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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

0 ZONE (GREECE)

Modern mechanical thrash which comes with a curious quasi-progressive feel, but the too shouty death metal vocals and the relative lack of more intense sections ("Thrashing Mind" the only exception, of course) make this recording too monotonous and not very exciting in the long run despite the bigger ambition shown with the complex closing title-track.

End of Days Full-Length, 2014

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O.B.E.Y. (UK)

This power UK trio pull out modern/classic steam-roller thrash which is mixed with doom to a pretty squashing effect alternating the two sides on longer sprawling compositions like "Anger Hunger" and "Learn not to Pay" where wild rhythms, on the edge of falling into death metal, take turns with seismic ultra-heavy moments. This is charming stuff having at times the early Celtic Frost vibe assisted by attached semi-shouty/semi-death metal vocals.

Romance of Misanthropy Full-Length, 2006

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O.D.I.O. (SPAIN)

This outfit offer dynamic modern thrash with a few post-thrash tendencies. The groovy passages are aptly intercepted by vivid up-tempo ones some of which reach the deathly dimensions ("Altered States of Consciousness") with ease. "Jealousy" is an interesting chaotic composition sticking out among the dominant short outbursts of energy topped by very shouty death metal vocals.

The Mourner Full-Length, 2015

O.P.E.N. (UK)

Mechanical industrialized post-thrash with jazz and funky moments; this is both jumpy and atmospheric music with a strong alternative vibe and several balladic stretches plus ridiculous computerized vocals which still suit the hectic robotic delivery.

Let's Get It On! Full-Length, 2010

O.N.E. (RUSSIA)

These Russians offer melodic power/thrash with crisp guitars and a few more aggressive moments ("Na Grani") where the riffs start thrashing with more force. Generally this is moderate stuff with balladic and grunge touches ("Zver"), and an occasional adherence to speed metal ("Kto Otdal Jizni za Nas"). The singer is good with his passionate clean mid-ranged timbre.

Smotri i Pomni Demo, 2011

Official Site

O.T.FACTOR (USA)

Based on the "Legends" demo, these folks indulge in excellent semi-technical speed/thrash ala Deus Vult and Have Mercy marred by the muddy sound quality. The music is fairly intense and eventful its less predictable nature culminating on the 10-min title-track which combines sweeping thrash with heavy stomping passages this amalgam led by nice steel technical guitars and forceful semi-clean vocals. The closing "Metamorphasis" is a shredding instrumental with great screamy leads.

Double Standards Demo, 1989
Legends Demo, 1990

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OATH (FINLAND)

Moody classic thrash with gruff shouty death metal vocals; "Closed Mind" is a pleasant deviation with more dynamic guitars and a very good sense of melody, and "Schizophrenic" is another shift from the sombre delivery with more vivid thrash/crossover decisions. Some of the band members are active at present with the black metal formation Exordium.

Woodlands Demo, 1996

OATH OF CRUELTY (USA)

Based on the full-length, this act serve very well constructed blizkrieg, no-bars-held retro thrash/death which is way more than just mindless vicious bash like the more contrived "Stabbing Forth with Invincible Damnation" shows early; in fact, the band unleash more technical riffs ("Through Alchemy and Killing") at will, the shadow of Deicide ("Into the Chamber of Death") looming heavily on the more brutal material. The speed of light is nearly reached on the maddening "Victory Rites of Exsanguination", and this is pretty much what one will come across here, aggressive uncompromising stuff elevated by the more ambitious approach on the closing title-track. Some of the band members also play with the death metal outfits Blaspherian and Cemetarian.

Hellish Decimation EP 2014
Summary Execution at Dawn Full-length 2019

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OATH OF PERSISTENCE (BRAZIL)

Based on the full-length, these lads serve modern thrash/death which disperses the established mechanical setting with bouts of more or less bridled aggression ("Queen of the Swarm", "The Awakening"), the second half clinging more towards the faster aspect of the band's repertoire, with fiery bullets like "Through the Painting" and "At the Gates of R'lyeh" winking at the Gothenburg school with the timidly displayed melodic sentiment.

Arrival EP, 2023
Fear of the Unknown Full-length, 2024

Official Site

OATHBRINGER (SERBIA)

This is mostly retro power metal which rages on at times ("Stand or Fall") in a less restrained thrashy manner, the more complex speed/thrasher "Shayol Ghul" another interesting proposition, standing proud and loud next to the epic moroser "Moria", the remnant of their demo years "Under the Spell" raging hard on occasion, complementing the decent mid-ranged clean vocalist. Some of the band members are also occupied with the doom metallers Invisible Hate and the heavy metal formation Riddle of Steel.

Tales of Glory Full-length, 2022

Official Site

OBDURATED (FRANCE)

Based on "I Feel Nothing": the modern death/thrash saga is given another chance here, and the Gothenburg fans should find their favourites in France this time, of all places. No complaints as the band play with conviction adding the more intriguing hoax... sorry, hook ("Hoax") whenever possible. "Heaven" is a breath-taking melodic instrumental which beats the metallic numbers by miles although indeed the rest isn't bad at all the closing "Forefathers" elevating the progressive pretensions heard previously to new heights despite the audible reduction of the speedy sections.

Living in Failure Full-length, 2005
The Answers Within Full-length, 2009
The Covers Within EP, 2012
I Feel Nothing Full-length, 2014

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OBEDIENCIA CERO (SPAIN)

This is modern choppy thrash the guys displaying a good sense of technicality ("Madre Tierra") at times, but overall this slab is more on then lashing side thanks to rowdy tunes like "Vendetta" and the vigorous title-track. "Que Triste Es Decirlo" rushes with less bridled rhythms, too, its manic tendencies reflected ion the hardcore accumulations on "Marcha Imperial" and the harsh shouty death metal vocals. Some of the band members are also occupied with the thrash/crossover unit Death Above.

Ansiedad Social Full-length, 2023

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OBEISANCE (USA)

Based on "Lucifer Master": this band is a kind of a side project for the members of the Mexican death metal maestros The Chasm. The music, however, bears no resemblances to death metal opting for classic thrash metal mixing heavy stomping riffing ala Celtic Frost with faster energetic numbers in the tradition of early-Bathory and the Swedes Bewitched. This is straight stuff, you won't find any twisted technical riffs typical for the The Chasm style, but is enjoyable and a good reminder of the heydays of thrash metal.

"Unholy, Unwholesome and Evil" is an ultra-brutal black/death metal affair with very few moments of thrash. This is well inferior to the much more proficient debut, constantly blasting in a noisy drum-dominated way with only "Dark Gardens Of Eternal War" providing some comfort for the listener with cool doom rhythms. The rest is just mindless bash, and it would be really hard to believe that The Chasm members are responsible for it.

Lucifer Master Full-length, 2002
Unholy, Unwholesome and Evil Full-length, 2006
F.U.C.K.: Forever Unholy Christian Karnage EP, 2007
Satanik Shoktroops Auf Doom EP, 2008

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OBERON (CANADA)

Based on the "Endless Life" demo, these folks indulge in a classic thrash/death offering which relies on both sold galloping riffs ("Left behind") and on more entangled thrashy configurations ("Homocidal Sacrifice"), the harsh throaty death metal singer trying to fit somehow into the diverse but compelling melee, the cover of Slayer's "Black Magic" followed by another one, of Venom's "Bloodlust", both pieces done well despite the muddy sound quality accompanying them, and the singer's limited shouty abilities. Some of the band members also take part in the death metal cohorts Asphyxiation and Devastator.
The "Dark Warrior" demo is more in the speed/power metal mode (the vehement opener "Dark warrior"), the singer now being a high-pitched soaring tenor, accommodating the dynamic proceedings with ease, the latter taking a bow on the epic battle-like delight "Crossing the Avalon". "Conquest For Glory" is a relatively peaceful mid-pacer, but expect a whirlwind of first-rate speed metal on the exemplary all-instrumental odyssey "Goblin Worx". "Seeds of Justice" suddenly changes the course towards more hard-hitting thrash/speed, the vocalist adding a harsher deathly tone initially, making this nice track a diverse not very predictable roller-coaster.

Endless Life Demo, 1996
Dark Warrior Demo, 2002

OBERON (CZECH)

Based on "I Hate Everyone Equally", this band play crusty heavy hardcore-ish thrash in mid-tempo supported by throaty brutal death metal vocals. The approach may not hold water for too long since it's pretty samey till the end the guys spicing the proceedings with the casual more melodic addition (the guitar lines on "Absolute Power", the utterly unexpected surreal technical hooks ala Voivod on "Superstar"). The end comes in the form of a heavy quasi-industrial version of Sepultura's "Bloody Roots" which is a bit clumsy and moodier compared to the original.

Sleep Now in the Dark of Hell Full-length, 2003
I Hate Everyone Equally Full-length, 2004

OBERON (SWEDEN)

Choppy crunchy retro power/proto-death/thrash which tries something more technical on "Insane", but the very shouty hardcore vocals and the several groovy sections kind of mar the impression, although the band do soldier on with the stylish squashing proto-deathing of "Suffer" and the well-measured trots of the hectic "Winterland". The sound quality is quite clear, and it's a pity that this effort is so short, just sketching the band's seeming potential, which later got more fully displayed under the Auberon moniker .

Insane Demo, 1995 (see Auberon)

OBESSOUS (ECUADOR)

Heavy stomping power/thrash of the old school which doesn't shy away from more doom configurations ("Get the Light"), the consistent mid-tempo clout dissipated by the odd outburst of aggression ("Innocent Your Mission Is Attack"). "That's so Real or Not" is a more radio-friendly piece with a power metal flavour, but watch out for "Give Me the Answer", a violent hardcore melee, this one cancelled by the goofy rocky closer "Rock & Roll Is Forever".

At the Devil's Time EP, 2018

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OBEY BIZAR (USA)

Based on the demo, this act specialize in typical for the time groovy post-thrash which comes served with a pinch of classic semi-technicality ("Noble Remains"), but this is generally entertainment for the Puncture and Grope crowd with "Mind" being a particularly nice proto-doomster with a sudden speed break. "Prisoner" attempts something choppy and crunchy, but such developments are casual at best, the semi-shouty/semi-clean vocals assisting the somewhat noisy musicalities with suppressed passion. Some of the musicians were also active with the power metal formation Final Sign.

Breakthrough Demo, 1994
Power Stomp Full-length, 1996
Intimidation Full-length, 2000

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OBFUSCATOR (BOLIVIA)

Based on the full-length, this band play retro black/thrash that can be wild and untamed (the opening madness "Necromantic Awakening of the Flesh", "Starving Wolfpack") and occasionally mellower and epic ("Sorcerer's Revenge"). The screechy shouty black metal vocals are all over the place, the shadow of the Finns Impaled Nazarene ("Archaic Death Worshiping") also soaring above this odyssey which is by no means for the faint-of-heart, with black metal obliterating all vestiges of thrash by the end with a streak of violent blacky melees, leaving the closer "Satan's Vixen" to bow out with a gust of more moderate thrashisms.

Void of Blood EP, 2016
The Chaotic Darkness Full-length, 2018

Official Site

OBLITERATED (ITALY)

Ambitious modern progressive thrash (the debut EP) which pulls in the listener with the primal twisting shredder "Doubtful Existence" before relieving the situation with the more immediate "Return to Oblivion". "Memories of Human Dust" is a larger-than-life saga, quite eventful, but the real winner here is the closing "Mind Illusion", a stylish nod to Artillery's heydays with sharp lashing guitars and nice technical licks, the only downpoint being the presence of the snarly death metal vocals.
The "Fragments of Infinity" EP displays very big ambition from the beginning with the nearly 12-min opener "Creator Of Void" which dynamics is also highlighted by a stroke of bombastic black metal near the end. "Ouroboros" is desirably a more down-to-earth shredder the guys mixing the tempos and accentuating the headbanging tendencies on the fast-paced ripper "The Shores Of Chaos" also adding several infectious melodic tunes on this one. "Wings Of Macrocosm" is a more laid-back number with a lengthy mid-paced introduction before the band carry on with their energetic arsenal. As a whole this effort isn't as stylish as the first EP despite the epic proportions of the first composition.

The Dreadful Meaning of Being EP, 2013
Fragments of Infinity EP, 2016

Official Site

OBLITERATION (UK)

One of the less known bands from the British metal scene; it's hard to define their style with a few simple words, though: there are fast, aggressive numbers; there are slower doom parts; there are mid-paced, semi-technical tracks, too. It might sound impressive to some, but as a matter of fact this is just an average thrash metal album.

Obscured Within Full-length, 1990

OBLITERATOR (SPAIN)

These Spaniards acquit themselves with good fast blitzkrieg retro thrash which can also be chaotically technical ("Agent of Chaos") although the super-fast riffage doesn't give too many chances for other gimmicks to develop beyond the occasional glimpse. This is wild aggressive stuff which will leave the listener with a wide smile on his/her face throughout its close to half an hour of playing time including the vocals which are forcefully shouty reminiscent of Jello Biafra (Dead Kennedys, Lard) on the more melodic tones (the closing "Do You Know What Freedom Is?").

For Those About to Die... EP, 2014

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OBLITERATOR (USA)

This band was formed by Ski: the man who sang for Deadly Blessing previously, and the same man who was very close to becoming the Rob Halford replacement in Judas Priest (outrun in the last stage by Tim "Ripper" Owens). This could have been the beginning of a stellar career if released 5/6 years earlier; the style is characterized by the typical for Deadly Blessing speed/power/thrash metal anthems, but the music is more technical and heavier (check out "Bloodred Sin"), and Ski screams his lungs out to the very extreme, seldom achieved before, even by Halford himself (check out "Bloodred Sin" again). Hey, there are other songs here, too, like the brilliant opener "Windows To Your Soul", another admirable steam-rolling hectic thrasher as well as Ski's tribute to Judas Priest, the cover version of "Beyond The Realms Of Death" with the vocal performance, of course, being the highlight.

Demo Demo, 1992

OBLIVEON (CANADA)

This great band never got the recognition they deserved. They play a unique brand of technical/progressive thrash metal with a certain industrial flavour on later works, heavy and mid-paced most of the time with meaty, crushing riffs. Their debut fits this description almost completely, lacking the industrial decorations of the other albums, but is a first-class slab of technical thrash. It opens with the excellent speedy, lead-driven instrumental "Access To The Acropolis", after which things take a heavier and a more technical turn with "Chronocraze", which still enjoys a great faster-paced section. "Droidomized" increases the heaviness without losing the speed, and the result is a fine intense thrasher with a technical twist. The technicality remains for the great 9-min progressive thrash opus "Fiction of Veracity", one of the band's finest hours, a smashing combination of moods and tempo changes. "From This Day Forward" is a dark brooding mid-paced thrasher with creepy sinister guitars. "Imminent Regenerator" is technical speed/thrash at its smashing best, whereas the closing "It Should Have Stayed Unreal" slows down again acquiring a dark gothic edge.

"Nemesis" is the band's magnum opus, the finest example of their unique style, which also manages to stay away from the modern/industrial influences for most of the time. It starts in a fabulous way with the technical masterpiece "Dynamo", with superb guitar performance. "Estranging Abduction" follows the same pattern, but "Factory Of Delusions" speeds up and gets more aggressive creating a headbanging atmosphere which gets lost for the complex whirlwind of technical riffage "Frosted Avowals", which fans of progressive/technical thrash might find the highlight here. "Nemesis" relies more on heavy crushing guitars, and is a nice pause before another technical gem overwhelms you: "Obscure Mindways", this time faster, combining the best from Helstar and Despair in their prime. "Strays of the Soul" shows the more lyrical semi-balladic side of the band for a while before the smashing technical riffs take over. "The Thinker's Lair" closes this incredible album in a mid-paced, more standard approach.

"Cybervoid" is a much more modern and a more immediate effort. There's groove, there's also industrial, but the interesting arrangements and the original musical decisions are still present to a certain extent: "Perihelion", "Sequels". Still they aren't enough to make this album sound even half as good as the first two; the approach is too samey, making the whole album sound like one big track. The EP and "Carnivore Mothermouth" concentrate on the industrial and modern tendencies, leaving the technical flair far behind.

From This Day Forward Full-length, 1990
Nemesis Full-length, 1993
Cybervoid Full-length, 1995
Planet Claire EP, 1998
Carnivore Mothermouth Full-length, 1999

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OBLIVION (CROATIA)

Cool retro speed/thrash metal crossing Angel Dust with Rigor Mortis; fast music with simplistic guitars and a gruff death metal singer. The leads are very melodic contrasting with the harsher, but repetitive, riffage.

R.I.P. Demo, 2000

OBLIVION (CYPRUS)

This act plays dark atmospheric thrash/death metal with numerous melodies and heavy proto-gothic elements the latter recalling mid-period Rotting Christ. The tempo is mostly mid, but there are descents to slower waters with doom/death tendencies to which the deep low-tuned death metal vocals suit better.

Oblivion EP, 2009

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OBLIVION (ITALY)

A very obscure release, Oblivion's only mini-album is an enjoyable mixture of power and melodic thrash with a nice finishing touch ("Pipes And Drums", which some kind of reminds of the ABBA great folk instrumental "Arrival"). Before this finishing touch, however, one will come across a very good fusion of power, speed and thrash metal: "Screaming Hearts", partially ruined by the emotionless semi-clean vocals; one full-blooded intense thrasher ("Guilty Youth"), with a great bass-bottom (which is very strong on the whole album, by the way); one feelgood crossover piece ("Let Leave Me Be Myself"), and more.

Oblivion Full-length, 1990

OBLIVION (USA)

A very obscure band; their only album mixes classic heavy metal ala Accept with power/thrash in the Heretic-vein, or the later Ultimatum works. There are punk-ish moments, too- "Get A Life", and as a whole the album doesn't have a very big headbanging potential except for the live track "Cross The Line" which is a cool nod to the 80's American scene, and the galloping power/thrasher "Euthanasia" which loses in the process from the buzzy guitars.

Oblivion Full-Length, 1989

OBLIVION KNIGHT (USA)

This band is chiefly remembered for the two vocalists who had graced the line-up with their presence, the better know Mike Soliz, also Watchtower, Assailant, Militia, etc. and the lesser known Chris Collins (Majesty/Dream Theater). The debut demo (with Soliz's participation) features epic power/speed metal along the lines of Agent Steel and Attacker, but on the sophomore, where Collins steps in, the band really pull it off by providing first-class technical/progressive thrash with echoes of Watchtower, Deathrow and Realm. One will easily get dizzy from the complex mathematical equations with which "The Eagle's War Night" is full to the brim, this cut a most tantalizing riff-puzzle with several melodic reliefs served to better suit Collins' highly dramatic vocal exploits. "Tales of Vindication" is an all-instrumental venture with epic build-ups those reminding of early Fates Warning, with the bass player making itself heard in way no worse than Steve DiGiorgio. "Millennium" is a challenging Watchtower-esque rifforama with a wide array of time and tempo shifts, with Collins back in action all the way to the somewhat downbeat, balladic finale which also stays around for the title-track, a less exuberant semi-balladic, all-instrumental again, composition carved by sudden thrashy explosions. A very good reminder of this essential act's heritage is the 2009 compilation which is a sign that more feats could come out of the Knights' camp in the future as reportedly they are back on the "battlefield" in the new millennium.

Demo Demo, 1987
Forgotten Realm Demo, 1990
Oblivion Knight Compilation, 2009

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OBLIVION MYTH (USA)

This is excellent, first-rate retro power/speed/thrash with progressive leanings. The guys take the galloping dynamics of Attacker and Helstar, and blend it with the dark rhythms of Sanctuary and early Nevermore to create one of the best tributes to the American 80's scene of the past ten years. The album opens with the seismic "Gathering of Souls" which shreds with might in a mid to up-tempo with not very obtrusive keyboard support. Then comes "Dimensions" which is a more direct galloper with a more overt presence of the ephemeral keyboards. "Believer Deceiver" is a calmer progressiver with a few speedy moments with echoes of Symphony X and Shadowkeep. "Knightserrant" is almost 9-min of intense power/speed/thrashing which becomes a bit more aggressive here and there; but the real aggression arrives with the short exploder "Evil of All Corners" which is hard-hitting moshing thrash to the bone performed with a nice semi-technical blend ala Hexenhaus and Pathos. "Twilight Dementia" pours more drama into the delivery with its dark lashing guitars, a cool reminder of Sanctuary, also graced by a good memorable chorus. "Mirroracle" stays on a Sanctuary/Nevermore territory with another portion of morose dramatic rhythms, and the final "Mystique" is more on the progressive power metal side with its more relaxed riffs which are greatly compensated by the brutal delivery on the bonus track "War Child", a fitting epitaph with its openly headbanging nature despite the several more epic moments that come later. The singer does a fairly good job as well with his warm forceful mid-ranged clean baritone, not very adventurous, but ensuring the requisite authoritative support to the very cool music.

Oblivion Myth Full-Length, 2006

Official Site

OBLIVION THRONE (USA)

The full-length: this is old school speed/thrash which suffers a bit from the muddy production, with heavy stomping passages regularly provided to stop the incessant assault which threatens to tumble into proto-death on the pretty cool title-track. Expect a very nice short lead-driven instrumental ("Selva Oscura") and an imposing epic doomster ("Valley of Crimson Dust"), the hoarse not very rehearsed semi-declamatory vocalist ruining the latter somewhat.
The EP is an even more abrasive affair, the more frolic layout of "Lust for Steel" strictly in the speed metal realm, "Voidgazer" exacerbating the environment with ruder death metal-ish arrangments, the variety on this short entry ensured by the thrash/crossover flippancy of "Souls Ensnared".

Marauder Full-length, 2022
Voidgazer EP, 2023

Official Site

OBLIVION ZERO (USA)

Based on the full-length, this band play modern post-thrash which is spiced by both more energetic pieces ("Torn from Oblivion") and aggressive semi-shouty death metal vocals. The peaceful tone of semi-balladic escapades like "Captain Shipwreck" also deliver, especially with the nicer clean singing popping up on those the latter also doing a fairly good job on the closing title-track, an epic doomster with echoes of Paradise Lost and early My Dying Bride.

Lost in Space and Time EP, 2013
All That's Left EP, 2017
Revenant Full-length, 2019

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OBNOXIOUS (FRANCE)

Based on the full-length, this band provides typical modern thrash metal with cool industrial overtones at times. The music is pretty energetic and headbangable also featuring one full-blooded deathster ("Postmortem Reprisal") which partially translates its ferocity on the closing "Filthy Secrets", another furious piece with blasting leanings.

The full-length is a full-on thrash/death attack the guys moshing out with very little remorse. "Mainstream for the Masses" shows some technical flourishes which are later elaborated on the atmospheric "The Poison Tree", and the brutal deathster "Bathe in Your Tears". Still, the highlight remains the excellent spastic technical closer "Wolves to Lead" which spits twisted riffs to no end for just under 3-min.

Dismal Swarming Shape EP, 2007
Lab #01 Full-length, 2009
Extinction Full-Length, 2015

Official Site

OBNOXIOUS (GERMANY)

The full-length shows a very odd unusual act who center their music around technical/progressive death/thrash metal, but more is being offered on this base which tries to give both a more aggressive and a more quirky edge to the technical/progressive metal wave which was in vogue in Germany at the time. The opener "Life In A Second" will meet you with very brutal death metal vocals, dynamic technical hectic music, sometimes brutal and fast, sometimes complex and melodic, and alternative clean singing as well which sounds not bad actually. The mixture continues on the next "Methylhydroxypropylcellulose" (thumbs up for the title of the decade!) where the music becomes more brutal (by brutality here understand sudden short very aggressive outbreaks, nothing lasting for more than a couple of seconds) and technical; the technicality goes even beyond Coroner, lashing multi-layered riffs from all sides to the point of slightly overdoing it probably. "The Counterbalance" tries indeed to bring some "balance" to this very non-standard picture by toning down both the aggression and the technicality; still it remains fairly complex with nice bass support. "Autumn" is another technical riff-fest, quite fast, but not brutal, at times, at times slow and doomy; a mixture which delivers the whole time. "Mechanisation Of Death" is intense fast technical thrash/death metal ala Hellwitch with a great Oriental middle theme. "Videos Of Horror" is another fast/slow mix with the clean vocals taking more space, and a very sparsely covered technical play. "Euthanasia" is an excellent 8-min progressive opus, mostly mid-tempo to slow which again doesn't rely on very technical performance. "Prophet With Profit" carries on in the same spirit, not very fast and not very technical, and might leave some disappointed since the technicality kind of disappeared in the second half. A slight compensation, though, is offered on the short 1.5-min closing instrumental "Beyond The Twilight".

Twilight of Autumn Past Full-length, 1994
Dead At Dawn EP, 2003
Concrete Full-length, 2009

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OBSCENE GESTURE (USA)

A band formed by two ex-members of Agent Steel (Chuck Profus, Juan Garcia and George Robb); the style isn't splashing speed/thrash along the lines of that legendary band, but (based on the demo) is a worthy slab of 80's thrash spiced with some crossover reminiscent of Nuclear Assault and Sonick Plague. The full-length is an improvement in every department, not a very distant departure from the music displayed on the demo, but much more aggressive. The songs are short explosions of rage and fury, this time closer to Slayer's "Reign in Blood", or Sick Of It All on the more hardcore-ish sections. More laid-back jolly numbers are certainly added (the album is 21 songs long): "Crumbs", "Lovely", but songs like "Warning" compensate for them with their brutal, grindcore approach.

Demo 2005 Demo, 2005
Living in Profanity Full-length, 2007

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OBSCENE JESTER (USA)

This not very known act specializes in cool speed/power/thrash which boasts clear sharp guitars and forceful clean vocals. The guys mix fast and slow sections on almost every track, except for the short speedy cut "D.E.A.", also acquiring more complex progressive dimensions on the more power metal-based "Citadels On Fire". Run for cover, though, on the closing "Insomnia" which is a wild shredder with ultra-cutting guitars.

Citadels On Fire EP, 1989

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OBSCENITY (DENMARK)

This is heavy pummeling classic thrash which levels everything and everyone with the steam-roller behemoth "Thoughtless Insanity", the hoarse semi-clean vocals possessing this not very imitable quarrelsome hardcore-ish blend. The less bridled energy elicited from "En Hvilken Som Helst Fredag" would by all means awaken the headbangers before "Preoccupied" settles for some truly fascinating technical expletives despite its more modern skeleton. "Lysets Fald" flirts with the ballad, also with the Danish language, a pensive atmospheric tractate which lacks vitality but at least presents the band in another flexible light.

Fantastic Demo, 1998

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OBSCURA (ECUADOR)

Based on "Vital Estructura", this act offers an ultra-heavy mix of post-thrash and death metal which is curiously abstract at times, although the guys seldom abandon the predictable groovy patterns which may tire the listener well before the end; it's quite surprising, though, how come the singer doesn't get tired: his very shouty hysterical delivery may cause some serious vocal cord damages.
The debut is another less ordinary affair again mixing post-thrash with more aggressive death metal tunes, but the crushing character of at least half of the songs can't be ignored. Quirky spacey rhythms supersede more intense heavy sections the sudden alternations strangely working although this mid-paced steam-roller approach may tire the listener at some stage since the guys are never tempted to speed things up notching up the noise in the guitars a bit in the second half industrializing the process as a result, the closing "Libertad" being a more "liberated" track also offering fast hardcore-ish sections among the dispassionate chugga-chugga riffage. The singer is the perfect match to this dry robotic music with his sterile detached hardcore shouts.

Fuera de Alcane Full-length, 2000
Vital Estructura Full-length, 2004

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OBSCURE (SPAIN)

Based on the "Curse the Course" demo, this is great thrash/death of the dark, but intense type reminiscent of Pestilence's "Testimony of the Ancients" and Infernal Majesty's "None Shall Defy". The tempo is frequently fast, but never too brutal, and the riffs are technical, but not as overtly technical as the ones on the Pestilence album, for example. The guitar hooks are catchy and memorable contrasting with the drastic brutal death metal vocals. The only flaw is the unnecessarily long orchestral intro "Yellow Brick Road to the Void" which lasts for more than 3-min and might stretch your nerves a bit.

Disgusting Reality Demo, 1990
Curse the Course Demo, 1991
Non Existendi Cultus Demo, 1992

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OBSCURE (SWEDEN)

Three tracks of brooding doom/thrash both styles woven into one uninterrupted tapestry which comes as a cool blend of Candlemass and Hexenhaus only that the delivery here is not as technical and engaging as the one of the latter. The fans should be able to enjoy these pessimistic melodies, particularly those on "Confusion" which moves towards the power metal field where also the warm clean vocals belong.

Demo Demo, 1994

OBSCURE ORACLE (USA)

Based on the EP, these folks provide cool progressive power/thrash with epic accumulations and a few technical quirks ("Fear Among the Weak"). The approach clings more towards the mid-tempo side and the guys fail to do the most of their more dynamic repertoire which is lost in the softer, epic arrangements. The vocals are at least quite fitting for that with their clean, dramatic high-strung antics.

Roots of Existence Full-length, 2013
In Death We Trust EP, 2015

Official Site

OBSCURED (SERBIA)

A 3-track promo (the 2009 one) of intense retro thrash/death metal, quite faithful to the early Swedish scene (Entombed, Unleashed) with a couple of heavy doom-laden sections ("Witness of the Last Crucifiction") in the tradition of Bolt Thrower. The guys also try their hands on some more death metal under the name Disdained where the music is pretty much the same, maybe with a slightly more technical edge.
"The Plague Within" inserts some modern elements and the resulting blend has energy aplenty as well as several genuine technical moments ("Crimson Altars") which could have been given more room. Fast and slower sections take turns the latter dragging a bit here and there ("Eradication") when they take full control which happens in the 2nd half where the closing title-track gets a nice orchestral exit.

Obscured Demo, 2006
Promio Promo, 2007
When Darkness Comes EP, 2009
Promo Demo, 2009
When Darkness Comes Full-length, 2010
The Plague Within Full-length, 2013

Official Site

OBSCURO CORVUS (CZECH)

This is a versatile mixture of thrash, death, doom, gothic, and a bit of power metal. The music is very atmospheric and dramatic evolving in a dreamy mid-tempo with slower semi-balladic breaks and very good melodic leads. The singer is your average low-tuned death metal growler who never changes the pitch even on the more tender moments which are quite a few, by the way.

Born Demo, 2008

Official Site

OBSCURITY (SWEDEN)

One of the first bands in Sweden who explored the more extreme and "darker" corners of metal. Their style is a furious mix of black and thrash (some proto-death moments, too) metal akin to Possessed, Bathory and early Slayer.

Ovations to Death Demo, 1986
Damnations Pride Demo, 1987
Damnations Pride EP, 1997
Ovations to Death EP, 1997
Damnations Pride Best of/Compilation, 1998

My Space

OBSCURITY (USA)

This is quite cool intense technical thrash accentuated by dazzling lead guitar work and very good clean attached vocals. Style-wise think Toxik's first and early Intruder, the progressive meandering on the title-track also siding with Forbidden's "Twisted into Form". "Immoral Values" is a choppy nervy shredder with sudden speedy escapades, and "Laughing In Misery/Third World Scene" is a compilation of tranquil balladic takes and heavy complex arrangements, the mazey structure greatly helped by the very clear sound quality as well.

Frozen in Time Demo, 1991

Official Site

OBSIDIAN (USA)

This "army of darkness" isn't exactly scary since the band offer modern/classic power/thrash with crisp feelgood rhythms which become harder and faster (the early Metallica-sque headbangers "Get In The Pit" and "Fix Me Up") on occasion, and thrash shows its teeth more prominently on "Bite The Bullet" although the dominant delivery remains within the speed metal confines the title-track a prime "eagle fly free" hymn ala the German school: think Gamma Ray, Iron Savior, Liar. The vocalist is a decent semi-cleaner with an inebriate tone, and he doesn't hit the high notes too often.

Army Of Darkness Full-Length, 2015

Official Site

OBSESSED BY CRUELTY (UK)

This is a 3-track EP which shows a band who mislead big time with their name since in their music the references to Sodom aren't many, if any at all. This is black/thrash which starts in an imposing atmospheric manner with "Dechristianized" which is a sombre gothic-tinged piece. "The Art of Torture" is a dynamic cut with brisk lashing guitars, and "Enemy of the Church" is a dramatic mid-paced lasher with a nice cutting edge. The vocalist is the ultimate brutal death metal growler, but his rendings are easy to decipher.

Dechristianized EP, 2012

Official Site

OBSESSION (FRANCE)

A retro power/thrash mixture ruined by very unsuitable shouty death metal vocals which screech at times no worse than Chris Barnes (ex-Cannibal Corpse, Six Feet Under) himself. The speedy crescendos ("Social Disorder", "Absolute War") work kind of better while the more diverse quasi-progressive compositions ("Chaos Division") lack dynamics at times although "Order of the Temple" does its best to combine both sides, ending up being the highlight on this decent but hardly exceptional recording.

Century of Decadence\\tab Full-length, 2017

Official Site

OBSESSION CULT (CHILE)

Stylish dark retro thrash metal not miles away from Infernal Majesty's debut, with a few brutal death metal elements inserted; the music seamlessly mixes fast aggressive moments and slower almost doomy ones, the latter accompanied by excellent twisted riffs and nice swirling leads which are not fast and follow the rhythm. "Terrorlogy t 1" is a great technical semi-instrumental, mostly up-tempo, with brilliant Coroner-like decisions in the 2nd half and a cool speedy exit. Hopefully there will be "Terrorlogy t 2" soon... "Vulcanus" carries on in the same vein with again a sparse participation of the vocals, but here the music is slower, mid- paced at best, even gloomier, blending the very technical vortex-like riffs with the most melodic power/thrash metal sections near the end. The vocals are also quite dark low-tuned death metal rasps, but suit the brooding sinister music just fine.

Terrorlogy Demo, 2009

OBSESSOR (GERMANY)

Based on the full-length debut, this band play inspired old school speed/thrash with references to black metal reflected in a few slower stomping sections ala Khold and Thorns. The guys shred with passion slightly obstructed by the muffled production which may be intentional imitating the patterns from the past. The Angel Dust and Iron Angel debuts come to mind most often, but the delivery here is more one-dimensional and bashing also rubbing shoulders with the Portuguese Alastor. Addictive glorious speedsters can one come across here: "Fistfights For Satan", " Storming Death's Revenge", etc. with "Apokalyptik Raids" being a rough tribute to early Celtic Frost, but not really Hellhammer: the approach is more polished and not as evil if we exclude the macabre semi-shouty death metal vocals. This entertaining roller-coaster is finished with a cool cover of the Swedes Gehennah's "Say Hello to Mr. Fist". Raising the flag of retro speed/thrash high, this band can do no wrong bashing in the same way for a coupe of albums: there'll be no complaints whatsoever. Still, one has to wait a bit, though, having in mind the numerous other acts the guys are involved with: the black metallers Hailstorm and Zerstorer, the thrash/crossover formation Beer Pressure, etc.

"Assassins of the Pentagram" is another highly energetic black/speed/thrashing affair now openly emulating early Helloween (check out the flying hymn "Sacrificial Lust") including in the vocal department where some admirable piercing high-pitched screams have been applied. The songs are short and to-the-point and it seems as though the flag of early speed metal is raised the highest this time, especially on the definitive speed metal hymn of the new millennium "Black Speed Thunder". "Devil's Soldiers" is the only openly brutal cut, an early Bathory-worship with furious blasting rhythms. The closing title-track boasts great melodic leads with nods to Kai Hansen, and is a fitting epitaph to this pretty entertaining retro roller-coaster.

Black Thrashing Blasphemy EP, 2009
Blitzkrieg Battalion Full-length, 2011
Black Magic Rites EP, 2013
Assassins of the Pentagram Full-Length, 2014

Official Site

OBSESSOR (USA)

Based on the "Sick Salvation" 2-song single, this act, which is actually only one person (Brandon Ferrell), plays direct stripped-down thrash/crossover with accentuated hardcore overtones. "Sick Salvation" is a fast moshing cut whereas "The Demon" is mid-paced with a punky vibe. The singer quarrels throughout with a comprehensive shouty timbre.

Obsession Single, 2011
Sick Salvation Single, 2011

OBSESSOS (BRAZIL)

A 4-song demo of really brutal thrash/proto-death metal sounding well more vicious than their more renowned compatriots; some tracks are pure death metal: "Satans Procreation", one of the earliest attempts at the style. The sound quality is very bad with buzzy guitars and low gruff vocals which do their best to sound as brutal and vicious as possible. This is the reason, I guess, why this demo had sunk without a trace although from a pioneering point of view it definitely deserves a mention when talking about the spawning stages of the death metal genre.

666-The Ultimate Demo, 1987

OBSIDIAN (GERMANY)

This is modern thrashcore/death with very cool melodies embedded which don't quite match the simplistic musical delivery which suddenly gets highly agitated on the headbanging delight "Into Battle". Alas, after it the guys slow down to almost doomy dimensions on the last string of cuts losing completely the energy from the beginning.

No Self to Sue Full-Length, 2015

OBSKUR (CANADA)

Good classic mid-paced heavy thrash metal infused with more melodic guitar lines, more typical for traditional heavy metal, but they don't sound awkward and give the music a catchier edge. There are some up-tempo moments ("Season of Witch", "Intru-mental", both great stomping thrashers with good leads and riffs), but they are compensated by pure hard'n heavy numbers ("Negligence").

Obskur Full-length, 1994

OBSKURA (GERMANY)

Based on "Into a New Age", this outfit specialize in conventional modern thrash/death; there's no hint whatsoever at any technical performance as one could hope from the band name (Obscura, their close namesakes, are a fine progressive/technical death metal band from the same country). Still, the guys thrash with gusto mixing the tempos, relying on the faster numbers to make a more lasting impression ("Out of Sight", "A Million Tears"). On the longer compositions (the closer "Brutality Reigns") the band try to "flirt" with progressive, but should hone their skills a bit longer in this department. The singer is a throaty forceful death metal semi-shouter who leads the show assuredly also taking quite a bit of space.
"Born in Blood" is the next in line conventional modern thrash affair if we exclude the more ambitious opener "Life and Death", 8.5-min of officiant doom/death ala Asphyx and Beyond Belief, the guys bringing back the dynamics from the earlier recordings with the short brisk "Dark Exile" although the doom vibes remain throughout constituting a big part from the other behemoth, the 9.5-min "Beneath the Surface", the guys obviously more interested in the slower, more academic side of the metal circuit which doesn't sound bad at all in their hands.

Full of Aggression EP, 2000
Souls of Pain Full-length, 2007
Into a New Age Full-length, 2013
Born in Blood Full-length, 2016

Official Site

OBSOLETE (USA)

Based on the full-length, this band play fairly nice modern semi-technical thrash which can be fast and hectic ("The Atrophy Of Will"), but for at least half the time straddles in heavy semi-mechanical waters ("The Slough"), the jumpy not very predictable shredder "Old Horizon" the seeming highlight here, the surreal accumulations on "Silent Freeway" another tasty additive. Death metal comes to play on the vitriolic spasm "Stumbling And Listless", the atmospheric stomps on "The Fog" fitting the deep growling death metal vocals which also make an appropriate showing on the ambitious piece of dark progressivism "Callousness Of Soul", and on the dense intricate labyrinth at the end "Intercostal".

The Rumored Death of Atlas EP, 2018
Animate//Isolate Full-length, 2021

Official Site

OBSTRUKTOR (HOLLAND)

Energetic melodic retro thrash which straddles between catchy melodic segments (Cry for Justice") and faster-paced blitzkriegers ("Atomic Holocaust"). "Threat to the Menace" and the closing "Placebo" elaborate on the established patterns a bit with a wider array of time and tempo changes. The vocalist is a quarrelsome semi-declamatory/semi-shouter who fits the largely dynamic delivery.

Wrong Hands Full-Length, 2020

Official Site

OBSZON GESCHOPF (FRANCE)

Heavy abrasive industrial thrash metal which hesitates between uncompromising hitting riffs ala Skrew and Ministry and more dancey tunes akin to KMFDM and Rammstein. The mixture works fine although to these ears the pure exercises in creepy atmospheric electronic ambient ("House of Wnstefeld"; the excellent mix of harsh guitars and electronics on the "symphonic" "Symphony Of Decay") are more compelling showing a more thought-out side of the band similar to Front Line Assembly and Clock DVA. "The Cauldron Of Human Flesh", however, is equally as interesting being a vigorous thrasher of the less industrial mid-paced variety. "33 Knife Thrust For A Satanic Crime" is not far behind being the only more sincere attempt at headbanging thrash even touching proto-death on the more aggressive moments. "The Devil Inside" is also worth mentioning being a calmer piece with gothic overtones. The downside would be the last two tracks which are sheer semi-techno/industrial variations, something typical for the industrial metal acts; and probably the noisy synthesized proto-death metal vocals which don't change anywhere even on the mellower sections, although again, they are something pretty common for this genre.

"Highway Of Horrorsr" clings more towards the dancey side of the industrial movement, and as such may annoy the diehard fanbase although it will inevitably win the band many new supporters. The album still has its hard-hitting guitar edge, but the synthesizers and the dissonant keyboards are all over it sometimes to the point of distraction. Consequently the overall approach borders on the operatic histrionics of Front Line Assembly than the more thrash-fixated landscapes of Skrew and Ministry. Needless to say, some tracks are pure exercises in electronic industrial as opposed to the super-heavy guitar-driven crushers like "Bloody Black Skin" and the doomy depresser "Insane Impulse". Still, the album is well concocted and has its strange charm "Dead and Buried" near the end promising some mild headbanging fun, "Curse with a Teenager Slut" even introducing a few more technical hooks, before the industrial cover version of Judas Priest's "Painkiller" "kills all the pain" revealing a stylish, never even dreamt of before, twist to this speed metal curmudgeon which here is hardly recognizable given a very characteristic interpretation, by all means on the plus side. The vocal aspect is expressed through synthesized low-tuned recitals which play a secondary role here.

