Copyright (c) 2007-2024 THE THRASH METAL GUIDE 0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
PRAETOR (LUXEMBOURG)
This is ripping intense old school thrash that has its restless heart and soul firmly in place almost the entire time, the power/speed metal trotter "Pitch Black" providing a respite from the moshing vigour of the rest, with "Dormant Brain" and "Screens" taking care of the restless metal breed. The singer is a shouty semi-deathster who does his thing without ruining the musical facade.
Praetor Full-length, 2023 Official Site PRADER (USA)
Based on the full-length, this act provide decent old school thrash which by all means has its moshing headbanging side ("Thick Smoke", "Apocalypse"), but there's also this strife for more diverse execution (the melodic epicer "Final Judgement"), those loftier attempts ultimately canceled by smashing bombs like "Wehrmacht" and the carefree cover of Soziedad Alkoholika's "Nos Vimos En Berlin", the instilled pogo aptly supervised by mean vicious semi-death vocals.
Wehrmacht EP, 2014 Official Site PRAGWALD (SLOVENIA)
This act serve jarring spastic thrash/crossover that can be both on the less restrained violent ("In Nomine") and jumpy funky ("Temple of Sadness") one, the speed/thrash amalgam "Just a Question... Why?" changing the scenery towards more sensible soundscapes, before the "Pragwald Blues" sneaks in another unorthodox tune, this one missing the hoarse but attached hardcore-ish vocalist.
Pragwald EP, 1991 Youtube PRAINBORK (USA)
An eclectic modern version of the good old thrash/crossover full of energy and vigour as well as several cool ideas. The guys thrash on without too much ado with an added death metal intensity at times but with an omnipresent sense of melody (check out the excellent speedy opus "Medusa's Child" which also boasts the greatest lead sections on the album) except for the moments when the guys branch out into a stripped-down hardcore territory ("Mustard Donut", "Beef Porridge"). The avantgarde feeling of the album is expressed through the use of sax, funky passages, illogical time-signatures, sudden blasts, and unexpected exercises in a more technical play (the closing "Goat Milk Butter Pops").
A Wrench Short Of A Baker's Dozen Full-Length, 2012 PRAISE THE FLAME (CHILE)
Based on the full-length, this act pull out aggressive death/thrash which isn't completely devoid of melody, and the musicians' skills are admirable clinging more towards the death metal side with stylish nods to Morbid Angel. The frequent blast-beats kind of hamper thrash's performance which is reduced to a mere humble assistant on at least half of the songs. Still, captivating atmospheric progressivers like "Rise the Witchpower" should leave no one indifferent the only seeming pullback being the not very audible death metal vocals. Some of the guys also ravage the South American underground with the black/thrash formation Insorcist.
Profane Cult EP, 2013 Official Site PRAIVENT (USA)
This is a one-man show in which the guy serves melodic power/thrash which creeps forward with not very dynamic mid-paced riffs suddenly hitting progressive heights on the 8.5-min title-track the latter killing the inertia, if there ever was one in the first place, with clumsy balladic accumulations. "Godhunt" is a surprisingly stylish semi-technicaller, and "Fates Decided" is an invigorating epic galloper; the rest flirts too much with the ballad and doom to be a highly recommended listen. The guy provides a mean death metal-ish baritone which kind of suits the minimalistic tone of the music.
The Banishment Full-Length, 2016 Official Site PRAYERS OF SANITY (PORTUGAL)
Good energetic old school thrash metal which starts with the nice moderate speed/thrasher "Religion Blindness", but soon switches onto a more aggressive play with the explosive "Waiting On Death Row". "Evil May Die" deceives in the beginning that it might offer a softer course, but quickly turns into the next fast-paced killer. No mercy on "No Redemption" either, but "Shards Of Evil" gives the guys the well deserved break, being mid-tempo and laid-back. Three aggressive thrashers follow suit to close this entertaining piece of classic unadulterated thrash, something which the Portuguese scene has to offer more often.
Religion Blindness Full-length, 2009 My Space PREACHER (UK)
This formation play a more elaborate brand of modern power/thrash which is quite clever for its own good the band shredding with competence, but with too many things happening within one song the closing "Let My Dark Arise" alone closing on over 13-min. To these ears the better moments are the more immediate ones: check out the headbanging sections on "F.T.W.".; which aren't that many the guys lashing complex riffs on a dramatic epic base, and the fans of mid-period Fates Warning will be the happiest with this offering. "An Agonising End" is a cool galloper with more aggressive riffage, and that remains the most intense moment on this fairly elaborate affair which also acquits itself with very good passionate clean vocals.
