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

R.A.M.B.O. (USA)

Thrashcore of the fast intense type, without completely missing in the melodic department; the problem is that from the whole 19 songs included here there are barely two which slow down a bit to bring a change from the very one-dimensional, quickly wearing out, delivery.

Bring IT! Full-Length, 2009

R.A.V.A.G.E. (USA)

This is the early incarnation of the legendary Atheist. Traces of technical death metal are, of course, nowhere to be found. On "Rotting in Hell": if we exclude the vicious, harsh vocals of Kelly Shaefer, there is nothing too aggressive or brutal here, although the music is quite intense: definitely thrash, but quite raw, with a few moments of good musicianship, not miles away from early Hallows Eve, or Slayer's "Hell Awaits". The guitar sound is very thin, and sticks out of the other instruments to the point of annoyance.
The 1987 demos show a band ready to do some damage on a larger scale; the music is much better with cool aggressive parts, smelling death metal in a way similar to the Death debut, and these efforts are clearly some of the first full-blooded attempts at death metal, along with this album. "Undefiled Wisdom" is one of the first death metal pieces, a furious and a violent number. "Hell Hath No Fury" is not too far behind boasting great guitar work, suggesting at bigger things to come in the near future. There are not too many technical deviations, but it was clear that these guys were having a lot more up their sleeve.

Rotting in Hell Demo, 1985
Raging Death vol. 1 Split album, 1987
On They Slay Demo, 1987
Hell Hath No Mercy Demo, 1987

R.A.W.W.A.R. (CANADA)

This is the band from where Alex Vachon (Quo Vadis, Cryptopsy) started his career in metal. He shows his infatuation with a more technical play on this 5-song demo which is fast furious thrash/death metal not very far from the early exploits of Hellwitch. This is clearly one of the earliest attempts at pure death metal (check out the bombs "Rawwar" and "Delirium") as the concentration is strictly on speed and aggression with a few semi-technical licks present here and there. The bass work is quite good overshadowing the amateurish screaming leads, and the singer does a good job with his vicious semi-death shouts.

Delirium Demo, 1988

R.I.P. (MEXICO)

Based on "Las Damas De Salem", R.I.P. are a power/thrash metal band with nice melodic guitar work. Their style is similar to the Argentinians Hermetica. Don't expect lashing, sharp thrashy riffs: tracks like the intense killers "Cirrosis" and "Arsenico" are not too many; the other material offered is mid-paced melodic power/thrash metal with numerous nods to the classic heavy metal scene.
"Demencia Extrema" is uneventful groovy 90's post-thrash which suddenly livens up with more aggressive riffage, but these switches are awkward and not that frequent. Still, this effort doesn't lack energy and sharpness although the latter asset is mostly due to the buzz-like guitar sound. Near the end the guys "lose" it, and start thrashing in a furious Sepultura-sque manner with the merciless "Berfagor" which remains the only pleasant surprise.

Placer Insano Full-length, 1990
Las Damas de Salem Full-length, 1992
Demencia Extrema Full-length, 1996

R.I.P. (PERU)

This Peruvian trio unleashes quite brutal death-tinged thrash metal which is constantly fast, both on the longer and shorter compositions. The constant blasting makes the tracks merge into one another, and more variety would only be beneficial for the future, but not in the form of mellow, heavy metal numbers like "Minotauro 2". "Reaccion Cadena" is a cool attempt at a more complex song-writing, and has its moments, switching from super-fast parts to better slower ones, where the guitars sound atmospheric, supported by the strong bass work.
The "Escape a la Muerte" demo is another slab of raw aggressive death/thrash metal, in this case more death than thrash, but this time the blasting downpour is interrupted by cool heavier Slaughter-esque numbers ("Exhumados"). "Berserkers" is a jolly speed metaller, the only more light-hearted track which energetic approach "suffers" under the brutal death metal vocals.

Ejecución sin Misericordia Demo, 2008
Escape a la Muerte Demo, 2009

My Space

R.I.V. (BRAZIL)

Aggressive, fast-paced thrash, a direct take on Ratos De Porao's "Brazil"; short blitzkrieg tracks with scattered touches of grind and hardcore. Sometimes the speed goes over the line in a way similar to Wehrmacht, but these moments sound even better as sheer aggression is the order of the day there.

Is This a Modern World Full-Length, 1993

R.K.L. (USA)

This is jolly, optimistic thrash/crossover with an open punk attitude, the guys mixing it with the odd slower track, but generally this is up-tempo stuff which sounds quite samey, but from a fun point of view there's nothing wrong with it.

Keep Laughing Full-Length, 2011

R.O.T. (USA)

American power metal meets thrash; the result is not bad, mid-tempo reminiscent of the Savatage debut and early Laaz Rockit. "Fight" richly deserves its title speeding up admirably being a nice little headbanger. "War Stories", on the other extreme, sounds almost epic, but comes up with cool guitar melodies and war-like choruses.

War Stories Demo, 1987

RABBATH AMMON (JORDAN)

The second band from Jordan to grace these pages after Ajdath; black/thrash metal with a slightly monotonous feeling, modern sounding, with a use of a drum computer which creates a somewhat artificial, mechanical atmosphere. There are a few stylish atmospheric, gothic-tinged moments, but generally this is not something really worth checking out, at least from a thrash metal point-of-view.

Rabbath Ammon Demo, 2005
Ammonites' Knights' Nights Single, 2006

Fan Site

RABBIT JUNK (USA)

Modern post-thrash, melodic stuff, with alternative and metalcore borrowings, and a couple of vocal styles quarreling within; the odd brutal track is certainly here ("Black"), but those moments are very rare.

This Life Is Where You Get Fucked Full-Length, 2008

RABBIT'S CARROT (SWEDEN)

The Swedish metal underground is full with demos like these: typical late 80's thrash of the aggressive variety with fast, proto-death moments and attempts at a more ambitious song-writing ("My Own Leprocy").

Question Of Pain Demo, 1989

RABID (USA, California)

Based on the "Led to the Gallows" demo: despite the bad sound quality, this effort pulls out well done speed/thrash metal reminiscent of the Whiplash and the Agent Steel debuts, with nice attempts at a more technical play ("Deadly Obsession"). The debut demo is another sure-handed effort thrashing far'n wide in a more stripped-down manner producing something close to Possessed's "Seven Churches", but faster and kind of rawer. This is pretty aggressive stuff concentrated around speed more, sounding way faster than the Agent Steel debut album of the same year. The singer delivers with his angry semi-clean tone coming close to Phil Rind (Sacred Reich), but a bit more shouty. It's a pity talented acts like this one sank without a trace after showing so much promise on an underground level.

Demo Demo, 1985
Led to the Gallows Demo, 1986

RABID (USA, New York)

The band's early demos have nothing to do with thrash metal, being brutal death/grind. On their only official release so far they have suddenly switched to thrash, and have done quite a good job, with a sound reminding of many veterans from the 80's- Razor, Kreator, Destruction, among others. The band play fast and tight most of the time, with only "Metal Massacre" being a slower, but also a nice heavy thrasher. This is definitely one of the more impressive debuts from the thrash metal field in 2007.

Annihilation Full-length, 2007

Official Site

RABID CAPTOR (USA)

"Last Rites": A 3-song demo of aggressive proto-death/thrash metal reminiscent of Slayer's "Reign in Blood" and Dark Angel's "Darkness Descends".
The "Disciples of Hatred" demo continues the smashing approach from the debut one, with the addition of several smart technical moments ("Formaldahyde Embrace", the diverse, aggressively-hectic "Disciples Of Hatred"), but there will be a lot of mosh on short blitzkriegers like "Nocturnal", which also come with great bass support. The singer is a subdued death metal growler who doesn't take a very big space, leaving more room for the good music to develop, especially on those more technically-inclined numbers.

Last Rites Demo, 1990
Disciples of Hatred Demo 1990

RABID LASSIE (USA)

Brisk simplistic thrash/crossover with an open hardcore edge; this is wild frenetic stuff ala early D.R.I. and The Accused with a few more laid-back punky "reliefs".

Camel Toes Demo, 1987

RABIES (PHILIPPINES)

Intense "devastating" retro thrash with sharp lashing riffs and rough semi-declamatory vocals with a death metal blend. The music draws resemblances to both the German school (Kreator, Darkness) and Devastation. "Chernobyl" is a cover of their compatriots, the death metallers Effluvium, but this is the weakest song here, slower and kind of unfocused.

Radiation Devastation Demo, 2010

My Space

RACE WAR (GERMANY)

Based on the debut: melodic thrash/crossover which, along with the more energetic, jolly numbers features heavier, but slower ones ("Helliger Krieg") which work better, because it's where the guitars sound sharper. There are a few tender ballads as well, and a few punk-ish tracks. "Stimme des Blutes" is a soft hard rock affair, mixed with a huge doze of punk; no shades of thrash whatsoever, although some may find the melodies inside catchy and singalong.

Kingdom Of Hate Full-Length, 2004
Stimme des Blutes Full-Length, 2005

RADAMANTHYS (USA)

3 songs of melodic thrash/death metal with more laid-back guitar work in mid-tempo with brutal low death metal vocals; "Earth Rim Roamer" has its ties to the gothic/doom metal field as well where the guitars start smashing heavily recalling early My Dying Bride.

Radamanthys Demo, 2009

Official Site

RADAR (RUSSIA)

This Russian duo comes up with very good classic instrumental thrash, often reminiscent of the Metallica instrumental pieces of the 80's; actually this is the "child" of only one musician, going under the pseudonim Ravendark, who uses the services of a singer (Britva), whenever needed. This is really music worth hearing: sharp straight thrash metal in various tempos and moods, but never too technical or complex; the approach is not too distant from the one of another one man project: The National Cemetery Orchestra, or the Canadians Mastery, on the faster compositions (the excellent energetic "V"- all the tracks are numbers, without titles). There is a nice keybord background to be heard, and the closing "VII" is an impressive combination of doom and thrash metal with nods to Metallica's "To Live Is To Die". The sound quality is crystal clear, and a full-length of the same material would be definitely worth checking out.
The EP is less striking, now the vocalist fully epitomized, containing energetic thrash with frequent death and black metal insertions, alternating between fast and slow sections the whole time with just hints at technicality. The sound quality is very clear, but the singer is put too much in front, and his shouty black-ish vocals overtake the riffs more than now and then.

Shemhamfothrash! Demo, 2008
Episode 1 Ep, 2011

Official Site

RADIATION SICKNESS (USA)

Based on the "Elvis Ain't Dead" demo, this band play thrash/crossover which recalls Cerebral Fix's "Life Sucks...and Then You Die!", maybe more brutal and hardcore-ish at times, with clear grindcore pretensions (Elvis Ain't Dead"). Reportedly on the later efforts the guys have increased the intensity by adding some death metal-styled guitars.

We are All the Victims Demo, 1988
Elvis Ain't Dead Demo, 1989
More Than Death - Volume I Split, 1990
Bounds of Reality EP, 1990
The Other Me - A Journey Into Insanity EP, 1990
Circle of Sickness (1988-1990) Best of/Compilation, 2005

RADICAL (URUGUAY)

A modern, and not really striking version of thrash/crossover do these guys play, with a shade of hardcore on the shorter tracks, and occasional brutal tendencies, where they get obsessed by grind even ("Pelea"). Among the speedy thrashers, there are more moderate ones ("Kerosene"), but the problem is that they try to imitate Pro-Pain and other 90's acts. Others, on the other hand, are bland alternative experiments, pale copies of what bands like Tool or Helmet offer ("Milagro"). The industrial death/thrasher "Salvame" is the only song which matches the very cool Slayer-esque opener "Technosis".