Symphony Of Decay Full-Length, 2010
Highway Of Horrors Full-Length, 2013

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OBZERV (GREECE)

This Greek outfit indulge in modern progressive thrash which is harsh and abrasive, but delivers the goods with its intricate arrangements and clever technical riffage. The delivery gets moderately headbanging ("Resolve") at times, but the focus is more on creepy abstract landscapes their dispassionate character alleviated by the good semi-clean vocals with an echo of James Hetfield. At some point the listener may get a bit bored since there's no variety in the execution, and the cold mechanical guitars may lose their effect on him/her before the arrival of the dynamic shredder "You Coward" which even adheres to more aggressive death metal for a bit. Still, the monotony of the dragging "R for Redemption" can't be helped, and this album may be deemed an average achievement despite its promising start.

Obzerv Full-Length, 2015

OBZIDIAN (UK)

The EP: modern ordinary groovy post-thrash; the best moments are probably... ha ha, this is funny!, the ones where the sound moves towards stoner/doom ("War Machine"); no kidding. The balladic instrumental at the end "Epitomy of Evil" is not too bad, either (lol).

The full-length is a bit better complicating the approach coming up with monstrous compositions like the 10-min oddity "The Murder Song" which could literally "murder" you if you're not prepared for this offbeat doom/post-thrash/quasi-industrial affair which has its moments, but is by all means an acquired listen. The strange sections, however, end here and the rest is mild predictable post-thrash until we reach another 10.5-min opus, but this one is nothing really special, just jumpy crunchy riffs have been piled with not much thought behind them. "Solitude" right after may scare you a bit with the short blasting passage, and the closing "Blood Soaked Tears" is a really overdone number lasting for more than 16-min offering numerous scattered sections making the previously heard material unnecessary since all that has been heard before has been packed here. This act are not for everyone, but they would surely found someone who would invest a fair bit of time digging into this weird, highly incoherent after at first (and even after a second) listen, stuff.

"Concrete Psychosis" begins quite excitingly with the short technical puzzler "Their Legacy Has Failed", and later on is by no means a sloucher, first with the twisting "This Is Fury" and the weird cyber-headbanger "Symbiotics Of Sickness"; then with a short string of abrasive industrial proto-groovers in the middle. The 2nd part, however, loses the plot almost completely with mild friendly rockers which abandon the thrashy idea "killing" everything good with the dragging soft closer "Vile", which is indeed a "vile" end to an otherwise very promising, fairly engaging, start.

Disciples of Death Full-Length, 2003
Obzidian EP, 2007
Damned Eternal Full-length, 2012
Concrete Psychosis Full-Length, 2014

Official Site

OCCISOR (CHILE)

Based on "El Depertar de la Muerte", this act serve energetic retro black/speed/thrash the melodic ornaments on "Serpiente Eterna" doing a positive job, supplementing the furious developments on "Destroyer" and the marginally more playful speed metal histrionics of "Occisor". The shadow of Angel Dust's eponymous first materializes on the standout "Invocando el Caos", the subversive husky black metal vocals roaming all around, boosting the hyper-speedy riffage on "Resurreccion", "Anticosmos" also coming with all the guns blazing, keeping the fast-paced arrangements up front for most of the time.

El Despertar del Caos EP 2015
Ascension de la Muerte EP 2020
El Depertar de la Muerte Full-length 2021

Official Site

OCCULT (HOLLAND)

A black/thrash metal band; their debut is mostly furious black metal with slight hints at thrash. On "The Enemy Within" the transition is more than obvious: this is excellent heads-down thrash with a certain presence of black metal; quite fast and raging at times: check out the blitzkrieg opener "Souls". "Inquisitions of the Holy" is slower, but more proficient guitar-wise. The next "Crossing the Boundaries (of Life and Death)" is a very cool mixture of the two preceding tracks, a pattern followed by the slightly more vicious and brutal "Selfbetrayed". "Twisted Words (My Darkest Emotions)" will literally sweep you with its ultra-fast tempo: black/thrashing madness at its most unbridled. "Through Dark and Light I Dwell" has to be softer for the listener to continue being on track, and it's a fine up-tempo thrasher with a great haunting balladic interlude. The sound takes a genuine technical edge on "One Way Out", which also "courts" death metal, and is a masterpiece of technically-minded thrash/death metal ala Pestilence and later period Death. This nice deviation is nowhere to be heard later on; instead the guys keep blasting out, with "Eyes of Blood", or adding more black metal-like atmosphere and heavy mid-paced riffage, with the final "Delusions". The singer is a girl (Rachel Heyzer), but there's absolutely no way one would guess that right: her super vicious black-ish snarls would make even Mika Luttinen (Impaled Nazarene) run for cover. The death metal legends Sinister, quite impressed by her performance, hired her for a couple of albums later.
"Of Flesh and Blood" introduced death metal in the proceedings, and the black metal influences by then have been almost completely gone; this is another good album although some may mourn the lost primal aggression of the debut, and the spontaneous merciless shredding. "asite" opens it with a calm heavy pace, but the rage starts no longer after, although it gets partially lost on the dark brooding "Dreamsweeper". "Stolen" keeps a good energetic pace, but "Killing Breed" slows down, and influences the rest of the material, which reaches atmospheric gothic grounds on "Downfall of Deity". "Doomsday Destroyer" will surely wake you up, thrashing on full-throttle sounding like a leftover from the debut. "Dead Man Walking" and "Vow of Retaliation" carry on in the same direction, exiting the album with style although the very end is in the exactly opposite pole, coming in the form of the heavy doom "Creatures of the Night", which, of course, is not a Kiss cover.

"Rage to Revenge" is pure thrash assault, with no gimmicks from any other genres. It will blow your socks off from the get-go, with the raging "Mind Domination", and the slower steam-rolling "Violence & Hatred". "The Madness Within" is a maddening thrash fury, another reminder of the debut, but the crushing heavy sound returns with "Killing for Recreation". It remains for "Thy Creation" as well, but the speed is brought back with no compromise on "Revenge is Mine". The last two compositions mix the two approaches, but the closing "The Desolate One" wants your soul producing another slab of intense headbanging thrash.

"Elegy For The Weak" is the band's magnum opus, and one of the best trash metal works of the decade. It opens with confidence and aggression with "Disturbing the Dead", and never lets go, inimitably mixing the fast and the heavy moments on "Nuclear Torment". "Nocturnal Predator" is a masterpiece of mid-paced crushing, machine gun-like thrash: arguably the finest achievement in this trend. "Feel the Blade" starts in the same way, and one would hardly complain, still enchanted by the previous smasher, but later on speeds up, without completely losing the heaviness. "Expire" is badly needed: a short tender peaceful instrumental, to give a chance to both the listener and the performers to rest, totally cancelled by the brutal thrash on "Warbeast", "Obsessed by the Grave" and "Slaughtering the Pigs". "Reapers Call" shows some mercy trying to bring the super heaviness of "Nocturnal Predator", and comes close. "Slut of Sodom" is more controlled up-tempo thrash, a cool finishing touch to this truly memorable head-shaking tour around the thrash metal field.
A change of name followed: from Occult to Legion Of The Damned, taking with it the female vocalist as well who was seen for a while in the brutal death metal outfit Infinite Hate; but the style pretty much remains the same with a slight return of some of the black metal tendencies of old.

Pree To Meet Thy Doom Full-length, 1994
The Enemy Within Full-length, 1996
Of Flesh and Blood Full-length, 1999
Violence and Hatred EP, 2000
Rage to Revenge Full-length, 2001
Elegy For The Weak Full-length, 2004

My Space

OCCULT (USA)

Based on the demo: two songs of raw early speed/thrash ala Hallows Eve and Razor with a certain shade of hardcore on the short "Slaughterhouse", which also boasts the better guitar work, with a nice melodic main theme.

Bloodthirsty Demo, 1985
Agathocles/Occult Split, 2007

OCCULT BURIAL (CANADA)

The debut: this Canadian power trio offer intense retro black/thrash which at times turns to Exciter adoration ("Black Adoration", the catchy mid-paced title-track) on the less aggressive passages, the more brutal material reminiscent of early Bathory and the Germans Desaster. The execution is fairly simplistic, and the vocals are screechy, raspy blacky ravens.
"Burning Eerie Lore" is a more aggressive affair with death metal sneaking in comfortably into the delivery, the speed of light nearly reached on the uncompromising title-track, the looser, more playful skeleton of "Skeletal Laughter" allowing a few melodic tunes to settle in. "Highway Through Borderland" is a surprisingly relaxed semi-galloping mid-pacer, and the closing "Temple of Mutants" is vintage early German speed metal madness.

Hideous Obscure Full-Length, 2016
Burning Eerie Lore Full-Length, 2020

Official Site

OCCULTIST (USA)

The EP: noisy crusty thrashcore which is quite energetic even sticking to a couple of more classic speed/thrash moments ("Gamma Tomb") with an early Venom flavour. There are also a few slower passages as well as some which are pure death metal ("Messiah Cleaver"). The vocals are very shouty, but are comprehensive and suit the wild untamed music.

The full-length is another noisy (but not so much this time) affair the guys bashing with vigour and a lot of crust, and death metal comes to help ("Devil's Breath") to a positive impression giving an enormous dynamic boost to the album. The speed/thrash now comes way more intense rubbing shoulders with Pile Driver and Rigor Mortis (the title-track). "Path of the Damned" is a nice heavy/power metal hymn which relieves the fans a bit; not that they need a lot of relieves along the way despite the high energy emitting from the music and the good inspired shouty singer. The shadow of Venom is solely felt on the proto-galloping rougher "Blackest Apotheosis", the guys also trying something more serious with a pagan/epic flavour ala mid-period Bathory and Amon Amarth on the final "Towers of Silence".

Hell By Our Hands EP, 2012
Death Sigils Full-Length, 2013

Official Site

OCCULUS (GERMANY)

Cool thrash metal crossing modern with classic influences on a dark gothic base. The riffage is sharp with not many temptations at a faster play, and the final result comes as a more aggressive version of mid-period Sentenced, similarities also in the vocal department. Some of the band members try something harder and faster with the classic thrash metal outfit Exvertigo.

Wahnsinn EP, 2010

Official Site

OCELOT (CZECH)

Based on "Rychl'd Smrt", this Czech trio plays entertaining speed/proto-thrash which has shades of Motorhead and Tank, but often does it "rage" no worse than veterans like Rage, early Helloween and the French Killers. The odd heavy metal tune ("My Nemome Penfze") is also around the corner as well as the obligatory borrowings from their peers (the Helloween-esque guitar harmonies on "Jom"). So you can imagine that this will mostly be speed metal stuff; music which is done with conviction and understanding of the old canons. The singer is cool with his his clean, attached tone which aptly accompanies the musical proceedings, never leaving the mid-parametres although a few higher-pitched antics could have been quite fitting.

The Motorhell Full-length, 2002
The Sexhell Full-length, 2003
Rychy Smrt Full-length, 2005
Fuckers Full-length, 2008

Official Site

OCTANE MOB (USA)

Based on the full-length, this is modern thrash with various influences coming from power, heavy and even death metal. The delivery is fairly intense and hammering, but the really up-tempo numbers aren't that many, the band lashing out in a more volcanic, mid-paced fashion. The leads are quite good and along with the potent diverse vocals stand for the highlight. More drama arrives towards the end, first with the stomping "Demon Driver", then with the closing headbanger "Destructions Near" which spits fiery "destructive" riffs with passion making the finish worth waiting for.

3-D World EP, 2010
Octane Mob Full-length, 2014

Official Site

OCTLI (MEXICO)

4 tracks of raw primal black/death/thrash played in various paces the guys seldom bashing out just for a bashing's sake. So there are more meaningful moments to be savoured (the compulsive headbanger "Tiempos de Demencia" at the end), but the noisy guitars, the screamy muddled vocals and the not very good sound quality ruin the intentions.

Reliquia Ancestral Demo, 2010

OCTUM (SAUDI ARABIA)

Very cool old school power/thrash metal this way comes from the Middle East. These Arabians pull out competent thought-out stuff with a progressive edge which gives their style a nice melodic blend which sometimes maybe comes as too much ("Illusion of War"), but at other times brings about good intense rhythms ("Delusion") accompanied by fine lead guitar work. The tempo is predominantly mid-paced, and the singer has a fine mid-levelled semi-clean voice.

Fighting for Freedom Demo, 2008

My Space

OCULOS (TURKEY)

This band pull out crunchy modern thrash with bashing bullets ("Remorse") taking turns with heavy pounding anthems ("Oblivion"), the very angry semi-shouty death metal vocals accommodating both sides which alternate on a nearly track-by-track basis, the groovy steam-rolliness of "Cursed Mutation" contrasting with the more stylish semi-technical riffage emitted from the short "Watch Me Burn". and the more ambitious configurations on the closing "Life's Tragedy".

Scavenger Taleteller Full-length, 2019

Official Site

OCULUS BLACK (USA)

Based on "The Burden of Ghosts", this multi-instrumentalist, the name Alex Crews, provides atmospheric modern thrash which on “Deception” comes decorated with a hefty pinch of doom, with “Foreboding” bringing the vital doze of energy into the morose proceedings, the latter acquiring intriguing progressive qualities on the diverse saga “iSpy”. “Error 404” is a pleasant semi-galloping power/speedster, and “The Burden of Ghosts” is a dramatic steam-roller affair which gets enriched by the effective albeit minimalistic death metal-ish vocals.

Burn the Lies Full-length, 2020
The Dark Recesses Full-length, 2021
The Burden of Ghosts Full-length, 2023

Official Site

ODAL SIEG (CANADA)

Simplistic laid-back proto-thrash/crossover with epic tendencies; the music isn't miles away from Tank and Motorhead, with the vocals taking a harsher angrier hardcore tone.

Friendship Split, 2003

ODD CREW (BULGARIA)

This band started their career under the name Kaskadiori where the music was more on the doom/stoner side. The first twp albums here are more in the groovy post-thrash camp, but on "Beyond the Shell" the guys enter the modern thrash arena on full-throttle. The band sound surprisingly tight and sinister with plenty of raging headbanging riffs for the fans to enjoy, and hits like "Follow the Horns" and "Death Trap" are guarantees for violent moshpits around the globe. The performance is quite professional with some great lead sections and numerous melodic hooks the latter carrying their Swedish brand ("Rules of Blood") just underneath their shoulders. "Evolution" is an obvious leftover from their Pantera-sque past, but such "cobbles" along the path are not very common later replaced by a few more laid-back proto-balladic pieces including the long 9.5-min closer "All That's Been Is Forever" which is an interesting jumpy progressive saga. The vocals are of the shouty deathly variety, and create a bit of noise at times when applied in a more forced, strained manner.

We Are What We Are Full-length, 2008
A Bottle of Friends Full-length, 2010
Beyond the Shell Full-length, 2012

Official Site

ODD HEATHENISH (SPAIN)

The demo: modern thrash/death metal, alternating between the two genres "courting" death metal more probably with furious blast-beats scattered around. The good sound quality gives a cool boost to the guitars which are cutting-sharp, occasionally going for the odd more technical lick ("669").

The full-length is an intelligent technical affair seeing the band having matured beyond their more amateurish beginnings playing surprisingly effective aggressive thrash/death (more death than thrash) ala early Suffocation and their compatriots from the distant past Canker. The blast-beats have been diminished quite a bit giving way to the guys' more technical nature to more fully develop including the more complete presence of thrash on cuts like "669" and the excellent technicaller "Ipuin Amaigabeak". The diversity in tempo and time-changes is big although the fast pace predominates favouring the speedy guitar players who shred with passion leaving a fairly positive impression overshadowing the flat unemotional shouty death metal vocals. This is a really cool tribute to the old school and the guys should by all means be a more regular presence on the scene.

Damned Demo Madarikatua Demo, 2006
Gorrotopean Loturik Full-length, 2011

My Space

ODDECH BUNTOWNIKA (POLAND)

A 2-song demo of heavy, black-ish thrash obviously influenced by early Venom; the music is not very intense, and the vocals are a bit of an acquired taste being shouted black metal ones.

Ju+ Tu Nie Wrocisz Szatanie Demo, 1987

ODDMONGERS (FRANCE)

This act rose from the ashes of the short-lived thrash metal outfit Halifax Gibbet under which name they only released one solitary demo in 1992. Based on "The New Prometheus", this is modern 90's post-thrash metal, but these guys don't fall too often into the groovy "traps" set by Pantera, Machine Head and the likes; they opt for a more original, alternative sound reminiscent of Tool perhaps at times, but more aggressive and a tad less adventurous. The clean vocals used on this album are quite good, but they would probably be more suitable for a doom or gothic metal act. This is cool, but melodic stuff, and might not satisfy the more hard-boiled fans.

The debut is another less ordinary stylish affair the band combining their avantgarde jumpy style with sudden speedy explosions and a few cool atmospheric balladic touches, all this on a very capably created classic/modern "marriage". "Mindraping Psy-clones" is an exemplary technical energizer with sudden tempo and time-switches, very unpredictable and satisfying stuff. "Naked Terror" will also keep you on the alert with its twisted riffage and crunchy rhythms; and "Amnesia" will remind of the Voivod experimentations of the late 80's/early 90's with loads of quirky decisions. "Mechanical World" is exactly what the title promises: mechanical technical shred with breath-taking balladic insertions. "Tyrannicide" is a creepy puzzler with weird proto-doom riffs, and the final "My Experience" is a dynamic offering with dramatic riff accumulations which are the only more straight-forward moment on this fairly interesting effort showing a band sharing the original creative side of the genre along with other acts from their homeland (Misanthrope, Droys, Aleister, Witches, etc.), producing one of the true gems of the post-classic thrash metal period in the 90's.

"Qualms..." is more laid-back abandoning the harder thrash patterns, but is another stylish offering with several offbeat, intriguing moments to enjoy. "Thresholds of Consciousness" is excellent progressive thrash with sudden original decisions among the heavy steam-rolling background, and the other more elaborate number "Dreamtime" is indeed a "dreamy" composition with a moderate approach with heavy guitars alternating with balladic passages. The other material contains the odd more technical hook, but is more conventional seeing the band moving towards the post-thrash side of the spectre. The last song is a cool industrialized cover of Two Unlimited's "Tribal Dance" done in a jumpy hectic fashion.

Experiment Full-Length, 1994
Qualms... Full-length, 1995
The New Prometheus Full-length, 1997

ODDS N'SODS (HUNGARY)

A bit complex, quasi-progressive power/thrash that is still more on the classic side; the sound quality isn't very good, but the guys try hard to pul out this mid-paced, lyrical (the balladic "Life") on occasion, stuff which surely wins from the inclusion of several speedier ("No Need For Future") propositions and the nice more intricate shredder "Murderous Money". The vocals aren't very impressive thin clean ones but their presence is ephemeral at best the band focusing on the instrumental sections.

Regeneration Demo, 1993

ODEON (ARGENTINA)

Modern-ish power/thrash with more classic leanings expectedly emulating the holy triumvirate of Argentine metal (Horcas, Hermetica, Lethal) without trying anything outside those boundaries. In other words, prepare for laid-back, peaceful mid-paced rhythms with only one relative speedster ("Solo en la Oscuridad") breaking the "idyll". The vocalist is a hoarse semi-cleaner whose antics are devoid of passion and drama.

Nuestra Bestia Interior Full-Length, 2016

Official Site

ODIN'S LAW (CANADA)

Based on "Still Standing Strong", this act pulls out happy unpretentious thrash/crossover with open punk overtones. The singer is a more aggressive deliverer better suiting the intense proto-death on "Plunder And Pillage", or the heavy doomster at the end "Hail The Gods".

Battle Legions of Wotan Full-length, 1997
The Fire In Your Eyes EP, 1999
Still Standing Strong Full-length, 2000
Never Fade Away EP, 2001
To Death We Ride EP, 2002

ODINFIST (CANADA)

Based on "We Are Gods", this act plays melodic modern thrash metal with epic tendencies. The officiant mid-paced tone is broken on more vigorous pieces like "More To Lose", but the majority of the songs are lengthy with doom-oriented and semi-balladic stretches, those suiting well the clean emotional vocals which acquire a more vicious screamy pitch ("Dark Eyes") on the faster parts. The closer "We Are Gods" is an encompassing progressive opus which blends intense galloping riffs with beautiful balladic interludes creating something not too far from early Falconer with similar catchy sing-along choruses and infectious tunes.

The debut already suggests something with the title, but the guys could hardly pass for full-blooded thrashers this effort again clinging more towards the more officiant epic side of the genre full of galloping delights and more radio-friendly power metal cuts ("Bringer of the Knife"). "Silver" is a really cool elegiac doomster, and "Mighty Hammer Force" is an appropriate tribute to early Manowar with its stomping riffage and battle-like motifs. The only full-ahead speed/thrasher is the short shredder "The Chill of Winter's Darkness", preceding the excellent doom closer "Odinfist" which emits a lot of passion with numerous melodic tunes and heavy progressive arrangements the latter assisted by operatic keyboard variations.

"Rest in Glory" will "rest in glory" till the "rest" of its days due to its dedication to the "glorious" battle-like rhythms which admirably wrap around this album, devoiding it of too many more aggressive moments, but the evocative power of the opening galloper "Release The Vice" and the dramatic steam-rolliness of "Grim Toll" will warm any metal fan's heart. "The Great Thirst" is epic speed/thrash with Manticora-sque overtones dissipating the officiant slower tone of the dominant material which is topped capably by the soaring clean vocals which disappoint a bit on the higher tones (the hysterical pitch on "Will Of The Warrior"). The closing "Ragnarok" is epic power/speed metal in the best tradition of Omen and Attacker exiting this effort with style which it by all means deserves.
"Let the Gods Decide" doesn't change the established formula dramatically, the band marching onward with assured mid-tempo strides, the thrash flag not raised inordinately high at all, the epic feel more accentuated on with rousing battle-like anthems like "Mobilize for War" and certainly "March On". This is heroic power metal by-and-large, and another recording of the kind will guarantee the band's exit from the pages here for the future.
“Remade in Steel” is another run-of-the-mill fist-pumping power/speed metal recording, the guys either stomping the ground with battle-like belligerence (“Remade in Steel”) or dooming with the most grievous (“Deadline”) out there, that last cut close to being the highlight, easily overwriting the meek trivial heavy metal anthem “Masquerade”. Thrash has gone from this camp for good, seemingly, but the music should please fans of the aforementioned styles.

Thrash and Pillage Full-length, 2009
Fields of Flesh EP, 2009
We Are Gods Full-length, 2010
Come to the Walls EP, 2011
Rest in Glory Full-length, 2012
Let the Gods Decide Full-Length, 2019
Remade in Steel Full-length, 2023

My Space

ODIOUS (GERMANY)

Modern groovy 90's thrash metal with a pinch of death and gothic; this is not headbanging stuff as the music is mid-paced at best with several quiet atmospheric moments.

Fallen At EP, 1995

ODIOUS ICON (NORWAY)

A modern blend of thrash and death metal which is sustained in various paces as clumsy groovy developments "cross swords" with fast-paced "excursions" on almost every cut, the brutal deathly decisions ("Hate") starkly contrasting with the other, more subdued material. Much noise is also generated by the hysterical death metal vocals although the guy's performance knows its limits as evident from his less rending exploits on the good atmospheric psychedelic closer "Exsanguination".

Planet Of Immense Decay Full-Length, 2017

ODIUM (GERMANY)

This German act is a pleasant surprise trying to find their way through the groovy/modern "jungle" of the time providing a cool retro mixture of power, doom and thrash metal. The debut begins in a dark morose manner before hitting hard with the much more dynamic thrasher "Chronic Madness", which remains the only faster surprise, though, the rest of the tracks going down to doom metal (including one tender acoustic ballad) producing good results in this genre, but their appeal to the thrash metal fan won't be very lasting.

"Into The Outfields" continues in the same vein blending the three styles again giving more space to doom metal perhaps, this time refusing to speed up beyond the semi-galloping tempo (the dark power/thrasher "Mindbender", which will hardly bend your mind), and may consequently fail to win the thrash metal fans for the band's cause. Still, they have to be paid respect with their true to the classic idea sound, although it would be interesting to check whether they have managed to preserve it on future efforts...

"Stop My Anger" is a harder affair, comprising of moody, mostly mid-tempo power/thrashers, seldom livening up ("Salvation") with the odd more aggressive riff, relying on crushing, stomping guitars which this time don't recall the doom metal scene (maybe only on the heavy ballad "A Look Inside"; and on the semi-balladic closer "Suicide") so much, but have a characteristic dark quality to them which brings them closer to Swedish acts like Fifth Reason and Morgana Lefay. The vocals keep up with the morose music pulling out subdued, semi-clean performance without any emotional outbursts.
"Written In Flesh" doesn't stray too much from the chosen path, but is edgier than its predecessors providing cool sophisticated power/thrash with an early-90's Megadeth flavour ("Written In Flesh") at times. The doomy side shows up ("All Is Bleeding") inevitably, mostly in the second half, but the accentuation is on more dynamic numbers including the short crossover joy "Be-Orscype".
The "Just a Crisis" EP is six tracks of the same stuff mixing fast and slow pieces in equal dozes (three from each side), the former featuring the nice sharp headbangers "Diet" and "The Well", and the more diverse closer "Would u Carry Me". The band show quite a consistency throughout, both music and vocal-wise, never venturing into anything outside the box, but at the same time never betraying their fans with their steady reliable, albeit slightly repetitive, approach.
"The Science Of Dying" is the band's most aggressive recording, at least in the beginning, the guys thrashing wildly covering Slayer ground ("Who I Am") with ease. Certainly, this won't turn into a full-fledged headbanger's fest, and "Die with Pride" is already a nice mellower hymn with the legend Paul Di'Anno (Iron Maiden) guesting. After it the band have problems raising the intensity and what follows are not very impressive slower numbers with power metal ruling all the way to the end. A thoroughly misleading beginning which may make the fans quite disappointed, and even angry in the end...
"As the World Turns Black" doesn't betray the band's staple style by blending power and thrash with more preferences to power metal again the consistently dark tone of the music paying off in the end as in terms of consistency this effort beats the preceding recordings. "Frozen World" tries to notch up the speed, but such attempts are frowned upon usually although "Time Is a Killer" is another more energetic cut overwriting the mellower balladic tendencies of the title-track.

Odium Full-length, 1997
Into The Outfields Full-length, 1998
A New Beginning Full-length, 2001
Written In Flesh Full-length, 2004
Just a Crisis EP, 2006
Stop My Anger Full-length, 2010
Beautiful Violence Full-length, 2012
The Science Of Dying Full-length, 2014
As the World Turns Black Full-length, 2017

Official Site

ODIUM (POLAND)

Dark obscure thrash with modern death metal leanings; there's a lot of doom ala Dark Millennium and gothic involved as well, among other more or less prominent influences. The compositions are slow-ish without much participation from the vocals which are shouty deathy outbursts. The guys drastically changed their style a few months later and started playing some insipid alternative rock/metal under the name Imaginoid.

Complaint Demo, 1998

ODIUM (RUSSIA)

The debut: a very cool obscure band which started promisingly with an interesting progressively-oriented debut sounding like a more thrashy version of early Therion and Nocturnus. "Cold Of Oblivion" is an awesome highly atmospheric opener alternating clever technical passages ala Death with haunting keyboard-infused ones to a very positive effect. The masterpieces don't end here, and "Out of This World" is an entertainment of a similar kind, slightly slower, but also more technical finishing with great twisted Coroner-like hooks. "Space Reason" is a melodic opus starting with a quiet balladic section before speeding up to mid-pace later on. "Constellation Of Dreams" is a great "cosmic" piece with virtuoso leads and brilliant melodies; the sharpness of the guitars has been taken away a bit, but this song would be a no-brainer for the progressive metal lovers in general. "Eternity" is a nice speedster with Death again a close soundalike, but "Putrefying Flesh" is another breathtaking exercise in more melodic progressive thrash with haunting keyboard implements. "The Last Angel" is a nice combination of hard riffs and swirling melodies giving room to the closing etude which is a fine acoustic ballad with lead-driven parts; more than a fitting epitaph to this first-rate effort.

"Bezdna" is another standout work, shorter on atmosphere, but longer on technical play, as evident from the heavy complex opener "Anti-Reality" which even touches Watchtower in terms of complexity. "Voskresshiy" is relatively more relaxed with references to Coroner also containing a few faster moments supported by a great bass- bottom. "Illusion Of Superiority" will remind you of the debut with the return of the keyboard motifs and the memorable melodic lines resulting in an outstanding progressive/technical thrasher with some of the best leads around as well. "Interminable Sleep" is an abstract doom-fixated sleepy composition with creepy minimalistic riffage. "Mirror Of Dark" is a great exercise in another more abstract technical thrash with a few faster "surprises" near the end which culminate in a gorgeous bass-dominated exit. "Book Of Fates" recalls later-period Death with keyboard support, and is a welcome more dynamic number; and "Limit Equilibrium" doesn't stray too much from the more energetic formula despite the couple of high-octane doomy riffs present. "The Abyss" closes the album by mixing slower and faster rhythms offering fine lead guitar passages along the way, plus the fast-paced headbanging ending.

Up to that point the guys had all the right to be considered "the greatest underground phenomenon" on the Russian metal scene producing two albums of exemplary technical/progressive thrash metal ranking right beside (and even higher) the works of more famous Russian acts like Valkyria, Zhelezny Potok, Aspid, Trizna and Koma. "Realnui Mir", however, would be quite a surprise for their fans offering pretty mild, and not very impressive, modern post-thrash with very little left from their more complex past. There are a few faster tracks, but they sound as though taken straight from the 90's power/speed metal scene. The fine guitar work can still be felt as well as the keyboard melodies, but they sound much more ordinary and not very inspired. Well, we have heard worse examples of change of style, both from Russia and elsewhere, but still the aftertaste is pretty strong after such strong performance in the not so distant past. Parallel to this band's career, some of the members had also taken part in the heavy/power metal formation Magistr.

"Otchuzhdenie" is better than its successor, but is nothing more than your typical progressive metal offering, melodic laid-back stuff; not bad, with loads of melody, but having almost nothing to do with the band's older "exploits".

Kosmicheskij Razum Full-length, 1994
Bezdna Full-length, 1996
Otchuzhdenie Full-length, 1998
Realnui Mir Full-Length, 2000

Official Site

ODPAD (CZECH)

Based on the "Halucinace" demo, these folks specialize in energetic semi-technical thrash which is cleverly-constructed also supported by a couple of good melodic tunes which are particularly evident on the largely instrumental affairs "L.S.D." and "Halucinace". "Gynekolog" is an excellent technical shredder, but the other cuts are not too far behind the closing "Troska" another stylish exercise in less ordinary headbanging thrash. The singer is not bad although his semi-declamatory antics are not exactly superior to the top-notch musical delivery which also scores high in the lead department (check out "Troska" again).

Halucinace Demo, 1991
The Umacart Forehead Demo, 1992

ODYSSEY (USA, INDIANA)

Based on "Catharsis", this formation deliver energetic old school thrash which shifts the tempos trying to keep the main one in the up-parametres where the sound becomes too Bay-Area friendly ("Addiction"), in a good way, of course. "When I Wake" is an imposing balladic semi-doomster, but there's plenty of energy "flying" around later with roller-coasters like "Shining" and "Cut You Loose" provided abundantly. In the 2nd half the guys slow down again for the production of several longer numbers, the closing "Betrayer" trying to make up for the sleepy atmosphere with a portion of vivid speedy rhythms. Some of the band members were earlier active with the thrash metal outfit Signs of Decay when they only managed to release one demo in 2007.

Speak No Evil Full-length, 1994
Catharsis Full-length, 2001

Official Site

ODYSSEY (USA, WASHINGTON)

The "Schematics" EP: excellent technical, all-instrumental thrash metal of the jumpy hectic, unpredictable, type not too far from the Canadians Electro Quarterstaff; the title-track is an outstanding composition mixing very fast, almost death metal-like, sections with very elaborate mazey structures supported by some of the most technical riffs around, and an awesome bass bottom; the song remains memorable due to the repeated motifs which are still a bit hard to follow comprising numerous time-changes. Then hits "Fractured Dimensions", a colossal 11.5-min number, quite an achievement in the progressive/technical thrash metal genre summing up almost everything one could look to hear on such a piece. A riff after riff overflow the listener to a pretty overwhelming effect, and it will inevitably require several listens before one starts getting the picture; very good melodic leads are also featured to assist the superb riffwork. "Requiem" is a relaxed take on lead-driven dreamy progressive with no ties to thrash, but "Peripheral Aspects" will make your head spin once again with sudden time and tempo changes mixed with abstract spacey moments ala mid-90's Voivod. Although consisting of just 4 tracks, this effort contains music to fill in a whole full-length easily, and hopefully the guys will delight the technical metal fans with a longer offering soon.
The full-length debut is already an accomplished affair, comprising of pretty good diverse instrumentals, like the opening "Iconoclast", which is a creepy offering with meandering riffs, in mid to slow pace with a dry, sterile edge. "Ashes Rain from the Sky" is more dynamic, thrashing intensely with puzzling, multi-layered riffs with a fine surreal flavour. Things get just a bit more simplistic on the shorter jumper "Planetary Implosion", which delivers in a busy, hectic manner. One will have no choice, but to "quietly wait" for the passing of "Quietly Waiting", which is a peaceful, dreamy composition of the balladic variety. "Neural Impulse" is an aggressive proto-deathster of the ultra-complex type, the balladic moments springing up again in the middle, stretching till the end, to give an atmospheric abstract touch to the otherwise intense shredding. "Outlier" is a calmer number, progressive thrash in a consistent mid-tempo without too many adventurous digressions. "Ascendance" is in a similar vein, but the riffs become edgier although their presence is not felt too much due to the overuse of the leads. The closing "Redemption" is a creepy masterpiece of atmospheric technical thrash which seamlessly moves from aggressive lashing sections to slower, abstract ones both graced by some of the finest technical riffs around; a brilliant display of high-class musicianship, 12-min of sheer mastery the riffs doing the major damage leaving some room for the leads at the end. This is more than a sure-handed beginning for one of the most talented acts on the scene nowadays, showing a surprising maturity at this early stage.

"An Abstract Existence" would be another no-brainer for the technical metal lovers starting with the dry abstract shredder "Cellular Deconstruction", which has a few more melodic surprises (mostly in the lead department) later on without losing the futuristic edge of the jumpy guitars which come nicely supported in the middle by stylish orchestral insertions. "Transcending the Earthly Form" is calmer spacey progressive ala Canvas Solaris, despite the several more aggressive riffs heard in the second half. Time for something bigger and more serious: and here comes the title-track, a 14-min whirlwind of time and tempo-changes, served with quirky rhythms and funky/jazzy decisions galore, plus a hefty doze of consistent, modern thrashy shred in a solid mid-pace. "Peripheral Aspects", already featured on the "Schematics" EP, begins with a whirlwind of chaotic leads, but later on things get under control, this composition turning into another hallucinogenic experience, more aggressive (don't read fast), with crushing thrashing and proto-death riffs involved, reaching a fine Atheist-like crescendo near the end. "Inputting a Binary Sequence" is brilliant twisted technical thrash with very good bass support, maddening fast sections (with a touch of death metal again), and weird cosmic nuances the latter graced by some of the most complex lead guitar work around. Another colossal piece awaits you at the end: the 20-min "Quantum Symbiotic Inception", the ultimate encyclopaedia of progressive/technical metal which delivers in all departments with brutal shredding cuts taking turns with mellow balladic ones, all this having an appealing futuristic edge with mid-90's Voivod a close soundalike on the more sterile mid-section, and a more officiant doom-prone exit. The guys are pretty much on top of their game at present, and hardly is there any act which can beat them in the all-instrumental sector, and not because that same sector is not the most affluent one on the scene at the moment.

The "The Turning Tide" EP is the next in line display of musical mastery as the music this time isn't so prone to thrash, but goes in a more free, less scholastic, progressive direction with several atmospheric nuances covered. Still, the edgy riffs will keep you on the alert (check out the twisting hectic "The Machine Stops") although the real highlight would be the pensive oblivious sections (the title-track, the balladic "odyssey" "Quietly Waiting") which are captivating without changing the rhythm and the pace too much.
The "The Conscious Device" EP is an impressive 3-tracker which starts with the labyrinthine 10-min masterpiece "Esoteric Synthesis" which meanders through a maze of creepy minimalistic riff-patterns initially before hectic jazzy passages get installed alongside more peaceful variations settle in mid-way, only to be superseded by more brutal death-laced histrionics until the return the familiar creepy formulas from the beginning. "Via Domus" is a short psychedelic lead-driven etude, and the title-track is another ambitious, nearly 11-min long exercise in complex rhythmic mosaics which seldom leave the established mid-paced to semi-balladic riff-formulas except for the more aggressive technical thrashy stroke in the second half.
"Voids" is a more psychedelic, more spacey listening experience the band not focusing on hard-hitting shreds so much. This by no means means that this would be a bland fusion-like extravaganza, no; the moment the opening "Emerge. Evolve. Adapt." enters the scene with these intense thrash-peppered rifforamas, the listener will instantly know that the change wouldn't be as drastic, and that there will still be entertainment for the headbangers. "Negate the Infinite" thrashes with more force even, but before this effort turns into a Megadeth, or Metallica worship come the swirling leads and the spacey mosaics to bring some balance the latter handsomely achieved throughout "Motives" nicely reminding of Zero Hour's best moments, a mazey shredder with a jumpy rhythm-section and ample fusion-esque overflows. "Before There Were Eyes to See" is a nice progressive thrasher with more dynamic riffs, the leads also trying to occupy as much room as possible, including on the jumpy Alarum-esque "The Plot Thickens", but on "Delineation" the hard-hitting riffage takes over as this number is a furious thrashterpiece for at least half the time the guys adding a couple of more abstract strokes which can also be heard on the closing title-track, a spell-binding blend of intense thrash and mazey spiral-like configurations plus a quiet spacey interlude. As a whole this opus is another sure-handed entry into the band's discography the guys further consolidating their status as the finest instrumental metal providers in the new millennium.
"The Swarm" is a more downbeat, less expressive entry into the band's discography, an all-instrumental outing needless to add, "Hive Mind" aggravating the setting with a steady mid-paced dirge, the thrashing urgency unleashed on "Infestation" strictly on the modern side, but there's a lot of atmosphere emphasized on, "Lapse" being a strictly ambient/industrial etude, the still life picture nicely coming alive on the boisterous thrasher "Our Days Are Numbered". "Perdition" is another more dynamic shredder with a spacey progressive clout, but the quiet interludes ("The Calm Before") keep coming, "The Culling" adding more spiciness to the proceedings with a great more technical delivery, the highlight here, an overlapping hectic masterpiece that will please any one from Darkane to Mekong Delta. Several points lost, though, on the overlong psychedelic balladic sprawl "The Great Dying", the short thrashing injection that is the title-track another welcome more intricate occurrence with feverish fast-paced accumulations.
"Venomous Rhetoric" is another modern but still quite cool recording, the opening "Litany" throwing bouts of psychedelia with a boosted abrasive edge for just under 3-min, the crusty discordant thrashing "Becoming" surprising the listener with its uncharacteristic looser discipline, the title-track another psychedelic walkabout, the formula remaining for the rest of the material, "Harsh Truths" a leisurely semi-balladic stroll, and "Death Fixation" moving around in a delightful dissonant surreal trot. "Ritual" is a wonderful disorienting mid-tempo treader with entangled riff-knots and urgent more dynamic diversions and enchanting arcane lead sections, think Jimmy Hendrix meets the other Jimmy, Page (Led Zeppelin). Thrash comes back for the angular oddity "Cult of the Word", and certainly for the closing "Liturgy", a progressive odyssey with mazey entangled riffs and raucous fast-paced accumulations, the flashy lead guitar work finally reminding of the band's earlier, more virtuoso-prone feats.

Objects in Space Full-length, 2009
Schematics EP, 2010
An Abstract Existence Full-length, 2011
The Conscious Device EP, 2012
The Turning Tide EP, 2014
Voids Full-Length, 2016
The Swarm Full-Length, 2019
Venomous Rhetoric Full-Length, 2022

Official Site

ODYSSEY DAWN (USA)

This band indulges in old school power/thrash which borrows a trick or two from the 80's American school (Liege Lord, early Laaz Rockit). The musicians cleverly mix rhythms and moods to produce an interesting, at times progressive, picture the drama aggravated by the good clean passionate mid-ranged vocals. The more immediate numbers ("The Mysterious Stranger") work almost as well lashing more direct, more aggressive riffs which kind of better serve the slightly subdued, muffled guitar sound.