Counterfeit Penitence Full-Length, 2013 Official Site PREACHER (USA)
Raw, aggressive and generally fast thrash metal which surprisingly sounds closer to the early days of the Brazilian metal scene; the band's style is similar to Sarcofago, Vulcano, Sextrash, early Bathory, too (it has a certain black metal flavour at times). Preacher are probably better musicians than the aforementioned bands, but their approach is pretty much the same: an evil and relentless black/thrash attack.
Trapped In Hell EP, 1987 My Space PRECIOUS DEATH (USA)
Based on "Southpaw": I could have blamed these guys for shamelessly copying the Flotsam & Jetsam's "Cuatro" at times if this album hadn't been released a bit earlier. The other target for worship is Death Angel's "Act III". So what we have here is power/thrash similar to the Flotsams' transformation from the 90's, but this one isn't as good inserting funk elements ala Mordred and Death Angel, but when the guys do this, they completely forget about the metal riffs, and these parts are simply bad, having nothing to do with metal. There are also quite a few balladic and heavy/power metal moments. It's only the heavy, pounding guitar work akin to the one in "Quatro" ("No-Can-Do", "Force Fed") which strikes a cord; the rest is nothing more than a failed attempt to sound original, resulting in a very uneven and unconvincing mixture. The band's last, self-titled debut is awful nu-metal, the lowest possible
bottom a once thrash metal act could reach.
Southpaw Full-length, 1993 My Space PRECIOUS INSANITY (HOLLAND)
Atmospheric progressive power/thrash with frequent balladic embellishments and just a few more intense moments ("New Beginning"). The vocal duel between the passable semi-clean singer and the gruff death metal semi-shouter is extremely awkward, and doesn't help the proceedings; neither does the shocking death metal closer "Death Wish" which at least makes some hints with the title.
Vision Demo, 1996 PRECIPICE (USA)
This is a project of two members of Hellwitch. Based on the two demos, the style isn't too far removed from the father band; this is a thrash/death metal mixture with more concentration on technicality than on speed (although some songs excel on speed, too), and more atmospheric with slower, gothic-tinged passages involved as well. The songs here are longer, and the time changes and the great technical riffs keep them interesting throughout. The vocals are totally opposite to the unholy snarls of Hellwitch, deep low death growls ala Jan-Chris De Koeijer from Gorefest. Fans of Massacra, Atheist and Death would also want to check this band out.
The Foundation Demo, 1994 Official Site PRECURSOR (AUSTRALIA)
This band incorporate alternative gimmicks into a more rigid thrashy canvas, the final result a quirky parade which ranges from the surreal Voivod-ish "Nursery Rhyme Time" to the outlandish quasi-epic walkabout "Velvet Buzzsaw" which meandering riffs and quiet interludes make it sound like a tractate from the Slauter Xstroyes efforts. "Disco Dick" is just a clumsy proto-grungy non-sense, and "Wish She Had A Handgun" is a bluesy dragger, the most interesting part from this unfocused recording being the boisterous dramatic thrasher "Night of the Dreaded Wee Wee Rats".
Little People, Big Defects Demo, 1991 PREDATOR (IRELAND)
This is cool power/speed/thrash which has managed to capture the American scene's atmosphere better than some of the bands over there. The guys unleash energetic speedy numbers with echoes of Savage Grace, Attacker and Liege Lord topped by comprehensive clean vocals which are not very attached, but deliver. The guitarists are prone to melodic licks which decorate this effort with several stylish moments: check the guitar duel on the closing instrumental "Celtic Attack" which pays a worthy tribute to the Irish folk music heritage. It should come as no surprise the fact that Anthrax picked these guys for support during their Irish concerts on the "State of Euphoria" tour.
Predator EP, 1988 PREDATOR (USA, FLORIDA)
The debut: a pretty acceptable entry into the classic power/thrash metal side of the genre; the opening "Cursed (Letters From Hell)" is the staple energetic 80's American number, but "Between Vengeance & Forgiveness" tells another story: an awesome technical Coroner-esque piece with mind-blowing riffs and great leads; a song for which alone this album is a must-listen. Unfortunately "Closet Anti-Christ" returns to the more standard patterns being another cool dark power/thrasher paving the way for the smashing semi-technical mid-pacer "Demon Soul" graced by a fine faster galloping ending. "Die Unborn" is heads-down speed/thrash with short screaming leads, and "Icon" is a cool, albeit hardly necessary, nod to the 90's power/speed metal scene to which the excellent high-pitched clean vocals ala Ralf Scheepers (Gamma Ray, Tyran Pace) are very fitting. "Fugue-itive" is 2-min of a technical lead show-off courtesy of the guitar maestro Damien Lee Thorr; a nice offbeat track which seamlessly flows into another major speed/thrasher: "Lone Wolf", intense aggressive shred which completely disappears on the mellower galloping power metal number "Mercy", but the brutal thrashing gloriously returns with the short explosive "A Moment, Sir...". The alternation between the two sides carries on with "In The Name
Of God?" which is some more power metal of the American type, before the closing "The Border" wraps it up nicely serving a potent mix of melodic and hard-hitting riffs on a heavy galloping mid-base with the odd semi-technical twist thrown in.