Radio EP, 2005
Perfecto Infierno Full-length, 2006

Official Site

RADICAL CORPS (INDONESIA)

Based on "Born in the Land of Hate", this band plays a dark, modern brand of thrash/death metal, which sitcks to repetitive mid-tempo riffs, where the groove reigns supreme, except on the moments when beautiful Oriental tunes take over, sometimes accompanied by good female vocals, which are way more preferrable to the main ones, which are rough shouty death metal-ish. The sound quality is pretty muddy, giving the guitars an annoying buzz which is a constant presence, even on the aforementioned melodic passages.

The Unsolved Of Euphony Destruction Full-length 1998
Born in the Land of Hate Full-length 2004

RADICAL NOISE (TURKEY)

These Turks specialize in intense angry thrashcore which serves the same fast abrasive guitar sound on almost every track, and the same angry shouty vocals. Still, the dedication to speed on short blitzkriegers, like "Rising Values" and "Legal Murder" is admirable, and compensates for the more clumsy delivery witnessed on a few longer pieces ("Utopia Eliminated").

14 More Reasons to Burn Us Down Full-Length, 2004

RADIOLOKATOR (CZECH)

The guys have just two songs released so far showing an act capable of pulling out pretty decent early Germanic speed/thrash also not far from the early efforts of their compatriots Kryptor to whom half of their discography so far is dedicated: "Rychlost Vitezi".

Nunslaughter / Radiolokator Split, 2009

RAFFLESIA (BELGIUM)

Based on "In The Face Of Suffering", this band plays a modern blend of thrash and death metal, fast intense stuff, with sparce metalcore breaks, and more frequent melodic passages, some of which are quite striking (check out "Bow Down"). The guitar work is not bad, although pretty derivative, and the guys spare no speed which goes well with the melodic "decorations". The same, however, can not be said about the forced throaty death metal vocals which are intercepted by other aggressive styles, one of which are shrieky black-ish ones.

Rafflesia EP, 2006
Embrace the Final Day Full-length, 2007
In The Face Of Suffering Full-length, 2010

My Space

RAGE (GERMANY)

One of the most respectable and most prolific German metal bands, earlier known as Avenger (one full-length and one EP were released under that name), Rage's beginnings are firmly rooted in thrash metal boasting energetic, technical riffs and great memorable songs. Their thrash metal past jumps up here and there on their later works, but the style is full-blooded power/speed metal: one of the finest of its kind, and also recommended for thrash metal fans.
"Reign of Fear" is a sure-handed debut, with their style almost fully shaped. The music is energetic and sharp, and here one can easily hear all the trade marks of the band: the very catchy memorable choruses, the forceful semi-clean vocals of Peter "Peavy" Wagner, the fast-paced semi-technical guitar work, etc. The guys here provide blistering, speedy thrashers: the excellent "Deceiver", the opening "Scared to Death", the speed metal killer "Hand of Glory", the speed/thrashing furies "Echoes of Evil" and "Machinery". The more melodic side is also here, in the form of the softer, slower "Reign of Fear", "Raw Energy", and the fine heavy metal hymn "Chaste Flesh". The closing "Scaffold" fortunately comes at the end, otherwise it would have spoiled the fun, being a very long heavy, and a bit boring, ballad.
"Execution Guaranteed" is a strong follow-up, with tighter, and heavier guitar work. The album starts with a great speed/thrashing trio ("Before The Storm", "Deadly Error", "Down By Law"), before "Execution Guaranteed" slows down with smashing riffage, being a very satisfying heavy technical thrasher. "Grapes Of Wrath" is a marvellous technical instrumental, one of the band's finest achievements. The album loses speed and intensity after that, and "Streetwolf" could be considered the analogue to the long balladic closer of the debut: it's heavy, monotonous, partially saved by the more up-tempo final section. The last song "When You`re Dead" is a revelation, finishing the album the way it started: in a brisk speed/thrashing manner.
"Perfect Man" is the band's best work, along with "Trapped" (1992). All the 14 tracks are utterly compelling power/speed/thrash anthems, although thrash metal steps down, playing a secondary role. Speed/thrash metal hymns ("Wasterland", "Supersonia Hydromatic", "Don't Fear the Winter", "A Pilgrim's Path", "Between the Lines") take turns with more laid-back power metal ones ("Death in the Afternoon", "Time and Place", "Sinister Thinking", "The Darkest Hour"). There's no way you won't fall in love with this magnificent stuff: simple, direct, catchy metal at its best which marked the end of their more aggressive early period.

Reign of Fear Full-length, 1986
Execution Guaranteed Full-length, 1987
Perfect Man Full-length, 1988

Official Site

RAGER (UK)

A good 4-track demo of classic aggressive thrash in the vein of Slayer (both their more aggressive and more laid-back period) and Sepultura ("Arise"). The songs are fast and intense with the exception of "Idiot Circus" which is an exercise on heavy crushing riffage.
"Image Of Fear" is another 5 pieces of intense, aggressive stuff which this time comes more varied: the entertaining thrash/crossover cut "Idiot Circus"; the brutal 2-min proto-deathster "Human Remains"; the more stylish, technical breaks on "Terrorstorm". The singer is a vintage early Tom Araya, maybe shouting a bit less.

Pray For Death EP, 2007
Image Of Fear EP, 2012

My Space

RAGING FURY (CANADA)

Quite good semi-technical power/thrash metal sounding not far from Wargasm's "Why Play Around", and Savage Steel's "Do or Die" on the more inspired technical moments. The music is quite varied: there are fast speedy sections; slow, almost, doomy ones; vigorous galloping ones; twisting technical crescendos, short memorable choruses, etc. The singer tries to follow those twists, and does a good job with his potent md-ranged clean voice who doesn't miss the opportunity to unleash a higher pitch whenever necessary. The only complaint would probably come from the lead department: the lead guitar player spares himself with short naive, somewhat amateurish, solos, which are well inferior to the very good riffage.

Raging Fury Full-Length, 1991

RAGING FURY (JAPAN)

With their first demo released in 1986, Raging Fury are actually the first real thrash metal band from Japan. Based on the "Wolf Spider" demo, these guys pull out good fast thrash metal tunes with a slight crossover element ("Donald Duck"); a really good start for the Japanese thrash metal scene.
The "The Rattlesnake Rules" is only 2 songs, both of which show the band carrying on in the same vein, moshing out crossover-laced speedy thrashers, this time longer, but without too many ados.
The self-titled full-length is a revelation showing the band at their best pulling out clever thought-out thrash of the old school not far removed from late-80's Metallica. The opening "The Way of Life", however, is pure thrash/crossover, a logical continuation to the guys' staple style, but hits "Megaton", and things become more complex and edgier. "A Man Called Dragon" is a 9-min diversity with a wide range of moods and tempos, influencing the other material, among which there is only one filler: the monotonous proto-modern pounder "return". "The Triffids" is by far the highlight here: excellent speed/thrash with technical "ornamentations", followed by the great ballad "Black Future (The Day of the Triffids)" to which the forced hardcore-ish vocals do not quite suit despite their obvious effort to sound more tender. The final "Man-Spider" is a return to the guys' more stripped approach of old being vigorous intense thrash/crossover. After a long wait to release a full-length, the guys come up with their best material showing a nice penchant for a more elaborate song-writing without forgetting completely about their roots.

Raging Fury Demo, 1986
Wolf-Spider Demo, 1987
The Rattlesnake Rules EP, 1988
Raging Fury Full-length, 1992
Deal You a Fatal Blow EP, 1999

Official Site

RAGING MOB (CHINA)

After the haunting intro taken from the horror cult classic "Re-Animator", these Chinese present us with polished modern power/thrash metal which offers cool headbanging ("Slave to a Lie", "Rage", "Promise breaker") moments. The album brings nothing new to the scene, but is competently executed which shouldn't be a surprise if one finds out that behind this project stands Robert Gonnella: the same one who sang for the Germans Assassin, and also lends his vocal abilities here.

Raging Mob Full-length, 2008

Official Site

RAGING STEEL (SWEDEN)

Nice old school speed/thrash metal with gruff drunken vocals sounding like a more aggressive Lemmy, also recalling M.S. "Scruff" Lewty (Hellbastard). The music is direct and straight-to-the-point shifting into full-blooded speed metal ("Dreadly Intentions") ala the Finns Solitaire to a positive effect, but the other extreme is by no means bad: the intense proto-death laced rager "Homicidal Death" which culminates in a furious death metal crescendo in the 2nd half, in a way very close to Devastation and Merciless. "Guilty As Charged" is a compelling mix of fierce guitars and catchy melodic hooks, a very stylish "symbiosis", also achieved on the slightly slower "Marked For Murder". The remaining 3 tracks would be no-brainers for the old school thrash metal fans offering ripping riffs and lightning speed tempos throughout, the closing "Wretched Command" acquiring again more intense deathy overtones. This is a worthy dedication to the retro sound, done with enthusiasm and inspiration, and as such will hardly leave anyone disappointed.

Guilty As Charged Full-length, 2010

My Space

RAINING (CHILE)

"Black Essence" provides a fairly good confident mix of power, speed and thrash metal which begins in a splashing way with the rigorous speed/thrasher "Time Is Running Devilishly". Things don't get much softer on the speed metal hymn "Black Essence", which lashes with intensity, seamlessly flowing into the thrashing "ball of fury" "Part Of Them". The guys' obsession with speed/thrash carries on unabated with the brutal "I Wish I Could Sleep", and it's on "Rage Is In Their Faces" and "Mad Men" where the band relax a bit with more moderate power/thrash metal rhythms. "7 Down" is vintage German speed metal ala Not Fragille, who seem to be the main influence on the band, and "Dying Breath" is the other calmer power/speedster, before "H.M.D.W.D" sweeps you away with fast raging guitars. The final "There Will Be Blood" is an angry proto-groover which still delivers with heavy crushing riffs. The singer is the perfect match with his dramatic high-pitch recalling the early Chroming Rose singer Gerd Salewski.
The debut is another commendable achievement moshing out from the get-go with the maddening "Turn It Off!!", and the attack doesn't stop on another all-out speedster ("Pain Machines") right after. The speed/thrash roller-coaster gets a bit merrier on the more carefree "Enjoy The Hell", but "Silent Sin" is a formidable thrasher with crushing galloping riffs, which turns into violent speed/thrash near the end, only to fade away in a nice doomy/semi-balladic outro. "Mental Power" is the definitive blend of power, speed and thrash metal, a compelling tour de force in the spirit of early Metal Church. The guys remain on a US ground with the power metal galloper "Game Of Death", a compulsive headbanger with a huge horse-riding potential. "I Want To Live" is a welcome soft semi-ballad, after which the guys relax with more moderate power metal for a string of tracks, until "Eleventh" which is a heavier more dramatic power/thrasher. The closer "Legacy Of Evil" will exhaust your horses to the death with another portion of Attacker-esque galloping speed topped by the hellish Halford-like screams of the very good singer; the song abandons the gallops in the 2nd half reaching out for pure lashing speed metal attack ala Angel Dust and Not Fragile again.
Both albums would be no-brainers for 80's metal fans with their compelling mixture of the three basic styles, and despite their obvious fascination with speed, there will hardly be anyone disappointed with these sincere, highly inspired, tributes to the old school.

Pain Machines Full-length, 2006
Black Essence Full-length, 2010

Official Site

RAINSPAWN (ITALY)

One of the promising young Italian thrash metal bands, Rainspawn really pull it out with pretty good technical thrash similar to mid-period Megadeth on "No Escape". However, the whole album is not sustained in this vein, and at times one can hear more uninspired moments as though the guys didn't quite trust themselves that they could come up with a masterpiece like "Rust In Piece". "Buried Alive" is an impressive opener, setting the Megadeth influenced tone of the album, being quite an energetic technical thrasher. But then comes "The Execution", which at least in the first half features more melodic, slightly funky guitars, and the listener already has something in mind. But after it the music accumulates a lot of inertia, and the dull moments are few; maybe "The Time Warp" is one, with its speedy riffs ala early Scanner and the catchy happy chorus; it's just a joke song, I guess. What follows, however, is the album's highlight: an excellent instrumental, which boasts great lead guitar work, and the long complex, but very satisfying "Two Month Sleep", which will remind you of several tracks from Megadeth's "Rust in Peace" put together (you sort them out).

