Copyright (c) 2007-2024 THE THRASH METAL GUIDE 0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z NIBIRU (USA)
This is excellent progressive thrash of the old school which offers quite a bit at the bemused listener; the rough death metal vocalist aggravates the environment
additionally, but the music is fairly satisfying, ranging from atmospheric tributes to early Opeth ("Harvest") to quirky psychedelic shredders
("God Free"), to long sprawling larger-than-life sagas ("Below"). Faster more dynamic excursions like "Nibiru" will remind of early Megadeth,
whereas the lyrical semi-balladic "Fixate" will please the more romantically-inclined. Watch out for "Suburban Alien", an eclectic exercise in
jazzy discordant thrash; and for the spacey Voivod-ian masterpiece "Bed By 9", another summative trip around the more visionary corners of the
metal spectre, also introducing a more capable cleaner throat to the very lofty proceedings.
Harvest For The Destroyer Full-Length, 2021 Facebook NICKEL BRAINS (USA)
This is retro thrash/crossover which is clearly on the brutal side with explosive short cuts ("Lonesome Death", "Nothing") those touching proto-death
and even grind ("Nuclear Warfare Is a Crime"). The overall delivery isn't too far from the one of Cryptic Slaughter's mythical debut, the levelled but
effective semi-declamatory singer supervising the aggressive proceedings with a few less restrained shouts as well. The only place where the band exercise
some moderation is on the heavy stomping "Modern Day Inquisition"; the rest is one hurtful fist in the face that will leave you panting for breath
for days on end.
Forward Message Demo, 1990 Official Site NIFELHEIM (SWEDEN)
Based on "Envoy of Lucifer", this band come up with fast and energetic black/thrash of the old school, not too far from the works of the Japanese representatives of the genre: Sabbat, Abigail, Barbatos. Naturally, the music goes into hyper-blast black metal extremes at times, but there's enough thrash here to satisfy fans of the genre.
Nifelheim Full-length, 1995 Official Site NIGEL FOXXE'S INC (GREECE)
This is actually the band Thanatos Inc. founded by the former Flames guitar player Nigel Foxxe. The band had to change their name after negative reactions on the side of the Dutch Thanatos who had chosen this name first. The music is less thrashy than the one heard on Thanatos Inc.'s only album. There are classic heavy metal songs, and you might find yourself wondering whether their place is on a thrash metal album. However, when the guys thrash, they could rank with the best ("Warning Signs"). On the second half of the album the songs become longer, start dragging and sound much less interesting. Apparently the name change had taken some of the good sides of the band's music.
War of the Godz Full-length, 1988 NIGHT FALLS LAST (AUSTRIA)
Bsed on the full-length, this act pull out modern Swedish-esque thrash/death which has all the staple tools of the trade to qualify as at least semi-interesting effort without doing anything wrong even producing a cool diverse progressive opus ("Rise") at the end. The guys don't rely on speed a lot and manage to create a certain amount of atmosphere as well not far from the one witnessed on the early Dark Tranquillity works.
Decisions and Directions EP, 2010 Official Site NIGHT IN GALES (GERMANY)
Based on "Five Scars", this act, who were previously known as Intestinal Ulcer when they played a doomy brand of classic death metal, pulls out competent modern Gothenburg thrash/death lashing out expectedly melodic energetic riffs in the tradition of Dark Tranquillity and At the Gates. "The Tides Of November" is a cool epic touch, a nod to Amon Amarth, but generally such stops on the way are not too many, the band marching on with the staple speedy guitar work and the flashy solos. The sparse clean vocal participation hints at prospective future metamorphosis maybe as already felt on more laid-back tracks like "Blackmouth Blues" (think later-period In Flames)... Some of the band members are also involved in the black/death metal act In Blackest Velvet.
Towards the Twilight Full-length, 1997 Official Site NIGHT STALKER (USA)
Dark cavernous, but not very proficiently-performed thrash/death with reverberating doomy overtones; speedy crescendos rise out of "Swine One-One"
and "Pedowood", but the macabre atmosphere gets denser and denser, reaching a culmination on the 20-min title-track, a macabre doom-laden march
with hypnotic not very eventful riffs, the sinister setting aptly assisted by the intimidating low-tuned death metal vocals.