Demo Demo, 2011

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OF DYING DREAMS (USA)

Quite decent retro thrash/death accentuated by overshouty intimidating death metal vocals, think John Tardy (Obituary). "Forgotten" is a twisting meandering technicaller, and "Abused" is a longer more progressive proposition with mazey configurations. The dramatic mid-paced choppiness of "Final Resting Place" is also welcome, as is the doom-laden urgency of "Never Escape, Forever Remain", this piece vintage Obituary, excluding the cleaner vocal insertions, the associations with then Florida gang further cemented by the dirgy steam-rolling veneer of the "The Entity".

Drain the Light Demo, 1996

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OF ONE BLOOD (UK)

Modern melodic thrash/death which is nothing new really, just rehashed Gothenburg-styled riffs and the not that exciting anymore "gruff-clean" vocal duel this particular gimmick bringing the approach close to metalcore at times.

Out Of The Shadows Full-Length, 2013

OF RAVEN & RUINS (USA)

Swedish thrash/death metal; Gothenburg seems to have moved to the States with the increasing number of acts over there treading Swedish waters. These guys walk the borderline between the two genres (staying closer to thrash perhaps), adding nice epic melodies here and there, supported by the fine keyboard/piano background which creates an encompassing orchestral atmosphere "covering" the whole album, strangely recalling Blind Guardian's "Imaginations from the Other Side". The tempo is mid to up with adherence to speed metal as well (check out "Shadowed In Silence") without many very aggressive passages, and overall the music is dominated by a big sense of melody with the sharp riffage playing a secondary role here. The "Blind Guardian of thrash/death metal" definition could very well fit this talented band who give a nice twist to an already overcrowded and depleted style.

Bound to Prophecy Full-length, 2009

Official Site

OF RYTES (GERMANY)

The band where Mem Von Stein (Exumer) stopped for a while before his departure for the USA; he had also taken his colleague from the thrash/crossover outfit Phobic Instinct, with which he had a short spell earlier on, the drummer Bilka. The music presented here, however, has no relations to thrash/crossover whatsoever, but makes "Without..." one of the better works of the 90's German metal scene. Don't expect to hear any speed anthems like the ones featured on the Exumer's debut, either: this is moody, mostly mid-paced, technical/progressive thrash metal which had no precedent on the scene at the time. Von Stein lowers his vocals down to suit the music and does a good job as such sounding suitably dispassionate and detached. The style bears resemblances to the surreal atmosphere of Voivod's "Killing Technology" sticking to similar abstract dissonant musical patterns so characteristic of the guys' Canadian peers. It's hard to accurately describe this very cool album; this is probably the first work to start the wave of progressive/technical thrash metal acts which appeared on the German metal scene in the early/mid-90's although it hardly sets the tone for it being pretty much in a league of its own, not sharing much of the faster more aggressive formula of the majority.

Without... Full-length, 1991

OF THE SUN

Eventful choppy technical thrash which can get quite wild ("Vicegrip") on occasion, and generally the approach is not very predictable the guys throwing brutal deathly riffs whenever an opportunity arises which work well among the sea of groovisms the latter stretching into whole sagas ("Power of the Day") to a mildly positive effect. "Pax Americana" is an ambitious progressive composition, and later on there is one more exercise in technical mastery: "Built to Break" which is a dynamic shredder with great mazey passages. "Enevolergy" is also a cool technicaller, but the core sections there disappoint a bit as well as the last two cuts which are overlong progressive opuses without many merits.

AM Radio Full-Length, 2010

OFF THE WALL (USA)

A not very known effort providing intense thrash with expressive sharp riffs along the lines of Sacrifice with shades of Slayer and Dark Angel ("March Of Doom") on the more aggressive material. "Human Flame" is the obligatory more complex and more melodic deviation, and "Black Rose" is a moderately successful attempt at injecting some epic power metal in the formula. The guitars are a bit fuzzy, and the vocals are on the semi-clean/semi-declamatory side.

Cummin' Out Demo, 1988

OFFENSE (SPAIN)

These stalwarts on the doom/gothic/death metal roster had a not very dark beginning as retro thrashers, and the demo stage reflects these early predilections. This demo here is a heavy brooding recording with sudden fast-paced sweeps ("Killing Animals") and more relaxed crossover pieces ("Payaso") carving dynamic burrows, also helped by the more brutal death-laced roller-coaster "I've the Reason (And Also the Gun)". The muddy not very clear production augments the tenebrous veneer, and the aggressive death metal singer is another suitable intimidating presence. Some of the musicians also played with the funeral doomsters Der Führer des Schattens, and the death/grindcore freaks Freakhate.

The Cry Demo, 1991

Official Site

OFFENSIVE (JAPAN)

This is modern groovy post-thrash/death metal which will remind of the last two Massacra albums. The music doesn't sound stale, though, as the guys vary things from heavy, almost doom-laden, numbers to cool faster thrashers.

Existence Full-length, 2002

OFFENSIVE (USA)

Based on the "Babylon" EP, these lads indulge in standard modern power/thrash which comes alive on the more epic-prone material (the title-track) the latter coming covered with a layer of cheese, but nothing too irredeemably sloppy. "All for Cliff" is a not very convincing attempt at the semi-ballad, but "Blind Ambition" is an assured bouncy progressiver which loses the thrash idea, but makes up with more dramatic developments and more melodic strokes.
"Inhabitants of Purgatory" is a tighter and an overall better offering, the band cleaning their act quite a bit to come up with a more organized sound, with formidable stompers like "Tales of a Fallen" and "King of the Underworld" leading the show the latter enhanced by the thrashing urgency of "Offensive Mob" and "Life in the Attic". The infectious melodic crossover-ish layout of "Mankind... Exited!" is another valuable addition to this entertaining opus which also benefits from the monolithic mid-tempo shredder "Babylon" and the excellent progressive dramas towards the end "Nowhere to Run", and especially the operatic multi-layered closer "Azrael's Reaping".
"Medusa" carries on in the same loftier vein, the galloping impetuosity of "Divine Enchantress" raising the level of enthusiasm big time, the hyper-active lustre of "The Oracle" infectious enough to ensure a more sizzling pogo, the latter admirably sustained on both longer ("Slaughter The Forsaken") and shorter ("Tortured Heroine, Pt. 2") extrapolations, those compensating for the inclusion of several softer semi-balladic occurrences ("Morbid Eulogy", "The Curse & I"), the closing "Medusa's Legacy" another fairly sleepy proposition, a tender soulful ballad that this otherwise decent entry doesn't quite deserve.

Offensive Mob EP, 2017
7 Deadly Sins Full-length, 2018
Metal to the Masses EP, 2019
Babylon EP, 2019
Inhabitants of Purgatory Full-Length, 2019
Awenasa Full-length, 2021
Blast from the Past Full-length, 2023
Medusa Full-length, 2023

Official Site

OGNENNUI STORM (RUSSIA)

These Russians offer a larger-than-life mix of power, speed, thrash and death metal with epic shades with other influences also sneaked in (funk, jazz, classic heavy metal, etc.) which is far from coherent, still thrashing with passion on the more logical numbers (the epic progressiver "9-oe Marta"; the jumpy crossover piece "Zimushka Zima"). The singer mostly semi-recites in an attached authoritative manner although his one-dimensional delivery doesn't really follow the numerous musical nuances.

Ubil Politiku Full-Length, 2011

OGRE (JAPAN)

Based on "Lacerate the Betrayer", these guys offer aggressive modern thrash/death, with very fast, almost grinding parts decorating every track. This is very intense listen, not for tender untrained ears...

Fuck It All Full-length, 1999
Lacerate the Betrayer Full-length, 2003
Total Laceration Full-length, 2009

Official Site

OGRE THRONE (USA)

Epic classic thrash/crossover which is affluent in catchy, memorable melodies and sing-along choruses which create an optimistic, uplifting mood. Otherwise the music is not very pretentious the guys bashing in a relaxed mode the delivery seldom going for the sheer speed alone, if at all. On the other hand, epic metal is well covered including on the closer "Hateful Dead" which abandons the thrash metal idea to embrace the battle hymns of acts like Manowar and Heavy Load.

Arc of the Hammer Full-Length, 2014

Official Site

OGUM (BRAZIL)

Based on the “Imminent Threat” EP, this Brazilian trio specialize in brisk classic thrash which is surely on the energetic, by no mean son the negative side (“Negative”), the more controlled pounder “Dead of Night” humbled by the sprightly dynamic “Nightmares of Tomorrow” and the short lashing frolicker “Panorama of Destruction”. The vocals are not bad, husky and mean-ish semi-clean, not occupying much space, often stifled by the musical histrionics.

Panorama of Destruction EP, 2015
Imminent Threat EP, 2024

Official Site

OH SHIT THEY'RE GOING TO KILL US (USA)

Based on the self-titled debut, these guys serve suitable for their name relaxed thrash/crossover which bites hard on occasion, but the merry optimistic character of the majority of the songs will make it hard for the listener to take this stuff very seriously. The band adhere to speed metal on the longer cuts, and in the second half the approach softens a bit recalling Headhunter's less impressive material wrapping it up with the Exciter-worship "Werewolves On Wheels". The singer semi-shouts in a more emotional way that the style requires, but his high-strung antics are a fun to listen to. Some of the band members are also active with the black metal formation Relique.

Oh Shit They're Going to Kill Us Full-length, 2007
Cryptozoological Attack Full-length, 2011
Combat Shock EP, 2012

Official Site

OIL (USA)

This band was formed by the ex-Dark Angel singer Ron Rinehart and the guitarist Blake Nelson. The style only very slightly reminds of Dark Angel being more modern, groovy with a certain doze of ballad and post-thrash, and Rinehart's vocals taking a more pleasant, melodic turn. The heavy thick grooves of "Divided" usher the ten-ton fiesta which acquires warmer bluesy tones on "Waiting There", Rinehart adapting to the more laid-back tone of the latter with a cleaner more attached baritone. The man sounds way more emotional than on his performance on the short stint Hunger a few years back, the doomy vibes of "Scream" scared away by the more aggressive shreds on the near-thrasher "Life Addiction". "Lost" borders on the doom/ballad again, and "Open Wound" is only marginally more dramatic, with a full-fledged ballad ("S.I.N.") served later, the album hitting the lethargic confines in the second half, with "Chopping Block" smacking a block of seismic groovisms for dessert, a few stylish leads and Rinehart's more passionate presence saving this cut from sinking completely. The later's very unfortunate spine injury a few years later put an end to this band's career, also leaving his reformed comrades from Dark Angel patiently paused in a waiting limbo.

Oil EP, 1997
Refine Full-length, 2000

OIR MORTALES (ARGENTINA)

Based on "Pasta Legal", this band play decent retro power/proto-thrash which trots along in a settled not very eventful mid-paced layout, the more dynamic sways on "Alma de Cardo" distantly siding with the speed metal movement. The short psychedelic ride "Supresion" is an interesting proposition for sure, although its thrashy merits are debatable at best; the closing "Cuadrupeda Induccion" another more energetic cut the guys unwinding at the end with a more aggressive array of riffs. The vocalist is an acceptable not very attached mid-ranged clean croon, performing adequately without shining with any exorbitant feats.

Atado con Alambre Full-length, 2011
Pasta Legal Full-length, 2022

Youtube

OJOS NEGROS (ARGENTINA)

Cool classic speed/thrash metal of the energetic type with raspy semi-whispered vocals strictly belonging to the black metal camp. The music packs a punch carrying quite a bit of melody as well never going for the very fast extremes being up-tempo with several slower passages which bring the modern winds with them, typical for the time.

Lagrimas De Odio Full-length, 1997

OKILL (BRAZIL)

These folks were earlier known as Macchina where the style was more on the stoner/doom side. The style here still has echoes of these trends, but is more deeply immersed in the 90's post-thrash idea with shades of hardcore-ish frivolities ala Biohazard and Helmet. This isn't very aggressive stuff, the casual deathly shouts the only more threatening ingredient, and fans of the aforementioned acts will have no problems savouring heavy but friendly stompers like "The Pain Remains Insane" and "Age of Intolerance". "It's up to You" is a surprisingly edgy proto-thrasher, but escapades of the kind aren't many at all, the band not willing to break the established mould with frequent deviations.

Reloaded Full-length, 2019

Official Site

OKTOBER (USA)

Mario Parrillo (R.I.P.) is in charge here, the same guy who also took part in Detente, Fear of God, and Doro later (he seems to be fond of the female-fronted acts; who isn't, after all?). Well, there are no girls involved here, but his male comrades (based on the "We the People..." demo) thrash hard with conviction and with a Bay-Area flair, mostly in mid-tempo except for the jolly headbanger "X". The music has its semi-technical character ("My World") which also becomes more obvious when things get more aggressive ("Victims"). The pounding "Rage" also brings more atmosphere into the proceedings, but "Living Hell" shatters it all to pieces with the next portion of speedy vitriolic riffs ala mid-period Metallica. "KTFI" is another impetuous fast-paced piece, and the final "No Tomorrow" is a calmer composition with a few balladic build-ups. This is a fairly cool effort which could have passed for a full-length if it wasn't for the fuzzy sound quality.
The 1990 demo is a heavy steam-rolling affair which moshes faster on "Demons Of The Sky", but the rest is either balladic and doomy ("Repulsion Of The Mind") with an ethereal melancholic edge, or raises the flag of 80's American power metal high ("Living Hell", the mid-tempo stomper 'Falling into Silence"). The sound quality isn't really great making the guitars hiss not very pleasantly deafening the other instruments, threatening at times to also take down the cool attached vocalist.

Let It Out Demo, 1987
Demo Demo, 1990
World of Deception Demo, 1991
We the People... Demo, 1993

OLD (CZECH)

This Czech trio offers old school thrash/death mixing brutal, sometimes black metal-based, fast sections with doom-laden ones not far from early Celtic Frost and their compatriots Root. The slow parts work better creating an ominous dark atmosphere also typical for the Americans Dream Death. "Transilvania" moves away from the pattern a bit with both more epic and more melodic crossover riffs.

...Tak Sa Neposer EP, 2007

Official Site

OLD (GERMANY)

One more band who are fascinated by Celric Frost and Hellhammer; the music is raw, slightly unpolished old school black/thrash along the lines of the aforementioned bands with some more up-tempo sections ala Beherit and Barathrum.

Nocturnal Ritual EP, 2005
Down with the Nails Full-length, 2006

My Space

OLD MAN SAVAGE (USA)

This is modern post-thrash with more dynamic speed/thrash moments the latter recalling the Voodoocult debut and Grip Inc. ("Fear of Reality"; the short semi-exploder "Stalker"; the merry quasi-galloper "Better Off"). The approach is not stale at all, and the guys make the most of their skills to produce an entertaining rendition of the 90's vogues giving the good old groove a nice appetizing aura also supported by the very good forceful semi-clean/semi-shouty vocals. The stoner/doom/semi-balladic escapades are inevitable, but this new formation is just too good to be put in the pile with the others.

Old Man Savage Full-Length, 2013

Official Site

OLD PAGAN (GERMANY)

Based on the "Tecknotschtiklan" EP, these guys practice primal vicious black/thrash metal of both the brutal uncompromising and atmospheric semi-doom type, both tendencies crossed well, although the raw sound quality is hardly the best support making the guitars too noisy and the vocals put too much up front. The early Norwegian black metal scene (Darkthrone, Burzum, Mayhem, above all) is an obvious influence, plus an added drama ala early Cradle of Filth. Some of the guys also pull out brutal death metal in Beyond Serenity.
"Battlecruiser Old Pagan" is another fairly aggressive affair the band seldom using thrash, even as a supporting "hand", blasting wildly throughout without any sophistication producing a more extreme form of the bombastic operatic style of acts like Burzum, early Dimmy Borgir and Cradle of Filth again. "Petrified" is a cool slower atmospheric cut followed by the equally as enchanting "Instrumental" which borders on epic doom. "Mighty Darkthrone" may be a tribute to the legendary Norwegians, but the style is more relaxed, more reminiscent of early Burzum than any of this band's creative periods. This is a sure-handed entry into any self- respected black metal fan's collection, but as a work of thrash metal it has very few merits.

Old Pagan EP, 1998
Tecknotschtiklan EP, 2003
The Sign Of The Battle Dragon Full-length, 2006
This Is Saarland Black Metal EP, 2012
My Black Witch EP, 2012
Battlecruiser Old Pagan Full-length, 2012

Official Site

OLD RAZOR (RUSSIA)

Brutal raw thrash bordering on death metal with rough chaotic vocals of the husky semi-whispered type; the overall approach strangely recalls Necrophagia's debut. The music is speedy without crossing any undesirable limits, but the sound quality is awful giving a big boost to the drums most of the time which stifle the guitars.

Demo Demo, 2010

OLD REVEL MINDS (USA)

These folks serve modern thrash/post-thrash which seldom moves away from the trite and thoroughly worn-out groovy formula in the beginning except on a very few occasion: the intriguing winding "Mud Drug", and of course the short brutal ripper "Battle Against Repression". The 2nd half offers a more serious material which is "crowned" by the appropriately-titled "Steam Roller", a cool technical creeper with twisted "Grin"-esque riffs which are missing form the closing "Burn Like a Witch" which is a noisy industrial cut with a nice quiet exit. The singer is an angry semi-shouter, but his vocal histrionics are not that bad and can be tolerated without too many sacrifices on the side of the listener.

The Sound Of Tunnel Vision Full-Length, 2014

OLD SCARS (RUSSIA)

Modern heavy thrash in mid-pace which, when you least expect it, starts death/thrashing with fury ("City Of Psycho") making the listener wonder as to what may follow later. What follows later, though, is not very exciting if one doesn't count the progressive semi-balladic beauty "Locked And Bound" after which is provided another "rude awakening": the shredding bulldozer "New Hero, False Hero" which influences the good energetic closer "Mission On The Frontline" the latter thrashing confidently in a stripped-down classic fashion. The singer is a scary death metal guttural-er who doesn't quite suit the first mellower half, but finds his fuller realisation near the end.

City of Psycho Full-Length, 2013

Official Site

OLD SCRATCH (USA)

A power trio who indulge in merry, uplifting old school power/speed/proto-thrash; the main fascination is obviously with Motorhead and Exciter as evident from cuts like "Bones of Saints", but watch out for the galloping delight "Black Skies (Hell's Gates)" and the entertaining diverse shredder "Heart of Stone". The singer has a cool semi-clean timbre trying at times to capture the hoarse passion of James Hetfield.

Feral Full-Length, 2016

Official Site

OLDBLOOD (SLOVAKIA)

This is 3 tracks of evil raw black/thrash sounding like Motorhead after spending a week in hell spiced with the misanthropic proto-doom "cold" of Khold ("This World Isn't For Us"). The guys take t in various other projects around the globe: the Czech-based black metallers Inferno, the pagan/black metal formation Slavigrom, the Slovakian-based black metal outfits Evil & Warmarch.
"Possessed By Metal From Hell" is only a bit more polished affair providing the same evil black/thrash which this time leaves the Motorhead influences behind for the sake of a more aggressive, blackier, sound. Still, don't expect anything along the lines of Impaled Nazarene here: this is a cross between the more laid-back delivery of Bewitched and the blitzkrieg thrash of Toxic Holocaust spiced with a few sincere speed metal "outbreaks" ("Metal is Metal"). Hellhammer and early Celtic Frost are also honoured with the heavy roller-coaster title-track. A touch of death metal comes as a finishing touch on the closing fury "Invasion of the Undeads" ending this cool diverse effort with a portion of genuinely atmospheric doom riffs.

This World Isn't for Us Demo, 2009
Possessed By Metal From Hell Full-length, 2010

Official Site

OLDSCHOOL BRAZIL (BRAZIL)

This is a one-man project, the name Cesar Buarque, who provides rough abrasive modern thrash which can be both dynamic ("Self Testimony") and pensive (Vanity"), with the not very eventful groovy flavour of "Conviction of Harmony" an unmitigated spoiler. The second half is awkward with tender ballads ("Dallas", "Beauty of Death") take over on which even female vocals can be heard, among other dodgy decisions. This is anything but old school Brazil, stuff strictly for 90's music lovers.

Draft Building Full-length, 2020

Official Site

OLDSKULL (VENEZUELA)

A power trio from Venezuela who specialize in old skull... sorry, old school thrash of the fast early German kind (think Darkness, Necronomicon, Minotaur). The guys thrash with no remorse spicing things up with the odd melodic hook ("Matter over the Mind"), plus the frequent screaming leads which may annoy a bit with their thin sound. The singer is suitably gruff, but is comprehensive and even attached at times.

Breaking Bones EP, 2009

My Space

OLETHRIO RIGMA (GREECE)

Based on "O Tromos Tis Eksousias", this act, who uses the services of a pretty female guitarist/vocalist (not the main one), provides atmospheric mid-paced thrashcore which sounds strictly modern with the boosted, noisy guitars and the modern production. The style may appeal at first, but soon wears thin due to the lack of more energetic "temptations" (the exception being the crossover energizer "I Prodosia Tis Anthropotitas" near the end), the whole melting into one big thrash/corey fiesta of the pounding, quasi-gothic variety and will inevitably recall the more recent exploits of their compatriots Nightfall.

The self-titled debut is another concoction of mid-paced thrashcore and more engaging atmospheric passages which by all means provide the band with a niche of their own since hardly are there even half a dozen acts right now who dare to mix those two contrasting styles. The guitars have a nice melodic nature, and the bass performance is simply outstanding. "Paranoia" is a cool faster piece marking the end of the 1st half; the 2nd one is way more laid-back the guys (and a girl) delivering in a restrained punk fashion with edgeless guitars and carelessly constructed tracks.

Rigma Olethros Full-length, 1997
Fight For The Innocents Full-length, 1999
M.G.D. (Cops Pigs Killers) Full-length, 2000
Skotoste Ta Paidia, Foniades! (Kill The Kids, Murderers!) Full-length, 2002
O Tromos Tis Eksousias Full-length, 2004

Official Site

OLYPHANT (USA)

Based on the full-length, this act offer retro power/thrash with a pretty sharp riff-engine as evident from the heavy opener "Brown Jenkin". "Incidents In The Butterfly Garden" "flirts" with the doom metal idea producing another portion of ship-sinking rhythms; and "The Grey Havens (To The Sea)" is a more engaging progressiver with a haunting balladic beginning. "The Expedition" is an atmospheric creeper with doom covered extensively again; and "Before The Fall" is a more aggressive speed/thrasher with lashing ripping riffs. The closing "Slave" is again more on the slower, heavier side but more intense riffage appears in the second half to give it a thrashier boost. The vocals are not bad intense semi-clean ones which could have used a bit more passion to match the more dramatic tone of the music.

Olyphant EP, 2011
The Wolf Is Nearby EP, 2013
Expedition to the Barrier Peaks Full-length, 2016

Official Site

OMADEATH (HOLLAND)

Noisy messy hardcore-ish thrash with hissing guitars and bad amateurish semi-declamatory vocals the guys change the pace frequently, but their musical skills are slightly above amateurish the situation not helped much by the awful sound quality.

Windmills and Laurel Trees Demo, 1989

OMAGO (INTERNATIONAL)

A Chilean/Brazilian collaboration which comprises members of the progressive deathsters Metacrose, the melo-death formation Thyresis, and the death/thrash hybriders Forahneo. The music on display here is also on the death/thrash mix side and is a blend of aggressive death-laced bombs ("Vile Schemer Vile") and dense staccato thrashers ("Decrepitus"), the less standard corey structure of "No Reconciliation" a nice companion piece to the less intense layout of "Worst Blind" and the short semi-technical shredder "Brother Against Brother" at the end.

Decrepitus Full-Length, 2021

Official Site

OMAINEN (FRANCE)

Based on the "Routes to Nowhere" demo, this French act plays heavy crushing power/thrash metal with doomy overtones and good mid-ranged clean vocals. They know how to speed up whenever they feel like it, like they show it very well on the galloping "Cosmic Maze" which also has a sudden aggressive faster mid-break; "Inner Space-Outer Void" begins in an intense fast-paced manner, too, but soon things get more intriguing with more complex riffage, not far from their compatriots Kragens or Communic, and a brilliant Oriental tune: a fascinating touch, could have been an excerpt from a bigger work, quite memorable. The guitars have a certain technical edge, which is more obvious on the hallucinogenic Nevermore-sque "Shifting Sight" which also boasts a cool bass play. This recording will surely arouse the fans' interest to track the debut demo down; good hunting although it's only five songs; not that it matters...

"The Death Of The Nations" demo is a fine slab of power/thrash metal with a semi-technical edge, faster than the music on the demo, but not as hard-hitting and with a certain epic colouring: the opening "High Tide" which is a cool varied power/thrasher frequently changing the tempo recalling the Germans Psychotron, and Falconer on the mellower moments. "The Jewel" thrashes harder in mid-pace with sharp lashing riffs, but "Hate Has No Face/Rude Awakening" is just a tender acoustic ballad and is more than just an interlude lasting for about 5-min. "Decay Of Souls" restores the speed/thrash approach, but the closer "Parmenion" is the biggest winner here: an awesome steam-roller with a cool Oriental edge and a few death metal growls added to the clean mid-ranged singing. This effort is a good beginning for the band crossing several influences, but it could have benefited from a more passionate singer and more technical guitar work.
"Shades of Grey" is a logical culmination of the guys' "adventures" the title-track unleashing a downpour of steel technical riffs offered in various tempos and time-signatures. "New Breath" is a dark gothic thrasher with more aggressive guitars recalling the exploits of another very good French act: Skeleton Crew. "The Great Deceit" is a nice steam-rolling "marcher" with very good melodic leads before "When Nothingness Comes" reminds you of Nevermore's heydays. "Rest In Violence" brutalizes the environment with a portion of blast-beats and remains the most intense composition. More impetuous headbanging thrash with "The Source Of All" and "The End of Time" after which the closer "Faultless Though Guilty" calms the situation being a cool heavy semi-ballad. The singer this time sticks to a more soulful gothic/dark wave baritone, but manages to find the right "companion" to this very strong effort which should make them a sure contender for the thrash metal crown in France.

The Death Of The Nations Demo, 2006
Routes to Nowhere Demo, 2009
Shades of Grey Full-Length, 2014

Official Site

OMEGA (GREECE)

The debut: classic speed/thrash metal with black-ish overtones not too far from the Portuguese Alastor on the more intense parts with a few inept moments ala early Razor. "Evil Rock n' Roll" is an "evil" nod to Motorhead, "Demon of the Night" is a mild heavy rocker, and "Hellhammer" is a nice twist towards, yes- you guessed right, folks: Hellhammer and early Celtic Frost, albeit a bit faster. The singer is a gruff black metal rasper who strangely suits the music, even its softer side.

"The Hell Patrol" is a frolic speed metal affair, catchy as hell, with the shadow of Motorhead looming so heavily over the album that at some stage one may want to check if the Brits hadn't replaced the guys behind the instruments (not quite behind the mike, though: the singer has a gruffer less melodic voice than Lemmy although he resembles him on the more lyrical moments). Since the tone is quite friendly, there's not much room for thrash to stand out: this is pretty much "Evil Rock'N'Roll", like the title of one of the songs describes it so well.

Second Coming, Second Crucifixion Full-length, 2010
The Hell Patrol Full-Length, 2013

My Space

OMEGA BLAST (BRAZIL)

This Brazilian, the name Guilherme de Siervi, indulges in an acceptable modern/classic hybrid which reminds of more recent Annihilator with a pinch of mid-period Iced Earth. In other words, this is power/thrash which mostly consists of razor-sharp stomping mid-pacers ("Fire At Will", "Shadows On Your Grave") that are the core of the album. Outside this core we have intense speedsters (the title-track), lyrical semi-ballads ("Death In Life"), and cool attempts at a more technical delivery ("The Bringer Of Evil"). Guilherme provides a fairly convincing attached clean baritone which serves well the varied musical approach.

Omega Blast Full-Length, 2017

Official Site

OMEGA CROM (CANADA)

Pretty good, unusual, melodic power/thrash metal mixing both classic and modern elements alternating between soaring epic-tinged numbers ("Battlefield") and more aggressive groove-laden ones ("Calling Of The Dead"). Still, the real highlights here remain the faster more thrash-based pieces: "The Passing of Azazel", which is a riff-fest at its best constantly thrashing hard with a very cool balladic break near the end; "The Prisoner (The Drawing)" which begins as a ballad before moshing out in a pretty intense speedy manner later offering a couple of more jumpy hectic riffs; the semi-technical speedster "Parliament Of Stone", which is quite a diverse affair including a furious blasting black metal break in the middle immediately followed by a very melodic, also fast, one with a folk flavour. The final "Metal Revolution" is not actually too far from creating a "metal revolution" being a superior song combining technical and speedy sections the whole time to a very positive, albeit slightly hallucinogenic, effect; make sure not to miss another great balladic "detour" near the end, this time lead-driven. And a few words about the vocalist who is all over the place, but in a good way, pulling out a very versatile performance ranging from piercing Halford-esque high-pitched screams, to fairly emotional clean vocals on the balladic parts, to brutal lower-tuned death-ish growls. This is an interesting encompassing listen which holds a few surprises along the way without losing focus and coherence staying true to the thrash metal idea most of the time.
"Beyond Control" is another appetizing diverser with a bigger focus on power and speed metal this time the guys only occasionally thrashing with power ("Unwanted Hell" which turns to furious death metal as well at some point). "Chaos Theory" is a nice progressive almost all-instrumental which partially influences the following "Infiltrate the System", but the band overdo it a bit on the 9-min opus "Blood Red Moon" which is just a mild power metal epicer without any particular highlights. The epic side later reaches new heights on a few cuts among which "Of Past and Present" is worth mentioning with its brutal thrash/death breaks. The amalgam is quite big again, but this time the band sound like many other modern acts nowadays who try to insert every existing metal genre under the sun in order to increase their appeal as much as possible.

Blood, Steel & Fire Full-length, 2009
Beyond Control Full-Length, 2014

Official Site

OMEGA DEFENDER (USA)

This new outfit specialize in quite good stylish progressive power/speed/thrash, quite reminiscent of the German legends Depressive Age at times, which is led by a female vocalist, the name Sarah Green, who also handles the bass. Otherwise the music delivers on all counts led by Sarah who epitomizes a not very emotional, but rather dispassionate style bordering on punk-ish rants at times. "Welcome To The Sandbox" inaugurates this eventful saga with dissonant riffage coupled with more intense techno-thrash rhythms this symbiosis ended in the middle by a slower interlude, only to continue unabated later on. "Glamour Shots" offers a twist on the 80's American metal heritage with a portion of epic hooks in the beginning before the band start thrashing with style; all the way to "The Silver Cord", a surreal progressiver with a steady thrashy rhythm-section bordering on Voivod-ish abstractism. "Love-Fear" is high octane doom in the beginning resembling Sabbath's "Sabbath Bloody Sabbath" before the guys (and a girl) start thrashing once again without completely abandoning the doomy formulas which spring up again near the end. "Virtual Boi" is mostly epic galloping speed/power metal with echoes of Liege Lord, Attacker and early Fates Warning. "Patient Zero" stays on an epic power metal territory the quirky riffs emerging in the second half to give this otherwise linear piece a more original flavour. The closer "Casualty Of Time" is interesting crusty thrash reminiscent of early Sacrilege with a more technical twist which later grows into a surreal blast-beating passage akin to Bal-Sagoth. This is a very promising start for these youngsters who should continue to push the boundaries of the good old metal in any which direction they wish.

Used & Destroyed Full-Length, 2016

Official Site

OMEGA TRIBE (USA)

Based on the self-titled debut, this act pulls out very heavy aggressive groovy post-thrash the aggression mostly coming from the scary death metal vocals, quite close to the ones of Don Cochino (Pungent Stench). Not a very cool addition are the much weaker clean vocals which accompany the more melodic alternative sections.

Omega Tribe Full-length, 2000
Necromegacon Full-length, 2004
No End Full-length, 2005

My Space

OMEGAVORTEX (GERMANY)

A very cool technical/progressive blend of thrash, black, and death; intense aggressive stuff as a whole with miasmic roller-coasters like "Cosmic Horror Maelstrom" and "Void Possessor" leading the proceedings with twisted overlapping rhythms and maddening speedy tempos, the dazzling brutality movement (Cryptopsy, Sufocation, etc.) easily reached and raced with the more complicated, also more death-prone material ("Soul Harvest"). The atmospheric vistas on "Stellar Death" are pure unadulterated black, the short doom etude "From Obscurity" a welcome digression from the hyper-active blast beat-peppered downpour, the closing "B.A.S." summing up all the musical pageants in an admirable complex, labyrinthine fashion. The mean overshouty black metal vocals take quite a bit of space, but never annoy despite their insistently belligerent timbre.

Black Abomination Spawn Full-length, 2020

Official Site

OMEN (HUNGARY)

One can't help but notice that many of the Hungarian metal bands: Akela, Moby Dick, Fekete Sereg, Pokolgep, are a symbol of longevity and endurance. This band fits perfectly into this list, too. Omen were formed by two members of Pokolgep with the intention to play harder and heavier music than the one of the other band. Well, they partially succeeded, especially on the first three albums where one could hear nice thrashing along the more standard speed/power metal sections. The band's music has apparently missed its age being clear classic Power/speed/thrash, and although their later works adopt a more modern sound, they nowhere completely betray their 80's roots.
The guys hit with a double album in 2012 as though to make up for the time lapse, and this may even turn into a tendency to release two albums when they are at play. Music-wise the band tread the same path of modern power/post-thrash in this case as on the more recent efforts, consequently sounding softer and not really energetic. The album develops in a predictable, sleepy mid-pace with little excitement generated, and to listen to two releases of the same generic stuff would be a tiring task even for the band fans.
"Huszonot Ev" is nothing much to write about, the next instalment from the band's lengthy career continuing the unimpressive descent into the groovy post-thrash "purgatory", the only saviour being the excellent lead guitar work, the guy starkly contrasting with the listless musical background created by his comrades which solely rises on the enjoyable power/speedster "Testver, Te Jatssz A Melynek".
"Halalfogytiglan" is so much in the same vein as its predecessor that to describe it in details would be a most redundant task. So what the listener will come across here is the same insipid groovy power/post-thrash hybrid over and over, the stylish leads the only graceful ingredient. "Senki Lenni" attempts some escape from the sleepy boring routine, but its edgy sprightly rhythms are not enough to produce the requisite awakening.

FeketTben Full-length, 1991
Brutf1'dflis Tang= Full-length, 1992
Anarchia Full-length, 1993
Jelek Full-length, 1994
Idegen Anyag Full-length, 1997
Tiszta Szfvvel Full-length, 2003
A Hetedik Nap Full-length, 2006
Agymos'dfs Full-length, 2006
Nomen Est Omen/Szimfonik Full-length, 2012
Huszonot Ev Full-Length, 2015
Halalfogytiglan Full-length 2019

Official Site

OMEN (USA)

This legendary American power metal band's sole flirtation with thrash metal has the typical modern sound for its time with groove and angry vocals, but is not that bad, with catchy songs and heavy riffs, universally denounced by the Omen fans. It begins quite well with the heavy aggressive opener in the Pantera-vein "Chained", but the rest is slower, less angry, and openly groovy, clinging towards Metallica's Black Album on the better moments.

Reopening the Gates Full-length, 1997

My Space

OMENOMEJODAS (SPAIN)

Cool retro thrash sounding like many other bands from the 80's; the tempo is energetic, and the guitar work is quite good, albeit simplistic and direct. The singer is not really an asset with his hoarse hardcore-ish voice. There are cool touches present, like the short folk-ish instrumental ala Skyclad "Imber", or the also short hardcore outburst "R.I.P.". There is a shade of hardcore on other tracks as well ("Enajenacion Mental"). "Thrash Metal" is a truly aggressive piece of thrash metal richly deserving its title. Its aggression is partially compensated by the jolly light-spirited closer "Omenomejodas".

Mundo de Locos Full-length, 2006

Official Site

OMERTA (SPAIN)

This is modern thrash/power/post-thrash metal which tries to also please the Swedish-loving crowd with a few borrowings from the Gothenburg scene. As a result we have a laid-back, friendly-sounding offering which straddles in mid-pace the whole time mostly winning from the cool semi-clean vocals which aren't very adventurous but take the upper hand here and there, hitting the top on the closing ballad "Echoes".

Inertial Inception Full-Length, 2014

OMERTA (VIETNAM)

A blend of thrash and death metal recalling Six Feet Under, both their early and later, more intense, period. The more moderate playful elements dominate so don't expect many speedy moments; the sound is suitably mid-paced and groovy assisted by brutal low-tuned vocals which are less comprehensive than the ones of Mr. Chris Barnes.

Beginning Of The End Full-Length, 2011

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OMICIDA (USA)

Based on "Defrauded Reign", these lads serve cool old school thrash which rages on thanks to aggressive pieces like "Violent Resolution" and "Omicida" which betray the German influence (Sodom, Kreator, Destruction) even on the couple of slower, mid-tempo numbers ("Divine Uncertainty"). "Sentenced" waves some death metal-ish swagger, but this is a dramatic composition without any brutal escapades, the latter provided in heaps on the final string of track among which "Dead Eyes See No Evil" is a particularly wild cut, the good semi-clean/semi-shouty vocalist adroitly commanding the hyper-active proceedings. The musicians also take part in quite a few other formations like the groovy death metal act Hiss of Atrocities, the hard rockers Will Wallner/Vivien Vain, the heavy metal band White Wizzard, etc.

Certain Death Full-length, 2015
Defrauded Reign Full-length, 2019

Official Site

OMINOUS (SWEDEN)

Based on "Void of Infinity", this outfit don't run too far from the established canons in their motherland; in other words, this is prototypical Swedish death/thrash with the casual more stylish throw-in ala Darkane ("Breath Of A New Dawn", "Omnipresent Ill"). Bigger ambition is also shown with the longer closer "Temptation", but this isn't something to really engage the listener. The vocalist tortures the atmosphere with over-the-top deathly shouts.
The debut is by far the more interesting listen starting with the unnerving Meshuggash-sque mather "Piece of Humanity", this mind-scratcher followed by the progressive melodic, Death-like "Cry for Dawn"."Soon To Be Broken" is another sterile shredder, and "Forever Remains True" is a surprising romantic mid-pacer with even female vocals inserted. "Crossing Boundaries" is the necessary headbanger after that before "Drained by A Soul" increases the complexity in a pleasant again Death-influenced manner. The second half is a bit underwhelming the band losing the speed somewhere closing with the doomy dirger "Frequent Redemption", not a very fitting epitaph to this otherwise appetizing offering.

The Spectral Manifest Full-length 2000
Void of Infinity Full-length 2002

Official Site

OMINOUS ECLIPSE (CANADA)

Based on the full-length debut, this formation specialize in edgy modern thrash/death with harsh death metal vocals. The delivery is bumpy with technical pretensions (the spacey "The Reckoning") here and there which are more accentuated on the shorter material: the raging technicaller "Pestilence". Keyboard ornamentations start sneaking into the sound ("Plains Of Death") in the second half where the approach also starts smelling the Gothenburg school as well. This is a larger-than-life offering which has its moments, but it would be of a bigger interest to the death metal fandom.
"Sinister" is a more aggressive, less restrained affair the band also complicating the environment more this time, with epic progressivers like "Sinister" and operatic black/death amalgams like "Spiral Into Insanity" engaging the listener in more serious musings. "Lost at Sea" and "The Horde" are encompassing, diverse viking/death sagas ala Amon Amarth, and "Breaking the Chains" is a slightly less disciplined brutalizer with random blast-beats running rampant to a charmingly disheveled effect.

Beyond the Apocalypse EP, 2014
End of Days Full-length, 2015
Sinister Full-length, 2018

Official Site

OMINUM (SWEDEN)

This act serve raucous classic thrash which relies on stomping mid-tempo riffs ("Leviticus (In His Name)") as much as it does on fervent mosh ("The Crescent or the Cross"), the overshouty death metal vocals scaring scaring away the unprepared, the latter enraptured by the complex "Monument" trilogy, the second part of it being pure headbanging parade, whereas the third one is a calmer mid-paced shred. More bigger ambition is displayed on "Psychosis", a diverse eventful composition which can pass for the highlight. Some of then band members are also involved with another retro thrash outfit, Sonic Assault.

Monument Full-length, 2022

Official Site

OMISSION (SPAIN)

This band was founded by two members of the speed metal veterans Muro: one of the first acts on Spanish soil who started playing a more aggressive brand of metal. "Day Of Your Death Arrives" is black-ish speed/thrash with 80's spirit similar to Alastor from Portugal. "Yells That Destroys": after the imposing intro taken from "Star Wars" we are met with another slab of black/thrash, not a very distant departure from the debut demo, but with a better musicianship, leading to really cool intense speed/black/thrashers: "Legions of Youth". The only pullback would perhaps be the brutal blast beat-based, black metal track "The Light in My Dark". "Shadow on the Wall" is a nice heavy/power metal hymn.
"V.P.A." doesn't betray the vintage band sound, and is another slab of fast-paced retro thrash with slightly annoying screechy vocals. The sound is more aggressive with a clearer black metal edge ("Northmen Wrath") on some tracks, boldly using blast-beats (the instrumental "Satanicspeed Thrash Metal") as well. The guys this time excel in the intro/outro department: the intro is an imposing orchestral/operatic piece, and the outro is a nice take on some epic/pagan/folk melodies with, again, an orchestral twist.
"Thrash Metal Is Violence" suggests a lot with its title, but does the music live up to it? Well, it's not as violent as the one on the preceding demos, despite the presence of three re-mastered songs from them, but is pretty decent old school thrash metal with black-ish overtones, quite fast at times, boasting bombastic titles like "Satanicspeed Thrash Metal", which is hardly the fastest song on the album (this song is taken from the last demo, but here it sounds more moderate without the blast-beats); this prize goes to "Questions", which is raging retro thrash, and is actually a cover of the Spanish act Postmortem. Actually, the less speedy variations seem to be the better side here: the interesting diverse "Satanic Feelings", a stomping melodic thrasher; the jolly crossover-laced "Traitor".