Messenger Of Death EP, 2000
No Escape Full-length, 2004

Official Site

RAISE CAIN (SWEDEN)

One of the first bands from Sweden who followed on the steps of Pantera and Machine Head; this is heavy groovy 90's thrash mixed with hardcore in the Pro-Pain vein. There are both hard-hitting and more light-hearted moments; for fans of the genre these guys are well worth tracking down.

Call It Whatever You Want EP, 1994
Stench Full-length, 1995

RAISE HELL (SWEDEN)

Having started as a pure black metal band on their debut, the guys quickly jumped on the more fashionable thrash wagon with the follow-up which was still not cleared of all the black metal "remnants". "Babes" sounds like a leftover from Kreator's "Outcast", but the intensity increases later on with the pounding "Back Attack", and the aggressive "Soulcollector". The band don't aim at the very fast and brutal dimensions of the genre, and melodic, pleasant, black-ish songs are also around: "Devylin".
"Wicked Is My Game" is a great work with very sharp cutting riffs; although often citing Destruction as their idols, the band's music is not a very close soundalike to the Germans. The music is mid-paced, with very timid attempts at more speed ("Deathrace" is an example of the latter), infused with melodic hooks and good choruses. "Hellborn" uses the theme from the cult horror film "Halloweeen" as a base for a fine sinister thrasher, the highlight of the album.
"City of the Damned" is a real disappointment, a U-Turn from the band's biting thrash style, into a more melodic variation of modern post-thrash, similar to what The Haunted did on "The Dead Eye".

Holy Target Full-length, 1998
Not Dead Yet Full-length, 2000
Wicked Is My Game Full-length, 2002
To the Gallows EP, 2006
City of the Damned Full-length, 2006

Official Site

RAISE THE DEAD (UK)

A modern blend of thrash and death metal, with cool guitar work, and some occasional technical implements. The guys vary the tempo from mid-paced to faster: check out the nice headbanger "Cloak of Mist".

Hymns of War EP, 2005

Official Site

RAISING FEAR (PORTUGAL)

Aggressive thrash/death sounding like a more deathy "Beneath the Remains", with moments also reminding early Death; this is fast music, never brutal, with deep death throaty vocals and straight sharp riffs. "Gone Mad" is obviously a leftover from an early demo, being mellower early thrash ala Slayer's "Hell Awaits". The guys concentrated more on their other project Genocide, with whom they released 2 full-lengths and 3 demos of brutal death/grind.

Raising Fear Demo, 1994

RAM-ZET (NORWAY)

The "avantgarde gothic/black metal" description given to this band is fairly inaccurate, and doesn't do them justice, consequently depriving the thrash metal fans of hearing one of the most stylish takes on their favourite genre of the past 10 years. While the "avantgarde" tag should by all means remain, the other two should go, or at least shouldn't lead the pack: there is nothing "black" about the style here, except in the raspy male vocals, which are truly scary stuff, having this characteristic arcane, witch-like quality, pretty effective, especially when they acquire those sinister semi-whispered qualities ala Malhavoc. There is not much "gothic" to be heard, either, mostly reflected in the very good clean female vocals, which will remind you of Anneke Van Giersbergen (The Gathering); and in the stylish keyboard insertions, which echo The Project Hate and Bal-Sagoth. What we actually have here is interesting, original (all right, avantgarde) dark (all right, gothic) progressive thrash, mostly of the modern type, with touches of death and doom metal, plus certain industrial leanings. The male/female vocal "duel" is immaculately performed, creating escalating dramatism second only to the aforementioned The Project Hate.
"Pure Therapy" welcomes you with an initial portion of industrial noises and crunchy chugga-chugga riffs in the vein of early/mid-period Meshuggah, but when the two very contrasting vocal styles hit you assisted by haunting violins and suggestive keyboards, you know that this will never metamorphose into the mechanical non-melodic abstractisms of the Swedes. The guitat work remains cold and heavy, with not much speed involved, but the other influences are imbedded perfectly into the diverse picture, which becomes wonderfully complex on the twisted, and surreally melodic, piece "For the Sake of Mankind", which blends stylish technical riffs with breathtaking violin and keyboard melodies. This progressive approach stays around for 2 more opuses: "Eternal Voice" & "No Peace", before the final string of numbers arrives thrashing with more edge, "Kill My Thoughts" boasting some of the finest leads around; and the closing "Through the Eyes of the Children" being a formidable shredder with the only more intense headbanging sections on the album.
"Escape" is not exactly an "escape" from the band's larger-than-life delivery, but follows a similar path with all the staple tools of the trade, but this time all compositions are long, which in its turn gives an poortunity for the musicians to show all their skill to the fullest: check the virtuoso sections on the opening "R.I.P.", which would make Yngwie Malmsteen and Marty Friedman proud. The faster parts have been increased quite a bit, gracing almost every song, moshing hard on pieces like "Queen" and "The Seeker", the latter containing a sparce black-ish passage. "The Claustrophobic Journey" is a dark sinister shredder, and the final "The Moment She Died" is dark, atmospheric thrash at its best, an encompassing piece with officiant doomy moments intercepted by fast thrashing ones and the trade mark enchanting violin/keyboard tunes.
"Intra" is the band's magnum opus, an exquisite piece of technical/progressive thrash with death metal overtones, in the best tradition of Coroner, Martyr (Canada), Theory in Practice, etc. All the expected "devices" from the band's repertoire are here, so don't expect precise technical shred all the way through, although this is pretty much what should be expected in the guitar department. The songs' length has been decreased, neither of them being an exercise in virtuosity, despite the presence of quite a few virtuoso sections. This is a truly compelling listen with the clinical, precise riffage intertwining into the beautiful melodies, with the technical headbanger "Ballet" leading the pack confidently with immaculate clinical guitars and mazey, jumpy structures. "And Innocence" is the "rest" place: a more peaceful gothic cut, but expect to fall from your chairs on the next "Born" which is an intense operatic thrash/blacker of the Bal-Sagoth and mid-period Dimmu Borgir proportions. "Lullaby for the Dying" is a stylish up-tempo technicaller akin to Coroner, before "Closing a Memory" "closes" the album in a captivating Theory in Practice-like manner with sweeping labyrinthine riffs and a grandiose balladic/gothic interlude.
One coud hardly imagine anything better than the band's last effort, so consequently the guys (and a girl) don't bother to reach similar heights, but settle for a more standard modern thrash/gothic approach, sounding quite similar to The Gathering's "Mandylion" and "Nighttime Birds", spiced with the odd more aggressive thrasher ("222"). Two lengthy, operatic pieces ("Addict", "Beautiful Pain") are included: engaging operas of the melancholic gothic/doom variety, where the girl (the pseudonim is SfinX) outdoes herself with standout emotional performance, also recalling the singer (Rune Folgerø) of another interesting Norwegian act: Atrox. As a whole the muscial approach here is more subdued and less elaborate, sticking to more conventional song-structures and a less varied concoction of styles, which to some may be quite a disappointment, since the musical excellence of the previous offerings is seldom achieved.

Pure Therapy Full-length, 2000
Escape Full-length, 2002
Intra Full-length, 2005
Neutralized Full-length, 2009

Official Site

RAMAYANA (SWEDEN)

Atmopsheric dark thrash with brutal death metal vocals alternating with unemotional clean ones; the music is not bad being heavy with gothic touches and nice melodies reminiscent of early Nighfall (Greece).

Ramayana EP, 2010

Official Site

RAMMER (CANADA)

One of the new Canadian thrash metal bands of the new millennium, Rammer offer a cool mixture of old school thrash, black and death metal (mostly on the band's new album). The German thrash metal scene is an obvious influence on the band's sound- Kreator and Sodom, in particular, the latter especially in the vocal department (think of a more vicious version of Tom Angelripper). Apart from occasional metalcore moments ("Rammer"), everything here is done with style and competence.

Incinerator and Krusher Full-length, 2002
Suffer EP, 2003
Cancer Full-length, 2006

Official Site

RAMMING SPEED (USA)

The full-length is an energetic simplistic slab of classic thrash/crossover, owing much to acts like Ludichrist, The Accused and Leeway. The guys thrash with conviction, relying mostly on speed and catchiness, adding the odd sense of humour in the song-titles: "Shane Embury Is the Brad Pitt of Grindcore". The surprise comes at the end, with the closing heavy metal hymn with the very appropriate title "Heavy Metal Thunder" which sounds as though directly taken from some of the 80's works of Saxon or Diamond Head.

Full Speed Ahead EP, 2007
Brainwreck Full-length, 2008

My Space

RAMP (PORTUGAL)

"Thoughts" is one of the finest thrash metal albums which the Portuguese metal scene ever produced, a classic thrash masterpiece, fast and technical at the same time, bringing to mind Death Angel's "The Ultra Violence", but with a more technical edge. The vocals are of the clean type with adherence to rough higher-toned shouts. The sound runs away from the thrash metal formula into epic heavy metal fields in the middle: "The Last Child", and "Try Again", which is a cover of a rock'n roll number, which author I don't know; Tankard have the same cover made on "The Morning After" (could be a Tankard cover?). But the guys gain speed again on the last three songs: awesome thrashers gracefully finishing this great album. The band's future career follows closely on the steps of Pantera and Machine Head, and is not that bad with really aggressive, but derivative, approach.
"Visions" brings more life into the band's rigid approach adhering to more brutal riffage, still far from the classical standards, but entertaining enough, when it comes cleared of the groove and the Black Album-like leanings. The guitars hit hard on quite a few times, and for fans of the angrier modern side of thrash there is a lot offered to be enjoyed.

Thoughts Full-length, 1992
Intersection Full-length, 1995
Evolution, Devolution, Revolution Full-length, 1998
Nude Full-length, 2003
Planet Earth EP, 2005
Visions Full-length, 2009

Official Site

RAMPAGE (AUSTRALIA)

This band was founded by two members of the Australian thrashers Hobb's Angel Of Death, after they left their previous band. The style here is more ambitious with slight technical tendencies not too far from Liege Lord's "Master's Control", but with a more aggressive attitude, and a worse sound quality. The band show skills at thrashing with more intensity: "Acid Storm", "Producers' Edge", but their slower more technical side is kind of more appealing: "Sinister at Sunrise", "Satrap". The guys were surely going somewhere, but they never recorded again.

Veil of Mourn Full-length, 1988

Vibrations of Doom

RAMPANT DECAY (USA)

Brutal thrashcore with grind-y overtones, not for the faint-hearted; the guys relieve the pressure by inserting the odd heavy break, but most of the time they bash with no mercy in a not very intelligible semi-The Accused/semi-Cryptic Slaughter manner with an updater modern sound.

Antisocial Death March EP, 2008

RAMROD (USA)

This band were supposed to be the continuation of Liege Lord after a lengthy 6-year break. Well conformed with the 90's tastes, this 3-song demo also has a slight classic flavour, but is more along the lines of Flotsam & Jetsam's "Cuatro" and 90's Overkill, rather than the early works of Liege Lord. This is the reason, I guess, why the guys continued their career in Overkill after this solitary effort, and some of them were also seen in other famous American metal acts (Annihilator, Anvil, etc.) later.

Promo Tape Demo, 1994

RAMSES (MEXICO)

Based on "Guerreros del Metal", this band pulls out melodic speed/thrash with virtuoso lead guitar performance which beats by miles the other instruments. The style is a sure-handed forerunner to the 90's power/speed metal scene, with the sing-along choruses and the soaring clean vocals. The album is a mix of slow and fast tracks, with the slower material carrying a stronger thrashy "colouring". But the speedy songs are really a wonder to listen to, with the great melodic hooks and leads. "Adicto A La Velocidad" is a mighty speed/thrasher which goes away with all the "laurels" in both departments. "Sedientos De Poder" adds some technicality to the speed, but the closer "Necropolis" will shoot you at close range with its machine gun-like riffage and galloping tempos.