Mutilated for Eternity Demo, 2021 Official Site NIGHT THREAT (GREECE)
This is first-rate modern thrash assisted by throaty death metal vocals. There's an audible Death-esque sting that also gives the approach
a desirable technical flair, the heavy lashing "Near to Never" a fine stylish shredder. "Threshold" is a compelling semi-galloping shorter, and
"Negative Existence" is a dramatic shape-shifting headbanger with twists and turns galore. "Behind Closed Doors" is vintage later-period Death, a probable
leftover from "Symbolic", a not very predictable cut which leaves all the drama for the all-instrumental masterpiece "Psychodrama", an echo of
"Scavenger" from "The Sound of Perseverance", a vocalless saga to die for, before "Complete" completes the journey with a pleiad of
melodic pyrotechnics.
Negative Existence Full-length, 2017 Official Site NIGHT'S BLOOD (GREECE)
Based on the full-length, this band play vicious black/thrash/speed fiesta which races through the scenery with the utmost vehemence ("Henkersklinge",
"The Iron Grip of Merciless Hands") for most of the time, the intense deathly vocalist spitting his lines with equal spite, "Black Conjuration" going
a bit over the top with a less tamed blast-beating spasm. "Clandestine" is a brilliant epic doomy instrumental odyssey, and "Pariah" is a short vitriolic
Germanic speed metal cut, leaving the more overt black-ish outbursts for the closing roller-coaster "Upon Pagan Gravesites". Some of the band members
earlier played in the power/thrash outfit Grimpact.
Further Down the Catacombs... EP, 2017 Official Site NIGHTBORN (SWEDEN)
The debut: this band is just one person, the name Arda K, who indulges in quite good modern progressive thrash which is sustained in a dominant fast-pace although
there's a lot happening within the songs which are quite lengthy (6-8min), but the guys makes sure that every composition has a hefty speedy decoration.
"Hemorrhage of the Soul" is a good reminder of early Destruction with its sharp spinning riffs, and "The Sorrow Room" is a stylish nod to more recent
Paradox. "Bloodgrown Darkness" attempts some intriguing lightning-fast thrashing ala Expulsion, and "Visitation" is a superb complex riff-fest with a
wide array of time and tempo shifts. Arda provides passable mid-ranged semi-clean timbre which hits the higher registers at times in a more shouty,
hoarser fashion.
Skyless Full-length, 2017 Official Site NIGHTBREED (GREECE)
The debut: these Greek heroes offer an excellent early Germanic speed/thrash worship and as such shred like demented in the best manner of Necronomicon, Kreator, Toxik Shock, and early Deathrow. There's a lot of speed to be savoured here and the guys know no mercy bringing the glorious 80's right at your doorstep with rigorous headbangers like "Epilepsy" and "Public Execution" the latter a rolling semi-technical delight ala Destruction. The whole album is sustained in a maddening brisk pace as a few more stylish compositions are also thrown in: "In the Mouth of Madness", the almost progressive speed/thrashing opus "Taste of Blood". Shorter, more immediate cuts are placed in the end to accentuate on this very cool effort's dynamic character the highly energetic musical delivery topped by shouty mean vocals ala Schmier and Freddy (Necronomicon). The band members are also active with other retro thrash acts around: Released Anger, The Crucifier, etc.
Nightbreed Full-Length, 2015 Official Site NIGHTCHAINS (LEBANON)
Thrash metal from Lebanon isn't a very common phenomenon, but it should be paid attention having in mind the energetic inspired performance by these guys. Their only effort offers cool classic thrash mixed with American power metal in a way not far from Savage Grace and Liege Lord. The initial energy gets lost later on, unfortunately, reaching balladic dimensions near the end also expressed by the presence of one tender acoustic ballad ("(Can't Write a) Love Song"). The guitars have a slightly noisy sound, and the singer may annoy a bit with his raspy screamy delivery that could have benefited from more rehearsal time spent in the studio.
Metal to the Bone Full-length, 2005 My Space NIGHTCRAWLER (SPAIN)
These Spaniards pull out capable power/speed/thrash metal with a classic "sting" alternating faster galloping riffs with slower sharp ones. The "duel" in the vocal department between the high melodic female and the deep growling male ones is quite cool, although from all the 8 tracks featured only two are studio recordings, the others being live with worse production qualities which give the guitars a very buzzy sound. The end comes in the form of a faithful, but ruined by the bad sound, cover of Rage's "Set the World on Fire" from "Unity", and the medley between Kreator's "People of the Lie" and Carcass' "Heartwork", which is surprisingly good with a much better sound quality with more leanings towards the Kreator composition.