"Merciless Jaws from Hell" develops on high-speed from the get-go, but this can not be a complaint since the dynamics is commendable all the way through coming with a pinch of black metal again, those insertions supported by the vicious mean vocals. There is a jolly unpretentious aesthetics felt in the guitar department on some tracks ("Here We Stand", "You Can't Hide") bordering on the crossover; others are pure takes on the good old speed metal ("Day of Your Death Arrives...") ala Tyrant and Atlain.
"Pioneers of the Storm" is another blitzkrieger the guys lashing fiery riffs to no end venturing into the death metal field ("Drunken, Junkie & Punter") without any remorse, even trying something hectic and technical ("I Am the Devil Scythe"). The speed is again admirable all over even on the more thought-out shredder with the not very serious title "Totally Fucked Up" which offers a bigger diversity showing the band's more proficient side which is also displayed once again on the closing "Attack of the Living Dead", a headbanger of the more complicated variety. There's nothing new on display here, but the band's brisk vivid approach to the genre should keep the smiles on the fans' faces even after the album is over.
"The Unholiest of Them" is another classic beast which again flirts with the more technical, this time from the very beginning on the short stylish opener "The Black Flame Shall Burn". There's energy to spare here the guys thrashing like demented including on the longer and more thought-out shredder "Iron Will". The technicality doesn't get lost, mind you, and is even accentuated on on the excellent exploder "Breakneck Speed Blasphemies". "Thrash Metal Traller" surprisingly is a mid-paced instrumental, but the riffs cut like knives paving the way for the epic histrionics on "Spiral of Self-Destruction" which even flirts with heavy metal at the end. "Isolation Marches on" reaches blast-beating extremes for a short bit in the second half, but the progressive complexity of the following "What Kind of Person Do You Think I Am?" largely compensates for this shortcoming. As a whole the band have done a good job again without making any major compromises with their staple exploits.
"Worship What You Fear" is a more simplistic affair, the band going through a few moderate mid-pacers ("Enfeebled by Vice"), lengthy dragging chuggers ("Crowned for Dust"), and by all means short violent headbangers ("Anger Ablaze Discharge"). The death-laced "Crush The Christian Scum" is the most aggressive proposition here, with "Darkness Itself" offering something more complex as a cool deviation from a standard routine pattern.
“Disciples of Ravens Vengeance” is the next-in-liner aggressive lasher form the band’s discography, the fervent speed/thrash impetuosity of “Hatred Circles” finely paired with the short brutalizer “Shrouded Alive” and the slow-burning power/thrash conglomerate “Slow and Crooked”, the burning extremity of “Burn the Cross” engulfed by the far-reaching progressive vistas of the 11-min saga “It's Better to Burn Out”.

Day Of Your Death Arrives Demo, 2005
Yells That Destroys Demo, 2007
V.P.A. Demo, 2008
Thrash Metal Is Violence Full-length, 2009
Merciless Jaws from Hell Full-length, 2011
Pioneers of the Storm Full-Length, 2012
Black Darkness Obscurity EP, 2013
The Unholiest of Them Full-length, 2015
Worship What You Fear Full-Length, 2021
Disciples of Ravens Vengeance Full-length, 2023

Official Site

OMNIARK (USA)

This obscure act provide steady, largely mid-tempo old school thrash that suddenly switches on welcoming radio-friendly heavy metal on "Black On Black". Otherwise this is decent albeit hardly exceptional stuff best exemplified by the boisterous steam-roller "Hammerhead" and the cool attached semi-clean vocals.

Omniark Demo, 1994

OMNICIDE (SWITZERLAND)

These Swiss folks produce energetic modern thrash/death metal which has both intensity and melody to spare, but sadly lacks in the originality department the approach being as generic as it could get nowadays. Spasmodic blast-beats take turns with more laid-back, almost progressive-sounding at times, passages both sides not badly executed, but the "laurels" go to the dramatic shredder "White Roses Under a Blackened Sun" which is a mid-paced accumulator with sudden speedy interceptions. Other highlights are hard to be distinguished the ultra-brutal, barely intelligible, vocals by all means the most obvious downside on this generic, but professionally executed, recording.
"Constants and Variables" is pretty much in the same vein as faster and slower passages take turns in quick succession the nods to death metal more frequent this time which are at least served with better vocal lines this time. "Tod u Hass" is a maddening thrashing headbanger, but the following "Convinced by Superior Firepower" is vintage Gothenburg melo-death where at least half of the material witnessed here belongs.

Risen to Ruin Full-Length, 2012
Constants and Variables Full-Length, 2016

Official Site

OMNISM (USA)

This is energetic retro thrash which is supported by overshouty vociferous vocals. There are a couple of heavy squashers ("The Fallout Remains") served, too, the steam-rolling semi-technicaller "Forced Perspective" another pleasant surprise, the speedy vehemence of "Among the Filth" challenged by the more serious, intricate expletives of the closing "The Accuser", the less ordinary musicianship applied definitely promising more on future instalments. Some of the band members also play with the melo-death/thrashers Rise to Burn, and the avantgarde metal formation Fast Eddie.

Forced Perspective Full-length, 2021

Official Site

OMNISLASH (USA)

Based on "Slash 'Em All!", this band play retro power/thrash with a slight progressive flair as the hard guitar edge is admirably sustained all over either with impetuous gallops ("Desolation") or with more soaring speed metal flourishes ("Metalliation Revengeance"). "Nuke the Moon" is a short thrashing ripper, and "Gothenburg" is a mellower progressiver with retouched power metal riffs; nothing even remotely death metal-ish here... More merciless headbanging thrash with "Not One Step Back", and especially with the excellent closer "Russian Roulette", a rousing hymn with near death metal-ish drama, with a great chorus pulled with panache by the good mid-ranged clean vocalist.

Call to Arms Full-length, 2015
Slash 'Em All! Full-length, 2017

Official Site

OMNITRON (SWEDEN)

This is the band known as The KrixhjSalters previously. Unfortunately, with the band's old name a certain part of these guys' talent must have gone, too, because the music isn't even half as good. It retains some of the crossover elements, but it mixes it with heavy-handed semi-technical thrash which leads nowhere. At times the sound acquires a very eclectic nature aiming at the progressive metal realm, and these moments would be to the liking of those who enjoy albums like Voivod's "Dimension Hatross" and "Nothingface", but this is inferior. The album opener "The Power Line" starts with good energetic riffs, but soon introduces the offbeat elements which take over the few more aggressive guitars scattered throughout. The only other place where you can find yourself headbanging is "Torque Limit", but again for a while where there is even an attempt at singing in Russian. Of course, there are songs where thrash metal is nowhere to be heard: "I Am He", "Five in Four". To these ears the best song is the thousandth Motorhead cover of "Ace of Spades" at the end, done well in a brisk energetic manner with the vocals possessing the appropriate inebriated blend of Lemmy. Still, it's no wonder that the band disappeared without a trace soon after this only effort. Later some of the musicians continued their career playing death metal under the name Comecon, releasing three full-lengths before splitting up.

Masterpeace Full-length, 1990

OMNISPAWN (SWEDEN)

This is another act who prefer to stay true to their country sound, providing your average Swedish thrash/death metal, alternating fast brisk, even blast-beating at times, sections with slower mid-paced ones.

Darkness Within Full-length, 2009

My Space

OMNIVERSE (UKRAINE)

Based on the debut EP, these Ukrainians deliver intriguing modern progressive thrash which recalls mostly Canadian practitioners like Obliveon, DBC, and more recent Annihilator when they don't try too hard. The guitar tone is too modern, but still delivers on robotic moshers like "Nothing More to Say" which will make your head spin when it starts thrashing hard. "Beneath the Crust" is another energetic, sophisticated technicaller which still pales before the intense shredding histrionics of the final "Inanitas", a cool epitaph to this interesting short effort, and a sure promise for other niceties to come soon...
The "Repel Lament Destroy. I: Repel" EP is another very good shorter opening with the brief immediate speedster "Silence After", but the following "Imaginary Creator" is already the more serious progressive cut we could expect from the band. "All the Ways to Depart" is a dispassionate mechanical headbanger with stylish technical implements; and "Carrots and Sticks" pours more aggression with another portion of hard, crushing riffs. "Hold the Curtain" is the closing piece thrashing in a more laid-back fashion also serving cool melodic deviations at the end the latter contrasting with the harsh death metal vocals which shout too much at times and could be toned down in the future.

More to Explore EP, 2014
Repel Lament Destroy. I: Repel EP, 2015

Official Site

OMNIVORE (ITALY)

These "omnivorous" Italians offer aggressive old school thrash which channels both the Bay-Area and Slayer the mixture wrapped in a curious semi-technical aura which doesn't stand on the way of the brutal guitars, but takes the upper hand in the second half on a couple of longer, more thought-out compositions ("Nothing More Than Dust"). "Omnivore" is almost death metal with its ripping riffage, and the closing cut is a cool faithful cover of Sepultura's "Arise" solely betrayed by the vicious semi-shouty death metal vocals which lack the depth of Max Cavalera's. Some of the musicians also play in the thrash metallers Nightmare of Fallen, and the thrash/crossover hybriders Skarsfukkers.

Omnivore Full-Length, 2014

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OMNIVORTEX (FINLAND)

Quite cool modern progressive death/thrash with thick meaty guitars and sprawling mellower sections, think a mix between Biomechanical and Opeth. The screechy black metal side of the vocal duel epitomized may be grating on the nerves, but the music has multiple layers, not to mention some lofty tech-thrash walkabouts ("Cephalic Fluid Extraction", the sprightly Darkane-sque shredder "Lifeharvester"). "Barren" is a futuristic doom-laden saga, and "Chasm" is an excellent dramatic pounder with beautiful melodic lines. "Gargantua" goes towards the wilder death metal parametres, but it all calms down nicely on the dark atmospheric pageant "Apotheosis" before a sudden whirlwind of technical rhythms deals with predictability in a nice Vektor-like fashion. More fast-paced contrivances with "Mountains of Madness", with the "Diagrams of Consciousness-Parallel Universe" compendium wrapping it on with fireworks of dazzling entangled thrashisms, extreme semi-blasting developments, and a beautiful balladic haunting interlude.

Diagrams Of Consciousness Full-Length, 2020

Official Site

ON MY COMMAND (AUSTRALIA)

The debut: one musician is responsible here, the name Sean Mackay, and he pulls out passable classic power/thrash which is executed in a prime energetic manner Mackay thrashing with more passion ("The Seer") by also producing the odd more uplifting power/speedster ("Sons of Thunder") where melody quickly becomes the order of the day including on brooding heavy stompers like "Peace & Vengeance". Mackay provides a steady mid-ranged clean baritone which seldom changes but suits the dynamic musical scenery.
"Prey" concentrates on speed more, and as such delivers with bigger panache displayed, the more formidable "Shadowbeast" and the more epically-executed "The Magus" bringing the flag of power metal to the top, the flag of the good old thrash largely displayed on the short sweeping title-track and on the second half of the closing "Archangel" where the guys unleash a storm of vehement riffs for a bit.

Apparitions Full-length, 2018
Prey Full-length, 2021

Official Site

ONAN (AUSTRALIA)

This is all-instrumental stuff on the heavier groovier side of things, a bit one-dimensional with doomy overtones and the odd more technical hook ("Umlaut"). There are a couple of good ideas thrown in, like those on the more complex closer "Condition: Heliotrobe" which also speeds up a bit amid the jumpy hectic riffage which creates the necessary dynamics, "wrapped" in a robotic mechanized environment strongly reminiscent of Voivod's "Negatron".

Hell Is Other People Full-Length, 2010

ONANATOR (SERBIA)

Three songs of energetic retro speed/thrash ala Paradox and Angel Dust; this is invigorating ripping music. The guys thrash with passion seldom pausing for the odd slower passage those moments more prevalent on the closing "Shadow Of War" which is a relatively calmer number. The singer has an attached semi-shouty timbre with a more vicious twist at times recalling both Schmier and the first Angel Dust singer Jurg Weiss, only lower-pitched than both.

Circle of Death Demo, 2012

Official Site

ONCE AWAKE (NORWAY)

Modern laid-back thrash that has its more aggressive side ("Misguided Mission"), but generally the band prefer the mid-tempo as a way of expression with groove standing on the side ready to interfere at any opportunity. "Devils Institution" is a decent progressive semi-ballad, but the rest is one-dimensional barrage topped by angry shouty semi-death metal vocals.

Ever So Cold Full-Length, 2017

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ONCE BELOVED (USA)

Modern thrash metal, fast and dynamic, with both more aggressive death metal and much slower metalcore elements. The music is pretty derivative, though, using all the gimmicks of the genre: the melodic breaks, the gruff-clean vocal "duels", etc.

Once Beloved EP, 2006
Delusions of Grandeur Full-length, 2010

Official Site

ONCE DEAD (USA)

After the unsuccessful experiment Die Happy the Vengeance Rising guys assisted by the bass metal guru Angelo Espino (Hirax, Reverend, Uncle Slam, L.S.N.) decide to give themselves one more chance with this new formation. The beginning looks fairly promising, showing this new project trying to stay true to the classic roots of thrash, providing the necessary headbanging numbers: "The Contract", "Devotion", etc. without forgetting about the heavier side of the genre: the title-track, "Rise Above" where some groove inevitably sneaks in. Watch out for the short blitzkrieg killer "Feeding My Addiction" and the dynamic closer "Defy Man".

Visions of Hell Full-length, 2008

Official Site

ONCE HUMAN (USA)

The debut: this band boasts the presence of the guitar player Logan Mader (Soulfly, Machine Head), and the female vocalist Lauren Hart. The latter's performance betrays her sex, but not to a big extent and her tolerable shrieks hover over this prototypical modern thrash/death affair which inevitably resembles Arch Enemy, and not only in the vocal department. The band aren't very fond of speed and the delivery may become a bit monotonous towards the middle these melodic mid-tempo riffs not generating much excitement. What does, though, is the really good clean female exploit on the balladic "Devil Can Have You", and Lauren may emphasize on those talents of hers in the future, certainly not in a melo-thrash/death metal band.
"Evolution" is another modern death/thrash affair which isn't "a stranger" to more technical choppier, execution ("Mass Murder Frenzy"), but here's a seeming lack of speed as the dominant delivery borders on the mid-tempo and monotonous ("Dark Matter", "Drain") hitting progressive waters on the officiant semi-balladic hymn "Killers for the Cure" and the cool operatic closer where the girl shows her cleaner, more dramatic timbre.

The Life I Remember Full-Length, 2015
Evolution Full-Length, 2017

Youtube

ONCEOVER (USA)

This is thrashcore which is already suitably groovily updated, the band earlier known as S.F.U. where the style was more brutal thrash/crossover/proto-death. There's still brutality on display here, the band marching along with heavy elephantine riffs initially, "Family Cycle" a major headbanging occurrence, alongside the energetic throw-ins on "Price of Life". Still, to these ears the highlight remains "Murder or Mercy", a stylish all-instrumental shredder with nice lyrical lead sections, with the choppy crunchy closer "Violent Persuasion" a close second, a not very predictable number with several intense accumulations and a couple of crushing mid-tempo breaks. The vocalist is an angry quarrelsome semi-shouter who still has the ability to sing with more panache here and there.

Incomplete Demo, 1990

Official Site

ONE (USA)

Good power/thrash with progressive touches sounding like a more aggressive and slower Fates Warning; the guitars are crushingly heavy for most of the time, but the melodic relief is provided in the form of good forceful clean vocals and cool memorable choruses. Shades of both the ballad and doom can be felt, but the approach gets nicely dynamic on the longer, more elaborate compositions ("It's Dead"), if we exclude the overlong epic ballad "Noble Quest" and the finishing chords from the closing "One Vision" which are enchanting acoustic guitars with a dramatic pitch. Stylish technical riffs sneak on "Shattered", but overall the delivery isn't very flashy, sticking to kind of predictable heavy patterns.

Scratching The Surface Full-Length, 1998

ONE AGAINST THE GRAIN (USA)

This band pull out all-instrumental modern thrash which begins with a splash with the virtuoso classical instrumental piece "Dragon Fly". Alas, later on only flashes of this flamboyant musicianship can be caught the guy (only one man is behind this project) settling for a much more ordinary approach with sparkles of originality mostly from the side effects applied ("Black Wind") rather than the music itself. There are several ballads provided in the 2nd half ruined by the awful fuzzy sound quality and the amateurish thin clean vocals which try to even growl in a deathly manner at some stage arguably sounding more convincing.

High Performance Full-Length, 2006

ONE ARM AWAY (BRAZIL)

This formation pull out modern power/thrash which sounds both melodic and abrasive in equal dozes. The dominant style is stomping and mid-paced the heavy rhythm-section only sped up on the dramatic headbanger "I Am", and partially on the several more aggressive death metal sections on "Fake Tears". The vocals are hoarse semi-clean ones, but the guy knows when to emit more passion, mostly on the several balladic/semi-balladic numbers.

Carpe Ludus Full-Length, 2016

Official Site

ONE BAD APPLE (USA)

Based on the EP, these lads specialize in modern post-thrash/core which is suitably jumpy ("Post Mortem Depression"), and the lead guitarist is a truly proficient artist, his delectable inclusions by all means the highlight here. "Street" is a nice dynamic jump-arounder, and "Iron Lung" is a drudging semi-doomster with not very pleasant overshouty hardcore vocals.

The Worm Has Turned EP, 1994
Creeping Things Full-length, 1997
Billions of Skulls Full-length, 2018

ONE BAD PIG (USA)

Jolly unpretentious thrash/crossover, with the shorter songs representing their faster and more attractive side; the slower ones are softer, with heavy metal taking the upper hand on some. The guys try to make things quite varied including also a ballad and some funky moments, and as a whole the concentration is clearly on melody and good mood rather than sharpness and intensity.

Swine Flew Full-Length, 1990

ONE HOUR HELL (USA)

Based on "Interfectus", this act provide modern thrash/death in the vein of their compatriots Carnal Forge (the bass player is from there) and Maze of Torment. The style is a bit more varied perhaps the band adding a few slower dissonant passages ala Morbid Angel. More surprises later on as "Penetrate Obliterate" serves some stylish technical riffs among the raging blasts; the technicality gets partly translated on the following quasi-groover "Bodybags" after which things take a more dynamic turn for a string of tracks. The vocals are on the typical for the genre hoarse shouty side.
"Voidwalker" takes a decidedly more ambitious path with longer, more officiously-performed compositions ("Hall of a Thousand Minds", "Empty Eyes") those completely devoid of speed and intensity to the point of monotony. The sprightly leaps and bounds on "Purge" are more than welcome after a lengthy string of semi-balladic epicers, with black metal called in for help later on the bombastic "Ashes from a Last Breath".

Product of Massmurder Full-length, 2008
Interfectus Full-length, 2014
Voidwalker Full-length, 2019

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ONE MACHINE (UK)

The debut: "one machine" is responsible for this although this same "machine" features members of various acts around the world (Biomechanical, Forbidden, Testament, Mercenary, etc.), and this admirable cast doesn't disappoint providing modern abrasive thrash with progressive nuances not far from the aforementioned Biomechanical, Nevermore, and Chaoswave. The singer is quite a find covering a wide range of notes, from clear emotional singing to some raging hardcore-ish shouts. Some ballast should be ignored, though: "Armchair Warriors" is nothing more than a calm power metal filler, and "Evict the Enemy" is an annoying post-thrasher. Elsewhere the guys have found the right way to thrash their musical proficiency undeniable as evident from the virtuoso guitars on the closer "Freedom and Pain".
"The Final Cull" follows the same path although the formula has worn thin a bit the longer compositions now sounding kind of plodding (the boring ballad "The Grand Design") whereas the shorter ones are a true revelation: check out the ripping "Screaming for Light", or the rousing galloper "New Motive Power". It's a bit sad the the more intense cuts aren't many at all the final "Welcome to the World" kind of fitting into that same category with its more energetic rhythms.

The Distortion of Lies and the Overdriven Truth Full-Length, 2014
The Final Cull Full-Length, 2015

Official Site

ONE MAN ARMY AND THE UNDEAD QUARTET (SWEDEN)

At from the long and pompous title (the debut), this band have something more to offer; this is actually Johan Lindstrand's (The Crown) new band. The style is also modern thrash, but unlike The Crown it's mostly mid-paced with good heavy riffs; one of the better bands from this over-saturated sub-genre.
"Grim Tales" is a cool turn to a more aggressive song-writing with faster tracks and good sharp riffage. The style is not too different from the previous recordings, but has more bite and is overall more satisfying. It's on the 5th song: "A Date With Suicide", when their more laid-back, staple galloping tempo can be heard, after which the guys take a break with the melodic balladic "Death Makes It All Go Away". Then the sound gets more intense, graced by a couple of nice melodic hooks on "Dominator Of The Flesh". Watch out for the short brisk thrasher "The Frisco Reaper" near the end.

"The Dark Epic" is the next chapter from the band's discography providing no surprises for the band fans who will be pleased to hear the trade mark modern thrashy riffs mixing fast and slow numbers keeping the balance well, except on the longer more serious compositions ("Dark Epic") which are heavier with more accentuation on atmosphere, contrasting with the more immediate squashers (the formidable steam-rolling closer "How I Love To Kill You").

21st Century Killing Machine Full-length, 2006
Error in Evolution Full-length, 2007
Grim Tales Full-length, 2008
The Dark Epic Full-length, 2011

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ONE MORE VICTIM (USA)

This act provide heavy Pantera-sque 90's post-thrash which is both squashing and energetic these guys relying on the groove probably more than their more renowned compatriots. Still, there will be no disappointed after the 3-min of pure aggression "Burn" which easily reaches a death metal intensity later matched by the closing "Honey from the Razors Edge", a rising battle hymn with a memorable semi-chorus performed by the shouty death metal singer.

Loyalty & Honour Full-Length, 2014

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ONE OF THEM (BRAZIL)

This demo consists of 5 tracks of energetic classic thrash of the pounding mid-paced quality. The shorter numbers ("One of Them", "Hell") are direct takes on the furious Slayer approach, but the more moderate ones are not bad at all, either: the creepy semi-doom "Suffering in Silence" carried by an addictive main riff. The singer does a good job with his gruff intelligible delivery managing to sound both angry and lyrical.

I Am One of Them Demo, 2010

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ONE STEP FROM THE EDGE (GREECE)

These Greeks indulge in a more complex brand of the good new modern thrash, the abrasive approach spiced by the casual more retro-oriented gallop ("State of Mind Denial"). The mechanical soundscapes resemble Gojira and Biomechancial except on the times when some more aggressive death metal ("Reigning Machine") sneaks in although this is the time when the headbangers would be happier. More officiant stomping rhythms ("No More") also invade the aether recalling Nevermore where also the clean side of the vocal "tussle" belongs, the other being raspy deathly croak. "One and Only" is a nice energetic shredder retaining the Nevermore influences, with atmospheric undercurrents which stay around for the nervy jarring "Water", and for the epic elegiac "...From the Edge", a tendency enhanced by the remaining cuts, especially the balladic opus "The End" which is indeed the end, an officiant academic way to finish this diverse effort.

Beneath The Surface Full-Length, 2017

ONEIRIC (POLAND)

This act play sprawling progressive power/thrash sticking to the Opeth landscapes on the longer material ("Agony of Life (Free of Lies)") where semi-balladic melancholy reigns supreme. On the rest the approach is way more dynamic, but the riffs are melodic lacking the bite which can only be felt on isolated more intense passages. The rest is peaceful and dreamy although intelligent sharp technical thrashisms can be caught on the engaging closer "Infernal Whispers". The vocalist is a not very emotional clean mid-ranger who hardens his delivery unexpectedly on some cuts.

Oneiric Full-Length, 2013

ONHEIL (HOLLAND)

Based on "Storm Is Coming", this formation pull out a bombastic mixture of thrash and black metal which is a bit more blast-beat based than the one of Bal-Sagoth, and consequently less exciting. Thrash shows its head above ground on "Self-Destruction Mode", and even shades of power/speed metal can be caught on the lyrical "The Omega Legions" and the melody-abundant "Storm Is Coming". The diversity becomes bigger in the second half where melo-death sneaks in ("Dronkenschap In Duisternis II") before the short operatic instrumental "Streams Of Silence" wraps it up at the end. The guys earlier had a black metal band, Martyr, and also had another similar project, Shrine, in 2006 with one solitary demo released.
“In Black Ashes” follows the familiar patterns, with black metal taking over on the flamboyant operatic odyssey “Night Terror”, and seldom letting loose the proceedings, thrash left in the trenches for most of the time, the hyper-blasting environment instilled left in relative peace on the bombastic melodic carnival “Master of Disease” at the end, an epic/folk masterpiece which can even pass for the band’s finest creation.

The Threat EP, 2003
Razor Full-length, 2009
Storm Is Coming Full-length, 2014
In Black Ashes Full-length, 2023

Official Site

ONKT (HOLLAND)

Modern dry mechanized thrash metal with unpleasant synthesized death metal vocals; the music is nothing special being heavy and abrasive, pretty groovy as well, with not much imagination put into the proceedings especially on the 11-min "Delerium" which at some point switches onto pure techno-industrial. The tempo is quite slow-ish with heavy repetitive riffs coming as an inferior Soulstorm (Canada).

Charge Full-Length, 2010

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ONLY A SHADOW REMAINS (USA)

Based on the full-length: modern Swedish thrash/death metal made in the USA again with echoes of Arch Enemy, above all; this is actually the "brainchild" of just one person, the name Armon Nicholson (could have a Swedish origin after all: check his family name). The delivery is right as rain until it hits "Death" which is a tribute to the Chuck Schuldiner (R.I.P.) gang although in terms of musicianship it still leaves something to be desired: the band hardly pull all the stops technicality-wise. In the lead department, though, they rule on all counts: check the leads on "A Price Paid in Blood". The end comes in the form of another cover, of At the Gates' "Blinded by Fear" which is more fitting for the band style done competently in a loyal faithful fashion.
"Dead Future" is a more brutal "beast" the approach staying more on the death metal side the fast lashing riffs flying from all sides to a squashing effect despite the unobtrusive presence of melodic hooks and tunes. "Downfall of an Empire" is a solitary thrashing champion, and partially "Filth" with its twisted non-linear guitar decisions, but the rest has been brutalized to the point of hyper-blasting on a couple of cuts ("Biodegradable", the more technical delight "Spiraling Down") near the end.
The "Premeditated" EP shows the band's career being more on the classic side at the beginning and way more thrash-fixated despite the presence of a few blasting surprises ("The Anticipation of Torture"). The approach is fairly energetic with a sparse presence of more stomping numbers ("Dissected")... and, the closer "Hiding the Remains" is a cool technical, albeit brutal thrash/deathster.

Prelude To An Apocalypse EP, 2012
Premeditated EP, 2012
Black Sun Rising Full-length, 2013
The Grinding Stone EP, 2013
Dead Future Full-length, 2015

Official Site

ONLY EMPTINESS (FINLAND)

Melo-thrash/death with welcoming nuances which stays on the dark brooding side for a large portion of the time, save for the really rowdy track, a blast of raging ripping death metal that is almost instantly cancelled by the romantic gothic sprawl "My Chosen One". More variety on offer later with the uplifting speed metal odyssey "Hollow Shell of Me", "Inhuman" bringing the delivery on a higher pedestal with strong progressive pretensions, the latter also evident on the closing dramatic death/doomster "The Lake". The singer is a shouty deathly throat, occupying quite a bit of space without sounding overtly annoying.

Seize the Day Full-length, 2022

Official Site

ONLY LIVING WITNESS (USA)

Rowdy but roughly-produced Bay-Areasque retro thrash supervised by hoarse semi-clean vocals; “Complex Man” attempts something more flexible and technical, and “Dying System” is a choppy mid-paced roller-coaster with a more dramatic rhythm-section. The singer is a cool attached semi-clean/semi-shouty presence, favouring the more playful crossover riffs on “Bad Blood”. The band members were also shredding in another similarly-styled act, Formicide.

Only Living Witness Demo, 1990

ONSLAUGHT (UK)

An essential British thrash metal band; "Power from Hell" is a cool, raw debut, sounding like a more aggressive version of early Venom; at from the up-tempo thrash tracks the band try something more melodic, in the form of the long mid-paced power/thrasher "Lord of Evil". The song "Death Metal" is far from the early attempts in the death metal genre, despite its title: it's actually a light speed metal number ala Motorhead; the next one is a much better effort: "Angel of Death", an intense speed/thrasher almost touching the Slayer track of the same title (which hasn't been released at that time yet). Later on there is at least one more energetic piece: "Steel Meets Steel", but the majority is not really striking showing a band still a long way from the better examples of the genre.

"The Force" saw the guys almost fully equipped to compete with the best: with tighter and better musicianship each of the seven songs is a heavy, thrashy tour de force, great combinations of heavy, pounding riffs and smashing faster ones. Shades of their more melodic debut album could be found in a heavy/power metal hymn like "Metal Forces", but the rest is uncompromising thrash with a unique dark atmosphere, recalling another very good act from the UK: Deathwish. The tracks are lengthy, within the 6-8min sector, but to talk about something more technical would be too farfetched.

The band took a very premature decision to adopt a more commercial, accessible sound on "In Search Of Sanity" after which their fans abandoned them in draws. It wasn't completely bad, as a matter of fact; there were quite a few energetic thrashers present, and if we exclude the annoying overlong noisy intro, and the not very convincing cover of AC/DC's "Let There Be Rock", the rest was pretty decent surrounded by the melodic, but cool soaring vocals of Steve Grimmett (Grim Reaper). The semi-ballad "Welcome To Dying" is one of the band's best songs, albeit a bit overlong. Not happy with the acceptance, the band folded soon after this release.

On their comeback album the guys took a step similar to Exodus: they added a more modern sound to their basic old school approach, and it was the right thing to do, because "Killing Peace" is a real winner. The album starts with no mercy, with the great headbanger "Burn", but later on the groovy, modern trends spring up on several songs, occupying the middle; they might stretch your nerves a bit, but if you have a bit more patience you'll reach the best, which comes in the form of another couple of nice retro thrashers ("Twisted Jesus", and especially the furious closer "Shock & Awe").

The fans of "Killing Peace" would be mildly entertained on the new offering "Sounds of Violence" which again blends the modern with classic trends with the latter again given more preferences. The album expectedly begins with the energetic "Born For War", but the mid-pacers this time start too soon after that, and seldom leave making this album the less energetic, and consequently the less striking effort. A string of not as intense numbers occupy 80% of the playing time with not much happening in the speedy department (isolated sections from "Rest in Pieces") until the coming of the closing "Suicideology" (which is actually followed by an 1.5-min outro ("End of the Storm"), a quiet piano-based piece) which is a shattering thrash/proto-death lasher, a latecomer which can hardly compensate for the workmanlike delivery encountered previously. The bonus track is a faithful cover of Motorhead's "Bomber" with Phil Campbell from the legendary act helping there along with the Sodom frontman Tom Angelripper. There's not much to write about this album simply because it brings nothing new to the well established classic/modern mix, treading safely in well-known waters thus staying away from both the flop and the success department.

"VI": so it's number six for Onslaught in case you have forgotten how to count. So what else is new: not much if we exclude the fairly energetic delivery which this time seldom gets lost the doomy creeper "Children of the Sand" being one of the few exceptions. On most of the tracks here you'll be "slaughtered": the riff-machine "Slaughterize", the dramatic steam-roller "Cruci-Fiction", the speed/thrashing closer with Slayer-ish overtones "Enemy of My Enemy", etc. The guys have done a pretty decent job here including the unobtrusive presence of a few more intriguing guitar lines ala Jeff Waters carefully scattered around.
"Generation Antichrist" features a new singer, David Garnett (also the death/thrashers Bull-Riff Stampede), who has replaced Sy Keeler. Music-wise this opus is more convincing than its predecessor although again a similar modern/classic thrash blend has been offered, but generally the guys thrash with more passion ("Strike Fast Strike Hard", the title-track) and energy, with "Addicted To the Smell of Death" racing with the speed of light for a while, the more laid-back atmospheric "Empires Fall" serving something marginally more complex before the band wrap it on with the remastered version of the title-track from "In Search of Sanity". Garnett does a cool job behind the mike, his spiteful semi-clean/semi-shouty timbre suiting the less-bars-held hyper-active approach.

Power from Hell Full-length, 1985
The Force Full-length, 1986
Let There Be Rock EP, 1987
Shellshock EP, 1988
In Search of Sanity Full-length, 1989
Power From Hell/Angels of Death EP, 2006
Killing Peace Full-length, 2007
Sounds of Violence Full-length, 2011
VI Full-Length, 2013
Generation Antichrist Full-Length, 2020

Official Site

ONYX (USA)

Pretty capable retro power/thrash which on "Burning On Both Ends" is heavy and pounding, but comes "Midnight Caller" and things immediately become faster and more technical; this number is a standout lasher with some tasteful guitar work and passionate performance by the very cool emotional clean singer. "Shot To the Head" returns to the heavy patterns from the opener, but remains entertaining and consistent making this obscurity a worthy addition to the fans' collection of deeply buried gems.

Demo Demo, 1990

ONYX STERLING (USA)

Not bad Bay-Areasque thrash which comes served with a sniff of more restrained power metal ("Miles of Stone"), but the serious progressive thrashy clout will easily capture the imagination of the Forbidden, Metallica and Heathen fans. "Hostage" is a frivolous short speedster, but "All Things Must End" is an epic battle hymn of early Manowar-esque proportions, the thrashing fury of "Demolition of the Hurricane" cancelling all such meek attempts downright, the not very convincing semi-declamatory vocals creating noise rather than the propitious atmosphere this recording would have benefited from.

Onyx Sterling Demo, 1991

OOPART (SPAIN)

The debut: classic power/thrash which largely pulls the stops on the all-instrumental parts (the opening "U92", the closing "Instrumental"); still, "The Greatest Hoax" is an interesting quasi-progressive rifforama, and "System Stall" is a short ripping headbanger. The inertia is partially lost on the epic sloucher "The King on the Wrong Throne", but overall this isn't bad at all, the hoarse semi-clean singer holding his ground including with a few more pronounced cleaner tirades.
"Echoes of the Shadhavar" is decidedly a more complex, more ambitious saga the band elongating the compositions by a healthy notch, the epic folk flair of "Rod of Asclepius" a not very expected bright touch, "Return from Damascus" joining the festive environment with an array of bouncy sing-along motifs. Pillars of Creation" is a pullback being nearly 10-min of serene meditative balladisms, and the closing "Years of Lead" is a steady mid-tempo shredder with sharp heavy riffs.

Metal Alloy Full-Length, 2020
Echoes of the Shadhavar Full-length, 2022

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OOZING WOUND (USA)

Based on the full-length debut, this noisy trio unleash hard-hitting thrash/crossover which may pass for classic stuff at times, but the abrasive sound betrays its origins. Otherwise the guys are not completely bad and their antics are a bit more serious than the ones which used to go with the style. "Call Your Guy" is a heavy doomster which contrasts with the screechy singer who isn't so bad, by the way, and his semi-hysterical rendings aren't totally without merits. "Autopsy Turvy" is a cool energetic topsy-turver with some really dynamic riffs, and some full-blooded thrash can even be caught on "Sustained by Hatred (Rambo 4)". The closing "Spirit Manimal" is a mish-mash, though, mixing quite a bit including several untamed blast-beating passages. Still, this is a decent effort which needs some refinement before it becomes a sure pick for the fans.
"Earth Suck" is again too much on the noisy side to be a sure crowd pleaser; still, one can't deny the charm of fuzzy headbangers like "Genuine Creeper" and "Hippie Speedball" which keep the party going despite the presence of several abrasive doomsters near the end. Again, there's a potential here which would hopefully find realisation one day...
"Whatever Forever" carries on with the abrasive saga the band now enlarging their intense, blitzkrieg style by pouring more drama this time due to more complex proto-death "bombs" like the opening "Rambo 5 (Pre-Emptive Strike)". "Diver" is a more diverse composition showing a more serious, also slower, aspect of the guys' repertoire. "Deep Space" is a steady headbanging shredder again showing a more proficient, even semi-technical if you like, side of the band's delivery. The culmination, however, comes with the nearly 8-min long "Mercury In Retrograde Virus", a doom-laden industrial miasma which also adds a nice progressive flair to the proceedings thanks to a few twisted quirks in the second half which later turn into a dissonant cavalcade of riffs to a heightened, hallucinogenic effect. "Weather Tamer" is 8-min of proto-industrial landscapes with a touch of mid-90's Voivod; and "Everything Sucks And My Life Is A Lie" is a dirgy noisy doomster with operatic accumulations. "Eruptor" is a short technical roller-coaster giving the needed boost which bears the hard-hitting dizzying thrasher "Tachycardia" after it, and the jumpy closer "Sky Creep", an interesting hectic cut with choppy stomping riffs. The band have done a very good job here moving away from their primal, simplistic roots to more serious, encompassing music.
"High Anxiety" brings back the more aggressive thrashier patterns from earlier recordings and "Surrounded By Fucking Idiots" may as well be the definitive abrasive headbanger of the new millennium, the guys moshing with an overt flair of intricacy even on more immediate lashers like "Filth Chisel". "Tween Shitbag" is a consummate technical speedy shredder which lifts the album towards the lofty dimensions with Voivod-ish psychedelia also heavily involved at some stage, before "Die On Mars" serves a hefty doze of distorted dissonant rhythms recalling the preceding opus. "Birth of a Flat Earther" is styled in a similar industrialized manner emphasizing on the sterile dystopian aesthetics, but with "Riding The Universe" the guys continue riding the universe with all the headbanging passion they can muster, a stylish noisemonger which transfers its mechanical aura on the final "Vein Ripper", a futuristic progressive thrasher which will remind of the feats of Vektor, Torrefy and E-Force. Another excellent entry into the band's discography, keeping the listener guessing till the last minute as to what will be offered around the corner.

Vape and Pillage EP, 2012
Retrash Full-length, 2013
Earth Suck Full-Length, 2014
Whatever Forever Full-Length, 2016
High Anxiety Full-Length, 2019

Official Site

OPACIA (USA)

Based on the full-length, this act serve crisp retro thrash/death which is high on both intensity and melody. The latter seems to prevail more often, though, and this is probably the better option as quite a few of the cuts are lengthy with progressive pretensions, like the dense, intricately-woven "On Blackest Wings" or the Gothenburg-school tribute "The Swarm". The singer exercises authority with his harsh spat-out deathly baritone, and the lead guitarist is a total show-stealer with his dazzling pyrotechnics those amply provided all around, stifling the more conventional riff-work at times. Some of the musicians are also involved with the death/thrash formation Depremacy.

We Ride EP, 2016
On Blackest Wings Full-length, 2019

Official Site

OPEN DEFIANCE (USA)

Modern thrashcore with shouty death metal vocals; the heavy mosher "Overdose" providing the requisite rhythmic diversity, the latter reaching headbanging proportions with ease later on the short pulverizer "Forming the Future", the choppy groovy dragger "Our World" on the opposite side of the spectre, the remainder following suit closely, turning the second half into a boring groove-fest, with some straight-up rap materializing on the closing charade "Straight Dope".

Open Defiance Full-Length, 1996

OPEN FESTERING WOUNDS (AUSTRALIA)

These Tasmanian "devils" try to mix the more energetic side of 80's thrash with the modern 90's trends. The mixture keeps balance between the two styles, but finds it hard to resist to the modern traps and consequently the sound smells groove more often than the good taste allows. "Compromised" is a very cool up-tempo thrasher with a slight technical edge, and "Torn Within" is another more dynamic piece with a steady galloping rhythm. The vocals are brutal low-tuned death metal ones.

Mindstates Full-length, 1994

OPEN FIRE (POLAND)

At from Turbo and Wolf Spider there was another band who played good speed/thrash metal in Poland back in the 80's. How these guys remained so obscure, is a mystery... The band owe more to the speed metal heritage of Helloween and Warrant than to their compatriots. The album is full with great lead guitar work ala Kai Hansen and speedy melodies, topped by nice high melodic soaring vocals.