Apocalipsis Full-length, 1985
Guerreros del Metal Full-length, 1988
Pon Tu Cerebro A Remojar EP, 1991
Delirio De Desastre Full-length, 1992

Fan Site

RANCID DECAY (USA)

Based on the Best of Compilation, which contains almost the whole discography of the band from the 80's, this act plays violent aggressive thrash/crossover quite close to Wehrmacht, and those 3 demos could well be placed right beside Slayer's "Reign in Blood" and Dark Angel's "Darkness Descends" as one of the early extreme works from The States. The music here is less serious perhaps, with nods to hardcore as well, but "Silent Scream" on the other hand could easily pass for one of the first takes on brutal proto-death metal.

Decaying Stench Demo, 1986
You Had to Be Eliminated Because You Are Breathing Our Air Demo, 1986
Rancid Decay - Live at Hung Jury Pub Demo, 1986
Presumed Dead Best of/Compilation, 2004

Official Site

RANCOR (SPAIN)

This is cool classic power/thrash metal: mid-paced with occasional fast moments and nice melodic guitar work; the overall style recalls Ultimatum or early Imagika. "Release the Rancor" is a nice elaboration on the EP providing 10 brand new tracks for the fans which will hardly leave anyone disappointed with the brisk guitar sound, the cool attached semi-clean vocals, and the catchy arrangements. The tempo is energetic clinging between power and thrash metal this time also recalling early Meliah Rage and Overkill, apart from the other two aforementioned acts. Both sides are well mixed on almost every song until the coming of "Rancor": a short bursting speedster which shatters the established pattern, slightly influencing the energetic proto-modern "Twist the Knife" afert it. The inertia doesn't get lost later, first with the energetic "Incompetent", and later with the up-tempo semi-technical closer "Zombie War!".

Death Is Everywhere EP, 2006
Release the Rancor Full-length, 2010

Official Site

RANDAGI (ITALY)

Based on "Seismic Area", this act plays jolly funky crossover-tinged thrash, quite melodic and happy to be taken seriously by most thrash metal fans. Some tracks are too bland and toothless to keep your attention, a situation worsened by the weak vocals, sounding like an impotent mix between Ozzy and Denis "Snake" Bélanger (Voivod). The better moments are those where speed steps down for the sake of power/heavy metal riffs ala 90's Flotsam ("Seismic Area"), but they are so few that at first listen one may completely miss them, and a second listen is not very likely to take place...

Hard States of Conciousness Full-length, 1990
Seismic Area Full-length, 1991

RANDOM ACTS OF VIOLENCE (USA)

The full-length provides a wild frenetic mixture of thrash, hardcore, punk and even grind. The songs are not very short, developed well beyond the spontaneous outburst. The approach is predictably fast, and the vocals are suitably hoarse and shouty with a gruffer death metal flavour at times. The guitar work gets occasiional technical dimensions on some tracks which shouldn't be a surprise having in mind that Phil Dubois-Coyne (Cryptic Warning, Revocation) is responsible for them.

Unleashing Full-length, 2003
Cathartes Aura EP, 2005

Official Site

RANDOM CONFLICT (USA)

Based on the full-length, this act offers a more modern version of thrash/crossover with bad throaty vocals, which border on death metal. The music comes with a very buzzy background, but the guitars can still be distinguished. The songs are mixtures of fast and slow sections, the former working better, switching onto full-fledged thrash at times, where even some more aggressive proto-death metal flavour ("Object") can be felt.

Shadows of Existence EP, 1991
Internal Visions Full-length, 1992

RANDOM DAMAGE (CANADA)

Modern power/thrash metal close to 90's Flotsam & Jetsam; this is heavy, mid-paced stuff, spiced with quite a few slower, almost doomy parts, including one acoustic ballad as a finishing touch: "Calm Before The Storm", (again a reference to the Flotsams (their 1990 album), although nothing really "stormy" comes after this one. It sounds appealing when it speeds up ("Shut Your Mouth", "Broken Mirror"), but this doesn't happen that often.

Random Damage Full-length, 1995
Human Flytrap Full-length, 1998

Official Site

RANDOM MULLET (FINLAND)

Based on the "Lifeless" demo: this is very technical/progressive stuff, which at its best comes close to the Canadians Electro Quarterstuff. This is not all-out thrash all the time, but has its furious thrashy moments: "The Statement", "Penetrated Skin" and "Infected" are fine examples of the latter, but the guys never settle for something more ordinary, and all compositions are filled with various tempo changes and atmospheric, semi-balladic passages, where the guitars lose their cutting edge, and then come the clean, melodic vocals which give the sound a distinctive, but not very desirable semi-alternative edge. There is a lot happening here, especially on the 9-min epic "Waters of Shame", which is an impressive work of progressive, thought-out metal. The thrash metal fan should give this band a listen; those who like their metal more complex and non-conventional, would certainly be not disappointed.
The demo is 3 songs of technical/progressive modern thrash, but the clean vocals, which are more clearly accentuated here, and the melodic breaks kind of leave something more to be desired. "Transmission" is the best song, quite dynamic and edgy, whereas "Alive Six Feet Under" is a bit heavy-handed Meshuggah-esque mechanical affair, and "A Moment in Nowhere" is a cool semi-ballad, with the initial quiet balladic parts sounding much better than the closing groovy noisy tunes.
"Remission" is 3 tracks of more ordinary semi-progressive modern post-thrash having almost nothing to do with the band's excellent debut demo, except for the more intense passage from "Asshats"; the rest is not really worth your attention being a very typical for more recent (and not so recent) times attempt at "injecting" a more technical/serious doze of music to the already tired 90's groovy patterns.

Lifeless Demo, 2005
Infection EP, 2007
Remission EP, 2009

Official Site

RAPED APE (USA)

With a name like this, one would expect hard or even grindcore. Well, there's nothing like that here; this is very good classic Bay Area thrash with quite stylish guitar work akin to Exodus and Testament with a dual vocal attack: rough death metal growls and more typical thrashy ones ala more aggressive Max Cavalera. The music is quite hard-hitting having also shades of Sepultura's best period ("Beneath the Remains", "Arise"): "Land of Promises". The concentration is not on speed, but on heavy crushing riffage with a nice semi-technical edge. Unfortunately this work is only 6 tracks. Later some members continued their career under the name Paingod.

Terminal Reality Full-length, 1993

Official Site

RAPED GOD (MEXICO)

A promising new band from Mexico who play death/thrash metal with more emphasis on death, but with good semi-technical thrash riffs involved, too. The sound is quite heavy and pounding accompanied by sparce furious blast-beats with a very occasional use of the lead guitar.

Raped God Full-length, 2004

My Space

RAPED GOD 666 (MEXICO)

This is the same band, known as just Raped God previously (see the review above), who had to change their name because of the clash with the former singer for the old name. The style here is pretty much the same, but more thrash-based, and to these ears better sounding. The new singer does a very good job, with a semi-clean, rough voice, close to Katon W. DePena (Hirax). The music is fast and intense, combining the German thrash metal trends with some Slayer-esque parts. Actually death metal-like intensity is almost nowhere to be found, with very few exceptions: sections from "The Eyes Of Hate", "The Hellbeast", etc. "Metal, Muerte, Destruccion" is a smashing thrashterpiece; a raging instrumental, which starts in a calmer, softer way, before it turns into a ball of fury later on.
The "Tyrant Resurrection" demo is a more brutal offering now sounding purely death metal on quite a few times, although thrash is still the dominant force being of the fast type ala the Merciless debut and early Kreator.

The Executioner Full-length, 2008
Tyrant Resurrection Demo, 2009

My Space

RAPER (CHILE)

This is intense thrash/death with both modern and classic echoes, alternating fast with slow songs (those sounding pretty epic in a way not too dissimilar to Esqarial and more recent Entombed) the whole time, producing one aggressive thrash/deathster at the end ("Cannibalypse"), where the guys lash fiery riffs for over 6-min to a smashing effect. The singer is a low-tuned death metal growler, but his rendings are intelligible, and are not detrimental to the incessant barrage which may annoy a bit due to the slightly noisy guitar sound.

Cannibalypse Demo, 2011

RAPID DECAY (USA)

Based on "Thrashin' Undead", this is good 80's thrash with slight crossover elements, reminiscent of Suicidal Tendencies' more thrashy releases. The production is slightly dull, putting the drums too much forward. The tracks are fast and short except the last one "Commanding Legions Of The Walking Dead", which is a nice deviation from the straight formula.

Rapid Decay Full-length, 2003
Thrashin' Undead Full-length, 2004

Official Site

RAPID DOMINANCE (USA)

This 5-piece EP shows a band intent on adding more prorressive arrangements to the scene with their brand of more complex modern thrash which needs a bit more dynamics, though: this elaborate landscape may drag at some point on a full-length. "Inheritance of Suffering" nicely speeds up with more energetic galloping rhythms, and at the end comes the cover of Death's "Spirit Crusher", overshadowing the preceding material, expertly done, wisely staying close to the original, excelling in the lead department; the rough death metal singer doesn't possess the high pitched semi-scream of late-period Chuck Schuldiner (R.I.P.), but it's the music which has always mattered on this immortal song.

Premonition EP, 2012

RAPID FIRE (POLAND)

Quite cool classic thrash with a few modern implements, mid-paced, not very aggressive, with nice melodic guitars, and good mid-ranged, semi-clean vocals. Some tracks have a more modern, also alternative shade, including two ballads, where the singer is by all means the star of the show (the 2nd demo), as opposed to the more hard-hitting numbers, mostly on the 1st demo.

Demo Demo, 2002
Demo 2 Demo, 2003

Official Site

RAPID FORCE (SERBIA)

This band was founded by a former guitarist of another Serbian thrash metal band- Heller. Based on "Apotheosis Of War", Rapid Force's style is not pure classic thrash like the other band; their sound is heavier, with more modern tendencies, reminding of 90's Overkill. There is also a certain 80's spirit here, recalling late 80's Metallica. The musicianship is particularly good with impressive solos and a great bass bottom.
"Burst Under Pressure" sees the band having grasped the groovy tendencies much tighter, following on the steps of early Machine Head and Pantera closely. Successful attempts at stoner/doom ala Down can one hear as well ("Eyes For An Eye"), as well as a very good thrashing up-tempo closer ("A Song For Me").

Apotheosis Of War Full-length, 1993
Burst Under Pressure Full-length, 2008

My Space

RAPTOR (ARGENTINA)

Modern groovy post-thrash made by the same guys who have a much more consistent career under the name A.N.I.M.A.L.; one can hear faster classic riffs from time to time, but these are rather "remnants" from a previous formation than a suggestion for a future direction to be taken.

Raptolandia Full-length, 1995

RASKAT (RUSSIA)

Based on "Ogni Drugoi Realnosti", this act plays melodic thrash/death metal which is both classic and modern. The album begins with the peaceful melancholic "Master Of The Dead", but picks intensity very soon after with "Sovremennyj Inkvizitor", although later on both tendencies alternate throughout, but near the end the speed takes over resulting in a couple of energetic headbangers finished with the furious closer "Vemeret' Odnomu".

Beyond Good and Evil Full-length, 2008
Ogni Drugoi Realnosti Full-length, 2010

Official Site

RASPATUL (SINGAPORE)

A typical for modern times mixture of thrash, black, and death metal. It has its moments, though, and at times the music takes a nice technical turn, or comes up with a cool headbanging riff, or descends into atmospheric gothic/black ala mid-90's Rotting Christ; there are also ultra brutal death metal passages.

Devils In Renewed Birth Full-length, 2007

Official Site

RASPUTINS (DENMARK)

3 tracks of modern groovy post-thrash; stoner/doom, alternative and even grunge are also covered; how did they manage to do that within just 3 songs... but, please, don't bother to check it out! You're going to hate yourselves...