Burning Like Flesh On The Rotten Soil Demo, 2009 My Space NIGHTGLOW (ITALY)
The debut: this formation provide modern power/post-thrash which is on the playful merry-go-round side with some appropriate heavy metal additions (the happy-go-lucky "Time Lord"). Consequently, it will appeal to a wider fanbase who will enjoy the crisp melodic guitars and the attached mid-ranged clean vocals. The aggro-lovers will jump sky-high on the short aggressive groover "Don't Cry", and the more hardened thrashers will have the partial fun on the final "End Of Time" which is eventful progressive power/thrash in various tempos serving several intense passages among the more laid-back decisions one of which is a very cool balladic outro.
We Rise Full-Length, 2013 Official Site NIGHTLORD (UK)
Based on the full-length debut, these guys pull out fairly cool classic speed/thrash ruined to an extent by the rough semi-death metal vocals. The music delivers with fast crisp rhythms which, albeit not very elaborate, grow into longer eventful compositions ("Vote for Me") where quite a bit of intense headbanging thrash can be heard. "Power Of Hate" is a great number mixing the best from Angel Dust and Paradox, a vigorous speed/thrasher sustained in various tempos. "Holy Inquisition" shows the more progressive side of the band for a while, but the guys are intent on playing fast'n tight, and soon the "carnage" starts over again. This act were pretty much in a niche of their own in the UK back in the day since very few were those practicing this brand of Germanic speed/thrash except for several moments from the Hydra Vein works. It would be interesting to check whether they have managed to translate this amount of energy into the 90's with the EP...
Approaching Thunder Full-Length, 1990 My Space NIGHTMARE (BRAZIL)
Based on the debut demo, these folks specialize in purely amateurish bashing thrash/proto-death which is performed at a very pristine level, both music and vocal-wise, the guys just moshing with vigour relying too much on the blast-beats to make this a pleasant listen at this early stage, never changing their boring, one-dimensional approach.
Raising from Holocaust Demo, 1987 NIGHTMARE (BULGARIA)
On their only album these obscure Bulgarians pull out capable, technically-decorated thrash/death metal along the lines of No Return's "Contamination Rises". The band never adhere to pure blasting sections like the French, and on their most inspired they aren't too far even from Pestilence's "Testimony of the Ancients" or Death's "Human", similarities also called by the singer's early Chuck Schuldiner (R.I.P.)-like delivery. The guitar work is really good and again recalls the mighty Chuck on quite a few times. The album is split by the cool speedy cover version of the Venom immortal hit "Black Metal" which is slightly off-context, but stirs up the mood. Afterwards the band afford some loose pieces, like the short doom/thrashcore groover "Go Away", the atmospheric ambient, and scarily non-metal instrumental "Dreams", but also one straight thrash headbanger ("Holocaust"). The closer "Return of The Death" safely brings back the sound to the previous technical thrash/death formula proving once again the rule that there are no odd/casual acts coming out of Bulgaria.
Mental Derangement Full-Length, 1994 NIGHTMARE (JAPAN)
Fast aggressive thrashcore; don't look any further than early Prong and Beyond Possession... Short 1.5-min tracks, often graced by melodic punk passages. NIGHTMARE (POLAND)
Based on "Cryptic Songs", this band offers cool, still more classic-sounding, thrash metal with a dark gothic edge, also coming from the raw death metal vocals. The music is mostly in mid-tempo with slower atmospheric breaks where the riffs start biting more. The style bears resemblances to late 80's Slayer, but here the guitar work is heavier. "Fallen Love" is a nice more complex number, also graced by operatic, cleaner vocals. "Looking for Paradise" is an effective mix of faster guitars and doom-laden parts, followed by the most aggressive thrasher here "Picture of Evil". Get ready for more intense thrashing on "The Lost", and on the short furious closer "The Awakening" which will do exactly what the title promises.
Cryptic Songs Full-length, 1993 NIGHTMARE (USA)
A rough intense demo of power/speed/thrash the opening title-track storming through the speakers with violent rolling riffs setting the tone for what follows which turns to more aggressive thrash on "Witches' Sabbath", and to evil speedy gallopisms on the final "Dangerous Forces". The singer shouts and even screams, also semi-whispering, with passion leaving a rather positive impression which can't be said about the production: the sound quality is pretty muddy taking away some of the leads' melodic flair.