Lwy Ognia Full-length, 1988

OPERA (NORWAY)

This is the first vehicle for the drum guru Thomas Berglie (Khold, Tulus, Sarke, Old Man's Child, etc.); on this short spell here he teams up with two Tomas'es for the execution of some absolutely ravishing old school technical thrash which also receives handsome help behind the mike from none other than Darkthrone's Fenriz. The title-track alone is an encyclopaedia of twisted overlapping rhythms, tight technical shreds, and sudden head-spinning tempo shifts. Nothing beats this gorgeous mind-fucker, but "Millenniums Ago" is another supreme occurrence, a slow-burning atmospheric creeper with intricate time-shifts galore, a confident vociferous reverberating bass, and a few very legitimate claims at more brutal tech-death grandeur with a not very logical atonal flair. "The Hordes of Nebula" is a dramatic hecticer which puts together Atheist's "Unquestionable Presence" and the early exploits of the Finns Nomicon, spins them around, and then adds a couple of disorienting semi-gallops to defy the stylistic labeling of this most unorthodox piece of art, which could pass for thrash, death, power, and progressive at various stages throughout... and we're talking a less than-3-min number. "Opera" is a very short bass-dominated, all-instrumental closure, still a stylish insertion that misses the comprehensive but subdued semi-declamatory deathly antics of Fenriz. This is a sheer stunner, one the finest products of the Scandinavian underground, a pioneering achievements in the annals of serious, mind-stimulating metal that should be much better known.
The "Effect of Suffering" is done without Fenriz, the new presence behind the mike a not very pleasant boosted shouty guttural deathly presence, not occupying too much space, the man leaving his colleagues to do the stylish damage which is equally arresting as the first demo, regardless of its somewhat arbitrary nature. It's of the creepy minimalistic variety for most of the time, the title-track a jumpy nervous tractate in thrash/death with abrupt twists and turns, but nothing beyond the mid-tempo. "The Hordes of Nebula" is another meandering creeper with a strong bass bottom, the guitarists dancing around the bass with regular jazz-like accumulations, "Below" betting on the more melodic ways of expression on a corrosive doom base, think Confessor meets the Finns Nomicon, a surreal captivating ride which ends with a beautiful melodic pirouette. This is another grand entry into the band's very short discography, although it has a sketchy, unfinished feel about it.

The Eyes of Uranus Demo, 1991
Effect of Suffering Demo, 1993

Youtube

OPERATIVNOE VMESHATELSTVO (RUSSIA)

An obscure demo from the Russian underground which shows a band specializing in an energetic blend of speed and thrash quite similar to early Master (Russia). The musicianship is all right with a nice technical touch (check the German speed/thrash worship "Chetvertaia Chjast Zemli" at the end) except for the noisy pounding drums and the mean semi-clean vocals which were so typical for the Russian scene at the time. The fast assault is interrupted by the tender balladic instrumental "Poslednii Put", but it doesn't sound awkward showing the guitarists in a bright light. It's a pity that the guys couldn't last longer: their approach was intense enough to be translated well later on the oncoming thrash/death metal hybrids.

Operativnoe Vmeshatelstvo Demo, 1989

OPHIDIAN (LUXEMBOURG)

Based on the demo, these guys play heavy mid-tempo modern power/thrash metal quite close to the works of 90's Chastain, resemblances with the aforementioned act aggravated by the cool female vocalist. The music is dark and brooding, and the girl does a good job mixing more aggressive manly singing with a more emotional lyrical one. There are a few balladic sections where the singer shines even more, but the sound gets much more melodic, and after that it takes more than the required time for it to get back on track. The other problem is that all songs flow in the same vein without speeding up beyond the mid-pace, except for the final "Roads" which offers more dynamic up-tempo riffage at some stage.

Demo Demo, 2003
The Awakening Full-length, 2004
Suffering/Dreaming Full-length, 2006

Official Site

OPHYDIAN (ITALY)

Modern power/thrash metal of the more melodic type with slight alternative elements; the vocals are good, but are too melodic for the style, and the more peaceful moments are a bit overused, and consequently the ballad "Snake Eyes" appears to be the best song here.

The Perfect Symbiosis Full-length, 2007

Official Site

OPHYRA (ITALY)

Generic modern thrash/death metal of the Swedish school which comes with plenty of melody and fast-paced rhythms, and will remind you of the Danes Withering Surfaces (the early material) and Night In Gales although the guy overdoes it a bit in the vocal department with these hysterical black metal shrieks.

Post Mortem EP, 2010

Official Site

OPIATE (COLOMBIA)

This is some kind of a super group since the line-up consists of veterans from the Colombian black/death metal scene (Guerra Total, Storm of Darkness, Necronslaught, etc.) who have gotten together to pay tribute to the good old thrash. The sound, of course, comes "plagued" by both black and death metal insertions, but watch out for the numerous melodic hooks which give this offering a cool, more laid-back colouring. "The Excruciating Hindsight" has a more prominent thrash presence in the riff department, but elsewhere the music balances between the other mentioned genres the intense shouty death metal vocals also favouring those two.

Havok Anthems Full-Length, 2016

Official Site

OPIUM (BRAZIL)

This Brazilian obscurity exercises well executed classic thrash with some genuine technical touches sticking above the dark sombre riff-section which recalls their compatriots The Mist at times. Fast-paced passages are not very frequent, but the consistent stylish formulas will keep the fan focused, especially on the title track which shows quite an ambition with its eventful approach. Obstacles are the muddy sound quality, and the not very expressive semi-declamatory vocals.

Fora De Controle Demo, 1998

OPONENTE (CHILE)

Bashing wild old school thrash/proto-death with some beautiful lyrical deviations (the opening "Vehemencia"), the crusty accumulations on "Staccado" perfectly legitimate in team with some soaring speed metal provided in the second half, the same curious but appetizing symbiosis served on a couple of other cuts as well, the abrasive brutal deathly clout of "Comorbilidad" supported by the aggressive veneer of "No Hay Nocion", the steady decent semi-clean/semi-shouty vocalist doing his fair share of the bid, the melo-death histrionics of the final "Infesto" close to being the highlight on this diverse, not very predictable fare. The musicians are also occupied with other outfits like the speed metallers Aberracion, the classic thrash cohorts Venoject, and Warchest, etc.

Irreversible EP, 2018
Decreciendo Full-length, 2022

Official Site

OPOSSITOR (CHILE)

The ambitious opener "Thrash Invasion" shows a band who tread the path of retro thrash, and do it the hard, aggressive way, but with a really bad sound quality, and even worse shouty death metal vocals. The music is fast, but the noise created by the guitars is hard to be disguised, despite the effort put with the inclusion of a few melodic hooks. "Dominados (Por La Maldad)" is a more moderate speed/thrasher ending up being the best song, a sure leftover from Paradox's "Heresy", with a good lead section and forceful headbanging rhythms. Well, if it wasn't for these terrible vocals...

Dominados EP, 2011

OPPORTUNITY (THAILAND)

Modern thrash of the more melodic type, still having its edge ("Throne", "Fire") whenever necessary, but often relying on the groovy patterns as well ("Grudge", "Unleashed"). "Dog Nation" is quite a good combination of the two, and on top of that we have nice melodic lead guitars.

Plewpatapi (Fire) Full-length, 2007

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OPPOSER (SPAIN)

The demo: two songs of dark evil death/thrash which courts the early "atrocities" of Celtic Frost on "Forbidden" by giving them a more atmospheric colouring; "Calling to Death" is a faster "razor" which "calls" to death metal indeed also thanks to the gruff low-tuned deathly vocals. Some of the band members also play with the black/death hybriders Moonshine, and the black/thrash/death cohort Funebre Devastation.
"Darkest Path" is a lighter melodic affair, the band sticking to heavy mid-tempo strollers ("Osiris Land", "Agony") for more than half the time, the energetic battle-prone "Bloodstock" providing the requisite doze of vitality, but apart from the death-prone rager "Under My Skin" the rest doesn't do much to support this trend, the doom/atmospheric closer "Ashes to Ashes" deftly summing up the prevalent mood here.
"R3cod3d" is a more potent lasher, also coming with a drier more mechanistic sound, and although the overall delivery is still on the mid-paced side of the spectre, the jumpy dynamics of "The Beginning of the End" and the nervy jolts on "Recoded Rebirth" supply the lively fodder which is again fully mortified at the end with the final ode to doom that is "Forevermore".

Life Is Shit-But... Demo, 2012
Remember the Past Full-length, 2013
Darkest Path Full-length, 2017
R3cod3d Full-Length, 2021

OPPOSITION TY (SINGAPORE)

Based on "Zombified", these Singaporeans come up with a very enjoyable blend of energetic classic thrash metal and punk. Yes, punk-that's right! It will probably not appeal to punk fans too much, though, because the sharp thrashy riffs dominate, but the inimitable punk spirit of the late 70's/early 80's is all over the album.

EP Ver. 1.0 EP, 2000
Chaotic Years 1989-1995 Best of/Compilation, 2005
Zombified Full-length, 2005

Official Site

OPPRESSION (FINLAND)

Meet another project of Lare Nieminen (also Gloomy Grim, Corporal Punishment, Sacrament, etc.), his shortest-lived one. This EP contains just two songs which present thoughtful doom/thrash in mid to galloping tempo with a very clear sound quality, ripping sharp guitars, and guttural semi-shouty death metal vocals.
The Compilation contains all the works of the band including their first three demos. The band's approach remains on the intriguing side with morose doom-oriented passages taking turns with serpentine technical ones as the most evocative example of their enchanting style must be "Within Six Walls", a 10.5-min behemoth which sprawling doom beginning is replaced by a sudden outburst of energy and quirky, more surreal riff-patterns. The band's repertoire has its more dynamic side as reflected in the headbanging darker "Punishment From The Gods", or the pounding drama on "Oppression". "Immortal Objector" is another more rigorous piece with death metal echoes but the real enchanter in the whole compilation seems to be the last "Parasites" which weaves schizoid rhythms amidst seismic brooding passages.

Alone/Majesty, a Joker EP, 1990
Scars 1988-1990 Compilation, 2015

Official Site

OPPRESSION (SWEDEN)

A great unsigned band; I hope this mistake will be soon corrected. All their efforts are of consistent high quality as the style is more of the fast, intense classic thrash variety, along the lines of Vio-Lence's "Eternal Nightmare".

Violence Will Dominate Demo, 2003
Left To Perish Demo, 2004
Deep Vein/Bloody Sign/Oppression Split, 2004
Extinction Agenda/Oppression Split, 2005
T.P.A.S Demo, 2005
State of War Demo, 2006

Official Site

OPPRESSUS (COLOMBIA)

Vivid energetic old school thrash with gruff deathly vocals; the mosh is relentless with a few stomping moments ("Apocalipsis", the closing more officious progressiver "Humanidad in Vitro") present as well as the odd sense of melody ("De La Guerra"), but those are deviations from a rigorous steadfastly followed path of aggressive, no-bars-held execution.

Humanidad in Vitro Full-length, 2017

Official Site

OPPROBRIUM (USA)

The Incubus guys are back in the game, but under a different name since during their absence from the music scene another band with the name Incubus was founded (the alternative pop-rock clowns). "Discerning Forces" is a great way to start their career under the new name: fabulous old school thrash/death, not having much to do with the style of Incubus, staying quite close to the music of the old masters Death and Pestilence (their early works). The guys unleash hell on smashing pieces like "Ancient Rebellion" and "Digitarp", but also discover their more technical potential on slower, more controlled compositions, like "Dark Entanglement" and "Drowning". A slight drawback might be the middle, which is occupied by a string of not very energetic numbers, and the great speed from the beginning gets forgotten. "Merciless Torture" livens up with more up-tempo riffs, but the real revelation comes with the explosive "Moments of Despair": "Spiritual Healing" of the new millennium. "Blood Conflict" is very cool technical thrash despite the considerable loss of dynamics once again. The closer "Awakening to the Filth" is heads-down thrash/death metal aggression, a really nice way to finish this strong comeback from one of the pioneers of the death metal genre.

All of you who thought that the band only had the energy for just one album will be surprised to find out that the guys have been alive and well waiting for the right time to release "Mandatory Evac". The abrasive guitar sound might pull back some, but as a matter of fact this isn't far from the music displayed on the first two Incubus recording, relentless death, above all, this time lashing more brutally ("Never Found", "No One At My Funeral"), and overall the tempo is very fast without the slower side of the previous effort. The songs are shorter, and the technical leanings heard on "Discerning Forces", which some could have expected to be developed further here, are almost nowhere to be felt. Numbers like "Daily Stress" go well over the good taste, bashing viciously and brutally, to the point of sounding more black metal-ish even. To talk about thrash metal on this one would be a bit farfetched, but "Sick of This" and "Incident" are quite good intense thrashers as though directly taken from the Swedes Merciless' debut album. It's debatable whether this effort is a worthy follow-up to the debut, but those who were looking for a direct continuation of the uncompromising assault offered by Incubus on their first outing would probably be happy.
"Supernatural Death" again clings more towards death metal, and the wild uncontrolled downpour this time is simply tasteless and unpleasant the abrasive flair way more annoying than on the preceding album. "Sadistic Sinner" displays some more stylish control, but the rest is bashing mess way inferior to the works of Incubus the band now obviously focused on their worse, amateurish side.
"The Fallen Entities" is a surprisingly stylish effort after the several primal barrages released, the guys making a very positive impression with carefully-plotted classic thrash/death compendium with mid-tempo steam-rollers ("Creations That Affect") bringing the shadow of Bolt Thrower in the vicinity, and when "Wicked Mysterious Events" starts weaving those wicked semi-technical Incubus-esque pirouettes, the listener can't help but be sold to this major update to the band's repertoire. "Throughout The Centuries" is a more encompassing progressive experience with a couple of brutal deathly escapades, and "Turmoil Under The Sun" is a stellar more concrete technical death/thrasher ala mid-period Death, a shining example followed by the remaining two cuts which are just another testimony at the return of the guys' previous genius.

Discerning Forces Full-length, 2000
Mandatory Evac Full-length, 2008
Supernatural Death Compilation, 2016
The Fallen Entities Full-length, 2019

Official Site

OPRESION (COLOMBIA)

Based on the full-length, this act indulge in ripping classic thrash accompanied by guttural death metal vocals. "Opresion" is the odd mid-pacer, but its more melodic clout provides more opportunities to the guys to diversify their palette which also falls in the stomping heavy traps on the title-track, the ensuing headbanging riff-fest supported by "Impunidad (23-11)" and "El Innombrable", vehement moshers overwriting meek power/thrash miscalculations like the very appropriately-titled "Involucion".

Revolución EP, 2016
Furia Metal Full-length, 2021

Youtube

OPRESOR (ARGENTINA)

This Argentine formation offer workmanlike retro thrash with rough shouty hardcore-ish vocals. The guys bash with passion preferring to play in up-pace without any unnecessary gimmicks and the result is an affair which sits between the Spaniards Fuck Off and the early works of the guys' compatriots Lethal. In terms of energy this effort leaves nothing to be desired, but diversity-wise it can't possibly score very high the only number differing from the speedy rest being the heavy pounder "Transformacion Mental" which also turns to more vigorous Slayer-esque barrage near the end. The old school thrash resurgence is quite high in South America, and this act would fit nicely into the large group of practitioners from there although they could hardly be classified as its finest representatives.

Fiebre de Guerra Full-length, 2010

Official Site

OPRESOR (PERU)

This Peruvian outfit play old school thrash (based on the self-titled demo) in the vein of early Whiplash the singer also trying to shout in a scary apocalyptic manner ala Tony Portaro. The guys lose control over the proceedings at times: the brutal death metal sections on "Sin Lamento", and generally the speed is kept high, even on the more complex saga "Descarga" which is a more technical take on their intense style with a bigger diversity offered in the riff and lead department the latter really taking off near the end with a nice virtuoso passage. This is a good promising effort which should catapult the band forward in order to grab the attention of an interested label.

Opresor Demo, 2009
Demo Demo, 2011

Official Site

OPTIMUM FURY (USA)

Not bad intense thrash with heavy speedy riffage reminiscent of The Exorcist and early Whiplash except the vocals which are more brutal, death metal-like. The guys shred with passion pulling out several intense headbanging passages which on the final "Nuclear Death" grow into proto-death metal Possessed-esque diabolisms.

Optimum Fury Demo, 1989

OPTIMUS PRIME (USA)

This band were formed after the split-up of Deadly Blessing by some members of that band. The music isn't as speedy, and has already managed to acquire modern elements, not miles away from the Metallica Black Album ("Stand in Line"). Still, the classic sound takes the upper hand here and there ("Inside Out"), and what we have here is still passable power/thrash metal with cool semi-clean vocals vocals and heavy squashing riffs.

Demo Demo, 1991

OPUS DEAD (SPAIN)

Thrash/crossover, quite fast and aggressive at times, but with cool melodic leads; style-wise close to early D.R.I., maybe more simplistic and with worse vocals.

Perros De Presa Full-length, 2002
Control Full-length, 2003

Official Site

OPUS SACRUM (POLAND)

What we have here is rough, unrehearsed "opuses" which are a bit hard to categorize being heavy and doomy with a pinch of both thrash and death metal. This is chaotic, amateurish stuff which lacks energy, but manages to achieve some kind of weird gothic atmosphere the latter at times dissipated by the brutal guttural death metal vocals.

Opus Sacrum Demo, 1992

ORACLE (INDONESIA)

Based on "No Truth...No Justice...", these guys pull out cool retro thrash/crossover spiced with more aggressive Bay-Area moments with faster and slower songs taking turns throughout. The final comes in the form of three covers: Testament's "Over the Wall"; Sepultura's "Dead Embryonic Cells"; and Metallica's "Master of Puppets", all done faithfully with good musicianship except for the thin guitar sound on the last one which lacks the hardness and the dark ominous atmosphere of the original including lapses in the vocal department where the singer delivers in an unrehearsed higher-pitched semi-hardcore manner.

"The Forgotten" is another ripper of an album and with better production qualities the band have made a major step forward. The attack is impressive here, at least at the beginning, with nice deviations (the progressive "Crossing Al Shirath"; the short speedy jumper "Dark Tide"; the nearly 6-min of balladic lyricism "Seven Wings"). The only spoiler would be the pointless unfocused power/speedy closer "Nice Dreams" which doesn't share the wild restless, also "forgotten", nature of the rest.

Warna dan Dimensi (Color and Dimension) Full-length, 2001
Darkness Within Full-length, 2007
Judging the Sleepers EP, 2008
No Truth...No Justice... Full-length, 2010
The Forgotten Full-Length, 2015

Official Site

ORACLE (USA)

This is modern thrash/death with an overt virtuoso flair accentuated by the flashy Shrapnel-like guitar work. Occasional hyper-blasts from the black metal arsenal can also be caught ("There Will Be Blood") making the super-active approach reach the speed-of-light limits. "Nocturnal Creatures" is a more technical shredder, but the rest is melodic and fast-paced without being very intricate. The vocals are harsh death metal ones and can also be heard on the works of the death metallers Curse the Flesh.

Beyond Omega Full-Length, 2016

Official Site

ORATOR (BANGLADESH)

A powerful release (the full-length) from Bangladesh this way comes; the guys will shatter your senses with intense classic thrash/death in a way no worse than Devastation's "Idolatry", Sepultura's "Beneath the Remains", and Gammacide's "Victims of Science". The guys waste no time nailing the fan down from the very beginning, and this merciless attack lasts till the "gory" end. The direct barrage gets a bit more technically twisted on "Gnosis Stained Khadga", but those sophisticated moments are not that many if we also exclude the pounding Oriental diverser "Devoid Of Dharma (Aghorey Bhyo)". Raging cuts like "Bestial Death" and "Rites Of Grand Renunciation" will make your fillings drop, but this is the main purpose of the whole exercise here. The singer is a forceful death metal growler who commands the proceedings with authority and panache. The band were previously known as Barzak when the style was a more brutal form of death/black metal.

Dominion of Avyaktam EP, 2010
Kapalgnosis Full-length, 2013

Official Site

ORB OF CONFUSION (USA)

This formation provides a curious blend of modern post-thrash and stoner/doom which hits some progressive heights on the longer opus "Forecast Of Vengeance". Otherwise the album flows in a more predictable manner with an abundance of carefree mid-tempo rhythms which aren't very imaginative, but will engage the listener due to the sudden interruption of faster sections and a couple of more spacey riffs involved ("Penultimate Nullificator") those akin to early-90's Voivod. Some of the band members don't break too many stoner/doom rules with their other act Hazzard's Cure where the style is pure high-octane stoner/doom.

Orb of Confusion EP, 2011

Official Site

ORCHRISTE (SWEDEN)

This band was founded by members of Seance who wanted to keep themselves busier, one of them Patrick Jensen: the guitarist who has also taken part in Witchery, The Haunted, Brujeria, and other acts. What we have here is two songs which stylistically are not too far from the Seance output, only with a thrashier edge. Maybe the guitar work is more technical, especially on the long dark thrasher "Blessing of Death". "Open Grave" is an aggressive bashing thrash/death metal piece.

Necronomicon Demo, 1989

ORCKOUT (BRAZIL)

Based on the full-length, this Brazilian outfit specialize in modern-ish thrash which has an abrasive flavour also coming from the angry quarrelsome vocals which are a curious blend of mid-period Nick Holmes (Paradise Lost) and Jan-Chris de Koeijer (Gorefest). The music is heavy and mostly mid-paced to galloping the guys steam-rolling forward in an attached Cerebral Fix-esque manner "flirting" with the fields of doom ("Bluff") at times. The problem with this kind of recordings is that at some point the listener may start looking around for the odd more dynamic moments which in this particular case are not provided, dooming the album to the 2nd tier although one never knows how the band would be able to pull it out next time around.

Involution EP, 2006
[D]Generation Full-length, 2012

Official Site

ORCUS (USA)

Based on the "Here Comes the End" EP, this act indulge in intense modern thrash which isn't boring, but tries to provide capable stomping atmosphere which surprisingly becomes melody-decorated on "Continuous Arising" and on the diverse shredder "Closed Mind" which introduces the only more tender, balladic moment. The vocalist is a shouty angry throat who also carries a bit of melody.

Here Comes the End EP, 1998
Bed of Lies EP, 2014

Official Site

ORDAINED FATE (USA)

The debut: a cool female fronted, slightly progressive power/thrash metal band; at times the music loses its edge and descends into classic heavy metal territory, but there are enough hard-hitting riffs to keep the thrash metal fan satisfied. The music alternates between more simplistic tracks and more complex technical ones. The singer has a cool mid-ranged timbre coming as a mix between Doro Pesch and Leather Leone. The problem is that the tempo is too one-dimensional: mid to slow with a few timid attempts at more energy ("The Election", which is actually the only full-blooded thrasher).

"Glimmer of Hope" is way inferior to the debut being a meditative balladic version of the 90's post-thrash with groove and ballad taking turns, with doom metal taking over near the end on the closing trio which are potent powerful takes on heavy seismic doom with a few faster insertions.

Ordained Fate Full-length, 1992
Glimmer of Hope Full-length, 1995

Official Site

ORDEN SVOBODNYH (RUSSIA)

This Russian act plays melodic retro power/thrash with doomy overtones sounding like a more aggressive version of their more renowned compatriots Aria. The lead work is quite good, and the melodic licks are not too bad, but the singer is again not on par with the music with his indifferent clean timbre with a drunken blend, and definitely suits better the heavier doom-prone numbers ("Shabash"). He's gone for the closing instrumental "S Luvobiu", though, which is melodic lead-driven heavy metal.

Orden Svobodnyh Full-length, 2009

ORDER OF CHAOS (COSTA RICA)

These lads were earlier known as Sekel; the retro thrash delivery under that moniker has been upgraded to a more aggressive death-peppered style, "Doctrine Confusion" pummeling vociferously, the pronounced keyboard presence somewhat debatable as the effort doesn't need any melodic embellishments. "Through the Violent Circus" is a heavy less barrage-like proposition, and "Irresponsible" is an enjoyable speed/thrasher, its uplifting qualities partly ruined by the harsh not very rehearsed, shouty death metal vocals.

Through the Violent Circus Demo, 1990

ORDER OF DESTRUCTION (BRAZIL)

Based on the full-length, these lads specialize in abrasive modernly-produced thrash which either stomps ("The Nun") or moshes ("Wreckage") with moderation, the more lyrical melodic escapades on "This Is Brasil" serving the guys well, the all-instrumental pageant "Snake Nest" another decent showing, missing the hoarse semi-clean singer who still emits passion on the mellower moments. Some of the band members also mosh with the death metallers Novamhen.

Disobey EP, 2017
Still We Rise Full-Length, 2022

Official Site

ORDER OF THE BUZZARD (AUSTRALIA)

A 4-song EP of heavy modern death/thrash metal which doesn't lack energy, and suddenly breaks into a more intense material ("Skyscraper"). The other tracks are mid-paced with a certain amount of groove and hoarse semi-death metal vocals ala early Ville Laihiala (Sentenced).

Haunt the Cross EP, 2007

ORDER OF THE DEAD (USA)

Based on "The Jackals Hold Us Captive", this act provide pounding steam-rolling death/thrash with sudden brutal outrages ("Ritual Magick") carving the canvas at will, disturbing the hegemony of free-stylers like the epicer "Firehorse" and the diverse progressiver "Reaggravate" where death metal reigns supreme, withdrawing from the headbanging delight "Pit of Snakes" this one a vintage thrasher with the more technical "Illusions" another plus in thrash's resume before "A Grand Design" wraps it on with the final portion of less bridled death metallisms the cannonade supported by the attached shouty death metal vocals.

A Black Curse Comes EP, 2014
Into the Pit EP, 2017
The Jackals Hold Us Captive Full-length, 2018

ORDER OF THE GASH (USA)

This is brutal bashing death/thrash which explodes all around you with short (1-2min) bullets piercing the serenity in a commendable aggressive way. Some moments are pure unbridled hardcore, but those are not detrimental and generally the guys don't deviate too much from the winning blitzkrieg thrash/death formula "decorating" the macabre environment with the odd blast-beat. They even manage to sneak in something slower and more atmospheric on the final "Zero Population Growth" which is a mid-tempo instrumental losing the witch-like black metal singer somewhere.

Configuration Full-Length, 2012

My Space

ORDER OF TORMENT (AUSTRALIA)

Based on "World Terror", this act pull out a not very restrained black/thrash/death amalgam which can sound more intricate ("Terror-Resist") when thrash takes over, but watch out for frequent blast-beating downpours and more convoluted deathly walkabouts in the vein of early Morbid Angel ("A-Bomb-A-Nation"). The shouty death metal vocalist gives his fair share of intimidation, the more tamed doom accumulations of "Betrayal and Deceit" nicely dispersing the gathered brutality. Some of the band members are also involved with the melodic black metal cohort Abaddon.

Calculated Act of Brutality EP, 2009
World Terror EP, 2020

Official Site

ORDNANCE (CHINA)

Based on "Rock City", these Chinese rockers provide steam-rolling post-thrash with abrasive hardcore cuts which breaks the settled mid-pace with the raging piece "I Am Opposed To" bordering on death metal, and the following number is not bad, either, being an ultra-heavy proto-doomster ("This Is Our") with a cool speedy outro. Be also prepared for classic heavy metal tunes on the closer "There Is No Excuse".
The "Becoming A Citizen" EP is a more relaxed affair still belonging to the post-thrash genre again with heavier doom/stoner overtones and several quiet semi-balladic passages. This is peaceful stuff which won't keep you on the edge of your seat lacking any surprises whatsoever.
"Tear Down This Wall" treads the same post-thrash path and the fans will hardly find a single moment to headbang here, and the generic balladic/semi-balladic delivery will tire even the band fans since it's exactly the same from beginning to end; not Chinese metal's finest day, by a long shot....

Struggle Full-length, 2005
Rock City Full-length, 2008
Becoming A Citizen EP, 2011
Tear Down This Wall Full-Length, 2014

Official Site

ORDRENEKT (NORWAY)

The Norwegian metal scene has been trying to show in the past few years that apart from black metal acts it could also provide bands for other metal genres. Based on the full-length debut, Ordrenekt play thrash/crossover recalling quite a few veterans from the 80's; the songs are mostly energetic and up-tempo, but are longer (3-4 min) than what usually goes with this style, and with a decidedly thrashier edge ("Anatomy of Pain" is a nice example of the more aggressive nature of this band's music).

R'b0d Himmel, R'b0d Jord EP, 2002
Guddommelig Incest Full-length, 2006

Official Site

OREST (SERBIA)

Playful groovy post-thrash with a few more dynamic headbanging sections ("Organe Mi Daj"). The sound quality is crystal clear and gives a better image to this otherwise pretty pedestrian music. The singer shouts/semi-shouts and surprisingly holds a lot of melody all over which he mixes with harsher deathly tones from time to time.

Iza Ogledala Full-length, 2014

Youtube

ORGAN (USA)

Based on the debut: a pretty wild mixture of very heavy, modern groovy post-thrash, sludge/doom not too far from EyeHateGod and Acid Bath, grindcore moments (but not too many), and a certain amount of hardcore. I'm not sure whether it would appeal to the regular thrash metal fan, but it's really worth hearing. The closest soundalike would probably be Lair Of The Minotaur, but these guys here care less about pure thrash metal.

Install The Underground Full-length, 2003
Volume of Hate Full-length, 2005

Official Site

ORGAN DONOR (USA)

Members of the retro thrashers Betrayel entertain themselves here playing groovy modern post-thrash, providing some nice catchy choruses along the way. The riffs weigh, but the approach isn't very hard-hitting, albeit cool, not without the odd faster crossover deviation: "Six Feet Deer". The overall style recalls a thrashier Helmet on the jumpier sections, and mid-period Machine Head on the more direct ones.

The Ultra-Violent Full-length, 2001

My Space

ORGANIZED KAOS (CANADA)

Cool heavy, semi-technical thrash, sometimes almost doomy, sometimes more up-tempo, with a couple of original ideas resembling Nasty Savage's "Ignorance", but a bit more diverse and slower.

Reconditioned Demo, 1988

ORGANIZED NOISE (SWITZERLAND)

Based on the demo, this act serve rough thrashcore with brutal death metal vocals; the approach isn't very fast, and some atmospheric touches ala their compatriots Messiah can easily be detected on the steady chopper "Republic of Horror", those contrasting with the more ordinary crunchy riffs gracing the rest.
The EP is earth-shaking hammering classic thrash occasionally mixed with modern uprisings of post-thrashiness, the dynamic jumps of “Honesty” complemented by the sax-induced quirks of the goofy “Mikro Punk” and the entangled multi-layered thrashisms of the title-track. “Nostradamus Prophezeiung” is a seriously dramatic stomper, and “Bonus Dräck” is an enjoyable all-instrumental power/speed metal tractate. The singer is a semi-declamatory punk presence, his tirades echoing resounding in the studio walls.

Raped World Demo, 1993
Generation X? It's Time for Revolution Detail EP, 1995

Demo Streams

ORGASMO DE PORCO (BRAZIL)

Based on the full-length debut, this act indulge in brisk ripping thrash/crossover not far from Wehrmacht maybe with a more overt hardcore edge on the shorter material. The guys thrash on full speed with not many pauses along the way. The musicianship isn't bad at all, and the sound quality is quite clear so that the listener will have no problems savouring the cutting guitars and the hysterical shouty vocals which sound like early Tony Portaro (Whiplash) pricked by thousand hedgehogs at the same time.
"Struggle Within" starts shredding from the imposing intro "Better Reign in Hell Than Serve in Heaven", and from there the band unleash a hard-hitting "cavalcade" of fiery cuts: "Slave of Conformity", the semi-technical delight with weird hardcore-ish distractions "Supposedly Safe Haven", the proto-death blitzkrieger "Ignorance and Hatred" again comprising a surreal corey passage. "Cheated by Death" "flirts" with the more technical once again among stylish quiet breaks and sudden deathly explosions. The short "City Life" is the next in line blend of unbridled hardcore and more technical arrangements, before "Hopeless Punks" crosses hardcore and death metal in again a less ordinary manner among the frequent thrashy outbursts. The final "You are not God" is another larger-than-life amalgam with a lot of hard, semi-technical thrashing involved finishing this eventful opus with aplomb.

CMC EP, 2012
My Mind is a Mess Full-Length, 2013
Useless EP, 2014
Struggle Within Full-length, 2016

Official Site

ORGIASTIC MARTYRS (GERMANY)

This is a clever effort which circles around semi-progressive power/thrash, still classic-sounding for the time which at times recalls the more serious works from the 80's American scene (the proto-galloper "Deadly Caffeine"), at others thrashes with a stomp not far from Flotsam & Jetsam's 'Quatro"; at others is a pure speed metal delight ("Show Your Face", the closing energizer "Fatale Fatalism"). The singer isn't bad at all with his emotional mid-ranged clean timbre which he gives a slight mean edge at times. Some of the band members continued their career for the release of a solitary full-length effort (1997) with the thrash metallers Renfield.

High-Tech and low Life Demo, 1993

ORGONE (MEXICO)

Based on "Taco Hell", this band pulls out heavy groovy post-thrash clinging towards doom metal on the heaviest moments mixed with quite a few faster surprises, like the dynamic thrash/crossover piece "Designed By The Devil", the energetic headbanger "Super Soldier", and especially the raging thrashers "Death Day" and "What You Can't See", the latter a barely controlled number with a proto-death shade. Another one could be the gothic-tinged "Death Day" for the more romantically-inclined which boasts great lead guitar performance nowhere else to be encountered. The diversity of the material could attract a wider audience than the regular thrash metal one including a punkish untitled joke as a finishing touch, but the not very original guitar work and the drunken hoarse hardcore-ish vocals pull this effort down.

The sophomore effort boasts harsh abrasive production which makes the guitars too noisy standing on the way on the crispy riffage which thrashes with passion at times, but at others goes back to the groovy post-thrash formulas which it sometimes seems to have left behind. Still, after a few more intense tracks the guys safely return to what they know best, and the album surrenders to the groove which takes over completely by the end leaving the final damage to the aggressive headbanger "Super Soldier", a totally unexpected cut with super-fast riffs bordering on hardcore.

Taco Hell Full-length, 2002
Straight To Hell Full-length, 2005

Official Site

ORGULLO NATIVO (COLOMBIA)

Based on "Seecuelas", these lads serve old school thrash/death which is rich in both melody ("Inalcanzable") and more dynamic thrashy developments ("Hijos del Maldito Metal"), the shrieky rending death metal vocals bordering on the black at times, the epic atmospherics of "Calvario" supplemented by the brisk speed/thrashing histrionics of "Secuelas". "Insignia" closes the saga with lush melodic tones, the guys tasting the power metal waters at the end for a change.

Filosofía de un Demente EP, 2014
Filosofía de un Demente Full-length, 2016
Entre el Campo de Batalla EP, 2017
Entre el Campo de Batalla Full-length, 2017
Secuelas Full-Length, 2022

Official Site

ORGY (RUSSIA)

This obscure Russian outfit pull out friendly thrash with some nice melodies which are unfortunately buried at times under a very muddy sound. Still, the lead guitarist shines all over with his inspired performance while the others tread behind him occasionally producing something more substantial: the intense "Fucking Dreams", the cool speedy instrumental "Orgy" which is again carried mostly by the lead guitar. The rest is more on the rough semi-amateurish side the hoarse semi-death metal-ish vocalist not helping much with his unrehearsed semi-declamatory antics (so many semi's here...).

The Beginning of End Full-Length, 1991

ORGY OF FLIES (BRAZIL)

A classic fusion of thrash and death metal; the band don't play too fast or aggressively, but the music packs a punch, being up-tempo most of the time, recalling a thrashier Benediction at times, with deep growls ala Karl Willets (Bolt Thrower).

Rehearsal Fuckin' Tape Demo, 2003
Orgy Of Flies Demo, 2005

My Space

ORIGIN' HELL (FRANCE)

Based on "Thirst For Blasphemy", this act pulls out pretty decent retro thrash with death metal touches and several beautiful melodic "excursions" ("Barbarian Solution"). A lot of drama gets emitted from battle hymns like "Fanatic Murderous Madness", where the shadow of Amon Amarth can be felt. On the other hand, brisk speedsters like "Thirst For Blasphemy" will make you jump around to oblivion. "Warriors Of The Horned One" & "A Goatwhore in the Convent" lose control near the end with a few blasting passages, but all thrash will break loose with "Overfull" and the "fucking" closer "We Fuck Nuns" which even finds time for the odd more technical hook. This musical amalgam is assisted by gruff low-tuned death metal vocals which at times try something higher to a scary Chris Barnes-like effect. Some of the musicians operate on a more aggressive scale with the death/grind formation Plague Stricken.

The debut is a much more carefreely executed affair with short direct numbers in the beginning which keep the fast pace all over and will make quite a few fans jump around with joy. Ironically, it's the "assy"-titled "My Ass Is An Abyss" which hints at the future more serious metamorphosis with its heavier epic guitars which remain for the following officiant battle hymn "Funeral Fetishism". As a whole the second half is slower, but more interesting with the creepy technical doom/thrasher "The Necrosurgeon's Therapy" leading the pack there with its dark hypnotic riffs. The final "We Hate" lifts the mood up with its frolic crossover rhythms, but the listener wouldn't mind being left in the dominant brooding atmosphere which emits more class and is by all means more professionally executed.

Human Decadence Full-length, 2004
Still More Suffering Full-length, 2006
Thirst For Blasphemy Full-length, 2011

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ORIGIN OF ZED (FRANCE)

Modern thrash/death with raging riffs and vociferous shouty death metal vocals; the free-flowing fast-paced fiesta welcomes more tamed occurrences (the choppy "Portion"), but the speedy downpour is seldom disrupted, expressed through bouncy headlong headbangers like "Hail to Destruction" and "Mountainthrill", the more laid-back speed metal-ish "The Cave" softening the setting, the latter acquiring certain progressive tendencies on the varied saga "In Shadows".

Origin of Zed Full-length, 2014

Official Site

ORIGINAL CHAOTIC ADDICTION (FRANCE)

A 4-track demo of retro semi-technical thrash/death which starts quite promisingly, actually, with the multi-layered speedy instrumental "Chaos Engine", but later on the music loses intensity relying on hectic jumpy patterns and sudden blasting passages ("Paranoiac Wandering") which don't work very well together although there's definitely a potential here, and with a more controlled delivery the guys could leave a more lasting impression on the scene.

Origins Demo, 2008

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ORIGINAL SIN (USA)

An all-female thrash metal band; the music is actually more in the speed metal camp, not too far from SA Slayer or early Overkill, or even Exciter with some occasional thrash riffs; nice work although it shows its age.

Sin Will Find You Out Full-length, 1986

Vibrations of Doom

ORION (EQUADOR)

Well constructed retro thrash with sharp lashing guitars, a few more stylish semi-technical elements (the excellent shredder "Ciudad Putrefacta") and capable, albeit thin, clean vocals. The title-track is a prime headbanger with splitting riffs which leads a string of first-rate thrashers among which "Dictador" sticks out with its truly inspired lead guitar work. This blitzkrieg "team" is surrounded by a great intro and outro which are again lead-driven, but are simply a wonder to listen to.

Control Total Full-Length, 2015

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ORION

Based on the "Execration Behind The Walls" demo, these lads offer cool thrash/death metal mixing fast and slow sections, but a couple of scary ultra-fast passages are placed on the least expected places ("Execration Behind The Walls"); that same track is actually full-fledged death metal, an excellent piece, fast and furious with great leads and Oriental "decorations". "Convinced Through The Ages" is not far behind, but is more diverse with a grinding section, immediately followed by a doomy Bolt Thrower-like one. The last two songs are obsessed by speed in a way not far from the early Morbid Angel "temptations" in this trend.
The debut demo is another capable affair showing a lot of thought in the riff-patterns which border on the progressive without sacrificing the fast-paced moments, albeit obstructed by the messy sound quality. As a result we have a more original take on the thrash/death metal hybrid in the spirit of Nocturnus (check out the exiting keyboard-driven instrumental) and Afflicted so don't expect any furious passages here: this is carefully created stuff aiming at the serious fanbase.

Dreams Of Reality Demo, 1990
Banishing Souls Demo, 1991
Execration Behind The Walls Demo, 1992

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ORION (ITALY)

Modern progressive power/speed/thrash which relies on atmosphere more with keyboards applied profusely on top of the moderately contrived riff-patterns. The lyrical melodic sensitivity of "Living Agony" is replaced by the more dynamic shenanigans on "Lord Byron", an assured speed/thrashing fest, with "Tragedy (Illusory Existence)" even going beyond the acceptable speedy parametres for a thrilling hyper-active ride the latter put under control to an extent on the stomping officiant "Slaves Of Yourself" which still allows a couple of more aggressive skirmishes. The end is preserved for the aptly executed cover of Manowar's "Blood Of The Kings" the otherwise gruff deathly singer acquiring a more acceptable cleaner baritone for this one. Some of the musicians can also be seen in the symphonic power metallers Ghost City.

Illusory Existence EP, 2002

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ORION (PAKISTAN)

The stylish lead-driven opening instrumental "Alpha Orionis" promises something technical, even progressive, but the continuation is all over the place, mixing 90's grooves with furious thrash/death sections to a not very positive effect ("Bloodshrine"). Later the music shifts to post-thrash ala The Black Album, the "idyll" nicely "broken" by the edgy mid-paced stomper "In the Mouth of Madness". Nothing spectacular after it, all this finished with the frustrating 10-min uneventful doom/bluesy opus "The Final Sign" (this "final sign" could have been more carefully chosen at least...).

Angel of Dust Full-length, 2007

Official Site

ORION (USA)

This act serve modern/classic power/thrash reflected in long, progressive-tinged compositions where not much hard thrashing meets the dominant steam-roller, mid-paced delivery which will strongly remind of later-period Iced Earth. The closer "Oceans of Despair" is a gigantic 15.5-min opus with a few fairly interesting moments including several speedy passages and a couple of intriguing technical decisions the latter even hinting at later-period Death at times. The vocalist has a tolerant semi-clean throat which he doesn't strain at all consequently sounding indifferent on a couple of more dramatic moments.