Skull Hurts EP, 1995

RATOR (MALAYSIA)

A very buzzy guitar sound hits you from the get-go, and stays with you till the end, which may be quite a detraction to some. Otherwise the Malaysians play tight and fast presenting us with furious, seldom semi-technical, black/thrash metal of the old school. The slower compositions kind of work better ("Satan Slave") coming with a touch of sinister epic/pagan. When the band abandons the frequent blasts the songs develop into nice up-tempo thrashers ("Spell From Fire"). The last 3 tracks are with a much worse sound quality (can you imagine?!), and are either live recordings, or are taken from an old demo; the style is pretty much the same.

Possessed Full-length, 2008

Fan Site

RATOS DE PORAO (BRAZIL)

Although this band boast one of the longest running careers on the Brazilian metal scene, it's the albums featured here that are of importance to thrash metal. The band's hardcore past is obvious on "Dirty And Aggressive", but "Brazil" smashes everything in its way with its uncompromising, hard-hitting thrash and short, straight-in-your-face tracks. "Anarkophobia" is another very strong release, with a more serious song-writing, but with the same direct, take-no-prisoners attitude. "Just Another Crime in Massacreland" is less thrashy paving the way for the return to the more hardcore-based sound.

Cada Dia Mais Sujo e Agressivo / Dirty and Aggressive Full-length, 1987
Brasil / Brazil Full-length, 1989
Anarkophobia Full-length, 1990
Just Another Crime in Massacreland Full-length, 1993

Official Site

RATTLEHEAD (USA)

Melodic speed/power/thrash metal (based on the debut), strongly recalling Meliah Rage, Destructor, and other 80's American acts; there is not much thrash to be heard here, but the catchy melodic hooks will keep you entertained ("Devil's Workshop", above all, where the guitar work is really impressive). The intro and outro are awkward silent tracks with barely anything to be heard.
"Tales From the Gutter" is a similar affair, mostly power/speed metal with touches of thrash, but now the sound has acquired more modern tendencies making spontaneous bursts, like the speedsters "Walk with the Dead" and "Digging My Own Grave", more than welcome. Another more pleasant surprise would be the galloping "rider" "The Losing Hand" which is a satisfying piece of power/thrash metal lashing riffs for more than 7-min recalling Attacker's "Second Coming". The singer doesn't add up to the merry mood, though, singing in a listless gruff semi-hardcore tone.

Responsible Moshing? Full-Length, 2004
Rattlehead EP, 2006
Step Inside for the Slaughter Full-Length, 2008
Tales From the Gutter Full-length, 2010

Official Site

RATWARS (CANADA)

Brutal black/thrashcore with shades od death metal expressed in short 1,1.5-min pieces obvuiocusly influenced by the Australian "monsters" The Berserker, but without the industrial landscapes of the latter, although the guitars here are pretty noisy, too, and may also remind you of the Voivod approach on their debut "War & Pain".

Warpunk Demo, 2010

RATZINGER (CHILE)

This is typical groovy post-thrash the way it used to be played in the 90's; if you like mid-period Prong ("Beg to Differ", above all) and the last two Accuser works, there's no way you won't like this. There's a few moshing parts in the vein of Pantera and Machine Head, but this is mostly minimalistic music with a little variety offered.
"2012" is a milder affair, and consequently the less impressive listen. The guys play without any inspiration reflected in the repetitive soulless guitars and the indifferent shouty vocal participation, piling a rehashed after rehashed riff to an ultimately boring effect. Still, a pleasant surprise would be the tender closing ballad "Life Goes By" where the singer finally shows some emotion.

Under Attack EP, 2005
State Enemy Full-length, 2007
2012 Full-length, 2011

Official Site

RATZKRIEG (USA)

This band really deserve to be more known, because their only demo is a good example of an early thrash/death metal blend. The style draws comparisons to Benediction, but the British band haven't been founded at that time yet. The vocals are also similar to Dave Ingram's. In the slower parts one could hear shades of the other British death metal giants Bolt Thrower. So what is this band doing here? Like I already wrote, this is not entirely death metal; songs like "Retribution" and "A New World" carry the Slayer-esque thrash metal spirit pretty well. A very rare item, but well worth the time to track down.

Black Reality Demo, 1989

RAVAGE (GERMANY)

A nice fusion of death and thrash metal with both technical and fast guitar work involved at times; there are two vocal styles on the albums: one is low death growl, the other is higher-pitched snarl close to Kelly Shaefer from Atheist. Music-wise the band are similar to Defleshed from Sweden or the Dutch Thanatos (more technical than the former, and less technical than the latter). "Infernal Devastation" is more thrash/death metal-based, with more frequent brutal outbursts (parts from "Infinite Hate", "Execution Call" and elsewhere), whereas "Get Fucking Slaughtered" clings more towards thrash metal, with nods to Destruction in the guitar department. The songs are short, direct, speedy smashers, except for "Blazing Chaos" which is longer and more complex.
"Violent Offense" offers another thrash/death mixture, but this time the sound is clearly on the modern side, with the Swedish school more than just slightly hinted at. There is more concentration on the death metal side in the beginning with the 2 raging openers where the guys spare no speed, but then they slow down, for the dark stomping "Systematic Anguish", and the excellent more melodic instrumental "Marooned". Death metal steps aside after those two, and the continuation is in the form of fast brisk thrashers: "Disposer Of Cruelty", "Apocalyptic Raid". Near the end the aggression comes back; death metal shows up, and the blend delivers, with "Christian Deception" even trying to sneak something technical into the album. Although in terms of speed this recording may even surpass the previous two ones, the reliance on trite modern patterns makes it a less interesting listen in the long run.

Infernal Devastation Full-length, 2003
Get Fucking Slaughtered Full-length, 2005
Violent Offense Full-length, 2008

Official Site

RAVE AGE

Heavy groovy post-thrash with hammering riffs and a couple of intriguing melodic hooks inserted; the overall approach resembles GZR (their 2nd album, above all), and near the end the album picks more dynamics offering more playful optimistic stuff with a shade of the dance-potential approach of Rammstein ("Death is not for Me").

Burning Generation Full-Length, 2010

RAVEN BITCH (USA)

American power metal meets thrash; the style is similar to a more aggressive Attacker.

Tear Down the Walls EP, 1987

Official Site

RAVENDARK'S MONARCHAL CANTICLE (BRAZIL)

Based on "Sob a Bandeira do Ódio e da Arrogância", this evil hellish trio offers intense retro black/thrash metal which is mostly fast and blasting showing very little mercy, mainly on the cool Hellhammer cover of "Revelções das Sombras" ("Revelations of Doom" from the "Satanic Rites" demo) sung in Portuguese, which abandons the raging downpour near the end, but would hardly be enough to relieve the listener from this tiring one-dimensional music which at least boasts more intelligible semi-declamatory vocals.
The demo is pretty similar music-wise mostly, as in the vocal department we have an unholy raspy shouter. The guys slow down for the casual scary Bathory-sque hypnotizer ("Infantaria Belica"), but generally this is a pure Sarcofago and Vulcano worship with echoing underground guitars and a frequent incorporation of blast-beats and other brutal gimmicks.

Forca Beligerante Brasileira - Culto a Guerra Demo 2006
A Ascensao Da Arrogancia, Odio E Intolerancia Full-length, 2008
Sob a Bandeira do Ódio e da Arrogância Full-length, 2010

My Space

RAVENOUS (AUSTRIA)

The finest Austrian thrash metal output so far, this one-album-wonder will make your day with its sure-handed technical riffs and fast energetic pace. The vocals are a bit of a letdown with their rough low-tuned delivery closer to death metal rather than thrash. The overall style resembles quite a lot Mandator's "Perfect Progeny", with the steel riffage and the aggressive delivery. The energetic play is seldom interrupted; the songs are speedy, and are not really complex experiences, except for the great multi-layered technical opus "Welcome Terrible", and the shorter, but equally as intriguing instrumental "Psycho Trilogy". "H.O.G." slows down to mid-pace, but comes up with nice crushing guitars, and is the only deviation from the speedy formula.

Book of Coventous Souls Full-length, 1991

RAVENOUS (FINLAND)

Based on the "Bestial Legacy" 2-song demo, these guys pull out an uneven mix of classic and modern thrash kind of recalling 90's Slayer without any temptations towards a faster, more dynamic, play. The riffs evolve around a mid-paced semi-groovy base, and despite the vivid tone they are not very exciting, neither are the flat unemotional semi-hardcore vocals.

From the Ashes Demo, 2006
Delicious Disease Demo, 2007
Bestial Legacy Demo, 2008

Official Site

RAVENS CREED (UK)

Based on the debut EP, these guys offer old school thrash metal with Slayer the main influence, although the very abrasive fuzzy gutar sound will be a major annoyance to some. This can actually be considered a super group consisting of ex-members of renowned British acts like Sabbat, Cerebral Fix, Skyclad, etc. There are a few heavier passages which recall early Celtic Frost, and "Dead Crow Mantle" at the end is an aggressive ball of fury with proto-death overtones.

Militia Of Blood Sacrifice EP, 2007
Neon Parasite EP, 2009
Albion Thunder Full-length, 2009

My Space

RAVENSTHORN (USA)

Few are the bands nowadays which pay such a good tribute to the 80's American power/thrash metal scene. The debut is a massive slab of classic power/thrash metal summing the best from the 80's works of acts like Helstar, Manilla Road, Liege Lord, early Overkill, Meliah Rage, Anvil, etc. "House of the Damned" is a sprawling power/thrash metal composition with an epic feeling in the best tradition of late 80's Manilla Road mixing fast-paced sections with heavy, almost doomy, ones. The singer is a great asset delivering dramatic mid to high-ranged vocals always keeping a nice melodic blend throughout. "Lament Configuration" thrashes more intensely with great steam-rolling sharp riffs in a fine up-tempo, and a cool lead-driven outro. "Lust for a Vampire" carries on in the same spirit, maybe a tad slower and more power metal-based, and with higher-pitched vocals. "Ouija" could be annoying in the beginning, with the overlong 1.5-min intro of an ouija ritual, but then the guys start lashing without mercy, and this track is a thrash delight of the highest order, also boasting fine lead performance. "Possessed By Evil" again starts with a slightly long-ish intro, but this small gem is all-out speed/thrash metal at its uncompromising best reminding of the Flotsam & Jetsam debut, among other efforts. "Up from the Crypt" is a very cool heavy mid-tempo number with samey, but catchy, pounding riffage. "Walk with the Undead" is highlighted by superb bass performance, followed by a slab of first-class headbanging thrash, interrupted by a couple of slower, more melodic sections, one of which is a breathtaking acoustic guitar-driven one. "Wolf Witchery" is energetic speed/thrash metal which never slows down for a split second providing some of the finest headbanging moments on this very strong debut.
"Hauntings And Possessions" is a commendable follow-up, but can not rank as high as its predecessor. It's more power metal-sounding, acquiring at times softer heavy metal tendencies ("Buried In The Basement", the cool haunting theme on "Buried In The Basement"). "The Ring" introduces up-tempo dark thrashy riffage paving the way for "Lost In Darkness": smashing fast-paced thrash, but the gained inertia is lost on the next "Hand of a Killer". "Possessed By Evil" thrashes like there's no tomorrow again: who cares that this is actually the same song from the debut. "Bloodthirst Of Dracula" is the analogy to the "House of the Damned" from the debut: a long, progressively-laced composition, opting for a more technical play, without forgetting about the faster, more aggressive side of the style. This is by no means a very big step down for the guys who remain true to their roots giving their music a wider appeal with cool nods to other genres apart from thrash metal.

House of the Damned Full-length, 2002
Hauntings And Possessions Full-length, 2004

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RAVING MAD (SWEDEN)

Based on the "A Dazzling Display" 2-song demo, this is power/thrash similar to Manninya Blade (the band from whom Hexenhaus originated), and early Laaz Rockit.

