early Destruction; this is explosive music which will sweep you with its brisk speedy guitars; it has its more quiet moments, of course: the mid-paced, almost Slayer-esque "Dead Again", and the heavy stomper with nice Oriental tunes "Misery Existence". The guys heroically keep a very intense aggressive pace on the 7-min long smasher "Bastard Race", the highlight of the album.

Trench for Evolution Full-length, 2006

MORTAL FORM (HOLLAND)

Based on the Split, these guys play good thrash/death metal of the classic school with meaty heavy riffs and cool semi-technical licks. The music stays closer to death metal, bringing to mind Bolt Thrower on the slower sections.

Evil Reborn Full-length, 2002
Arnhem Trolleymetaal Split, 2003

MORTAL PAIN (GREECE)

2 tracks of intense thrash/death metal with concentration on atmosphere and mood, quite similar to early Nightfall; this is very good music with intense thrashy sections intercepted by intriguing atmospheric slower passages filled with great melodies and swirling melodic leads, the picture slightly ruined by the gruff low-tuned death vocals.

Mortal Pain EP, 1992

MORTAL PASSION (GERMANY)

Based on "Invisible Invaders", this band is a representative of the classic thrash metal revival witnessed so far in the new millennium. The music has this uplifting, punkish attitude typical for the Sodom albums from the 90's. The vocals are also close to Tom Angelripper. The last song "Drink And Drive" is a joke reminding of the Tankard side project Tankwart.
"The Last Will Be The First" comes with a slightly more aggressive sound: "Cursed to Destroy" will tear you apart with its sharp brutal proto-death riffage, but to balance things up, the band still have included more laid-back tunes: "Intoxication". The predominant tempo is quite energetic, with some numbers speeding up admira