The Ruin Of Days Full-Length, 2012

ORION CHILD (SPAIN)

Edgy sharp modern power/thrash metal also with a good sense of melody, both sides well reflected on the intense thrashing opener "Slave Of The Dark" which cuts like a knife topped by good semi-high clean vocals. The energy gets well translated on the next "Out Of The World" which speeds up a bit those attempts aggravated by "Faraway", a prime brooding gothic thrasher with a good speedy ending and a stylish use of church-like operatic keyboards all over. "Ilmariel" is a heavy stomper with a cool balladic interlude; here the keyboards are not very appropriately implemented, though, kind of overused. The pounding continues for another two songs before "Nightmare" starts galloping in a formidable scary manner with heavy crushing riffage assisted by more brutal deathly vocals; watch out also for the excellent melodic lead section in the middle which also springs up towards the end with a great classical edge. "Eclipse" brings the heavy proto-doom riffs once again, only for them to disappear partly on "Revenge" which is a varied composition alternating fast speedy moments with dark creepy ones to a very atmospheric effect. The closer "Tragedy Of Soul" is the staple intense mid-pacer with keyboards and leads dueling throughout suddenly intercepted by a short brutal blasting section. This is a job well done with a good consideration of the present currents on the music scene finding the perfect balance between melody and sharpness surrounded by a dark gothic setting.

A New Dark Apology Full-length 2010

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ORKAN (NORWAY)

Based on "Livlaus", this is mostly bombastic operatic black metal with thrash present in a way not different from Bathory's "Destroyer of Worlds": check out the short rouser "Brende Bruer, Svart Metall" which still comes black-decorated. The hyper-blasts are omnipresent stifling the officiant operatic arrangements, and the highlight is the song form which they're missing, "Uforgjengeleg", a nice minimalistic quasi-doomster. The musicians are all busy with the black metal cohort Enchanting Darkness.

Crimson Canvas Full-length, 2012
Livlaus Full-length, 2015

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ORLAC (SPAIN)

Based on the debut: this band play dark thrash/death metal with gothic and doom overtones, not far from the Dutch Asphyx, or early Cemetary. The music has its energetic moments (the furious death metal hammer "Undamaged", which will hardly leave you "undamaged", like the title suggests; "Fascist Doctrine"), and "Beginning Of The End" nicely brings the winds of black metal: a nice varied instrumental, but for most of the time the guys rely on heavy pounding riffs and melodic hooks ala Bolt Thrower (the closer "Ritual of Blood").

Ashes to Ashes... Dust to Dust Full-Length, 1997
Firthcoming Death Full-Length, 2000

ORLOK (SWEDEN)

Based on the "Soul Resurrection" demo, Orlok are a melodic modern thrash metal band with a somewhat gothic edge reminding of Rotting Christ's more sophisticated period ("Dead Poem", "Sleep of the Angels") if we exclude, of course, the hardcore-tinged vocals. This isn't sharp edgy thrash but is far from dull, with tasteful melodic riffs present all over.

Behold The Darkness Demo, 2002
Soul Resurrection Demo, 2004

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ORMUS (BOSNIA AND HERZEGOVINA)

Based on the 2005 demo: this is moody modern thrash/death metal which surprisingly doesn't follow the Swedish patterns, but comes with an individual sound being heavier and mostly mid-paced, and not as fond of speed. Some gothic leanings can be discovered ("My Private Heaven"), but the brutal death metal vocals ruin those moments.

"Transmission..." offers very similar stuff, thrash/death metal on the moody side, mostly mid-tempo with sudden spasmodic fast outbursts the latter slightly compensated by the doom/gothic breaks. The guitars have an edge and rise up for a couple of cool headbanging moments ("Black Lightning"; the nice galloping "Something Beside") although now they carry a clearly audible Gothenburg flavour making the music sound more derivative this time.

Demo Demo, 2005
Live in Zenica Demo, 2006
God's Grief Full-length, 2007
Demo Demo, 2008
Promo Demo, 2009
Transmission... Full-length, 2010

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ORNIMENTAL (USA)

Based on the full-length, this act serve modern thrash/post-thrash with traditionally sharp riffs and shouty semi-clean vocals which try to capture the hoarse blend of James Hetfield, but should have rehearsed more. "Encage" is a more dynamic cut, but the rest is content enough within the mid-paced confines with rare escapades towards the more aggressive formulas. On the other hand, the balladic moments become way too many in the second half this growing tender tendency ably reflected on the closing lyrical instrumental "Eclipse".

PowerNerve EP, 2011
Ornimental Full-Length, 2014

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ORPHAN HATE (GERMANY)

Based on "Attitude & Consequences", this outfit specialize in hard-hitting choppy modern post-thrash with sparse deathly deviations and several more stylish gothic touches where cool female vocals appear. The album inevitably loses its initial bite due to the mellower insertions, but this is music for a larger fanbase, and may not be the first pick for the thrash metal lover.

Proceed Full-length, 2001
Changes Full-length, 2004
Blinded by Illusions Full-length, 2008
Attitude & Consequences Full-length, 2012

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ORSINI (SPAIN)

Fast intense old school thrash/crossover; references to their compatriots Storbais and Su Ga Tar are inevitable, the main difference being that these guys are more hardcore-prone, branching out in more unbridled pogos quite often, including the isolated grindy outrage ("Burguesia Putrefacta"). The music is pretty fast, but also jolly (check out the merry-go-rounder "Anarquistas"), but the lead guitarists do their best to sound more stylish and succeed with a few interesting melodic variations which are a nice contrast to the hoarse shouty vocals.

Hasta La Total Extincion De La Burguesfa Full-Length, 2011

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ORTHODOX (ITALY)

Classic thrash/death metal mixing fast raging songs with doom/gothic hymns ("Killing Time") the latter losing the thrash metal idea completely. The sound quality is quite good, and the brutal death metal vocals are quite intelligible.

The "Land of Despair" demo has two sides: the original material which is fairly effective with a strong technical flair, great riff patterns and impressive leads (two songs); and the covers both done very well: Morgoth's "Resistance" from the album "Odium" played faithfully with added speed; and Sepultura's "Desperate Cry" from "Arise" done close to the original. Still, listening to the original tracks one may wish the covers could have been replaced by more original songs: there was definitely a potential "lurking in the shadows" here which sadly remained unrealised the guys disappearing without a trace after this demo with not a single word heard about any of them.

Deadly Obsession Demo, 1993
Psycho Human Demo, 1994
Land of Despair Demo, 1995

ORTHRUS (USA)

This EP is whole eight tracks long; otherwise this is vicious, occasionally blasting, thrash/black metal with melodic epic/viking elements. The thrashy riffs at times cling towards the Swedish scene, but they are often broken by the hyper-black metal passages ala Emperor and Dimmu Borgir, except on the nice epic thrasher "The Summoning". "Onward to Valhalla" even adds happier tunes from the power/speed metal scene into the already overdone picture. A cool touch, though, are the several orchestral/ambient short instrumentals: an intro, an outro, and an interlude.
The full-length debut, as you can guess from the title, is built entirely around the songs from the demo only featuring two new tracks: "Agents of Assyrian Wind" which is a furious speed/thrash/blacker carried out in a swirling fast pace; and "Thy Fate in Damnation" which is a more controlled epicer with a few blast-beating moments scattered around the stylish progressive delivery.
"The Great Mortality" is the band's magnum opus, nice thrash/black with sweeping melodies, fast tempos, occasional blasting decorations, technical/semi-technical decisions, pompous epic arrangements, and quiet balladic interludes (the idyllic acousticer "Miasmatic Evasion"). The title-track is a cool epic progressiver coming at the end to add more to the cool diverse character of the album.

Tyrants of Deception EP, 2008
Tyrants of Deception Full-Length, 2011
The Great Mortality Full-Length, 2013

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ORWELL (USA)

Based on "Endeavors", this band play your average melodic thrash/death metal of the Swedish type with loads of melodic riffs and energetic up-tempos. Nothing exceptional if we exclude the sparse stylish acoustic insertions including one short instrumental ("Anticipation") in the same vein.

The Undying Full-length, 2006
Summer Sampler 2007 EP, 2007
Endeavors Full-length, 2009

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OSAMENTA (ARGENTINA)

Fast, occasionally intense, thrash metal reminiscent of Sepultura's "Beneath The Remains" on the more aggressive sections. Despite the big number of the compositions (14), the band stretch at least half of them beyond the 5-min range, "Osamenta" reaching 10-min, and is quite a diverse track in itself, easily going from short furious blast-beats to heavy doom sections. "Heridas del Futuro" isn't too far behind in terms of length (9.5-min), but is more consistent, without too many extremes boasting sparse but cool Oriental tunes. The album is not constant bashing, on the contrary, it offers quite a few slower atmospheric passages, as well as attempts at a more lyrical balladic play ("Camino al Destino", where the sharp guitars are well intertwined with the background piano melody; "Lofgrimas de Dolor"; the excellent short closing instrumental "Atardecida Soledad").
"Libertario" is more controlled with less extreme stretches, generally slower and more melodic, and consequently much inferior to the very cool debut. The classic sound of the first album has been tempered with, with a couple of more modern inclusions here and there which further deepen the not very pleasant impression from this sophomore effort which this time comes as a more edgy version of the trend from their homeland (Horcas, Hermetica, Lethal). It only sparsely thrashes hard offering for most of the time an ordinary semi-classic/semi-modern mix with very few highlights clearly concentrating on melody more rather than hard aggressive riffage.
"Subversivo" is more consistent than its predecessor and is consequently the better effort thrashing in a way not too far from the debut itself at times. The opening "Hambre de Revancha" moshes with conviction in up-pace followed by moderately dynamic, proto-modern, pieces which are not anything extraordinary, but deliver with good meaty riffs. The middle is preserved for a half-min acoustic instrumental ("El Camino") and the slamming speed/thrasher "Cuando Estalle La Rebelion" which invigorates the album influencing the rest of the songs the closer "Armados Hasta Los Dientes" being another major thrasher with crisp sharp guitars. This is a cool release although it would hardly make a revolution back home, but is still a good example of the classic and modern trends' co-existence.

"Consumicidio" comes with an expressive modern flavour which boosts all instruments in equal measures, for better or worse, still providing a bit of fun in the long run. The approach is mostly mid-paced with very heavy squashing guitars which are missing from the album highlight "Entre Tumbas De Derrota", a nice sophisticated semi-technicaller with cool jumpy rhythms and a surprising memorable chorus. "Sicarios Del Poder" near the end will probably make you jump around for a bit as well, but this effort is just too stale to make you go back to it again.

Sue'b1os Sin Final Full-length, 2004
Libertario Full-length, 2008
Subversivo Full-Length, 2011
Consumicidio Full-length, 2014

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OSARIO (ARGENTINA)

This is interesting semi-progressive old school power/speed/thrash which covers a wide ground including several moshing tracks ("Ultimo Recurso"). Still, the mellower material is prevalent like "Inercia" which is a cool reminder of the guys' peers and compatriots Hermetica and Horcas. "Cicatrizar" is a more aggressive progressiver with echoes of Malicia, with some hard thrashing involved, but the rest doesn't try too hard to leave the established peaceful paramertes. The vocals are cool clean ones with a more detached, less dramatic timbre, but more emotion emitted would have been a better option.

Reevolucion Cultural Full-Length, 2017

OSH (GERMANY)

Based on the demo, these folks indulge in interesting, intriguing multifarious thrash/death which on "Pabulum" is multi-layered progressive metallism with twists and turns galore, both melodic and intricate. The heightened musicianship continues on "The Light Called Sun", a near-9-min saga which is more on the dark atmospheric side, the deep deathly vocals enhancing the setting which gets more dynamic in the second half. "Soak" is a short explosive headbanger, pure death metal madness, and "Peak Level Search" is another larger-than-life proposition with cleaner vocals popping up on a tenebrous doom-laden background which never changes throughout the 11-min of playing time, thus diminishing the impression form this otherwise original recording.
"The Sweet Sound of Greed" is decent progressive thrash/post-thrash with choppy rhythms, irregular time-changes, the surreal shredder "A Carrousel of Crows" a really nice inauguration that receives a modern quasi-groovy boost with "Krieg". "Music Sweet Music" is a more orthodox modern thrasher, and "Me, The Serpent, Blood, Us And The Garden" is a complicated canvas with extreme extrapolations taking turns with more linear speedy sections. "Ineluctable" is heavy doom-oriented ballad, and "Nomo" is a weird fusion-esque tractate, its jarring discordant riffs remaining then highlight on this disparate but intriguing offering.

Eternal Verities Vol.1 Demo, 1995
The Sweet Sound of Greed Full-length, 1999
Red Universe Full-length, 2002

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OSHIEGO (SINGAPORE)

Based on the full-length debut, this Singaporean trio specialize in pounding modern thrash/death with harsh death metal vocals. Energy isn't quite the name of the game here, at least in the 1st half, although some more dynamic galloping riffs can be felt on "Vae Victus!", including several less controlled blast-beats ("The Absolute") the latter accompanied by cool Oriental motifs. "Decapitating the Sarafan" is a nice semi-technical ripper which gives a boost to the second half which also features the more elaborate progressiver "The Scion ov Balance", and the closing headbanger "Into the Grave" which finishes with an imposing doom outro ala Bolt Thrower.
"The Great Architect of Nothing" is a better offering the band now lashing with more aggression touching death and even black metal with ease trying to capture some of the manic intensity of their compatriots Impiety. There's a lot of brutality involved with frequent blast-beats in the beginning. In the second half things calm down a bit with thrash taking over gradually to produce the best moments on the album (the dramatic "Imposter", the semi-technical "Last"). The end is in the form of the cover version of the Swedes Vomitory's "The Voyage" which is done with more panache showing an obvious fascination with the death metal side which may become the guys' full-time occupation in the future.

"Crossing the Bridge of Siraat" is another varied blend of thrash, black and death metal with fast and slow compositions alternating throughout. Quite a few cool Oriental motifs ("The Tree of Zaqqum") can be heard at times as well as less controlled brutal blast-beating sections ("The Field of Mahsyar"). "Inspiration from the Dark" is an imposing doomy Orientalism ala Melechesh influencing to an extent the final "Heathen" which also thrashes with force near the end.
"The Book of Wonders" is almost exclusively oriented towards the death metal idea, and as such is easily the band's most brutal recording. Frequently applied blast-beats decorate the setting which invariably comes with shades of black ("He of the Two Horns"), the thrashing anti-urgency of "He Who Incites Evil" easily swept aside by unbridled deathly furies like "Hag of the Night".
"Jaljalut" brings back the thrash in a cool melodic manner ("The Tribulation"), and although the dominant approach remains more death-fixated, there's little wring with the dramatic thrashy accumulations on "The Book of the Sun and Gnosis…", or with the thrash/crossover-ish staggerings of the Oriental energizer "Wrath of Khan".

Unending Carnage EP, 2009
Woe to the Conquered Full-length, 2011
The Great Architect of Nothing Full-Length, 2013
Crossing the Bridge of Siraat Full-Length, 2015
The Book of Wonders Full-length, 2019
Jaljalut Full-length, 2022

Official Site

OSIRION (FRANCE)

Based on "Reconquista", this band plays vicious black/thrash metal which in the beginning is pure blasting black metal, surprising pleasantly at times: the atmospheric slower dreamy The Kovenant-styled "Sadomaniac", after which the album loses all the speed, opting for more atmosphere instead and winning in the long run since the guys really deliver when they keep it softer, breaking out in a genuine Dimmu Borgir-esque fashion near the end, on the excellent progressive "And Lucifer Fell" which in its turn is followed by the very cool Sodom cover of "Baptism of Fire".

Har Sabbat Full-length, 2005
Reconquista Full-length, 2008

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OSIRIS (HOLLAND)

Truly outstanding, very complex multi-faceted progressive thrash; the songs are lengthy which shouldn't come as a surprise, but contain the necessary aggressive moments some of which come out of nowhere, and those would make you scratch your head quite a bit: the opening "Futurity (Something to Think About)" develops in a calm power/thrash metal direction before it starts thrashing quite intensely in the middle; then another shift into a more laid-back style follows suit, this time with a cool twisted passage at the end. "Mass Termination" will shoot you at close range, a relatively short (6-min) for the band's standards aggressive thrasher, which leaves the technicality a bit behind, but nails mercilessly steel riffs one after another. "Inextricable" begins in a tender balladic manner, but the fast riffage quickly takes over, this time combined with quite a bit of a technical play as well which later turns into very mazey hectic passages the only way out of which is the song's end. "Out Of Inspiration" is more abstract laid-back progressive thrash metal which never leaves the mid-pace during its nearly 9-min, and is a bit boring, also well deserving its "uninspired" title. "Inner Recession" isn't faster, but the guys excel in twisted meandering riffs which change all the time flowing into one another, seldom repeating themselves recalling past masterpieces like Deathrow's "Deception Ignored" and Sieges Even's "Life Cycle". The album's opus "Fallacy (The Asylum)" closes on 10-min, and is another sprawling composition, the slowest one here containing several overlong semi-balladic passages alternating with somewhat clumsy unfocused mid-tempo guitars. The uneven impression is initially smoothed with the very cool closer "Frozen Memory" which is a solid cross between Psychotic Waltz's "Social Grace" and Watchtower's "Control & Resistance", not fast, but elaborate and quite sharp with another balladic deviation, this time placed at the end, and a lot more appropriate. This album is a milestone on the high quality Dutch technical/progressive metal scene, worldwide as well, a work of art executed with vision and an unparalleled swing of creativity.
The demo is already on a fairly complex level the guys playing some stupendous schizophrenic thrash which is more chaotic and less accessible than the style on the full-length. "Mass Termination" from it later found its way into the album being the most linear composition here compared to the surreal multi-layered style exhibited on the other three cuts

Inextricable Reversal Demo, 1989
Futurity and Human Depressions Full-length, 1991

OSIRIS (NORWAY)

Based on the "Lesson 3: Increase Impact" demo, these guys serve dark atmospheric thrash/death which has the more adventurous spirit of their compatriots Cadaver from "In Pains": check out the sudden melodic digression on "Honest?"; but they are kind of more convincing when they thrash with more reckless abandon ("Snakevision"). The sound quality is quite muddy making the guitars hiss with passion, and the vocals are shouty throaty ones, not really in the death metal camp.
The "Forced Insanity" demo is an absorbing semi-technical affair which wastes no clever pounding tricks on the all-instrumental "Megaforce" to bewitch the listener although once the not very attached, mid-ranged clean vocalist hits some of the magic may disappear, the officiant gravity of "Nostradamus" bringing Megadeth to mind whereas "The End" flirts with a near-doom layout the hammering riffs receiving a more dynamic boost on the shredding "A.F.O.B.", not to mention the vigorous speed/thrashing title-track, a delight to the ears with the blistering speed and the soaring melodic licks, the guys unwinding at the end with the bluesy joke "Another Beer".
The "Aspects of Reality" demo is another admirable achievement the band thrashing the neighbourhood and beyond initially with the nice ripping semi-technicaller "Lebensborn" before the shadow of the Germans Paradox appears on the impetuous "Adjust"; no adjustments to the oncoming 90's vogues here under any form, the guys testing more progressive waters with the pensive mid-pacer "Nobody Wants Youth", a not very urgent, cleverly-woven saga with echoes of Metallica, the effort wrapped on by the exploding speedster "Brainfade", the singer doing a better job here, trying to use more pathos and higher pitches.

Forced Insanity Demo, 1989
Aspects of Reality Demo, 1991
Lesson 3: Increase Impact Demo, 1992
Ragnarock EP, 1993

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OSIRIS (USA)

Nothing more than the very typical for the time groovy post-thrash in mid-tempo trying to follow the Black Album models, but when the guys give those up, they manage to come up with more interesting headbanging riffs ("It", which ironically also contains crushing doom riffs, the heaviest part of the demo). The singer isn't too bad being clean, a bit high-pitched, sounding quite dramatic and attached for most of the time.

Respectfully Stuck it in the Doorway Demo, 1993

OSMIUM (USA)

A very good mix of classic and modern thrash metal with good sharp riffs and heavy tracks in mid-tempo recalling early-90's Sepultura (a mixture of "Arise" and "Chaos AD"). Catchy short modern thrash metal hymns await you here ("Drifting Away", "The Last Good-Bye", which also comes served with a great retro thrash section in the middle) as well as more melodic, but quite effective numbers ("Jesus Lover").

From The Ashes Full-length, 2003

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OSS! (USA)

These "kings of thrashers" will have to eat a lot more bread before claiming this title. What we have here is brisk spontaneous thrash/crossover which isn't tedious or one-dimensional, but comes up with more varied guitar work which doesn't go for the speed the whole time. The shouty quarrelsome vocals fit well the undemanding musical approach which at least manages to pull itself for one full-blooded thrasher near the end, with the appropriate title "Thrashers Hate Police" (who doesn't...). An interesting touch are the several excerpts from popular pop/disco evergreens inserted here and there.

King of Thrashers EP, 2008

OSSEOUS (CHILE)

Based on the full-length, this act deliver old school thrash/death that is clearly on the bashing side (“Seasons into Fire”) for at least half the time, the death metal violator “Survival Instinct” the most brutal offering here, with the short bursting “Guerreros Ancestrales” a very close second. The more officious epic flair of “Blood Wars” is swiftly dispersed by spasms of blast-beating urgency, “Inocencia Masacrada” the most controlled proposition, a steady abrasive thrasher, hampering a bit the guttural death metal singer. Some of the band members are also involved with the thrash/crossover unit Mala Sangre.

Throne of False Illusions EP, 2020
Pestilence Under the Lies Full-length, 2024

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OSSUARY (SINGAPORE)

The debut: these guys stick to the dry mechanized side of the genre where the works of early Meshuggah belong. The music of the Singaporeans isn't as technical, and will also remind you of Pantera and Machine Head; not bad as a whole despite the unnecessarily big amount of groove present. "Nothing but Lies" is a cool industrialized semi-ballad, and "The Birth of..." is a nice short atmospheric instrumental. "Voracious Pigs" is the best song here: a stomping riff-fest which nicely adds more technicality to the proceedings, and the closer "Endangered Nation" exits this album with dignity being a fairly interesting technical thrasher also recalling late- 80's Metallica.
"Kingdom of Delusion": the Singaporeans wake up for a bit more of the same, and this album is a logical follow-up to their debut. The mechanized guitar sound, which worked well before to these ears, has been retouched the riff-patterns now more simplistic and less interesting. The lack of speed may be another complaint since this monolithic wall of mid-paced sound may tire the listener at some stage.

Ossuary Full-Length, 1998
Kingdom of Delusion Full-Length, 2016

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OSYRON (CANADA)

Very good modern progressive power/thrash the approach divided between long complex compositions and shorter fast technical speed/thrashers in a manner not far from mid-period Eldritch although in terms of execution this act are strictly in the modern camp. The album begins with the former side fully displayed on a trio of engaging elaborate shredders in mid-tempo full of hectic mechanical riff-patterns which weigh a ton plus some great melodic leads which take some of the sterile atmosphere the latter on the edge of echoing Meshuggah ("Becoming the Omen"; check the speedy exit on this one) even. "Gallery of Fools" is the needed "reliever" with its super-speedy crescendos followed by another bomb: "Going Under", technical speed/thrash at its finest reminiscent of more recent Paradox and Manticora. "Ruination" reduces the speed, but is a super-heavy shredder with a great acoustic mid-break the latter influencing the nice semi-balladic lead-driven instrumental "Silent Judgement" and the ballad after it "A Return". Then "Facing Fate" comes crushing down with another portion of seismic riffage which remains for the speedy closer "Prosperity", a fitting epitaph with several more peaceful sections breaking the fast neck-breaking ones this progressive speed/thrashing symphony finished with a great atmospheric orchestral outro. The singer is nothing short of outstanding with his emotional attached mid-ranged timbre occasionally acquiring harsher tones on the more dramatic moments.

Harbinger Full-Length, 2013

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OUR DYING CONCEPT (UK)

Based on the 2006 demo, this band plays modern melodic thrash/death metal with metalcore leanings; pleasant albeit predictable stuff with energetic speedy riffs and really cool leads.

Demo Demo, 2006
Pre-Production Demo Demo, 2007

Official Site

OUR GRACE (FRANCE)

An unknown act providing five songs of atmospheric death/thrash metal not too far from Amorphis' "Karelian Isthmus". This is interesting stuff, not very fast, with cool technical moments ("Blame of Existence") at times, but also with a lot of doom which comes with plenty of melodic tunes those sections partly ruined by the brutal low-tuned vocals.

Journey Between Flesh and Mind Demo, 1992

OUR SACRED HONOR (USA)

This is modern thrashcore which welcomes both stomping groovers ("Get the Horns") and vicious more intense shredders ("Pain Don't Hurt") as both sides alternate on an almost track-by-track basis. The playful nature of "Us vs. Them" combines both approaches into one jolly good melee, but the actual highlight seems to be "The Deplorables", a stiff mechanical headbanger opposing the more classic-prone roller-coaster "Battle Cry" which is ruined by the dry, not very pleasant overshouty death metal vocals.

Kill Everything to Survive Full-Length, 2018

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OUR SOULS (GERMANY)

Based on the full-length debut, this band play modern metalcore-ish thrash with expressive shouty death metal vocals. The approach quickly acquires Swedish melo-death proportions ("Zombie Nation"), and although later it has no problems getting rid of them moving towards more flexible power/thrash models, or towards straight-ahead crossover ("Pornsuckers from Hell"). The singer is a harsh deathly shouter, quite expressive to the point of hysteria at times.
"Pound For Pound" doesn't change the setting except that the vehement headbangers ("Slaves of the Sun", the title-track) are more, the pounding grooviness of "No Place to Go" interrupting the acceleration process but not irreparably. "Hasslich" is a nice friendly heavy rocker, echoing the early efforts of the guys' compatriots Rammstein, the steam-rolling urgency of "The Damned" the highlight here, the officiant morose clout of the closer "Still Alive", the final stroke on this pretty entertaining opus.

War for Nothing EP, 2013
The Beast Within Full-length, 2015
Pound For Pound Full-length, 2021

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OUROBOROS (AUSTRALIA)

These are the same guys who released an excellent demo of classic technical thrash under the name Dred in 2006. The only member missing from the Dred line-up is the talented guitarist Denis Vlachiotis who concentrates on his solo career at the moment (although so far he has only one EP released in 2007 of pretty good technical power/thrash shred mixed with classical and latino rhythms). The style presented here is quite similar to the one on the "Dred" EP, and the new guitar players are doing their best to fill in Vlachiotis' shoes by giving truly inspired performance with great Oriental and Latino motifs which are present on almost every song to a great effect: think flamenco played with technical power/thrash metal tools. "Black Hole Generator" concentrates on those Latino elements being a nice atmospheric mid-pacer with suggestive technical undercurrents and beautiful melodies. "Lashing of the Flames" is a wild technical thrasher in the best tradition of Helstar's "Nosferatu" which is again the main influence on the band with fine Shrapnel-like lead performance and an even finer quiet acoustic mid-break. More puzzling rhythms come served on "Animal, Man... Machine" which notches up the intensity settling for a faster, also jumpier more hectic approach. Dramatic spiral-like guitars aplenty will one encounter on "Sanctuary" as well as a breath-taking melodic doom/balladic interlude; beautiful stuff; but "Sea to Summit" thrashes harder with a few turbulent speedy crescendos present. The technical virtuosity takes more progressive proportions near the end on "Edifice of Tyranny" which is complex power/thrash metal in mid-pace; and on the closing "Absent from Entity" which is a sweeping galloping number, a sure leftover from "Nosferatu" to which this strong effort is the best possible tribute so far all these years. Like in the Dred case the singer is a letdown his guttural death metal antics failing, by a long shot, to match the magic created by the music.
"Emanations" would be a very unpleasant surprise for the band fans who will encounter operatic atmospheric death metal all the way through with no shade of technicality anywhere the latter replaced by overdone emotional Oriental motifs. To review this album further would be a total waste of time... it simply has no place here.

Glorification of a Myth Full-length, 2011
Emanations Full-Length, 2015

Official Site

OUT OF DARKNESS (USA)

This not very known outfit specialize in jumpy technical, at times even funky (the stylish unpredictable shredder "Grinding Into Silence") thrash which is still on the classic side, also ornate with the odd taste of surreal Realm-esque technicality ("World of Sorrow") also recalling some of the Bay-Area heroes (Heathen, Forbidden) who should also stop and listen on the varied semi-ballad "Savior", a nice composition with great melodic leads and intriguing progressive arrangements. "Colors of War" is another winner of the more aggressive type with cool bassisms and another portion of cleverly-executed riff-patterns. The singer is an asset with his attached clean mid-ranged voice which he doesn't strain too much, but does a respectable job all over.

Demo Demo, 1991

OUT OF HAND (PUERTO RICO)

Based on the full-length, this act provide old school thrash/death with expressive throaty death metal vocals. There's no aggression lost here, the hardcore-ish shenanigans on "Weak Willed" pairing well with the violent rhythms on "Becoming the Enemy" and the more laid-back speed/thrash arrangements on "Petrification". "Condemned to Fail" is a nice bouncy semi-technical shredder, the more seriously-executed "Severing Ties" hinting at loftier skills which are yet to be exhibited more fully.

Icons of Apathy EP, 2019
Becoming the Enemy EP, 2020
Aging in Putrefaction EP, 2020
Exility Full-length, 2021

Official Site

OUT OF ORDER (GERMANY)

This is another very good power/thrash metal band of the old school. Out Of Order combine long epic power metal songs with fast razor-sharp thrashers. The style is close to contemporary Agent Steel and the Polish Hellfire on the faster moments. "Powered by Aggression" is the more melodic affair with a bigger doze of power/speed metal elements and epic moments. The songs are longer and more complex freshened by shorter more immediate thrashterpieces ("Dead End"). Some of the longer numbers also try to keep speed and intensity longer: "Terror Rules", and succeed most of the time.

"Back in Hell" is the thrashier effort boasting great sharp riffs making even the slower, calmer numbers ("God of Misery", "Back in Hell") sound intense. The base of the album, however, is the speedy tracks and they crush in a major way as well: "Seven", "Blue Eyed Tornado", etc. The songs are shorter except for the album closer "Invisible Empire" which is a great speed/thrash metal opus in the best tradition of the aforementioned bands.
"Facing the Ruin": the guys are back in action, also in full order, and they deliver once again, with style to spare at that. Most of the album stays within the speed/thrash parametres, there isn't much genuine power metal to be encountered here, truth be told, with flying ragers like "Self-Deception" and "What For" ensuring plenty of wild headbanging moments. More technical configurations take over on the excellent shredding fest "The Sniper", those later picked by the Paradox-esque "Guilty" and the progressive engager "On the Rise". The swiftly-accumulated inertia gets partially lost in the second half due to the semi-balladic epicer "Tears of an Angel" and the friendlier, not really angry, power metal crowd-pleaser "God Is Angry", but these cuts are far from pullbacks: there are none of those here, this effort easily one of the more convincing ones to come out of Germany in the past few years.

Powered by Aggression Full-length, 1999
Back In Hell Full-length, 2002
Facing the Ruin Full-length, 2019

Official Site

OUT OF THE LAIR (GREECE)

Thrashy power metal similar to the Germans Brainstorm or Manticora from Denmark; there are cheesy moments (in the choruses mostly), but there are, on the other hand, enough thrashy breaks scattered throughout the album to satisfy the average thrash metal fan. Another minor complaint would be the vocals which sound quite strained at times, especially when the guy goes for the high tones. Things would become really interesting if the band vote to concentrate for the future on their "dark" thrashing side.

Psychotears Full-length, 2003

Official Site

OUTBREAK (CANADA)

One of the better kept secrets from the Canadian underground, Outbreak offer pretty cool power/thrash metal which is obviously influenced by their more renowned compatriots Anvil, and these guys here perform equally as well, if not even better. The opener "Master Stroke" is a great galloping power/thrasher in the vein of Omen, Attacker and, of course, Anvil. "Uberalles" carries in the same vein, but speeds up, and the guitars take a more aggressive thrashier edge. "Hell on Earth" is a brilliant technical power/thrasher, with overwhelming haunting riffs and superb melodic leads; for this song alone this album is a must. "Mein Kampf" is an all-out thrasher, fast and merciless. Then comes the odd hard'n heavy number "Love", something which sounds as though directly taken from the Anvil debut. This lyrical, romantic song is followed by another awesome galloping thrasher: "Spy Killer", again graced by some fascinating guitar work. "Leader", with its leaden super-heavy riffs strangely reminds me of the Candlemass' venture in thrash "Cry from the Crypt". "Triumph" is a really triumphant end to this masterpiece: a great up-tempo thrasher with a very memorable main headbanging riff. The singer is an acquired taste, though; high-pitched, screamy, but kind of fitting to the music.

Master Stroke Full-length, 1986

Vibrations of Doom

OUTBREAK (USA)

Based on the "Madman's World" demo, this act serves noisy hardcore-ish thrash which comes with an awful sound quality and very bad synthesized vocals which create even more noise than the guitars. There's a certain amount of crust introduced as well, but apart from the more clever exercise in heavy, stomping modern thrash "The Silence Within", and, partly, the more decipherable death metal approach on "Doomsday", there isn't much to be distinguished from this not very easily digestible wall of noise.

Madman's World Demo, 1997
Awaken the Night Demo 1997

OUTBREAK RIOT (JAPAN)

Based on the self-titled demo, these guys offer speedy retro thrash metal with harsh hardcore synthesized vocals which simply don't serve right the much better music. Apart from the all-out thrashers a few more crossover-inclined tunes can also be caught ("Axis Of Evil") although the approach doesn't really change much remaining fast and tight the whole time.
"Stagnation" is an intense retro thrash/crossover affair which ranges from short Motorhead-ish cuts ("No Control") to more seriously-woven speed/thrashers ("Bloodshed"), the bashing factor particularly high on the vicious grindy "Grind Impact", with more wholesome retro thrash materializing on "Goddess of Blood" and the interesting progressive title-track. The closer "Escape From Reality" is a mellow switch to power/thrash, but its melodic veneer is not exactly a detriment.

Act One Demo, 2007
No Control Demo, 2008
Escape from Reality Demo, 2009
Outbreak Riot Demo, 2010
Stagnation Full-length, 2014
Riot of Violence Full-length, 2019

Official Site

OUTBURST (FRANCE)

The word "thrash" is frequently present on the band's works' titles. Based on the "Pure Thrash" demo, this is really pure old school aggressive thrash metal in the Slayer and Vio-Lence vein.

Fuck the Engineers Demo, 1986
Demoniac Outburst Demo, 1987
Pure Thrash Demo, 2003
Thrashback Demo, 2006

Official Site

OUTBURST (HOLLAND)

One of the better modern thrash metal bands; perhaps this is because their music has something from the classic school, too. On "Fair and Balanced" the band waste no time, starting with the intense headbanging instrumental "220", which is pure retro thrash delight, thrashing intensely for a little more than 2-min. The modern sounds come with the next "Freddy's Song" (after all, all needs to be "fair & balanced"), along with more melodic than the main vocals, mixed with more brutal, death-ish ones. The classic thrash tunes come back for another furious piece: "The Beast Will Strike Again", followed by the more technical exercise "What The Eyes See", which is a great thrasher, with a slight twist. "Slaughterhouse" is a more ambitious track, longer and more elaborate, but fails to deliver the goods in a way the others did. So the guys are quick to bring back the more successful, simplistic intense thrash formula, with "The End" and "My Own Hell". "Attack of the Overfiend" is an awesome mix of speed, thrash and a bit of death metal, a larger-than-life opus (not very long: 6-min), with great melodies and crushing riffs.
The debut is more in the Swedish thrash/death metal hybrid camp, but delivers as well with its fixation on speed providing six explosive pieces of thrash/death metal with razor sharp riffs and swirling leads. The vocal mix is again between the slightly thin clean and the vicious death metal ones both given equal space to perform. Classic thrash takes over on the last two numbers: "Attack of the Overfiend", later remade for the sophomore, which is an intense speed/thrash/deathfest, and the bonus track "Victory for a Soul" which is more diverse crossing raging aggressive riffs with more laid-back galloping ones.

The guys were previously known as Acrostichon under which name they started a while ago in 1990 with a couple of demos, and later managed to release two full-length albums and two EP's of classic death metal reportedly not far style-wise from their compatriots Gorefest. At that time they had a girl behind the mike, the name Corinne van der Brand, who didn't survive long enough to sing in Outburst. The band also have ties to the thrashers Crustacean with whom they share two guitarists.
"Ruthless" is as "ruthless" as thrash could possibly be nowadays. It again offers an appealing blend of the classic and modern school which this time comes with a somewhat abrasive guitar sound, intentionally or not. The tracks are generally speedy offering something covertly technical ("Perfect Skill") for the more serious listener. The Swedish school is paid tribute to with a couple of tracks ("Trapped") which work well combined with the more intense old school pieces ("Open Eyes Won't Bleed"). The singer this time is more hardcore-ish with adherences to a more shouty singing which fits well into the energetic musical picture.

Overfiend Full-length, 2003
Fair and Balanced Full-length, 2006
Ruthless Full-length, 2012

Official Site

OUTBURST (JAPAN)

Very good aggressive retro thrash (based on "Aggression" which deserves its title on all counts) with fast-paced riffs and tasteful proficient leads, topped by not very convincing declamatory semi-clean vocals. The songs kind of flow in the same speedy vein occasionally breaking the mould with slower, softer tunes: "Over the Edge", but it's good that these moments are kept to a minimum since this is when the music loses steam and edge straying considerably away from the initial delivery. Fortunately the intense thrashing carries on after this one although the music becomes more laid-back mixing speed and thrash metal: "Dealt Hand", "Dehumanization". The last couple of tracks recapture the more aggressive atmosphere of the beginning with "The Road" being a graceful headbanging closer.

Flesholic Souls Full-length, 2003
Aggression Full-length, 2008

Official Site

OUTCAST (CHILE)

This is retro thrash with Germanic overtones and an updated modern production which makes the guitars sound too fuzzy and chainsaw-like. Otherwise the guys try hard, and manage to concoct something along the lines of more recent Kreator (think "Enemy of God", rather than "Hordes of Chaos"), alternating fast and slower songs, the former by far the better side: check out merciless speedsters like "OS-7" and "Mayhem to the World". "Dethroner of Gods" is a cool, more thought-out piece with progressive pretensions and fine melodic passages, the only composition which betrays the time of release, smelling the Swedish school a bit. The singer is a good forceful semi-shouter, quite close to the more recent Mille delivery.

Vendetta EP, 2011

My Space

OUTCAST (FRANCE)

The debut: excellent aggressive classic thrash reminiscent of Slayer's "Reign in Blood", Devastation's "Idolatry", Atomica's "Disturbing the Noise", etc.; there are death metal blasts thrown in for good measure, and as a whole the music is really fast and relentless except for the odd acoustic, ambient instrumental "Deus Ex Machina" serving as an intermission, and a short break before the next assault. The leads are superb, but the riffs are not far behind, hitting hard, leaving marks all over you (a joke!). "The Same Face From Passion To Hatred" is a magnificent technical thrasher, the only one of the kind on this album (sections from "To What I Belong" sound too technical, too) with great twisted riffs in the Coroner vein, quite brutal as well near the end: surely the highlight, and hopefully more of the same will be heard on the band's next efforts. This is one of the most impressive releases to come from France for quite some time, and a sure top ten pick for the thrash metal fan for 2005.

"Self-Injected Reality" fulfills all the promises for a full-blooded technical album, and goes well beyond that. This is outstanding technical thrash/death metal mixing the complex twisted riffage of Coroner with the labyrinthine arrangements of the Canadian school (think Martyr, early Gorguts, Norfixion). The result is a hectic, occasionally chaotic, very dynamic sound switching constantly from very fast to slower sections, and from thrash to death metal. "Denial of Elapsed Time" adds some progressive aesthetics into the proceedings, in the best tradition of Atheist and Cynic, and "Reversal" is not too far behind, providing a jazzy break, accompanying the aggressive precise technical riffage which here is nothing short of amazing. Some blasting moments ("Fragmented Memories") will remind you of Suffocation, and the American school in general, but at this stage the listener has already realised that this work would sum up all what is viewed as high-class technical thrash/death metal. "Collapsed Into Oblivion" slightly betrays the pattern, but in a good way, being slow, dreamy, recalling Fear Factory and Coroner's "Grin". "Materia Prima" is a quiet peaceful instrumental followed by the very contrasting ultra-aggressive "Hysteria", which is 2.5-min of very technical brutal death metal. "Feelings Transgression" is a very diverse composition mixing quite a few influences, even coming up with a hyper-blast black metal t at some point. The closer "Deviance" is probably not the best decision to finish the album with its more conventional Gothenburg-like approach, but may be a welcome shift for those who have gotten a headache from the never-ending whirlwind of time and tempo changes provided up to this point. This is another strong addition to the French scene of 2008 and a major rival to the band's compatriots No Return for the "album of the year" title over there.