Expirience II Demo, 1986
A Dazzling Display Single, 1987
Master Mind Demo, 1989
Lethal Greed Single, 1990
Pure Existence Demo, 1991

RAW (GERMANY)

Intense aggressive thrashcore with shades of death metal, with brutal low-tuned death metal vocals, interrupted by the odd hysterical semi-blackish scream. The guys know no mercy playing quite fast with simple direct guitars, which manage to create the necessary musical landscape without edhering to too much noise. Among the 20 tracks one may come across merrier speed/thrashers ("World of Fire"), smashing death metal outrages ("Sirens Calling"), as well as pure old school thrash/crossover ("Drug Me").

Moshpit Full-length 2009

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RAW ENERGY (USA)

One of the least successful attempts at crossing traditional metal with thrash from the American metal scene; the band incorporate some thrashy riffs, but they get buried in the mish-mash which also includes power, heavy metal, doom and even something more. This could have sounded better on a full-length, but in an only 4-song EP such a mixture is awkward, to say the least.

White Stallion EP, 1988

Vibrations of Doom

RAW HIDE (PARAGUAY)

A really awesome start for the guys who later went on to form the excellent act Corrosion. The music here is less adventurous, but equally as effective, being more aggressive thrash, very similar to Sepultura's "Beneath the Remains" (could have been an influence on the Brazilians, and it was released earlier- kidding, of course! But... you never know), but with a more technical edge. The tempo is fast and relentless with interesting guitar moments which would later find a fuller realisation on the Corrosion album.

Caceria Humana Demo, 1989

RAW IN SECT (GREECE)

A 3-song demo of very cool technical semi-modern thrash/death metal of the heavy mid-paced to up-tempo variety; at times the music might remind you of Bolt Thrower ("The IV Crusade", "For Victory"), but with a more technical and thrashy edge. Shades of mid-period Death ("Human") could also be heard as well as slight jazzy moments ala Cynic on "Meeting My Ecstasy". Mixing all that together, this band manage to come up with their own style which, hopefully, will develop further on their official releases.
The "Red Flows" demo is three tracks which sound more conventional, still offering something more intriguing, although this time the approach sits somewhere between Darkane and the 90's groovy angry school, the closing minutes of "Protect" being a very good example of the latter, a smashing steam-roller with a strong Pantera vibe. "Wall Of Greed" is a dynamic semi-technical jumper, and "Man Less" is not far behind even lashing out in a more classic fashion at some point. The singer is an angry semi-shouter also adding the more aggressive death metal touch to his delivery. The guys are keeping themsleves busy with their other band: the heavy/progressive metal formation Stillborn Virtue.

Demo Demo, 2007
Red Flows Demo, 2010

Official Site

RAWHEAD (USA)

Based on the first demo: these guys come up with very cool stylish technical thrash metal which is hectic and jumpy, but never too fast, strictly in the classic mould which, when it takes more chaotic and frantic proportions ("Stillborn"), sounds even more compelling recalling such greats in the technical thrash camp, like Savage Steel and Terrahsphere. The untitled track at the end is a more direct heavy thrasher in the Bay-Area vein.

Something Crushes Spine Demo. 1991
Bones of All Men Demo, 1993

RAWRIDE (USA)

Competently done modern thrash with power/speed metal elements thrown in, and good emotional, high-strung vocals. The music is intense switching from all-out speed to crushing mid-pace on almost every song, "Radiation" a particularly vicious piece of thrashiness with very sharp riffage and a heavy stomping portion in the middle.

III Demo, 2010

RAWSHOCK (USA)

A 4-track demo of total classic Anthrax worship with excellent clean vocals akin to Joey belladonna; this is very cool headbanging stuff softening down a bit mostly in the lead department the leads beating the screamy ones of Scott Ian (sorry, Scott!), but the sharp chugga-chugga riffs are vintage Anthrax with a few more technical inclusions ("Blowout"), and a more laid-back slower delivery on the more experimental "Self-Destruct".

Rawshock EP, 1990

RAWWAR (CANADA)

This is the band from where the Cryptopsy guitar player Alex Vachon started his career. The music is very fast and brutal, with Kreator's "Pleasure To Kill" the prime target for worship. Happy crossover moments can also be found here ("Razzle"), but the rest is relentless devastating thrash metal which would please most fans of the genre.

Delirium Demo, 1988

RAYDEAD (AUSTRIA)

One of the very few thrash metal bands from Austria; this is more of a death/thrash mixture; fans of Protector will enjoy this. Some shades of Benediction could also be heard in the faster parts.

Raydead EP, 1991
End In Sight Full-length, 1993

RAZA DE ODIO (ITALY)

A very good band playing modern technical death/thrash spiced with flamenco melodies; among the band members one can see names who are also a part of more renowned bands, like Necrodeath and Sadist. The style is slightly reminiscent of Necrodeath, their slower moments, but is more choppy, and slower. The acoustic guitars are perfectly embedded in the sharp riff wall of sound; a unique band who are yet to show their best. Although this is not fast and aggressive stuff, the frequent change of tempos create quite a dynamics, aggravated by the sudden, but stylish insertions of the acoustic flamenco guitars. Surprisingly, there are no pure flamenco songs, except for the most of "Vente pa Madrid", and the short tracks are clearly hardcore-influenced ("Odiados"), including the cover version of Cryptic Slaughter's immortal hymn "United Forces" at the end.

La Nueva Alarma Full-length, 2004

Official Site

RAZOR (CANADA)

These Canadian thrash metal legends were one of the first, alongside Anvil, Exciter and Voivod, to try their hands on more extreme metal north of the USA, but their debut EP remains just a more energetic version of the widely spread at the time US heavy/power metal, with shades of Motorhead, leaving the band behind their 3 aforementioned compatriots. The guys, however, were determined to make a more lasting impression, producing two full-lengths in 1985, "Executioner's Song" now being full-fledged speed metal, with Exciter a very obvious influence, although still far from the greatness of "Violence & Force", maybe on isolated cuts (the furious speed/thrasher "City Of Damnation"). The energetic speedy delivery and the subdued, gruff semi-declamatory vocals of Bob Reid gave the band a cool, individual shade, which was well translated just a few months later, on "Evil Invaders", which saw the band quickly moving towards the up-and-coming thrash metal trends, with a forceful sound aptly reflected in the bridled fury of the opening instrumental "Nowhere Fast". Later on the style still remained a mix of speed and thrash metal, but the approach had become more aggressive and rougher, with no shades of the heavy metal past left, boasting pretty efficient, intense thrashing pieces: "Evil Invaders", with the legendary catchy chorus; the ultra-speedster "Speed Merchants"; the "thrash dance" on the closing "Thrashdance". The band's hard work eventually paid-off, turning them into the first real thrash metal act from Canada well before the genre's peak.
The guys' productivity remained high, with albums released barely half a year apart from each other, with "Malicious Intent" being another "malicious" thrash assault from beginning to end. "Custom Killing" was a shift into more thoughtful music, with regards to the new demands on the field during the late-80's, offering interesting, albeit still pretty uncompromising, thrash in various tempos on the fairly long 11-min opener "Survival Of The Fittest". Other deviations included a return to the more conventional speed metal approach ("Shootout") of old, as well as less conrolled ventures into a proto-death metal territoty ("Forced Annihilation"). Another diverse 11-min thrashing opus was served in the middle ("Last Rites"), followed by more laid-back speed/thrashers, all this finished with the cool 30-sec "Russian Ballet" instrumental. The album was quite a concoction of styles, rather for the better than for the worse, but in the year when Infernal Majesty released their eponymous debut, Voivod came out with the ground-breaking "Killing Technology", and the newcomers Savage Steel shot two albums ("Begins with a Nightmare" & "Killing Time", in a manner similar to Razor themselves 2 years ago) of fairly good technical power/thrash metal, it could have hardly made too many heads turn in their homeland, let alone around the world.
The guys abandoned the experiments, apparently not happy with the results, and "Violent Restitution" (the decision also reflected in the album-title) was forceful hard-hitting thrash to the bone, even coming with a certain hardcore edge at times on the shorter, more violent pieces (14 songs altogether). This effort served to ensure that the thrash metal fans could rely on at least one act to not make compromises with their traditional blitzkrieg style during those times. And when "Shotgun Justice" came out, it delivered exactly that: another 14 pieces of fast aggressive thrash at its finest; direct rapid-fire riffage falling from all sides to an exhausting effect made this album Razor's best, and one of the undisputable gems from the Canadian thrash metal crown. Reid's style had shifted towards a more expressive, higher-pitched, but also angrier, singing, suiting the intense musical delivery just fine.
"Open Hostility" continued in the same vein, spitting venomous brutal thrash all around, the band one of the very few who remained faithful to their main style during the genre's metamorphosis years of the late-80's/early 90-s. True to their determination to not succumb to the modern trends, the guys took a long 6-year break during the modern times, before hitting with their latest offering so far: "Decibels" was a capable comeback release, with just a few adjustments to the tastes of the period (the more synthesized edge of Reid's vocals, the boosted guitar sound, etc.) made. The title-track is a major thrasher, which opens the album in an invigorating fashion, paving the way for the flood of "mad thrashin'" numbers, which this time come with a stylish, more technical edge, a nice twist, and a pretty good addition to the hard-thrashing. "Great White Lie" offers a few heavier sections, and "Open Hostility" (there is no track of that name on the previous album) is a softer speed metal cut reminding of the guys' infatuation with Motorhead in their early stages. "Goof Soup" is a formidable galloper with sharp crushing rhythms, but the final "Violence... Gun Control" would be an entirely different story: a creepy industrialized affair in a moody mid-pace, an obvious tribute to the 90's, done well, but scarily suggestive at what may follow later. What followed, however, was a long indefinite hiatus, which lasts to the present day: although the band are reportedly active, they are apparently taking their time, carefully preparing their response to the reunion/comeback vogue, which is in full swing at the moment. By all means the scene would be happy to have some justice restored soon, be it a "shotgun" one...

Armed And Dangerous EP, 1984
Executioner's Song Full-length, 1985
Evil Invaders Full-length, 1985
Malicious Intent Full-length, 1986
Custom Killing Full-length, 1987
Violent Restitution Full-length, 1988
Shotgun Justice Full-length, 1990
Open Hostility Full-length, 1991
Decibels Full-length, 1997

Official Site

RAZOR'S EDGE (GREECE)

This band specializes in a dark, atmospheric brand of modern thrash/death, which is mostyl heavy and mid-paced, with certain doomy undercurrents. The guitars crush like hammers, and the singer will scare you further with his brutal low-tuned growl.

Royal Hate EP, 2011

Official Site

RAZOR FIST (USA)

Based on the full-length debut, this band play power/speed/thrash metal the way it used to be played in the 80's in the USA: think Destructor, Agent Steel, Attacker. This is an entertaining mix of forceful speed/thrashers ("Demon Christ", "Death's Head Revisited") and heavy American power metal tracks ("When The Witches Ride", "Razor Fist Force"). The singer is really a find with his high-ranged voice, reaching almost Rob Halford-like heights at times.
"Metal Minds" is a faithful follow-up, concentrating on speed metal a bit more, well expressed on the "furious" opener "Fury of the Warrior". The next "Metal Minds" misleads with calmer riffage developing in a milder power metal fashion, but there's lots of moshing on this one later. Saddle the horses for the galloping "Runner", before a few reminders of the more recent power/speed metal scene ("Cosmic Hearse Driver", "The Seer"- this one is more thrashy) hit the speakers. Ultra-speed/thrash this way comes with "Thirst for Disaster" and "Breath of Fire" and the more controlled "Silver Howler". The song length increases for the closer "Loud into the Night", but the fast energetic pace remains, and this track would be another no-brainer for the speed metal lovers. All the guys, except the singer (who wouldn't possibly fit into the other picture), try their hands on something quite different, playing a melodic brand of black metal with their other band Tower of Babel.