Predator Full-length, 2009 Official Site PREDATOR (USA, ILLINOIS)
Based on the "Atomic Deconstruction" EP, these folks provide stylish technical thrash which on "Atomic Deconstruction" comes with fast overlapping rhythms assisted by not very intelligible death metal-ish vocals; the constant speedy riffs kind of don't leave much room for a more complex play to be developed. "Intergalactic Expeditionary Strike Force" is in the same vein, but its more elusive rhythm-section leaves space for more diverse arrangements in the middle, including the twisted ending. It would be interesting to check how the band have pulled it off on earlier recordings.
The Executer EP, 2011 Official Site PREDATOR T (VENEZUELA)
An energetic good mix between the 80's speed/thrash metal sound (Toxic Shock, Solitaire, Cranium) and a pinch of crossover; the traditionally fast tempo is "broken" by a couple of heavy dark atmospheric numbers ("No God For Me!", the epic power/thrasher "One Day..."). The bass work is quite good, but the singer is hardly an asset, unleashing a gruff death-ish tone. Expect surprises later on, like the extreme ultra-fast thrash/deathster "6-6-Cervezas". The extremity remains for "In The Name Of War", which is blitzkrieg speed metal in the best tradition of Solitaire, and another ultra-track: the smashing speed/thrasher "Open Beer"; "6-6-Cervezas" is another "nuclear" bomb, starting with the funeral march, and later on "flirts" with another popular tune which I'm not sure where it comes from. Time for crossover to justify its presence with "Policia", before "Dia Del Apocalipsis" nails you down with another
fine slab of fast uncompromising thrash. This is a true commitment to the classic sound, done in a direct stripped-down manner, without any ado, staying away from both melody and technicality.
March of Death Full-Length, 2009 Official Site PREDATORY (BRAZIL)
Based on the "Contesting the Truth of Death" demo, these Brazilians provide an aggressive retro thrash/death hybrid which is more attractive on the more laid-back material (the stomping officiant bass-driven "Message of Death") while the other pieces are ornate by spasmodic blast-beats not applied very appropriately. The vocals are on the shouty death metal side. The musicians also take part in the death metallers Chemical Disaster and another classic thrash purveyor: Front Attack Line.
Walking To The Trap Demo, 2000 Official Site PREDATORY VIOLENCE (GERMANY)
Based on "Hate Nation", this band plays chuggy modern post-thrash with a more frequent adherence to intense pure thrashy moments (the vigorous headbanger "Homicidal Man") with abrasive guitar work and shouty aggro-vocals.
Predatory Violence Full-length, 2007 Official Site PREDATTACK (COLOMBIA)
Based on the full-length, this formation specialize in heroic power/speed/thrash which has a lot in common with the 90's movement in this field. The band's "eagle fly free" approach is admirable excluding their ventures into groovier waters although the latter can hardly break the vivid rhythms' stride on perennial epic speedsters like "Prodigal Son" and "Necropolis". The vocalist isn't very suitable to the uplifting musical delivery with his subdued death metal growls, contrasting with the sweeping melodies amply provided.
Dhominization EP, 2013 Official Site PREDECESSOR (USA)
Based on the debut, this is another rendition of the angry 90's canons done in a slightly more energetic manner than expected also infused with a few catchy melodic tunes ("It Rips, The Destroyer", "The World Outside"). The title-track is an overlong 9-min groovy progressiver showing a more serious attitude, but the latter doesn't quite suit the guys whose more direct side (the dynamic Pro-Painesque "The World Outside") is way more attractive. The vocals are the staple quarrelsome shouts seldom intercepted by much better soulful clean ones.
The Ways of Violence Full-length, 2018
Manifest Rebellion Full-Length, 2015
"Confrontations" treads the same path since there's no reason for changing the course after the promising start, the classic thrash pieces which pour from all sides accompanied by shouty angry vocals which are the only more modern element here. Otherwise, the musical blend is similar to the one achieved on the debut the guys relaxing from time to time (check out the pretty cool semi-ballad "Inside 4 Walls") with some more laid-back numbers which is definitely needed after exhausting headbangers like "Too Much To Handle", "Dark Passenger" and "Acid 51" which will scatter you into all parts of the room/house in no time. Still, the faster material clearly dominates and would leave no one disappointed, especially those who have committed themselves to "mosh till you drop".
"Face of the Unknown" is the next in line roller-coaster as few will be those to stand still on compulsive moshers like "Dead Alive" and "Past Present
None". "March Forward" almost turns into a handsome technical thrasher, but it's the thrash/crossover joys "Someday" and "Betrayer" that deliver the goods
in a better way with their unbridled furious rhythms.