"Awaken the Reason" could be considered a disappointment for the band diehard fans since it takes a turn towards the more abstract side of the genre where mid-period Meshuggah and their compatriots Gojira belong. Consequently the wild death metal shred has been left behind, only rarely showing up, leaving the cold mechanical riffs to take over completely. The bleak atmosphere is well sustained throughout, though, despite the rare presence of more melodic numbers (the semi-balladic jumper "Abysmal"; the lyrical piano-driven interlude "Awaken The Reason- part IV:When Dawn Brings Clarity"). At times the approach also comes close to Fear Factory ("Unspoken"; the sprawling quasi-industrial opus "Isolation") having similar encompassing qualities which are still another sign that the guys have taken quite a turn, but how well this new approach would serve them, remains to be seen. At this stage this new effort leaves a solid aftertaste.
The EP features the already heard from the subsequent full-length "Abysmal", and a Gojira cover ("Remembrance") taken from their renowned compatriots' album "The Link" (2003), done in a stomping, steam-roller manner. "Element" is a jumpy sterile shredder with a few more intriguing technical quirks in the second half; and "David Winkle's Terrible Adventure" is an 8-min instrumental opus with echoes of djent and mathcore. The closer "Allegiance" is the highlight, a superb technical death/thrasher with meandering riffs and aggressive fast-paced "skirmishes" which later grow into hectic Atheist-like crescendos.
The demo is four songs which are already accomplished complex shredders the opening "No Void of Insanity" being the most simplistic without too many technical flourishes which come aplenty on the following diverse mosher "Shell Shock", and the meandering progressiver "Remains". "Wicked Messiah" is a more sterile cut keeping the dynamics throughout recalling Darkane and early Meshuggah.

The Source of All Creation Demo, 2002
First Call/Last Warning Full-length, 2005
Self-Injected Reality Full-length, 2008
Circles of Motion EP, 2012
Awaken the Reason Full-length, 2012

Official Site

OUTCASTS (USA)

This is primal semi-amateurish thrash/crossover with messy arrangements and indifferent semi-declamatory vocals which never make the effort to really sing, but recite seldom following the stripped-down musical background.

Outcasts Full-Length, 1988

OUTCRY (SPAIN)

Death/thrash of the old school supported by gurgling shouty death metal vocals; the approach is strictly mid-paced, well exemplified by the pounding "Volver A Renacer", with some dark atmosphere creeping in on "Homicidio", the epic melodic rhythms of "Libertad Incondicional" entertaining enough to ensure the listener's attention, the latter also captured by the bellicose accumulations of "Matacuras".

El Lamentable Juglar Afonico Demo, 1996

OUTCRYSIS (ITALY)

Modern thrashcore which is reflected in short bursting cuts, the more moderate nature of "Army of Darkness" recalling both Madball and Pro-Pain, whereas the stylish more technical "The Silver Spoon" borders on a choppy Meshuggah-esque flair. Elsewhere such imagination isn't displayed that amply, the very shouty hardcore vocals doing their irreparable damage behind the mike.

Outcrysis EP, 2023

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OUTFACE (GREECE)

This trio from Athens pull out choppy modern, somewhat progressive power/proto-thrash that is a bit too clumsy and not very dynamic in order to generate much attention. The crunchy slow-motion rhythms of "Flawless Mortality" are carved by much more intriguing lead guitar work, the cover of Rage Against the Machine's "Killin in the Name of..." faithfully executed, the lyrical theme "Repertory of Anger" another awkward decision, the band pulling themselves together only once, for the steady atmospheric vistas on "Sinister Desire", the not very rehearsed semi-clean vocals finding more appropriate shelter there.

Repertory of Anger Demo, 1995

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OUTLANDERS (BRAZIL)

Based on the full-length, this act pull out energetic dynamic old school thrash which rolls on with smashing pummeling numbers (“Subliminal Brutality”, “Miss Democracy”), the spice coming on the form of both heavy stompers (“Keep thy Religion to Thyself”) and crisp mid-paced strolls (“Religion Oblivion”). The semi-intricate chops of the lively “Sodomy Now” are also more than welcome, nicely complementing the subdued semi-declamatory singing feats of the man behind the mike.

Kretaceous EP, 2013
From Chaos to Extinction Full-length, 2023

Official Site

OUTLAST THE SUN (UK)

Thrash/crossover of the meaty thrashy type with good emotional clean vocals; there are a few more carefree punkish tunes ("The Unknown") scattered around, but one can't ignore the visceral power of the dark thrashterpiece "Marching Into Hell (Hell)", a heavy hypnotic number in the best tradition of the guys' compatriots Deathwish.

Into Hell We Gaze EP, 2011

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OUTLAWED (AUSTRIA)

Ordinary modern thrash/post-thrash which tries to borrow from everywhere consequently missing the plot although the borrowings from the Swedish scene ("Wages Of A Gunslinger") aren't bad at all with their thin progressive/epic edge. Another highlight is "Rotten (Tower Of Thoughts)" which is a short brutal death metal-ish ripper giving an enormous boost to the album which after it begins a "carnage" of fast numbers excluding the idyllic acoustic instrumental "Endless Wastelands Part I" which lacks the presence of the shouty death metal vocalist whose at times strained rendings are always on par with the musical approach. Some of the musicians are also active with the death metallers Lacerator.

Stormbound Full-length, 2014

Official Site

OUTLET FICTION (CZECH)

Modern melo-thrash/death which main asset is the cool vocal duel between a very good female croon and a semi-shouty death metal beast. The songs are all mixtures of fast and slow sections creating a lot of progressive pretensions which are well justified on the better constructed cuts ("Smile for the False", "Run of the Mill Truth"), but their number isn't big enough to make this recording a cut above the army of the Gothenburg sound worshippers.

The Parallels Full-Length, 2017

OUTLIAR (USA)

Based on the sophomore, this outfit specialize in crisp dynamic modern thrash/post-thrash ala Dew-Scented and Carnal Forge at the beginning. The relentless headbanging fest ends abruptly with "The Death of All That Is Sacred" and the monotonous 9-min groover "Bloodside", surrendering the second half to lengthy dragging semi-balladic stompers ("Pillars") which are difficult to erase from the memory even by the less bridled death metal blasting outbursts on "...As We Watch the Bodies Burn". The vocals are overshouty hardcore ones and are a bit more than just plain overbearing noise.

Provoked to Anger Full-length, 2012
Taste the Blood Full-length, 2018
Thrashing the Vault EP, 2020

Official Site

OUTPATIENTS (AUSTRALIA)

Based on "Test of Time", this team indulge in an intriguing mix of old school thrash and modern 90's post-thrash, the resultant amalgam coming with this quirky technical sniff (the crunchy nervy "Out to Be"), "Something Else in Mind" moshing with a covert crossover flair, the guys later trying something alternative and goofy ("Escape Prisoner"), the choppy hardcore-ish "Beyond the Box" adding another doze of vitality to this very diverse slab which also boasts cool hoarse semi-clean vocals, the man singing with quite a bit of panache despite the approach's not very pretentious nature. Some of the band members also played with the thrash/crossover cohort School of Violence.

Free Association Full-length, 1987
Test of Time Full-length, 1993

Official Site

OUTRAGE (AUSTRALIA)

A very good demo of mid to up-tempo classic thrash in the Anthrax vein with nice riffs, not very hard-hitting, but enjoyable: three of the songs. The last one "Fear No Fear" is a marvelous turn to technical/progressive thrash (could have been written at a different stage of the band's career?) metal resulting in a feast of smashing technical riffs and tempo changes closing on slightly over 9-min.

Songs For A Romantic Evening Demo, 1991

OUTRAGE (CANADA)

Based on the self-titled demo, these guys pull out several styles all of them in a fairly good fashion: "Cabalistic Rites" is a fast aggressive track with a certain proto-death flavour; "Horror Night" is a cool, more restrained speed/thrasher; "The Terminator" is clearly the highlight here featuring a fine combination of slower, almost doomy riffs and very fast ones topped up by a few nice technical licks; "The Rapist" is another excellent aggressive thrasher. With 5 demos released within a relatively short period of time, it was clear that the band wanted to make an impact on the scene, and judging by the talent displayed on this demo they definitely deserved to be better known.

Outrageous Tapes Demo, 1984
Demo Demo, 1985
Devastation Demo, 1985
Bones of War/Buried Pieces Demo, 1986
Outrage Demo, 1986

OUTRAGE (FINLAND)

This band is a further elaboration on the short-lived Mayhem, who released one demo a year earlier. The music is in the same vein: intense thrash/proto-death in the early Kreator tradition with throaty shouty vocals carrying the vicious blend of early Mille quite well. The guys play fast'n tight, the guitars ably boosted by the good bass bottom, and a cool balladic break can also be heard on the final "S.T.O.P.".

At the Edge of Hangover Demo, 1990

OUTRAGE (GERMANY)

Based on the first demo, these guys were surely one of the most extreme acts on the European metal scene in the mid-80's. This is a brutal mix of black and thrash with nods to early Celtic frost and Hellhammer ("Go to Hell"), and Burzum (the monotonous and vicious "Death from Behind"). There is no much variety in the guitar approach, but this creates a somewhat hypnotic effect which might be appealing to some, and was later used by many, mostly black metal, acts: Beherit, Barathrum, Khold, late-period Satyricon, Mayhem, etc.

"Back for Attack" shows the band having matured beyond the black metal influences, and on this effort they come up with cool speed/thrash metal in the early German tradition with, from the black metal acts, only shades of early Bathory remaining here and there. Among the speedy antics, which by the way come with a very abrasive fuzzy guitar sound, some stomping Venom-esque "poisons" could be found (check also the song-titles): "Go To Hell", "Warpaint". The band knows no mercy on vicious thrashers like "Pact of the Wicked" and "Slave Trader", but in the second half the music loses steam and becomes much slower although the 9-min sinister black/thrasher "Sails of Charon" (which isn't a Scorpions cover) is quite an experience meandering from fast aggressive riffs to cool melodic inclusions. The thrashing in that second half is more laid-back, not as edgy, with an early Exciter vibe: "The Book Of The Seven Seals", "Name Your Poison". Well, the closing 2-min thrashing madness "Preseus Rules" will make you jump from your seat and is quite a satisfying ending to this diverse, but enjoyable release. The singer is an unholy black metal rasper, but this is probably the best choice.

"Go To Hell" will send you "to hell" and beyond although there is hardly any black metal to be heard on it; even the vocals now sound more throaty with a death metal shade. This is well crafted classic speed/power/thrash metal which develops in a Bewitched-like fashion for most of the time adding the more intense speedy break akin to Alastor (Portugal) here and there. The already heard from the previous demo "Perseus Rules" is a fine slab of vigorous thrash, and it serves well to wake the dormant spirits since after it the band start thrashing harder first with the 6.5-min roller-coaster "Infernal Recruit", then with the speed/thrashing delight "The Inner Contract". The second half is way more dynamic the closing "Black Metal Attack" being a pure "thrash metal attack" ending this diverse offering on a high note preserving the faith in one of the longest-running metal acts on the German scene.
"We the Dead" is another sure-handed achievement for the guys who thrash with passion the speedy numbers following in quick succession, raising the flag of early German speed/thrash sky-high on rigorous cuts like "The Biggest Wrench" and "Death from Behind", whereas some more moderate pieces like the doomy rocker "Be That as It May" and the galloping power metal winner "The Iron Door" show a more diverse "face" which later takes a more atmospheric turn with the double morose hybrid "Sepia Eyes/Birth to the Flame". The lost for a while speed returns at the end for the exiting trio of songs which confirm the band's aims at the higher echelons of the movement in their motherland with their appealing blend and a genuine very old school attitude.
"And the Bedlam Broke Loose" follows the same no-bars-held trajectory with speedy blitzkriegers amply provided flying from all sides nicely reminding of old heroes like Destruction, Iron Angel and some US veterans like Helstar and Liege Lord on the more galloping material ("In The Name Of Satan"). "Rewind" is a heavy pounder, but a moment like this can only be a deviation here as the fast-paced barrage goes on on full-throttle with more admirable headbangers like "Put On Your Weathering Frocks", "The Draw" and "The Clearing" following in quick succession, making this album one of the highlights in the band's lengthy discography.

Demo I Demo, 1985
Demo II Demo, 1985
From Nightmare To Myths Demo, 1986
The Book of the Seven Seals Demo, 1987
Back for Attack Full-length, 2004
A Mute Reminder Full-length, 2005
7 Is 1 Take One Full-length, 2006
Tales Of Counted Sorrows EP, 2006
Order in the Court Full-length, 2008
Conspirator Full-length, 2010
Go to Hell Full-Length, 2011
We the Dead Full-Length, 2014
And the Bedlam Broke Loose Full-length, 2017

Official Site

OUTRAGE (ITALY)

This band are probably the first speed/thrash metal band in Italy. The music is fast recalling both Agent Steel and the speedy heroes from Germany Iron Angel and Warrant. Another Italian band, Creepin' Death, might have been influenced by this band. The second demo comes with a better sound and nice deviations from the speedy pattern in the form of pretty effective abstract semi-technical thrash ("Acid Brain") strangely reminding of Voivod's same year's "Killing Technology". Unfortunately, the band's potential was never fully realised.

Smile of Death Demo, 1986
Outrage Demo, 1987

Fan Site

OUTRAGE (JAPAN)

One of the longest running, and best Japanese metal bands; "Black Clouds" is a good speed/thrash metal debut with a clear Metallica influence. "Curtains of History" is not a very convincing opener hesitating between a more technical and more accessible, faster style. The technical style "wins the battle" as the other songs become longer by also increasing the complexity; the problem is that the guitar sound is very thin and abrasive, and downright irritating at times; the other flaw is the hoarse semi-hardcore vocals which are anything but fitting to the much better music.
"Blind To Reality" offers excellent heavy technical thrash metal with long eventful compositions along the lines of Metallica's "Master Of Puppets" and "...And Justice For All". It's not a very distant departure from the debut, but the guitars are much better heard, sharper and heavier; it begins with the good headbanging title-track , but later the music takes a more technical approach although the speed never decreases retaining the album's vigorous moshing character ("Name Your Poison") with "Call Of The Hunter" showing a more laid-back, mid-paced vibe. The guys overdo it on the last song, though, the 11-min "Lockin' At Time" which is nothing more than a veeery long and boring ballad which tries to "apologize" for the wasted time with a cool speedy outro but it would rather serve to wake up the listener.

"The Great Blue" is a transitional album showing the band gradually acquiring the modern elements: the songs have become shorter and more light-hearted, but the staple razor sharp riffs guarantee another thrash entertainment. It's actually a satisfying listen keeping good speed for most of the time although the abrasive guitar sound of the debut kind of comes back. Cool moshers like "Days of Rage" and "The Truth" stir the mood in a major way, and even more melodic experimental numbers, like "Clay Liner", sound appealing. The pullback is again in the form of a ballad, again quite long and dragging (9-min this time, thank god!) although at least the lead guitar work this time is cool.

"The Final Day" is the "final" attempt of the band to stay true to the classic patterns, and surprisingly leaves the modern tendencies which have sneaked into the sound on the previous recording, undeveloped concentrating on classic thrash with a more melodic edge, quite crossover-sounding at times, keeping the tempo up with the first two energetic thrashers "My Final Day" and "Madness", before the doomy "Follow" "follows" providing some gloomy atmosphere recalling Metallica's same year's Black Album. "Wings" is jolly thrash/crossover, but the next "Sad Survivor" hardens the course, thrashing more intensely. "Visions" is a heavy stomper, strangely reminding of the Black Album opener "Enter Sandman" (this effort was released earlier), but "Veiled Sky" beats everything mixing tender balladic moments with fast-paced thrash to a quite positive effect. If those of you who thought relieved that this song would be all they would hear from the guys' infatuation with the ballad, will have to wait for the following "River": the full-blooded ballad here, not bad actually, the softest composition the band ever produced. The closing "Fangs" is quick to correct the impression with raging riffs and fast tempos, and is the most speedy number. If we exclude the two slower tracks, which have this proto-modern colouring typical for the already mentioned Metallica album, the rest shows no sings of compromise with any modern tastes; maybe the guitar sound is kind of dry, akin to the one of the Voivod releases from around the same time, and the singer sings in a less emotional, semi-indifferent manner, a technique later fully epitomized by the industrial metal acts' frontmen. The future works of the band are modern groovy post-thrash which also have their interesting moments, but one has to listen with care in order to find any references to their past.

"Outrage" sees the guys opening up for more classic thrash metal, albeit not all the way through, and this can only be good news since the band remain the finest practitioners of the style (after Ritual Carnage, perhaps; and alongside Aion) in Japan all these years despite the modern mutations they experienced during the 90's and beyond. This self-titled comeback to their roots is so good that one can easily forgive them the "sins of the past". The opening "Rise" will "rise" you high with its rapidfire headbanging delivery, retro thrash to the bone, a tendency gracefully continued on the next "You Care? I Don't Care", another major lasher. Two more laid-back mid-tempo quasi-groovers follow suit, before the jolly thrash/crossoverer "Fists Full Of Sand" hits you with more fast riffage. Later on the two sides take turns intercepted by the very cool soulful ballad "Shine On", showing again a strong Metallica influence with an excellent vocal performance; the brilliant short lead-driven balladic instrumental "Tor"; but the final damage is almost irreparable in the form of the raging thrasher "Terrorizer" which closes the album the way it started. The guys find it hard to leave their infatuation with Metallica aside, and this effort sounds very close to the Americans' "Death Magnetic" serving a very similar cocktail of modern and classic thrash metal (with more references to the latter) finding the balance between them almost as well.

"Outraged" starts quite energetically with "Lost", but this time the album "loses" steam faster the latter still kept around with the more moderate galloper "Grip on Chains" before the groove settles in with "New Horizon" and seldom leaves after that. "Suck It" is a short exploder, but its aggressive aesthetics aren't supported by the rest which again clings towards the ballad/semi-ballad in the second half (check out the beautiful instrumental "Freya"). "This is War" brings some fury with its venomous rapidfire approach, but the 7.5-min ballad "Hey! I've Got A Feeling" ruins everything beyond repair the latter arriving in the form of the more dynamic speedster "In the Air"; still 5.5-min of quiet, lyrical balladisms on the closing "Faraway" are befuddling, to say the least, for the fan, and in the long run this mish-mash hardly sees the band as the leaders of the thrash metal movement in Japan anymore.

"Genesis 1" is the band's tribute to the hardcore/punk/crossover fraternity so expect no thrash here except on very few isolated moments. The guys include several covers of Japanese punk/hardcore acts ensuring everyone has fun listening to these merry unpretentious tunes.
"Raging Out": the guys' imagination when it comes to album-titles has long since worn out, but music-wise they still have a few surprises up their sleeves. Unlike its predecessor which was one big joke, and not a very good one at that, this opus has more serious claims expressed with the invigorating opening galloper "Doomsday Machine" and the smashing headbanger "Hammer Down And Go". "Territorial Dispute" is a more abrasive groover so there'll be variety offered here again although the audience's concentration will be on the moshers among which "Machete"and "We Warn All Belongs" are really worth mentioning, the latter another more speed metal-oriented shredder. "Heroes Falling" thrashes hard, too, matched by the sincere fierceness of the closing "Outrage" which keeps the recurring groovisms at bay those claiming at least another 3/4 numbers here.
"Run Riot" is surely a boisterous title, but is it matched by the music on display? You bet it is as this effort is easily the band's finest since the "The Final Day" days. The guys immediately come on top of the speed/thrash wave with the opening "Edge Of A Blade.mp3", and stay there for most of the time with urgent moshing surges like "Hot Rod Immunity" and "Cyclops" amply provided. Still there are laid-back, friendly moments ("The Way We Are", "Silver Screen Hero") provided for the tender souls, and the quirky quasi-groovy "Science Spirit Hits" is probably also on the not very convincing side, but the progressive ambiguity of the closing "Are You Ready" is a sure reference to the band's early days, exiting this opus with well-deserved dignity.

Outrage EP, 1987
Black Clouds Full-length, 1988
Blind to Reality Full-length, 1989
The Great Blue Full-length, 1990
The Final Day Full-length, 1991
Spit Full-length, 1993
Life Until Deaf Full-length, 1995
Who We Are Full-length, 1997
Volume One EP, 2001
Play Loud EP, 2002
24-7 Full-length, 2002
Deadbeat EP, 2004
Cause for Pause Full-length, 2004
Outrage Full-Length, 2009
Outraged Full-Length, 2013
Genesis 1 Full-Length, 2015
Raging Out Full-Length, 2017
Run Riot Full-Length, 2020

Official Site

OUTRAGE AD (CANADA)

Based on the sophomore, which is not a re-recording of the debut despite the same title, these lads provide varied old school thrash which ranges from hypnotic mid-tempo dirgers ("Mass of Life", "Unreal Trip") to energetic headbangers some of which ("Embryo's Death", the closing roller-coaster "Death Crow") come with a covert deathly flavour. "Environmental Deficiencies" is an effective progressive mid-pacer, but such intrigue hasn't been generated elsewhere the vocals not contributing much to the joy being subdued growling death metal ones. Some of the musicians are also active with the doom/death metallers Norilsk.

New Blood Full-length, 2015
New Blood Full-length, 2018

Official Site

OUTRE-TOMBE (CANADA)

This is raw prime thrash/crossover with shouty death metal vocals. Fans of the simplistic bashing side of the style would enjoy it; others wouldn't find much to relate to this noisy stuff which comes with a messy guitar sound and fuzzy drums.

Demo Demo, 2012

Official Site

OUTRIGHT RESISTANCE (UK)

Three songs of rough edgy mechanical post-thrash which doesn't benefit a lot from the inclusion of the dragging groover "Bringer Of Your End" that ruins the stylish picture created by the other two cuts. This is minimalistic stuff with a not very big thrash appeal, with a subdued semi-declamatory singer with a low-tuned deathly baritone.

Don't Eat My Organs EP, 2013

OUTSIDE NOW! (FRANCE)

Very cool diverse prog-thrash/crossover, another attraction being the very intriguing Lemmy-like vocals. The music is surreal to the point of absurdity with dissonant fast-paced Voivod-ian oddities ("Heysel Chaos") crossing swords with spastic restless walkabouts ("Babooned By Peanut") in the best tradition of the Swiss Lunacy, the ensuing madness reaching fever-ish proportions on the goofy but intense "Shout!", think Suicidal Tendencies on crooked steroids, a most enjoyable roller-coaster with twisted riff-decisions galore. "Let's Talk About Nothing" is close to hardcore, the most orthodox cut here, a fast more direct odyssey with an eclectic mid-break. "The Wife Of Bob" is a dirgy twister, something which Acid Bath would have composed, but watch out for the aggressive speedy mid-passage on which you might lose quite a few of your fillings. The second half concentrates on more linear fast-paced rhythms, but one can never go wrong with the irregular rhythmical forms on "Parmesan", or with the illogical time changes on the otherwise deceptively composed "Queen For The Night", the saga suddenly acquiring serious prog-thrash proportions on the dramatic "Gossips" which also boats very nice virtuoso leads the latter stepping aside for another chapter of hyper-active but ultimately crooked thrash/crossover lore that is the closing "Precious". The very interesting musical approach which will also remind of another curious autocratic French act, Les Gnomes.

A Navel What Navel Full-Length, 2001

OUTSIDER (BULGARIA)

This Bulgarian batch play very well executed technical retro thrash with choppy staccato riffs, but without too many show-offy embellishments. The opening title-track serves some intricately-woven stuff with balladic respites, melodic configurations, and inspired stylish shredding. "Ice Dreams" is a faster and a more immediate proposition, and "Razplitane" follows a similar path with more entangled rifforamas and more frequent time shifts the latter increased for the excellent instrumental piece "Bez Cel", an amorphous shape-shifter with creepy minimalistic accumulations taking turns with sudden speedy crescendos, a surreal patiently-woven combination carved by brilliant lead sections. "Sataninski Sviat" starts with a bout of melodic fireworks before spasmodic fast-paced excursions commence and turn this elaborate number into a sheer headbanging delight with technical walkabouts keeping things on the less predictable side the whole time. "Nightmare" is a nervy spastic technicaller which still contains the requisite amount of speedy surprises on top of the numerous stop-and-go spirals and the myriad tempo-changes the latter running rampant on the closing progressive opus "Strah" as well, a seamless symbiosis of complexity and melody with slower stop-overs and dazzling lead pyrotechnics adding more to the encompassing character of this exemplary showdown. The vocals are rough and spiteful with an overt deathly colouring, and don't contribute much to the lofty musical template which is easily one of the most expertly stitched ones on Bulgarian soil ever.

Unes Full-Length, 1993

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OUTTA NOISE (GERMANY)

Based on the full-length, this act specialize in modern thrash/death metal which sticks to a not very eventful mid-tempo for most of the time, the guys not very interested in spicing the setting with anything too boisterous. "Heaven for a Sinner" starts moving things around with more flexible rhythms, but apart from the galloping urgency of "Buttholetank" there's not much that supports this kind of delivery. The vocals are shouty deathly, resembling the early rendings of Mathias Lodmalm (Cemetary).

Pain of Justice EP, 2015
Chains of Judgement Full-length, 2018

Official Site

OV DUST (USA)

Two folks are behind this project which is a display of retro black/thrash covering all earlier influences: Bathory ("Duality of Light"), Celtic Frost/Hellhammer ("Eternal Return"), Burzum ("LXVI: Matanza De Tiburon"), Venom ("King Rat; Affirmation of the Ignoble"); with a bigger, death metal, intensity added on "As The Crow Flies". Most of the tracks are lengthy with various tempos covered some of which are interesting exercises in more thought-out metal ("Black Decay"); others are total takes on funeral doom dirge ("Dreams Turned Rancid") ala Skepticism and Thergothon. And, of course, a cover is needed here, of one their main influences Celtic Frost, of "Dethroned Emperor", done well without any experiments.

"Crushing the American Christ" is more openly thrashy often going over the border into less tamed black/death fields ("Crush the American Christ") to a squashing effect. The guys mix the approach later on by adding the doomy stomper "Scourge of the Unwashed" and the high-octane doom metal hymn "Epsilon March" in the middle. Things get back to normal with the raging proto-deathster "In Human Altar" and the wild black/thrash/deathy closer "(R)evolution of Heresy".

Resurrection of an American Heretic Full-length, 2011
Stir ov Echoes EP, 2011
Crushing the American Christ Full-length, 2013

Official Site

OVER DEAD IN OVER (ITALY)

The debut: this band offers mellow metalcore-ish post-thrash which moves onward with abrasive guitars and jumpy mid-tempo rhythms which are at times graced by cool melodic leads ("Ancient Side Of A Pure Mind") taking an interesting alternative turn. Unfortunately, those more intriguing moments are missing on the groovy closer "Existence" which lasts for whole 11.5-min presenting nothing more than industrialized chugga-chugga riffs which get tedious way before the end. The singer is a suitable shouty hoarser who doesn't spare his lungs rending them on quite a few occasions with an added noisy synthesized blend.
"Alone" is an even more tedious affair the band settling for an atmospheric, but not very eventful mid to slow pace which invariably turns to pure doom on "Waiting for Daylight". Elsewhere we have more stylish exercises in mathcore ("Speaking to Her"), but generally this is music for the doom and more depression-prone side of the fanbase.

Resolution Formula Full-Length, 2011
Alone Full-length, 2018

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OVER DOSE (JAPAN)

There's only one person involved here, the name (or pseudonym) Ryu, who is at present seen in the retro thrash metal act Sadistic Eyes in the company of former Narcotic Greed members. The guy bashes with no remorse here playing classic thrash/death clinging more towards the latter with vitriolic riffs and sudden slower breaks in the vein of early Celtic Frost. The tracks are short "outbreaks of evil" decorated by casual blasts among other brutal "niceties". Ryu does a decent job taking care of everything although his vocals are fairly amateurish, low-tuned declamatory, and barely audible.

Life and Death EP, 1993

OVER FAITH (ITALY)

Classic 80's thrash metal with slight death metal overtones; the tracks are lengthy (within the 5-7min range with one epic massive 9-min track: "Fear (Darkness Embrace)"). Apart from the aforementioned track, the rest is cool speedy music offering some nice headbangers: "Madness Stole My Life" is perhaps the finest representative of the latter.

Depths Of Madness Demo, 2005

Official Site

OVER INSANITY (FRANCE)

The demo: this is mostly modern groovy post-thrash with unsuitable brutal death metal vocals. Sparse fast-paced moments can be encountered (the opening short ripper "Beat Your Friends"), but those rare passages are rather a distraction than a valuable addition to this barrage of heavy, but pretty unmemorable, riff patterns which also smell hardcore and crossover (the closing "War Ducks") on the more dynamic sections.
The full-length is a much better affair now switching onto a blend of classic and modern thrash, no posts here, with a touch of death metal ("The Black Resurrection Of Gand"; the chaotic "monstrosity" "Obsessed By Virginity"). The speed is admirable for most of the time as well as the wide vocal participation which moves from emotional clean tirades to ultra-brutal low growls. The leads are also not bad at all (check out the section on "The Fall of Gargamel") and as a whole the guys have moved up the proficiency scale still bashing without much organization and vision, but that can be improved in the future.

Demo From Hell Demo, 2011
Postmortem Full-Length, 2013

OVER REACH (MEXICO)

Based on the full-length, this Mexican trio play classic thrash which is on the frolic uplifting side for most of the time, with overt shades of crossover. The overall feel recalls the Irish Gamma Bomb, the main difference coming from the semi-shouty hardcore vocal department. Expert melodic leads can one come across on "Be Fast", and "Extinction" emits heavy squashing riffs in mid-pace for a change. The more technical element heard on excellent twisting "Ciber War" is another desirable deviation, but "Robozombie Apocalypse" is an entertainment of the more playful, less thrash-based kind. Watch out for the melodic crossoverisms on "Winter Fire", and for the quirky bashing galvanizer "Moshpit or Die".

The Beast EP, 2019
Toxic World Full-length, 2021

Official Site

OVER REACTION (COLOMBIA)

A 4-song demo of good classic thrash of the fast headbanging type with slightly annoying declamatory indifferent vocals; the music packs a punch with sharp speedy riffs touching Germanic speed metal ("Gobiernos de Terror") on the fastest parts. "Farzas Militares" is a brutal short Slayer-esque number.

Lobotomfa Virtual Demo, 2007

My Space

OVER THE EDGE (HOLLAND)

Based on the "Confront" demo, these Dutch thrashers pull out cool polished Bay-Area thrash mixed with more laid-back power metal elements the style not very hard-hitting, but enjoyable and unpretentious except on the more serious motifs present on "The Hill". The singer is a not very adventurous clean mid-ranger who recalls Dave Padden (Annihilitor).

Hellhound Demo, 1991
Angel of Lust Demo, 1993
Confront Demo, 1997
Foul Full-length, 2000

OVER THE TOP (USA)

Based on the full-length, this act specializes in cool "over the top" retro thrash with a nice Bay-Area shade and stylish technical arrangements which have an interesting individual sound dominated by the good bass performance. The guys mix fast, blitzkrieg sections with more relaxed, pounding ones on almost every song as there's enough room for that since the tracks easily stretch beyond the 6-min mark. The lead guitars are pretty good and the vocals are on the semi-clean, expressive side, avoiding the annoying shouty stereotypes. In the second half the songs become shorter, some surprisingly slower (the mid-paced sleeper "Estranged World", and the more dynamic closer, the Sacred Reich-esque "Here to Stay"); others merrier ("Never Again") with a pinch of crossover.

Lighting Of The Pyre EP, 1989
Here To Stay Full-length, 1991

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OVER US EDEN (GERMANY)

A standout progressive power/thrash metal band with the former Living Death drummer Rainer Schmitz on board, and a female singer whose voice resembles the legendary Doro Pesch from Warlock; she doesn't change the pitch too much, but her leveled delivery contains the necessary emotional charge. The style isn't far removed from the bands of the progressive thrash metal wave characteristic of the German metal scene during the early/mid-90's, and more particularly Depressive Age and Lost Century. There isn't much technical show-off, if at all, and the music is mostly mid-paced, very heavy at times, seldom going for all-out up-tempo thrashing: "Night Time". Over Us Eden are maybe less adventurous than the lot with a thicker monolithic guitar sound which at times also recalls Nevermore and Eidolon.

Over Us Eden Full-length, 2002
Fahrenheit Zero EP, 2003

OVER YOUR THRESHOLD (GERMANY)

Based on the full-length, this act play clever modern technical thrash/death with ever-changing rhythms and signatures the guitar players especially busy dueling the whole time for the creation of quite a few memorable melodic moments among the precise technical riffage which is also accompanied by truly inspired bass performance. The Swedish canons can be felt at times ("Self Exhibition") on the less elaborate compositions and the more aggressive ("Desolation Row") deathly cuts. The technical prowess gets lost here and there, but is caught up quickly with puzzling multi-layered pieces like "Abdicated". This album is hardly a classic despite the several classy sections, but is a fitting addition to the growing cohort of technically-minded acts from Germany with a bigger emphasis on melody.

Progress In Disbelief EP, 2008
Facticity Full-length, 2012

Official Site

OVERACTIVE (ITALY)

Based on the full-length, this act pull out intense retro thrash with rough deathly vocals; the guys try to evoke a lot of atmosphere with heavy doom accumulations ("Soulless"), but make sure not to miss the speedy skirmishes like "Bloody Innocence" and "Lies in Your Faith" which will make you headbang for days. Death metal shows its head at times, bringing both a more technical ("Crucefix", the stylish nod to the dazzling brutality movement "Nocturnal Disgrace") and a less restrained brutal ("Clerical Euthanasia") flair with it, the aggression mortified to an extent on the closing thrashing shredder that is the title-track.

Cerebral Cage EP, 2015
The Opponent Full-length, 2018

Official Site

OVERBLACK (BRAZIL)

This Brazilian trio serve classic power/thrash which lacks a bite and edge for most of the time, the band marching in mid-pace without any particular highlights, the ripping "Knowledge" and certainly the violent "Violent Mosh" the only more energetic surprises, the other highlight being the more cleverly-concocted "Still Burns", a relatively successful attempt at progressive power/thrash which could have benefited from a more emotional vocal performance; the guy behind the mike is just a not very attached mid-ranged clean throat.

Still Burns Full-length, 2019

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OVERCAST (GREECE)

Along with Crucifier and Released Anger, this band are doing a good job to establish the Greek thrash metal scene as one of the better ones in Europe nowadays. The guys' music is a confident mix of Tankard and some Bay-Area riffage (think early Testament). The singer doesn't hide his fascination with the Andreas "Gerre" Geremia (Tankard) vocals, but they fit the music just fine. Cool Oriental touches could be heard on the smashing album opener "Middle East Terrorist" as well as death metal blast-beats on "Angels in Fire". The tempo is quite fast and intense with nice slower crushing breaks.

Under The Face Of Chaos Full-length, 2003

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OVERDEAD (SPAIN)

This band play modern power/thrash/post-thrash which is catchy and playful with steady mid-tempo riffs which seldom descend to groovy borrowings. "Death Trains" is intense maddening thrash, surprisingly retro-sounding, a brutal rude "awakening" for the listener which leads to another tasty "fruit" after it: the cool, again more classic, shredder "Are Gonna Die". The singer is cool with a dramatic clean throat which he at times strains towards the higher registers to a positive effect.

Shelterless Full-length, 2014

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OVERDEATH (MEXICO)

This band offer rough bashing thrash/crossover which is marred by noisy sound production and awful shouty semi-death metal/semi-hardcore vocals. Still, among the hindrances the guys manage to pull out some forceful thrash ("La Mierda Habla Sobre Tu Final") which comes with abrasive guitars and hollow-sounding drums creating (un)desirable garage-like environment. The band's enthusiasm is obvious and with better production qualities they may be able to make their name heard, at least in their homeland.

Destrozados EP, 2012

Official Site

OVERDOSE (BRAZIL)

Overdose are one of the first Brazilian metal bands having started at the same time with Sepultura, but having failed to achieve the same level of success and popularity. The band's style is less aggressive than the one of their renowned compatriots with their earlier works being more power metal-based, and their later ones opting for a modern, groovy sound. Still, "Conscience" is a pretty cool debut concentrating on American power/speed metal in the vein of Griffin, Jag Panzer, and the Nasty Savage debut. Heavy pounding riffs, intercepted by numerous melodic lead guitar "intrusions" the latter culminating on the fascinating 10-min instrumental "Kharma", are the base used by the band to produce some really powerful pieces of music: the epic progressive opus "The Day After", in the best tradition of Manilla Road; the exuberant progressive/technical power/thrashterpiece "Prison Of The Conscience"; the dramatic steam-roller "Rebellion".

"You're Really Big!" is a heavier affair with not as complex guitar work, but is still a fairly steady slab of forceful power metal relying on formidable gallopers like "Big As The Universe", short bursting speedsters like "Fight for Our Dreams", or pompous, operatic instrumental pieces, like "Age of Aguarius", the latter clearly a precursor to the numerous virtuoso, neoclassical works which flooded the scene a few years later. The lead guitar work is simply stunning here the guitarist Claudio David proving himself as one of the most talented musicians to ever come out of South America.

"Addicted To Reality" switches onto a more aggressive, proto-thrash sound, the tendency well reflected on the edgy opener with the "sweet" title "Sweet Reality". "Night Child" is an invigorating speed metal cut, but later on the epic power metal "infatuations" return for the production of not very impressive songs with banal choruses and cliched musical decisions, the leads saving the situation most of the time with excellent passages of inspired, Shrapnel-like performance. Still, this album is inferior to the previous two seeing the guys reaching a creative cul-de-sac, at the same time not willing to get on board the thrash metal "ship" which was already sailing away.
"Circus Of Death" could be considered the band's thrashiest release arriving at a time when the genre was way beyond its nadir. The opening track "Violence" starts the album in an openly aggressive way, but the rest is mostly in the mid-paced department, and the band's power metal roots could clearly be heard on many of the songs. As a whole this album can be rightfully put among the better power/thrash metal efforts from the Brazilian metal scene of the 90's. On later works the band embraced the modern groovy metal idea tight also adding industrial overtones on "Scars" in a way similar to Prong's "Rude Awakening".

Conscience Full-length, 1987
You're Really Big! Full-length, 1989
Addicted To Reality Full-length, 1990
Circus of Death Full-length, 1992
Progress Of Decadence Full-length, 1993
Scars Full-length, 1995

Official Site

OVERDOSE (FRANCE)

Despite the bad sound quality, one could recognize decent power/thrash metal close to the guys' compatriots Killers. The band try to reach more progressive metal waters with "an overdose" of longer numbers like "Cendres de LibertT", but the simplistic one-dimensional delivery would make the listener tired quickly. Hard'n heavy numbers like "Princesse De l'Enfer" don't make things any better. The second half (the demo is eight songs long) is the better one with the heavy power/thrasher "Cond'de A Mort" and the melodic, but cool instrumental "LTgende".

Chasse a l'Homme Demo, 1988

OVERDOSE (ITALY)

The ultimately bad sound leaves a lot to the listener's imagination to stitch things together and those who have the patience to do that may appreciate this sincere bashing slab of rough old school thrash in various tempos served with thin guitars and bad shouty vocals. The Italian underground scene certainly knows much better examples of the genre. The band members were also busy with the death/grind formation Acromion, and are at present involved with the classic thrash resurrectors Obe.

Last Power Demo, 1990

OVERDOSE BRAIN (BRAZIL)

Based on the full-length, this band play fast intense old school thrash which is exclusively built around short bursting cuts ("Usado em Sacrificio", "Pacto Com o CaÂo"), the galloping vigour of "Destruicao em Massa" the possible highlight on this hyper-active recording which acquires a more epic colouring on the closing speedster "Coraçao Negro". The singer is a gruff semi-clean semi-deathster, but does his job with dedication and panache.

Exercito Metal EP, 2020
Overdose Brain Full-length, 2022

Official Site

OVERDOSE NUCLEAR (BRAZIL)

This band indulge in complex progressive old school thrash with lengthy multi-layered compositions some of which are built around heavy hypnotic rhythms ("R'itual (Moshpit)") whereas others ("Kriatura") are more vivid and more orthodox shredders. The songs where both sides are mixed ("Subversao") seem to work the better since on the longer not very speedy cuts (the 10.5-min closing saga the title-track) some monotony inevitably sneaks in. Death metal is called in ("Amarga Vinganca") for help here and there, including in the intense semi-shouty vocal department, but generally this isn't very aggressive stuff with some deficiency in the fast-paced sector again slowing down the proceedings.

Overdose Nuclear Full-length, 2019

Official Site

OVERDOWN (SPAIN)

This is jumpy, choppy modern post-thrash with technical pretensions, topped by rough death metal vocals which are at times replaced by better clean ones (check out the nice melancholic ballad "A Trace For Eternity"), mostly on the more moderate passages. Otherwise the music isn't stale at all and the band shred with competence despite the sterile, mechanical feel of the guitars. Quiet, balladic sections are interspersed between the cold riffs recalling both Behold The Octopus and Meshuggah on separate parts of the album. Things take a more ambitious, progressive turn on "Rain", but the overall hectic, mid-paced shred never gets interrupted for long and reaches its climax near the end, on the brutal mechanizer "Don't Let Us Fall" which even introduces the odd death metal signature. And this should have been the end, a worthy one at that; alas, the band have decided to finish the album in a downnote with the very calm ambient piece "Gliese581c" which is a meditative cut and may easily put you to sleep.

Ethereal Full-Length, 2012

OVERDOZE (FINLAND)

Crusty underground thrash/proto-thrash with echoes of early Venom as well; the singer also tries to channel Cronos and does an admirable job on the dark sinister musical background. "Abyssus" tries something more technical and atmospheric, and remains the highlight here. "Asylum Of Madness" is a ripping shredder and sticks out as the fastest cut aptly accompanied by the short rager "Weakend".