Rage of the Black Blade EP, 2005
Razor Fist Force Full-length, 2006
Metal Minds Full-length, 2009

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RAZOR OF OCCAM (AUSTRALIA)

The line-up includes two members of Destroyer 666, but the music lacks the death and epic metal elements of this band's later releases, and concentrates on pure black/thrash assault of the old school; fast and intense most of the time, but offering pleasant variations with a slower, doomy sound. "Homage To Martyrs" is way more brutal, often sheer black hyper-blast madness, but the thrashy breaks can be come across more than now and then, and those which come with an epic, mid-period Bathory shade ("Heat Of Battle"), are quite compelling; the other highlight is the intense riff-monster "Pattern On The Stone", where the guys shred like crazy. However, the high speed on the other material might come as too much for the more conventional thrash metal fan.

Diabologue EP, 1999
Pillars Of Creation EP, 2003
Homage To Martyrs Full-length, 2009

Official Site

RAZORMAZE (USA)

The demo is vintage 80's speed/thrash, well done, mostly in the early German tradition; good sharp riffs, mean enjoyable semi-clean vocals, screaming leads, fast tempo, nice melodic tunes ("Annihilator"), and mid-paced heavy riffs ("Lobotomized") thrown in the end.
"The True Speed of Steel" elaborates on the sound from the demo, starting with the smashing speed/thrash instrumental "Dawn of the Shred". No speed lost on the next "Annihilator", which lashes riffs from all sides like there's no tomorrow. "Slaughterotica" even acquires proto-death tendencies for a while, before "Desperado" calms the tempo down with galloping up-tempo riffs, also offering a cool interpretation of Ennio Morricone's main theme from "The Good, The Bad, and The Ugly". No mercy, however, on the thrash delights "Bleed on Command" and "Lobotomized". "Dipsomaniac" is the other "catalyst", providing slower mid-paced guitars with a power/thrash metal edge. The closing "Slave to the Maze" brings back the all-out attack pulling out quite cool technical moments ala early Testament, along with a couple of more melodic hooks taken from the Metallica debut. The band is the continuation of the 90's thrash metal act Aggroculture, who is still active, by the way, with a demo released in 2007.
"Miseries" is 3 songs of the same energetic brisk stuff, fast-paced speed/thrash metal with technical Testament-esque leanings and good semi-clean mid-levelled vocals. The tracks are direct and lashing, with "Miseries of the Flesh" being a bit more complex and longer, also recalling Paradox's "Heresy".

Slave to the Maze Demo, 2008
The True Speed of Steel Full-length, 2009
Miseries EP, 2010

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RAZORWYRE (USA)

This 5-song EP is a cool mix of melodic guitar "duels" ala Iron Maiden and edgier proto-thrashy riffage in mid-tempo, except for the nice vigorous speedster "Suspiria". The music needs a little refinement: there are a few awkward hardcore-ish moments ("Fuck You Tonight"), and the guitar sound comes a bit gruff here and there. In the vocal department things look normal the singer pulling out a convincing performance with his semi-detached, clean mid-ranged tember. And who knows, maybe on future efforts the guys will decide to explore the thrash metal field further?

Coming Out EP, 2009

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RAZZIA (ARGENTINA)

The shadows of the veterans on the Argentinian metal scene Horcas & Hermetica loom heavily over this new effort which comes as a feelgood blend of power and thrash, which is hardly on the exciting side, marhcing clumsily forward in a tedious mid-pace, producing absolutely no surprises along the way. There is no reason why one should try this album out, unless he/she is a diehard collector with a passion for the least adventurous.

Desde Abajo Full-length, 2011

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RE-ANIMATOR (UK)

The band had a fairly impressive start with their first two works showing a lot of promise with its forceful, crunchy and somewhat original sound. "Deny Reality" was a good way to "test the soil": a cool little slab of energetic, semi-technical thrash, with nods to the Bay-Area scene (Testament, in particular), picking more aggression at times ("D.U.A.F."). "Condemned to Eternity" is not a very distant departure, but the presence of several longer, more complex tracks, makes it the more ambitious effort. The guitar work is more proficient and pounding, and the sound has shifted towards late 80's Metallica on those longer songs; the rest is also pretty good more straight headbanging thrash. Unfortunately, the band's desire to give a more original edge to their sound threw them all over the music spectre on their next releases (including the notorious funk tunes on "Laughing"; there will be hardly a handful of fans "laughing" on this one, though, ...) with the final result quite unsatisfactory, to put it mildly; a sad example of a sheer talent gone wasted.

Deny Reality EP, 1990
Condemned to Eternity Full-length, 1990
Laughing Full-length, 1991
That Was Then... This Is Now Full-length, 1992

RE-ANIMATOR (USA)

An excellent demo of aggressive fast-paced thrash metal sounding like a more controlled, and a more technical, version of Slayer's "Reign in Blood", or Vio-Lence's "Eternal Nightmare". The songs are longer, and more complex arrangements are present ("A Product Of The State") reducing the speed a bit. The rest is great speedy stuff with mighty steel riffs, occasionally impressive lead work ("Nuclear Devastation"), and forceful semi-clean vocals.

The Final Stage of Evolution Demo, 1988

REACTOR (CANADA)

This is the band where Dave Galea, who later played for Cryptopsy, started his career. Based on the self-titled demo, these guys pull out heavy mid-paced thrash metal which on its best moments might remind you of Celtic Frost ("Nosferatu"), but there are moments where the music becomes very fast, like on "The Plunge". The mixture, however, is quite uneven, and the final impression is mostly on the negative side.

Reactor Demo, 1988
Dangerous Music by Dangerous People Demo, 1989
Matches Demo, 1990

REACTOR (UK)

Based on the 1989 demo, this act plays agressive thrash/proto-death with very gruff brutal death metal vocals. The guys lash with passion often moving towards the pure death metal camp ("AIDS", "Midnight"), and despite the messy sound quality the guitars can be heard clearly most of the time, including the fine melodic moments which dont last for too long, also strangely recalling Flotsam & Jetsam's "Flotzilla" from "Doomsday for the Deceiver", but are an interesting addition to this dark obscure effort.

The Final decision Demo, 1988
Demo Demo, 1989

REACTORY (GERMANY)

A German "thrashin'" act who specialize in old school speed/thrash which sounds like a weird mix between Exumer's "Possessed by Fire" and Exodus' "Bonded by Blood", the latter impact (which is not "imminent") being stronger. The exception is the gruff blacky vocals, but in a musical sense we have an able mix of "speed and thrash", like on the vigorous "Thrash And Speed", and the short bombastic "Drop The Bomb". Expect a few melo-death leanings on "Gone In The Wastelands", but the rest is solid retro stuff with a slightly buzzy guitar sound.

Demo Demo 2010

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REAL ANIMAL (MEXICO)

Based on the demo, this band is a "real animal" offering vicious, brutal thrash/death metal with a bad sound quality and more peaceful sections, recalling the early Messiah attempts in this direction, but these are more dodgy. "Escape de la Realidad" is an utterly surprising "oasis" amidst this aggressive fast-paced bashing being a very cool acoustic ballad with great guitar performance.

Real Animal Demo, 1990
Divine Perfection...? EP, 1991

REAL FICTION (GREECE)

Based on the "Seven Faces of the Truth" demo, this band plays modern power/thrash metal of the dark morose variety which steps on a doom metal ground a few times as well. The are more intense galloping sections, as well as calmer balladic ones. The singer is cool with a deep clean voice which stays withing the mid-ranged parametres.

Demo Demo, 2000
Seven Faces of the Truth Demo, 2006

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REALM (USA)

An essential progressive/thrash metal band; the debut is the weaker effort with its slightly unfocused sound mixing straight thrashers with more ambitious progressive songs. The vocals are in the high range, and quite screamy at times, but at least to these ears are well-suited to the music. The music is quite speedy, and less technical compared to the follow-up, and on the best moments comes close to the same year's Toxik's "World Circus". Well, moody slow pieces like "Eminence" could have been avoided, as they by all means have no place on an album like this. Watch out for the excellent speedy cover of one of The Beatles' finest songs "Eleanor Rigby".
"Suiciety" is a classy progressive thrash work, which might take time to fully grow on you because of its quite complex and technical nature. The guitar sound is heavier, and at least half of the songs still retain the speedy rhythms of the debut: check out the brilliant fast-paced thrashers "Final Solution" and "Energetic Discontent". The tracks, albeit more technical, are shorter, with the sole exception of the album closer "Suiciety", which lasts for 10-min, although after the 7th min what one hears is just thunder (accompanied by lightning, I guess) and quiet acoustic guitars. This is by far one of the finest entries into the progressive thrash metal field from the USA.
The demo contains 2 songs, one of which is a King Crimson cover: "One More Real Nightmare", and the guys' effort to preserve its weirdness has resulted in a melodic progressive composition with no shades of thrash. "Cast the First Stone" saves the day, being a nice fast technical thrasher, with the staple for the band's sophomore effort's twisted time-signatures and excellent lead guitar work.

Endless War Full-length, 1988
Suiciety Full-length, 1990
Demo Demo, 1992

My Space

REANIMATOR (CANADA)

This EP is a mixed bag: on the more energetic thrashers these guys bring their compatriots Razor to mind, but some of the songs lack intensity sounding like uninspired heavy/rockers. Well, let's not forget that the Razor beginnings were pretty humble, too...

"Ignorance Is No Excuse" doesn't rely on a material from the EP, but offers brand new songs of better, more thrash-focused stuff. A song of the title "Thrashin' The Neighborhood" finally appeared, since there was no track of the same title on the EP, and it really may help one thrash his/her neighbourhood. Here the sound has moved towards another notable representative of the Canadian scene: Sacrifice. The opening trio is vintage old school fast-paced thrash, until "Maximum Overdrive" reminds in the middle of the EP's boring softer material. "The Desolator" remains more mid-paced, but "Ignorance Is No Excuse" smashes everything in its way: aggressive speed/thrash with clever semi-technical implements. The next two songs are less intense, and the final "Speak No Evil" is a 10-min thrash opus, more melodic, with a cool balladic mid-break and hooks reminiscent of the power/speed metal acts of the 80's including the leads which are proficient, albeit too melodic.

Thrashin' The Neighborhood EP, 2007
Ignorance Is No Excuse Full-length, 2009

My Space

REANIMATOR (RUSSIA)

Based on the "5 Ghastly Stories on the Death Theme" demo, this band pulls out chaotic intense thrash with touches of death metal ("Morgue"), but expect also brutal grinding jokes ("Griadustii Apokalipsis"), and more appropriate cover versions (the abrasive take on The Chantays' "Pipeline": the instrumental piece which has already been done by Assassin and Anthrax, here called "Power"). "The Protest" is a dynamic pounder with Bay-Area overtones, which can also be felt on the faster cut "Chuma"; but this is too awkwardly mixed and not very professionally executed to make you jump with joy. The singer is an amateurish death metal growler, who doesn't improve things much with his not very intelligible antics.

5 Ghastly Stories on the Death Theme Demo 1993
Autopsy Will Show Demo 1994

REAPER (COLOMBIA)

Based on the "Sacrifice" demo, these guys pull out retro speed/thrash metal of the more laid-back variety with a playful Motorhead flavour and occasional leanings towards the early German scene ("Hate") the allusions also strong in the vocal department where the singer doesn't make the effort to hide his fascination with Schmier only coming lower-pitched.

Thrashattack Demo, 2005
Sacrifice Demo, 2008
The Foolish Hope EP, 2009

My Space

REAPER (MALAYSIA)

This is pretty cool retro thrash/crossover with addictive melodic hooks which border on the technical ("Inside Ravine"), great lead guitar work, and slightly annoying hardcore vocals. Often is the music pure thrash ("Eternal Damage"), also providing slower stomping moments ("Warriors Tendency"). "Thrash till Death" is an excellent instrumental which even offers more technical moments, which get more fully developed on the following "Eruption of Mayhem", before the final touch which is a jolly take on the "Ghostbusters" film main theme executed in a carefree punky manner, less serious than the one done by Xentrix more than 20 years ago.