"Doctrine of Misanthropy" is full of unbridled energy like the rousing opening title-track and the tight headbanger "Hide Your Hate" show,
the more laid-back, also more complex, arrangements on "Abomination" a cool diversification, although the guys are obviously fonder of the
moshing side of the spectre, adding the lengthy brisker "We Are Built to Suffer" and the closing shredding madness "Destination: Hell" to
the foray.
Confrontations Full-Length, 2012
Face of the Unknown Full-length, 2017
Doctrine of Misanthropy Full-length, 2021
If you Must Full-length, 1994
Precious Death Full-length, 1996
The "Foundation" demo is arguably the band's finest achievement,
The full-length comes six long years after the demo stage, and the music isn't as technical anymore. The slower gothic passages are here again, and the lead guitar work has improved, but the overall approach lacks a punch, often adhering to less speedy, somewhat dragging sections. In other words what we have is pedestrian gothic-tinged death/thrash recalling the early 90's Dutch scene: Gorefest, Asphyx, also the Swedes Cemetary's early period, etc., but not as good and more thrash-based.
Black Sun Rising Demo, 1995
Prophet of Doom Full-length, 2001
"Born in Blood" is richer in melody, a tendency well reflected on the melo-speedy opener "Days Without Rain". As a matter of fact, thrash isn't very well covered, the overall style clinging between Griffin and early Helstar. "Burn" is a stylish exercise in heavy technical power/thrash, but the rest is pretty conventional old school stuff with interesting lead variations on "Far Beyond Death"; pompous orchestral arrangements on the operatic interlude "Die Not My Hopes"; and a guitar wizard show-off on the closing 2-min instrumental "Caprice 16". The singer is by far the finest asset singing in an attached emotional manner the whole time, a nice reminder of both the first Scanner vocalist Michael "M.A.J.O.R." Knoblich and the aforementioned Ralf Scheepers.
Born in Blood Full-length, 2011
Mothman EP, 2015
Atomic Deconstruction EP, 2016
"Thrash, Beer & Sex" will give you the first in big dozes, but for the other two you'll have to take care yourselves. Otherwise the music is faithful to the band's chosen path, ripping speed/thrash metal this time coming with a stronger shade of crossover, and with more melodic guitar work. The leads are much more widely covered, but generally the musicianship is in the same direct simplistic vein. The guys abandon the fast pace for a short string of slower songs near the end, but the exiting trio is the highlight pulling out brisk intense thrash/crossover at its classic best.
"Red Day" spreads its wing wider, now moving onto proto-death and more overt hardcore. The resulting "therapy" is a mixed bag although at least the more aggressive deathy passages suit the gruff singer better. The musicianship has decreased in terms of quality, and now the guys bash directly without too much thought put into the proceedings, leading to more simplistic tracks, where only the good leads strike a cord. The rest is energetic, but hardly very impressive, thrashcore with a touch of death.
"Cadaver" is a dark groovy affair which still has its more brutal moments (the raging title-track; the surprising galloping joy "Chronicles of the War", the highlight on the album), as well as a few nice attempts at a more technical play ("Fuck you! God!"; but of course!). There are whole 15 tracks here so one should expect variety in the approach which like on the doomy volcanizer "Drunk", and elsewhere.
Thrash, Beer & Sex Full-Length, 2010
Red Day Full-Length, 2011
Cadaver Full-Length, 2013
"Dirty Scum Arise" is a modern thrash affair which smells Slayer (the brooding opener "Sickly Psychological Profile") when it becomes tempted by the classic formulas. This doesn't happen very often, though, and the badn just bash with vigour, but with little imagination, all the way sparcely energizing the environment with more intense hardcore-ish moments ("Art for Madness"). The 2nd half is the better one with a more dynamic delivery which strips down the riff-patterns to more direct core-ish formulas ("Welcome to the Army") which even come with a pinch of catchy melodic hooks. Some of the band members also take part in the death metallers Chemical Disaster and the classic thrash outfit Front Attack Line.
Visions World Apart Full-length, 2005
Contesting the Truth of Death Demo, 2009
Dirty Scum Arise Full-Length, 2013
Meet the Cure Full-length, 2009
Hate Nation Full-length, 2010
Alien Nation Full-length, 2016
"Through the Winter's Cold" emphasizes on the groove more, and as a result the sound is quite heavy with jumpy distractions which are not bad, actually, and have clear progressive, also alternative, pretensions ("Through the Winter's Cold") at times. Later on in the second half one will come across bluesy ballads, stoner/doom cuts, even a nice headbanging passage on "The Stand"; all this finished with the dreamy 8-min opus "Hell is on my Side".