Supreme Dosage Full-Length, 2015

Official Site

OVERDRIVE (SERBIA)

This is the staple for the time groovy post-thrash with angry overshouty vocals, the repetitive heavy rhythms, and the sparse attempts at a more energetic play ("Lunatic"). "D.B.R." is a nice more melodic bouncer, but moments of the kind are a rarity on this very typical representative of the epoch.

No More Words Full-Length, 1997

OVERDRIVE SINGULARITY (USA)

This is modern power/thrash/post-thrash which tries something more stylish (the choppy twister "Snake Virus") on occasion, but it's the more vivid numbers like "Judge Software" that propel this album forward. Still, watch out also for semi-progressive/doom sprawls like "The Architect" and the near-industrial experience "Cyber Eraser", the guys not stopping on one particular style, constantly shifting things around, the dramatic shouty semi-clean vocals also contributing to the somewhat inflated, larger-than-life nature of this recording.

Fear Full-Length, 2019

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OVERDRUNK (CANADA)

Based on "Angel's Seal", these lads serve modern 90's post-thrash which is suitably jumpy and heavy, the more vivid delivery on "False God" livening up the situation which also has another shot at faster-paced glory with the semi-galloping "The Road to Your Grave", and partly with the semi-technical closer "Flammes du Reel". The vocals are angry, semi-shouty and deathly but don't ruin the atmosphere too much.

Agony After Death Full-length, 2009
Angel's Seal Full-length, 2020

Official Site

OVERDRY (SPAIN)

A more dynamic form of the good 90's post-thrash (accentuating on the "thrash", rather than on the "post" side) spiced with brutal death metal vocals with semi-shouty tendencies, and sudden faster breaks ("Sangre De Mi Sangre"). The music isn't that stale because of that, and some cuts even come with a touch of proto-death ("Miseria"; the sweeping speedster "Catarsis") leaving the groove frequently scattered, never lasting for one whole track.

El Ultimo Camino Full-Length, 2008

OVERFAITH (ITALY)

This is cool classic thrash with a not very even vocal duel between husky death-ish vocals and clean dramatic ones. There is a thin progressive "fibre" going through the album ("Im Ho-Tep"; the very diverse thrash/black/death metal opus "Fear (Darkness Embrace)"), but the guys are kind of better when sticking to direct ripping riffs ("Another Dead Hero") although the guitar tone is generally not very hard-hitting preferring to lay out nice melodic landscapes on almost every song.

ORA (Our Regretless Awakening) Full-length, 2009

Official Site

OVERFIEND (GERMANY)

Based on "Throne of Bones", this act provide a rousing retro epic mixture of power, speed, and thrash which is quite reminiscent of Manilla Road's late-80's/mid-90's period, mid-period Sacred Steel, and the early Virgin Steele attempts. Two of the band members were earlier with the excellent speed/thrashers Harridan, and the vigour of that formation can be soundly felt all over. The vocalist, though, who's the same one from the Harridan efforts, epitomizes a lower-pitched, bassier tenor, more pathos-inducing but at the same time less adventurous. The mid-paced officiousness of "Deathtiny (Part I)" sets the tone for the more epic part of the album, like the larger-than-life 9-min odyssey "Private Judas (Part II)", a summative exercise in US power metal lore, only too lushly keyboard-induced. Yes, the keyboards play a prominent role elsewhere, too, but still don't stand too much on the way of the more aggressive material, like the excellent more technical speed/thrasher "Nemesis (Part III)", this piece a nice reminder of the lofty vistas on Cauldron Born's "Born of the Cauldron", also serving a cool wink at Judas Priest's "Breaking the Law"; or the jumpy folk tunes-graced "Black Funeral". The title-track is a restless belligerent speed/thrasher, but "Hammer of War" is vintage Manilla Road, a battle-rousing stomper which pairs well with the similarly-styled "Demon's Inside". "Bullet" is, expectedly, concrete non-fussy melo-thrash with a few intricate shifts, and "Angels Holocaust" is an encompassing power/speed/thrash closer, a fitting versatile epitaph to a very cool opus... if we exclude the bonus track at the end, though, "Strike Back!", a brutal death metal outrage, totally out of context despite the very nice romantic beginning. If that's the same vocalist, though, he by all means deserves a medal for his vociferous rending death metal shouts.
The debut is a more aggressive, more thrash-oriented affair, "Shadow Lord" raging hard with an overt epic veneer, "Seven" bringing all the memories of the heroic deeds of Jag Panzer and Omen with its leveled stomping character. "Tales of Darkness" and "Tides of Darkness" are more complex speed metal odysseys, think Manticora, and "Legend of the Overfiend" is a formidable power/thrash march. "Tormentor" is an officiant progressive saga, a doomy pageant with lyrical overtones, but the energy gets restores quickly with the bursting speedster "A.I." and the rowdier more thrash-fixated "Leaders of Madness". "Amen" is a more linear crunchy mid-pacer, and the closing instrumental "Accelerator" justifies its title with another portion of brisk lively rhythms.

Lord of Darkness Full-length, 1998
Throne of Bones Full-length, 2002

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OVERHATE (VENEZUELA)

The debut: modern thrash/post-thrash mixing mellow and aggressive moments on a strange alternative base coming also from the forceful semi-shouty vocals which are at times served with a clean soulful blend. Still, there's quite a bit of thrashing here even providing a nice classic Slayer-esque shade (the "killing "Killing Show"), or acquiring more brutal proto-death ("One Word") dimensions. "Blow" is a very cool semi-technical thrash/deathster, and it's a pity that after it follows the less impressive, less energetic, material consisting of repetitive heavy-handed riffs with a strong groovy domination.
"Relentless Is Our Strength" is another modern post-thrash offering which lacks an edge and emotion, dragging for at least half the time with uneventful groovy riffs, the moment of illumination here called "The Consuming Element" which is an intense death metal sweeper with clever technical arrangements. "Figure of Deception" is another piece with more overt headbanging tendencies which only leaves the rest of the material hanging awkwardly in the imbalance where even tearful piano tunes can be heard (the closer "Holiday In Wasteland") to a pretty soporific effect.
"New Beginnings Are Met" is way more aggressive and more convincing than its predecessor, the boisterous rhythms of "Realities Collide" colliding with the fast-paced urgency of "Elegant Lust" and the galloping impetuousness of "Crossroads", the fury stirred by those two proving infectious later, the moshing delights never-ending here with "The Penance and the Lesson" and "Our Problem" creating a near-classic thrash environment, the longer and more contrived "Hidden Behind Words" nicely suggesting at some progressive heights to be explored further on later instalments.

God In A Trench Full-length, 2007
Relentless Is Our Strength Full-Length, 2011
New Beginnings Are Met Full-length, 2020

Official Site

OVERHEAT (GERMANY)

This obscure formation pull out predictable speed/proto-thrash moving in a linear not very exciting fashion also flirting with power metal ("Friends"). "Technical Emotions" is a cool headbanger, but the rest isn't that intense if we also exclude the bonus track "The Core" which indeed resembles Overkill's "Rotten to the Core". The vocals are of the uneventful clean, mid-ranged variety and are just passing quality-wise.

Overheat Demo, 1988

OVERKILL (USA)

This seminal band started greatly with "Feel the Fire", which remains one of the highest achievements of the 80's American power metal scene. "Taking Over" hardened the course a bit, but was still in the speed/power metal field. The movement to thrash metal was finally completed on "Under the Influence", which featured forceful sharp riffs slightly recalling their colleagues from Anthrax. "The Years of Decay" saw the band moving away from all influences and forging their unique, heavy sound, on this one expressed by longer, more complex song-structures with a healthy pinch of doom (check out the monstrous, 10-min "Playing With Spiders/Skullkrusher"). The improvement in every aspect inevitably led to the band's crowning achievement: the incredible "Horrorscope" which was one of the last great works of thrash metal before the genre's zenith.

Then it was time for modern thrash metal to come to the fore, and the guys wasted no time picking the modern tendencies, well displayed on "I Hear Black", which was quite a step down from the band's last couple of albums, flirting with no fear with all the gimmicks of the 90's. Then "W.F.O." came crushing down lashing awesome riffs from the past, showing the guys not completely willing to bid farewell to the 80's. But after that followed a string of modern thrash efforts, which weren't so bad, including an all cover-album ("Coverkill"). "Killbox 13" was a good return to form, containing the band's strongest material in quite a while, but instead of continuing in the same vein, especially when the time was just perfect for the good old school thrash metal sound, they came back to the safer groovy formula with "ReliXIV".

"Immortalis" is a mixed bag and not a very impressive one as such with half of the songs recalling the band's heydays, and the other half staying closer to their more modern sound.

Just when one is about to cross an old veteran off the list, these veterans come back with full force to show him/her how wrong the fan was to treat them this way. "Ironbound" is classic thrash as classic thrash can possibly get nowadays; it begins in a splashing manner with the 8-min of non-stop retro thrashing "The Green And Black". It only gets better later on, however, first with the blitzkrieg speed/thrasher "Ironbound" which brings the band's staple catchy choruses and the sharp lashing riffs from the past, showing a little mercy in the middle with a quiet lead-driven mid-break; and second with the speed metal delight "Bring Me The Night" which will remind you both of Diamond Head's "Helpless" and the Metallica interpretation of the same song. The speedy downpour is nicely broken with the heavy pounder "The Goal Is Your Soul", before the faster carefree "Give A Little" brings forward a certain crossover flavour to the fore. "Endless War" is heads-down galloping thrash with a great speedy dual-guitar ending ala Iron Maiden (remember "The Trooper"). "The Head And Heart" is another relative break with its dark heavy stomping riffage, but "In Vain" thrashes brutally with no mercy, fast and sharp. "Killing For A Living" calms down a bit, a diverse semi-technical number with a pinch of stoner/doom recalling the guys' flirtations with that genre (remember (so many memories today!) "Playing With Spiders" from the "Years of Decay" and quite a bit from "I Hear Black"). More energetic headbanging thrash as a finishing touch with the closing "The SRC", after which one can not help but have high hopes for 2010 after such a headstart for thrash metal. The guys play with so much enthusiasm and gusto as though they have been missing from the scene for a whole decade and more; especially "Blitz" Ellsworth who delivers one of the greatest performances of his career. This album easily beats everything the band have created since "Horrorscope", making the fans feel like the "dark ages" of the 90's never happened.
"The Electric Age" is a scary title for a retro thrash album, but the band know very well what to do, and regardless of what "age" we live in, be it "electrical" or stone or bronze, the guys show that the good old thrash is timeless. The opening "Come and Get It" is the ultimate classic speed/thrasher, and it only brings delights after it: the ravishing speedster "Electric Rattlesnake"; the more playful "Wish You Were Dead"; the thunderous doomy "Black Daze". "Save Yourself" is the obligatory adrenaline raiser which is an obvious nod to early Metallica, but "Drop The Hammer Down" is a different story: heavy pounding thrash with some seriously great solos and hooks. "21st Century Man" continues the speed/thrashing saga on full-throttle until the epitaph "Good Night" which has to say "good night" in a more relaxed manner, but the band lose patience and start thrashing insanely near the end the lead guitarist producing some addictive tunes as a finishing touch. Retrospection done in such a way can only warm the fans' hearts, and these "old dogs" are pretty much at the top of their game, believe it or not, sounding so fresh and inspired as though they have just appeared on the scene. Yes, the "21st century man" definitely needs vigorous rhythms like these in order to feel good in those cold "electrical" times.
"White Devil Armory": the obligatory 2-year gap is over, and the good old "overkills" are here again. The classic direction they recaptured a few years back isn't going to be abandoned, to the fans' utter satisfaction, and the opening "Armorist" states exactly that: speed/thrash till death. No signs of slowing down with the next "Down To The Bone", or the more immediate lasher "Pig" which comes with a shade of crossover. "Bitter Pill" would be a "bitter pill" with its less punishing mid-tempo guitars; but make sure you book an appointment with a dentist after "Where There's Smoke...", a perennial headbanger in the best spirit of the band's early works. "Freedom Rings" is another prime shredder of the slightly more complicated variety; before the next in line mid-pacer ("Another Day To Die") tears the silence. The speed/thrashy roller-coaster carries on with the more carefree speed metal cut "King Of The Rat Bastards", and the tad more intense "It's All Yours". The closing "In The Name" relaxes as a finishing touch with a slab of epic heroic battle-like rhythms, to put an end to this enjoyable nod to all things old school done right by one of the rightest practitioners of the genre, both past and present.
"The Grinding Wheel": there's no letting up for these veterans who are here with their next opus. The last three ones were a total return to their roots so is it time for another swing towards other waters? Well, not in this case as this next chapter from the guys' catalogue shows so well with the opening brisk old school speed/thrasher "Mean, Green, Killing Machine". "Goddamn Trouble" almost forebodes changes with its stomping quasi-groovy implements, but "Our Finest Hour" cancels those attempts in a brisk headbanging fashion. Still, the band don't give up easily to insert some vestiges from their 90's period as "Shine On" is again on the mellower groovier side, but "The Long Road" interferes again being another convincing classic power/thrasher. From this moment onward there's no letting up as the entertainment goes higher on the catchy anthem "Let's All Go to Hades" which moves the delivery more towards the power/speed metal side. The title-track is an imposing 8-min epic hymn with several more intense accumulations and a great doom ending; and the closer "Emerald" is in a similar vein, albeit twice as short, the band relaxing with more melodic, more laid-back rhythms. As a whole there should be no disappointed as the band don't slip anywhere although the mellower approach in the second half may pull back the diehard thrashers a bit.
"The Wings of War": the veterans are back on the road and those who have fallen in love with their few more recent outings will have no problems savouring this familiar but still pretty enjoyable riff-fest which this time sees the band marching onward with galloping shredders like "Head of a Pin", or with more elaborately-assembled speedsters like "Last Man Standing". With "Distortion" a couple of more modern grooves sneak in, those clear vestiges from the guys' 90's feats, but the old school feel can't possibly get dissipated by such blasts from the past, especially with frolic melo-thrashers like "A Mother's Prayer" and "Welcome to the Garden State" floating around on regular bases, "Where Few Dare to Walk" providing the obligatory semi-balladic/doom respite. The Overkill machine keeps turning, that's for sure, and it doesn't seem like it will grind to a halt any time soon.
"Scorched" is a tad more groove-soaked than its predecessor but the guys are still far from the disappointing realms, their staple power/speed/thrash formula tasted by the audience once again, the opening title-track keeping the mosh rolling with sprightly brisk riffs, before the album settles for the still belligerent mid-paced march introduced by "Goin' Home", and seldom violated later, the bursting "Twist of the Wick" breaking the canons with a portion of wild less bridled rhythms. "Wicked Place" elicits some semi-galloping drama as well, but the semi-balladic pensiveness of "Fever" and the friendly hard'n heavy jolts on "Bag o' Bones" make the more dynamic shredder "Harder They Fall" a more than requisite pace-breaker towards the end.

Overkill EP, 1985
Feel the Fire Full-length, 1985
Taking Over Full-length, 1987
Fuck You EP, 1988
Under the Influence Full-length, 1988
The Years of Decay Full-length, 1989
Horrorscope Full-length, 1991
Live to the Core EP, 1992
I Hear Black Full-length, 1993
W.F.O. Full-length, 1994
Wrecking Your Neck promo EP, 1995
The Killing Kind Full-length, 1996
From the Underground and Below Full-length, 1997
Necroshine Full-length, 1999
Coverkill Full-length, 1999
Bloodletting Full-length, 2000
Killbox 13 Full-length, 2003
ReliXIV Full-length, 2005
Immortalis Full-Length, 2007
Ironbound Full-Length, 2010
The Electric Age Full-Length, 2012
White Devil Armory Full-Length, 2014
The Grinding Wheel Full-Length, 2017
The Wings of War Full-Length, 2019
Scorched Full-length, 2023

Official Site

OVERLOAD (CANADA)

Based on the "In the Dark" demo, this is heavy bass-dominated classic thrash which also boats quite stylish lead sections. The all-instrumental semi-technical cut "Loss of Voice" is a nice display of musical dexterity, "In the Dark" also showing a more melodic side of the musicians, with echoes of power metal. "Roller Thrash" is another less ordinary composition, the entangled riffage stepping aside for the last two tracks, takeouts from the previous self-titled, more death/thrash-fixated demo. Previously some of the band members played with the death metallers Death Co$t.

Overload Demo, 1992
In the Dark Demo, 1993

Youtube

OVERLOAD (CROATIA)

Melodic power/thrash metal is on offer here coming with great melodic lead guitars; will not be the first choice for the average thrash metal fan. The sound quality is too muddy for one to appreciate this stuff fully, but energetic tracks like "Sumrak" and "Kroz Noc" are too good to be completely buried without a trace in it.

Odlazak U Mrak Demo, 1990

Fan Site

OVERLOAD (FRANCE)

This obscure act plays thrash/crossover of the more laid-back type with frequent references to Motorhead and Rumble Militia. So expect cool melodic hooks, up-tempos and hoarse semi-growly vocals. The approach is kind of one-dimensional the guys sticking to the up-pace the whole time, and the simplistic riffs seldom change from one song to another. "Nuclear Trash" is a strange composition including very good acoustic guitars developing as a ballad for at least half of the time before the closing "Au Clair" exits the album with the most aggressive riffage and cool funky experiments.

The First One... (Won't be the Last One) Full-length, 1992

OVERLOAD (HUNGARY)

Based on "Zsarnok/Under the Heel", this band specializes in modern dry post-thrash which is mostly mid-tempo, but the riffs bite and scratch at times, and the overall delivery recalls the Germans Runamok. There are whole 18 songs here so expect ballads, heavy/epic metal hymns, pure groovy delights, and the energetic power/speed metal cut "Vedge of Extinction" at the end.

Inkdfbb H)s... Full-length, 2005
Magdfnyos H)s EP, 2007
Zsarnok/Under the Heel Full-length, 2009

Official Site

OVERLOAD (SWEDEN)

Based on "Difference of Opinion", this band offer crunchy heavy classic power/thrash which is sustained in a solid mid-tempo the crushing rhythm-section weighing beyond a tone going along well with the emotional high-strung clean vocalist who is the main star of the show with his attached operatic delivery coming close to the one of Messiah Marcolin (Candlemass) himself. The steam-rolling riffage seldom disappears, but the more energetic tone of some tracks like the frolic "Caveman" is more than welcome to dissipate the heavy load. The aforementioned song leads a string of more playful tunes after it that are suddenly interrupted by the raging speed/thrasher "Master of Metal" which contagious dynamics is well translated on the following "The Grave". The closing "O.L.D." is a heavy soulful ballad which is still a fitting finish to this admirable bow to the old school, and it would be interesting to check whether the guys keep thrashing in the good old way after the reformation in 2006.

Whiskey Drinking Woman EP, 1990
Second Stroke EP, 1991
Difference of Opinion Full-length, 1993
Back on Track EP, 2006
The Dark Side of Ambition Full-length, 2007
The Procession of Tartaros Full-length, 2008

Official Site

OVERLOAD (USA)

A 3-songer of dry sterile, semi-technical modern thrash which creeps forward in a sinister mid-paced fashion the stylish shreds on "1984" creating cool Altered Aeon and Nevermore-sque atmosphere. "Unvanquished" is a more dynamic piece promising more interesting music if the guys vote to carry on in this direction. The vocals are of the subdued semi-whispered death metal type.

Unvanquished EP, 2014

OVERLORD (CHILE)

The EP: a classic mix of thrash and death metal ala Massacra and Merciless done by just one person named Flatuleitor. The man shouts in a not very pleasant semi-hysterical manner, but the music packs a punch offering dynamic riffs and a few nice balladic passages ("Viaje A La Locura") which are cool "calms before the storm" since the dominant approach is pretty intense. The end comes in the form of a cover version of the heavy rockers Bloodgood's "Black Snake", done pretty faithfully, the major detraction, of course, being the unsuitable vocals.

The full-length is a melodic modern affair crossing thrash and death metal in a familiar Gothenburg way if we exclude the times when the guy bashes with passion without too many musical merits ("Retract or Die"). Except for those latter moments the man tries hard to pull out more proficient performance as evident from the short chaotic blitzkrieger "Sucesion" which is violent technical barrage served with style and plenty of energy. All, however, pales before the imposing closer "Descensus ad Inferos" which is a progressive thrash opera with numerous infectious melodic hooks, an all-instrumental affair which shows the guy in a fairly bright light. This is still an uneven work at this early stage the man not yet quite sure of his skills which are apparently rising up.
The hard-working Chilean is here again serving his second full-length ("Blackout", that is), and the fans will have no reasons to complain since this is not a more aggressive version of the Scorpions album of the same title, the man thrashing hard again mixing things in less expected ways fast-paced numbers ("Death and Unity") overlapping with nice stylish technicallers ("Amateur Damnation": this is definitely not amateurish!). Later on there are wild blacky hyper-blasts ("Temple of Ruin"), creepy doom wickedness ("Higher Dimensions"), no bars-held old school thrashers ("Thrash Olympics"; yes, this may by all means win the "Thrash Olympics"!); and an engaging gigantic 17.5-min opera which is mostly bombastic doom with operatic overtones with several faster thrash breaks. This isn't bad at all although the flaws from the previous efforts kind of remain the guy apparently happy with his delivery.

"Tolerance Collapse": "Karadima Boys" opens the album in a furious splashing pace following a really beautiful lead-driven intro, and the wild thrashing carries on with full force on the next "Spread the Crap" even reaching the borders of death metal. "Neurotheology" is a varied opus with some intriguing technical implements, but "Don't Fuck with Science" will make everyone realize that one shouldn't "fuck with science" under any circumstances this cut being another brutal shredder which transfers its unbridled aesthetics on "Deceived at Birth" which adds a healthy pinch of technicality, and things pretty much hit the top. "Redefining Madness" indeed tries to "redefine madness" with its super-technical/progressive twists and turns which still stay around for a few more numbers, like the diverse "Modern-Days Skeptic Flux" and the cosmic blaster "Molemen to Power". The musicianship is on a fairly high level all over, but again too much happens here for one to be fully glued to the proceedings. Still, the man has by all means found his place under the metal sun as one of the more original performers at present.

The "Total Cognitive..." demo is the next in line display of the guy's musical skills which it seems to grow with each passing day. So the all-instrumental death/thrash rifforama doesn't stop here turned into curious technical psycho-thrash with elements of crossover on "Perception Asphyxia", this eventful amalgam taking more brutal proportions on the death-laced "Primitive Devastating Pleasure". The technical virtuosity reaches the climax on "Bringer Of Pain And Madness" which comprises 7-min of fierce very complex thrash/deathing influencing the closer "Increase The Chaos" which also finds time for a nice spacey quiet passage. This is a more coherent effort and the man should stick to those guns for the eventual execution of the perfect technical thrash/death metal effort.

"Death of Nations" starts quite imposingly with the title-track which is a ripping thrash/deathster and the guy manages to keep the tempo high with the hyper-active riff-patterns which easily cross the border towards pure death metal on "Levels Of Reality" and the unnecessarily brutal "Bringer Of Pain And Madness". Relaxed spacey progressiveness appears on "Individuality", but the rest sounds too overdone and show-offy to warm completely the heart on the regular thrash metal fan.

Overlord EP, 2010
Tiempos Antares Full-Length, 2011
Blackout Full-Length, 2013
Tolerance Collapse Full-Length, 2014
Total Cognitive... Demo, 2014
Death of Nations Full-Length, 2015

Official Site

OVERLORD (GERMANY)

This act serve very cool classic thrash/death which is mainly modeled after the Floridian models and Pestilence's debut. "Ceremony of the Dead" a clear nod to early Death, the moody atmospheric "Genetic Malfunction" clinging more towards the doom-fixated side. "Soultaker" is an intriguing more technical shredder, the band's desire to ravage the battlefield quite evident on the short bursting all-instrumental "Desire", the rending shouty deathly vocalist taking a break, before embarking on another hyper-active journey with the excellent keyboard-infused "Birth of Descendants", a really stylish echo of Nocturnus, "Drift" drifting towards more pensive, semi-balladic realms. Some of the band members were also busy with the gothic/black formation Clanraven, and the classic thrashers M.A.D.

Overlord Full-length, 1996

Official Site

OVERLORD (PARAGUAY)

Based on the "For Metalmaniacs Only" demo, these guys pull out fairly cool early Germanic speed/thrash (for "metal maniacs" only, of course!) metal with mean Schmier-like vocals which at some point take a rougher shade ala Uwe Dieafenbacher (Toxic Shock). The tempo varies as the dominant one is fast, and the mellower ones ably helped by the nice melodic leads which try to follow on the steps of Kai Hansen, could easily find a place on Helloween's "Walls of Jericho", or the two Vectom efforts: "The Omen". The majority, however, are all-out speed/thrashers along the lines of Exumer's debut and Toxic Shock. This is actually a compilation of the first and another rehearsal demo, but the style is the same, nice headbanging speed/thrash which delivers the goods despite the raw sound quality. The guys have another band: The Force, named after the Onslaught sophomore album.

Aggressive Assault Demo, 2002
For Metalmaniacs Only Demo, 2004

OVERNOISE (BRAZIL)

Based on the first demo, these Brazilians offer roughly produced retro thrash which can be quite bashing ("Asleep Present Dead Future") including on the short hardcore outburst "Cubateo"; but watch out for "Flesh Cage" which is a more serious thrasher with echoes of the Bay-Area. The singer can hardly be heard clearly for most of the time due to the very pristine, "overnoisy", sound quality, but at least the bass impresses quite a bit alongside the stylish melodic leads.

Demo Demo, 1992
Overnoise Demo, 2001

My Space

OVERREACTION (ITALY)

Three tracks of sloppily-concocted and muddily executed retro thrash although the band thrash on with badly disguised enthusiasm, the clean attached vocalist clearly the star of the show, the lead guitar player not far behind, mind you, his tasty licks fighting their way through the noisy riff-environment, the more intricate arrangements on "Society Disease" largely flourishing due to the more expressive bass bottom.

The Time Is Dead Demo, 1989

OVERRULED (HOLLAND)

Based on the full-length, this band play classic speed/proto-thrash, brisk energetic stuff that gets occasionally more complex ("Burning Bridges") on occasion, but there's very seldom loss of speed, the spirit of early Helloween and Vectom nicely captured on "eagle fly free" hymns like "Follow His Order" and "Lust for Power". The singer is not a very passionate clean mid-ranger throat, but kind of suits the hyper-active soundscapes.

Overruled EP, 2013
Hybris Full-length, 2018

My Space

OVERSOUL (FRANCE)

Based on the debut, this act play squashing modern 90's post-thrash which is dirgy and doomy without crossing over the bad taste, and as such will mostly please fans of acts like Grope and Helmet. The singer is a forceful shouter, but his rendings are always intelligible.

Stubborn Pack Full-length, 1998
La Rage Full-length, 1999
State of Decadence Full-length, 2000
Me[n]tal Medication Full-length, 2004

Official Site

OVERSTEEL (MEXICO)

The EP: a retro power/thrash mixture is on offer here which is suitably speedy and rowdy on "Land of Creators" with a very strong bass bottom; the latter is toned down for the Exciter-esque roller-coaster "Abduction", the dramatic shouty semi-clean vocals often criss-crossed with more brutal death metal ones, said hybrid not very appropriate for the epic battle-rouser "Sentinel of the Void", before the guys saddle the horses once again for the short closing galloper "Travelers in Time".
"Sentinel of the Void" provides pretty much the same approach with all the tracks from the EP also featured although bigger belligerence is exhibited initially with the rowdy "Ice War" and "Black Knight" the latter a delectable more technical proposition with crooked meandering rhythms. "Oversteel" sticks to more speed metal-based excursions, but one has to prepare for a couple of more entangled configurations; and "Travelers in Time" wraps it on with infectious melodious speed/thrashiness, the versatile vocals covering a wide range of moods, from attached high-pitched shrieks to authoritative low-tuned semi-recitals.

Invader Arrival EP, 2019
Sentinel of the Void Full-length, 2020

Official Site

OVERT ENEMY (USA)

Based on the compilation, which contains both demos, this act deliver decent old school thrash which features energetic gallopers ("Political Cancer"), vehement semi-technical headbangers ("Mercenary", "In the End We Died"), noteworthy more complex achievements ("Blood God"), and explosive near-death experiences (the apocalyptic "Possession"). The vocalist is a very intense angry shouter bordering on hardcore rendings at times. Some of the musicians are also active with the black metal legion Heaven Holocaust.

Inception EP, 2018
Possession EP, 2019
Inception x Possession Compilation, 2020

Official Site

OVERTAKE THE KING (USA)

Based on the full-length debut, this act pull out energetic modern power/thrash which also comes with plenty of melody the latter moments accompanied by cleaner mellower vocals as opposed to the dominant shouty semi-clean ones. There are rowdier occurrences ("Whipped", the explosive headbanger "Thrash Test Dummie") as well as more thought-out, bordering on progressive, ones ("Justify", the diverse epic thrasher "Breaker").
“State of Emergency” is more oriented towards the speed metal realm, but there’s quite a bit of fun to be exuded from this lively energetic template, the more technical stomping “Violence of the Media” lifting the approach towards more proficient pastures. “Crowned” is a timid power metal stroll, but prepare for the moshpit with “Breaking down Saviors” and the fittingly-titled “Shell Shock”, these dynamic occurrences sweeping a couple of less striking mid-tempo heavy/power metal showings.

Liberty Lost EP, 2020
Burn EP, 2020
Justify Full-length, 2020
Massacre at Its Finest Full-length, 2020
State of Emergency Full-Length, 2023

Official Site

OVERTHRASH (BRAZIL)

Reportedly the band's first two demos were more in the hardcore/crossover spectre, not far from the style of their compatriots Ratos de Porao and early Prong, but the two songs on "Reality In Black" show more serious musicianship with mid to up-tempo riffs and clever semi-technical implements, reminiscent of MX's "Mental Slavery" and Dorsal Atlantica's mid-period. Too bad those songs are only 3/3.5-min long and leave these interesting "overthrash" decisions unfinished.

Demothrash I Demo, 1988
Demothrash II Demo, 1989
Reality In Black Single, 1991

OVERTHROW (CANADA)

Excellent fast, aggressive thrash metal with good semi-technical riffs; early Sadus would be a good reference point, or perhaps Gammacide. The songs come together as one big relentless attack on your ears, and although you won't be able to remember much from the album later, the pure aggression of it will make you go back to it over and over again.

Within Suffering Full-length, 1990

My Space

OVERTHROW (NORWAY)

You'll have to "adjust to darkness" if you want to fully appreciate this energetic barrage of modern thrashcore which sees the guys obviously fascinated with Motorhead by also adding the odd more aggressive death metal cut. Some slower numbers inevitably spring up, but violence is pretty much the order of the day on brutal ragers like "Phantom Hearts" and "Relapse" where purer thrash can be heard. The singer shouts/quarrels with a forced throat trying to be as little melodic as possible.

Adjust to Darkness Full-Length, 2012

Official Site

OVERTHROW (UK)

The debut: this is steady steam-roller power/thrash, more on the classic side, which loses points from the vocal department where the guy semi-shouts in a very rough drunken timbre, a style totally inappropriate for inspired epic cuts like the short "Dead Armour", or the officiant power/thrashing shredder "A Message of Hate". The epic side of the band's repertoire reaches the culmination on the 8-min battle hit "Brush with Blood", an ambitious achievement which overshadows the remaining numbers. This is a not very even effort which sees an act still honing its weapons, but by all means possessing the battle spirit requisite for this kind of music.
"Strike Down the Saviour" is a fairly different beats, with death metal now incorporated into the thrashy frame, with intense blast-beating section ruining the monolithic impression from the debut, the shouty death metal vocals leading their own show with a vicious panache. "War Within You" is a decent fast-paced proposition, and "Relentless Aggression" is an enjoyable speed/thrasher with insistent crossover tendencies. The finale is preserved for a string of heavy quasi-progressive compositions, the shadow of Amon Amarth quite pertinent at times.

Wasted Existence Full-Length, 2013
Now Fear the Mercenary EP, 2016
Strike Down the Saviour Full-length, 2021

Official Site

OVERTOUN (CHILE)

The debut: modern groovy thrash/death metal the guys having voted for a seismic, steam-rolling mid-pace as the dominant tone with good proficient leads carving burrows into the super-heavy canvas. "Sunken Beliefs" is a cool stylish variation on the ballad with progressive reverberations, and "Funeral Masses" is a nice bouncy instrumental the lead guitarist the star of the show again, proving himself a very capable practitioner of Shrapnel proportions.
"This Darkness Feels Alive" is a more stylish affair, the band shredding with more vision, with flashy leads ("Underneath") also provided amply, the balladic sensibilities of "Alone" pairing well with the dramatic insistency of "Awaken the Beast" and the progressive meanderings of "Toxin". Mentioning progressive, there's more of it coming like on the lyrical quasi-balladic march "Pitch-Black", or on the imposing doom metal opus "This Darkness Feels Alive", the short instrumental "Araucaria" a nice optimistic piece of dreamy acoustica.

Centuries Of Lies Full-Length, 2018
This Darkness Feels Alive Full-length, 2021

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OVERVIBES (UK)

This is energetic volatile speed/thrash with a nice progressive edge more expressed on the longer numbers ("Overpowered By Insanity"). "Machine Maintenance" is another curious progressiver which includes nice bass performance the latter hitting the top on the engaging galloper "More About Killing". The closing "Resolution" is too ambitious to be handled properly being a 12.5-min opus mixing furious thrashing with more quiet semi-balladic passages; still, it's not bad at all and the band pull out some remarkable hooks to keep their complex delivery afloat. This is an interesting, intriguing listen which undeservedly remains very deeply buried in the UK underground.

Overpowered by Insanity Demo, 1989

OVERWHELM (ITALY)

Based on "In The Dark...We Trust!", this is retro power/thrash which can be both playful and speedy ("Do Not Look Back"), and doomy and balladic (the 8.5-min saga "In the Dark...We Trust"), the speedy drama on "The Way to Myself" and "Out of Control" drawing other, more intense trajectories. The friendly hard'n heavy drama on "Another Place" is a mellow respite for sure, but watch out for the closing speed metal hymn "No Way Out" which keeps the surprises in check on this lively, diverse effort.
"Scary Tales" is a decidedly more aggressive offering, the guys lashing unbridled furious riffs form the get-go with the opening "Unpunished", and although the title-track calms things down with a more measured mid-tempo trot, "All I Want" being an optimistic power metal anthem, and "Lonely Again" bringing back the thrashy expletives with an angrier demeanour. More unbridled brutality by the intense "Possession" and the near-death-prone "At Night They Come", the band obviously hungry for rowdier exploits as also evident from the impetuous opener "Sempre Avanti".

Overwhelm Full-length, 2017
In The Dark...We Trust! Full-Length, 2020
Scary Tales Full-length 2022

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OVIF (CANADA)

The debut: two guys stand behind this energetic hardcore/modern thrash metal offering which nicely gets technical on occasion (the stylish Voivod-esque "Notik", a compelling abstract piece). "Mastery" is a cool wink at the Bay-Area bringing the classic spirit to the fore partially ruined by the sterile synthesized guitar sound. The rest is intense fast shred of the crossover/hardcore type ably supported by dramatic semi-clean vocals. The guys tear it loose at the end moving onto all-out thrash with the semi-technical galloper "Superieur", and the maddening Slayer-esque closer "13" (it's the 13th song).

"Demence" is a more energetic affair although it doesn't sound radically different from the debut. The album is ornate by short blitzkrieg numbers some of which branch out into pure unbridled hardcore ("War Machines"), but the fun is ensured all over even on more relaxed cuts like "Hypersomniac". "Seizure Complete" in the middle is a very surprising more technical piece with swirling galloping rhythms, much longer than the rest as well. This composition elevates the second half to a higher musical level since after it comes the excellent melodic speedster "Lovasion", the more stylish headbanger "Terra Incognita", and the slightly modernized fast-paced closer "The Protector". The guys have done a very good job here without making any drastic compromises with their staple delivery.

Devast Full-length, 2008
Demence Full-length, 2014

Official Site

OWNSCALE (SWITZERLAND)

Not bad at all modern 90's power/thrash which zig-zags between playful thrashcore parades ("Herz Im Leib") and pure power metal anthems ("Heile Welt"), the atmospheric brooding "Todesjagd" a shift towards mellower gothic-flavoured music. The semi-shouty semi-clean vocalist does a decent job behind the mike, although his unmelodic shouts on the energetic crossover closer "Grier Des Zona" are a bit hard to tolerate.

...im Leib EP, 1995

Youtube

OXIDATION (USA)

The demo: a blend of classic and modern thrash, mostly heavy and mid-paced, slightly resembling Cerebral Fix, but with a more modern, somewhat mechanical sound. The vocals are a problem, though, being very screamy at times with awful shouts which should be avoided for the future if the band want to make a bigger impact on the scene. The lead guitar work is quite good, but somehow doesn't fit the otherwise not very impressive music.

The EP comprises the same blend this time more dynamic without reaching any extremes speed-wise. "Adversity" is a serious brutal shredder which thrashes wildly for more than 6-min followed by the more power metal-based opus "Vice Grip". The song-length increases with each subsequent one reaching 8-min on the final "Twilight Descends" which, unfortunately, is a very diverse mess consisting of chaotic riffs without direction changing the pace the whole time to a disorienting, albeit strangely technical at times, effect the situation saved by the good bass support and the stylish lead guitars which are sadly missing from the short balladic passage in the middle. This is better constructed music the band having corrected most of the flaws to an extent, including the vocals which now aren't as annoying keeping to the mid-ranged registers for most of the time to a more positive impression.

Demo Demo, 2007
Oxidation EP, 2008

My Space

OXIDICIDE (MALAYSIA)

This is retro speed/thrash which rolls on with short energetic cuts ("Obey Band Rots", "Hancoer") some of those not far from the less restrained purer hardcore perimetres. The more lyrical melodic walkabouts on "Mambang Mabuk Minum Brandi" are more than welcome to relieve the tension, but such digressions are very few in-between, the band often racing with the speed of light ("Gila Judi"), the devil-ish black metal vocals pouring more drama into the sizzling proceedings. Some of the band members are also involved with the death/thrashers Filoforce and the similarly-styled thrash/crossover outfit Elgranade.

Trashophilia Full-length, 2020

Official Site

OXYGEN DESTROYER (USA)

The debut: a retro death/thrash hybrid performed with the requisite amount of dexterity, the guys touching the chaotic complexity of acts like Hellwitch and Nokturnel ("Onslaught of the Precambrian Hordes"), the delivery staying closer to death metal for most of the time, going for a really appetizing more expansive sound ala Molested and Cadaver on the excellent multi-layered "Summoning the Moth of Divinity". The enchanting melodic walkabouts on "Bio-Mechanically Imprisoning the Sacred Beast of the Apocalypse" are another highlight, the vocal accompaniment a bit inferior, the guy croaking like a raven with a hysterical black metal pitch.
"Sinister Monstrosities Spawned..." is a more brutal affair, with a clear focus on death metal, with brutal sinister pieces descending from all sides, "Sons of the Necrobeast" and "The Plague Spreading Horror from 20,000 Fathoms" leading the merciless pack, the latter cut overtly winking at the grindcore fraternity, the only more serious piece of music being the closing semi-technicaller "Their Reign Has Begun".

Bestial Manifestations of Malevolence and Death Full-length, 2018
Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind Full-length, 2021

Official Site

OZAWAR (CANADA)

Based on the full-length, this band play modern thrash/death with echoes of the Gothenburg school, accompanied by shouty death metal vocals. The delivery is largely mid-paced jumpy bouncy rhythms, the resultant drama sometimes acquiring more serious, progressive proportions ("The Prophet"), sometimes moshing with more overt headbanging vigour ("Pawn of Phobos"). The final opus "Indio" is a varied 8-min long amalgam with cool melodic excursions.

Uprising EP, 2018
Gehenna Full-length, 2021

Official Site

OZNOR (HUNGARY)

This is an all-instrumental opus done by just one man, the name Norbert Ozogany, which is built around progressive power/thrash rhythms the title-track swinging towards the tech-thrash realm for a bit, but expect mellow balladic/semi-balladic sprawls ("Blackened Sun"), laid-back progressive walkabouts ("Old Times"), dramatic pounding thrashisms ("Before the Silence"), and virtuoso-prone excursions around the speed metal realm ("Disturbed Mind"). Ozogany has included quite a bit of music here without overloading it with incessant soloing, and with a bit more coherence and aggression he should be able to make more friends among the thrash metal fandom.

Stormbringer Full-length, 2019

Official Site

0DERBEAST (POLAND)

This is a modern post-thrash recording which pounds its way in a threatening heavy fashion, the intense death metal vocalist another sinister side of the show, the latter thrashing with gleeful abandon ("Disobey and Disagree") on occasion, but most of the time this is a seismic groovy carnival which receives a desirable more complex colouring ("Same War"), but expect a bit of ponderous monotonous pounds ("Wychodzimy z Podziemi", "Let Me Be Dead"), the unfettered old school vigour of "Atomowy Grzyb" a vital breath of headbanging air.

Listy Nihilisty Full-length, 2022

Official Site

0RK BASTARDS (RUSSIA)

Based on the "Final Price" demo, this band plays gruff abrasive speed/thrash of the retro type with mean black metal vocals which are semi-whispers most of the time and are hardly intelligible. The music is fast with several shades of hardcore/crossover with simple samey guitars without any gimmicks.

Demo Demo, 2008
Ork Bastards/Meti Bhuvah Split, 2009
Final Price Demo, 2009


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