Land of the Dead Demo, 1986 NIGHTMARE CANVAS (USA)
A power trio from Odessa, but Texas, not Russia; this is modern post-death/post-thrash stuff which relies on very heavy squashing riffs, livening up to an extent on the livelier, shorter material ("Infinity"). "Better off, Pt. 1" is an interesting alternative ballad with good cleaner vocals as opposed to the overshouty, to the point of hysteria at times, deathly main ones; and "Fuck It All" is a raging, nearly classic, thrasher which gives the album a big boost towards the end.
The self-titled debut is unholy black/thrash metal, a pretty vicious affair already sharing the extreme aesthetics of the second wave of black metal spicing it with brisk thrashy riffs frequently interrupted with brutal blasting outrage. The thrash metal fans will be mildly entertained on the early Sodom-esque piece "Possessed by Evil" and the "Pleasure to Kill" leftover "Sodomizer", but the majority of the songs will find their bigger acceptance among the black metal brotherhood.
Devil's Force Full-length, 1998
Servants Of Darkness Full-length, 2000
Unholy Death EP, 2000
Envoy of Lucifer Full-length, 2007
Return of the Fallen EP, 2012
Deathwalker Full-length, 2014
"The Last Sunsets" is the next in line melo-death/thrash affair the guys boosting both the melodies and the speedy escapades, the shadow of the Gothenburg school even more tangible here with In Flames/Dark Tranquillity-worshippers like "The Mortal Soul" and "Architects of Tyranny" disturbing the peace, the epic flavour ensured by stompers like "Circle of Degeneration" which retain the Amon Amarth-esque connection all around.
Thunderbeast Full-length, 1998
Nailwork Full-length, 2000
Necrodynamic Full-length, 2001
Ten Years Of Tragedy EP, 2005
Five Scars Full-length, 2011
The Last Sunsets Full-Length, 2018
Black Arts Full-length, 2018
"Unhuman" inserts a slight doze of death metal, although the good old speed/thrash still dictates the proceedings, bursting pieces like "Absence of
Life" and "Grave Madness" will make you headbang like demented, whereas the mellower more atmospheric clout of "A Solemn World" and the gothic-infused
"The Haunted Mind" will probably appeal more to the tender souls. Watch out for "Phantoms", the closer, which rips through the speakers in the most
merciless fashion, racing with the speed of light as a farewell gesture.
Unhuman Full-Length, 2022
"Beyond Inferno" carries on with the stylish tribute to the old school the band intent on generating as much intensity as possible from this formula, moshing relentlessly with very few respites provided along the way. Bullets like "Ripped By Chains" and "Coven Of The Soulless" fly around with the maximum velocity, "Infinite Space... Infinite Terror" the only marginal relaxer being a soaring speed metal anthem ala early Helloween and Not Fragile, with the closing "Human Sacrifice" also breaking the formula a bit with a couple of more technical pounding breaks.
Beyond Inferno Full-length, 2018
"Orpheus" is thrashier and a tad more dynamic (the exiting section of the closing title-track) although the power metal elements are still prevalent leading the show in an assured melodic, epic manner. The pace is mid for most of the time, and a few more modern groovy touches ("Fuck You", "Liar") have been introduced. The singer is the star here with his attached dramatic performance although he doesn't break any records in the high-pitched department.
"Rage of a Bleedin' Society" doesn't bear any surprises, the guys serving their staple brand of more classic-sounding power metal and strictly modern post-thrash, the energetic abrasiveness of "Fuck@looza" colliding with the friendly jolts and bounces of "Overlord". "Alive" is a nice short headbanger, but its cancellation is secured by the mild romantic ballad "Gone".
Orpheus Full-length, 2014
Rage of a Bleedin' Society Full-length, 2019
"Reborn in Darkness": the band come back "reborn in darkness", and this effort sees them riding the wave once again blending power, speed and thrash on almost every number. At the beginning the band mosh with more heaviness and without too many fast-paced moments ("Omens in Entrails" can even pass for a quasi-doomster), but arrives "Butcher's Bill" and the guys start thrashing with passion. "Ghosts from the Machines" is an elaborate composition with less aggressive riffs partly influencing the next "Black, Red and Green" which is just a relaxed heavy metal anthem. "Last Rise of Our Dying Sun" is a diverse instrumental with an abundant use of the leads, and the band take it relatively easy till the end with a more restrained approach, the power/speed metal movement paid tribute with a string of hymns which mellower character is "stained" by the gruff semi-death metal vocals.
Cult of the Moon EP, 1993
Reborn in Darkness Full-Length, 2016
Rehearsal Demo, 1987
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Nightmare EP, 1988
Cold Full-length, 1995