Eternal Damage Full-Length, 2009

REAPERS (ITALY)

Based on the debut, this band plays a classic brand of power, a bit of thrash, and a bit of the good old heavy metal. The music is mid-paced with a lot of melodic touches, dissipated by the gruff semi-clean singer who could have put more emotion to better suit the laid-back musical approach. Tracks like "Reapers From Hell" and "Knights Of The Night" are energetic proto-speedsters, but on the other hand we have pure romantic ballads ("Crying Soul"; yes, indeed, your soul may start crying on this one, despite the heavy guitars included near the end).

Metalness Full-length 2004
World In Chains Full-length 2007

My Space

REBEL'S MOTHER (USA)

Based on "Sanctity", this act plays modern power/thrash with groovy overtones and clear shades of the Black Album. The music is harsher probably, and more complex aiming at the progressive sector at times. There is a lot of atmosphere created by interesting guitar melodies, fast acoustic guitars and gothic borrowings. An ambitious undertaking as a whole sounding more convincing when sticking to the more stripped-down patterns, like on the cool galloping "Fatherless", which is pure classic 80's American power/thrash metal with a touch of epic. "Night" is a cool attempt at edgier progressive power/thrash metal at the end, a dramatic composition sustained in an energetic mid-pace with a few twists both in the lead and riff department. The singer begins the album in a brutal vicious death metal fashion, but soon after reveals his more attractive side with a gruff, but clean-sounding, voice in mid-range managing to keep certain dramatism the whole time without changing the pitch a lot.

The debut already shows the band's staple approach: more modern-sounding power/thrash with progressive overtones. The compositions are relatively long, but the not very diverse riffage doesn't make them the most interesting listen in the world; that's why the shorter more intense numbers ("Sorrow") seem to deliver better, surrounded by sprawling, often semi-balladic, ones. The Black Album is again a major influence, but its both stomping and melodic qualities have not been translated very well here.

The Dark Unknown Full-length, 1998
Shipwrecked Full-length, 1999
Sanctify Full-length, 2000

Official Site

REBEL HELL (VENEZUELA)

Modern post-thrash mixed with the jolly speedy boogie of Motorhead; unpretentious stuff played just for the fun of it with good semi-angry emotional vocals.

Fury, Faith and Hatred Full-length, 2010

REBELLION (VENEZUELA)

Thrash/death metal close to Protector and the French Agressor with a dark gothic atmosphere; some songs are sprawling, long-ish, and are placed in the beginning, creating the impression that this would be a progressively-laced experience, but later come the more immediate aggressive thrashers, which are by all means the more appealing side of the band's style. The guys have a good sense of melody ("Beyond the Reality", etc.), which makes even ultra-fast and brutal sections sound cool. Seldom do the band adhere to pure gothic numbers ("Night of Terror").

Land of Hate Full-length, 1996

REBIRTH (URUGUAY)

A 3-song EP of more classically-sounding thrash/death metal with atmospheric touches (keyboards, slower breaks, etc.); the guys have a good sense of tempo, and the mid-paced moments are quite well integrated, although at times the gothic flavour comes a bit over the top ("Black Garden", which is also served epic decorated in the Amon Amarth vein).

Blood Dimension EP, 2007

REBORN (BRAZIL)

This not very known Brazilian trio offers intense retro thrash metal spiced with more atmospheric modern passages. Almost every song mixes the two sides the final result sounding not far from late 90's/early 00's Slayer, but with a more direct bashing spirit reflected in a couple of short bursting pieces. The guitars have a very dry mechanical sound, and the singer tries to emulate the way Tom Araya sings nowadays, and admirably succeeds coming with an attached forceful semi-shout.

Renewed for Revenge Full-length, 2003

RECALCITRANCE (USA)

Very well executed aggressive thrash metal bordering on death, similar to Recipients Of Death (see the review a few lines below) and Dark Angel's "Darkness Descends", on the first demo; the songs are longer, though, and the guitar work is more engaging, albeit hectic and chaotic at times ("Craving Death"). The band play fast and aggressively, trying to insert stomping slower elements all of a sudden those coming accompanied by short, but good, lead guitars. "Fragmented Reality" is even more hectic and jumpy, not as aggressive, but the guitars are more technical. "Fragmented Origins" is a nice "lead-meets-bass" instrumental piece, laid-back and peaceful, but then comes the very aggressive death-laced "Self Perpetuating Fury", which also boasts very stylish riffs and fast screaming leads: a really nice example of the band's flamboyant original style.

Demo Demo, 1989
Fragmented Reality Demo, 1990

Official Site

RECENTLY VACATED GRAVES (USA)

This is a mix of well-crafted classic thrash and brutal death-metal outbursts. There are also gothic/black metal passages accompanied by organs and keyboards where there is an inclusion of declamatory vocals, too, in addition to the "duel" between the deep growls and the black-ish vicious snarls. You wouldn't be surprised if I tell you that quite often do the thrashy sections get lost in the rest which is sad, since when they're there, the music really takes off.

True Zombie Metal Full-length, 2004
Former Human Sergeant Full-length, 2005

Official Site

RECIDIVIST (MALAYSIA)

Retro/modern thrash metal with hardcore overtones; simplistic direct stuff in up-tempo with rough hardcore semi-shouty vocals. At times the music acquires dry modern tones ("Blood oath") akin to Biohazard and mid-period Prong, and this is where the EP loses its initial appeal sounding clumsy and derivative.

Peaceful Of Doom EP, 2008

RECIPIENTS OF DEATH (USA)

The band's sound is an impenetrable wall of brutal violent thrash metal rubbing shoulders with Slayer's "Reign In Blood" and Dark Angel's "Darkness Descends"; a truly impressive debut. This is one of the best bands from the more extreme side of thrash metal. Apart from the relentless bashing heavier slower sections are also included ("Seizure"), again in the Slayer mould (their late 80's period), as well as super-fast proto-death ones ("The Aftermath").
"Final Flight" tones down the aggression, but the music remains in the thrash metal realm, this time coming with more varied guitar work ("Democratic Life"); as a whole the overall style is again close to Slayer (Seasons in the Abyss"): a nice combination of intense speedy and heavy pounding riffs.

Recipients of Death Full-length, 1988
Final Flight EP, 1990

Vibrations of Doom

RECKLESS TIDE (GERMANY)

Cool thrash metal of the old school, but with a very modern production which makes the band sound like some of the modern thrashers at times. There are two vocal styles here: the one is clean, the other one shouted. The music is pretty good with very sharp riffs and nice dual melodic solos recalling Iron Maiden. For fans of modern day Kreator and Testament this band are well worth tracking down.

Repent Or Seal Your Fate Full-length, 2005
Helleraser Full-length, 2006

Official Site

RECLUSION (SWEDEN)

A band who mix the two modern trends in thrash metal: the 90's aggro-sound of Pantera and Exhorder, and the fast-paced thrash/death metal hybrid of The Haunted. Fans of modern thrash will definitely like this band, who are actually quite good musicians, adhering to a cool technical play at times.
The demo is a bit of a step down, offering less adventurous music, slower and softer, kind of moving in a direction similar to the more recent The Haunted works without losing the groove completely. There's no speed, or intense riffage here: just modern pedestrian mid-paced thrash.

Shell of Pain Full-length, 2001
Inventory of the Morgue Full-length, 2005
Demo Demo, 2006

Official Site

RECRUCIDE (CHILE)

Based on the full-length, this band plays well executed aggressive modern/classic thrash metal along the lines of Dew-Scented. Some leads will strike you as being quite stylish for the otherwise more ordinary straight delivery ("Fear Injected", and elsewhere). "Generhate" is the odd slower semi-groovy track, and "Coronation" goes over the top with its ultra-fast death metal riffage. The closer "Rebellion" goes away with all the "laurels" being a fine furious mix of the two aforementioned styles again more death metal-sounding.

Gamma EP, 1997
Rebellion Full-length, 2005

Official Site

RECTIFIER (TURKEY)

A promising promo of classic 80's thrash metal; the music is heavy, mid to up-tempo with crushing riffs which will remind you of Heathen's "Victim of Deception", but Rectifier's approach is more straight-forward. "United Killers", on the other hand, introduces a Slayer-esque aggression, whereas "Monopolizing Violence" with its galloping rhythm brings to mind the Germans Pyracanda's great anthem "Top Gun". In other words, you get a classic headbanging delight which will come in bigger dozes with the band's full-length, which is in the makings.

Promo Promo, 2007

RECTUM (FINLAND)

A very obscure, but highly worth tracking down, 6-song demo of brilliant technical thrash/death metal; music which will keep you guessing what follows next with not much success. The tracks are short (2 to 3-min), but they are full with tempo changes and stupendous riffs which leave enough room for great melodies and solos, too. The music is full of energy without being too fast or aggressive. But, when the guys unleash more aggression, they could easily beat even masters like Hellwitch ("Golden Gates"). This is probably how the follow-ups of Atheist's "Unquestionable Presence" or Coroner's "Mental Vortex", or Pestilence's "Testimony of the Ancients" should have sounded, if these bands hadn't taken a much more experimental approach on their last efforts...

Enforced Prick Demo, 1992

RED DYNAMITE (BELARUS)

These guys offer a not very even mix of retro thrash and the coming modern trends, as the former "remnants" recall the Brits Xentrix quite a bit, including in the expressive semi-clean vocal department. The guys adhere to cutting sharp riffs which work on both approaches, including on the curious Sweet's cover of "Ballroom Blitz". "Maniac" is a less controled speed/thrasher, which influences the following intense piece "Black & White" with echoes of Paradox, but expect also a bit of crossover with "Molotov Cocktail" before the end, as well as a nice technically-charged Bay-Areasque closer ("Overdoose").

Invasion Full-Length, 1993

RED HARVEST (NORWAY)

These extreme industrial metal wizards started their career as thrash metal practitioners. Their only venture into thrash metal shows them as quite well capable of pulling out fairly cool intriguing technical riffs, spiced with numerous influences. "The Cure" is an awesome opener, a great progressive thrasher, with a more aggressive death metal edge, and brilliant flamenco tunes; it sounds like something the Brits Acid Reign could have written, if they were a level up the music scale. The guys concentrate more on the aggressive side of their style on the next "Righteous Majority", but "Acid" is a wonderful short abstract technical thrasher in the best tradition of mid-period Voivod. "No Next Generation" is another fine progressive thrasher, which will remind you of the Germans Depressive Age, who released their full-length around the same time. "Machines Way" thrashes intensely with dry mechanical technical guitars and impressive leads, followed by the excellent "(Live & Pay) The Holy Way", which is another impeccable exercise in technicality, maybe a bit more straight-forward and more melodic, boasting probably the best guitar performance on the album. This song marks the end of the progressive aspect of this effort leaving room for 3 shorter less intricate (that's relative) numbers (the closer is a happy crossover hymn: "Wrong Arm Of The Law", and the only song which doesn't carry the technical charge) to close this masterpiece of progressive/technical thrash metal which showed the band more than well equipped to play a more important role on the 90's thrash metal scene, and not only because it was deprived of its best performers at the time.

Nomindsland Full-length, 1992

Official Site

RED NAILS (CANADA)

Excellent heavy pounding thrash, very similar to Slayer's late 80's period; of course, there are the obligatory fast sections some of which exceed the limits of thrash (a few seconds of blast-beats on "Ancient Blood") metal, but most of the time this is heavy crushing music ably supported by harsh aggressive vocals ala Phil Rind (Sacred Reich), maybe less intelligible and lower-pitched.

Mutiny of a Small Group of Lemmings Demo, 1992

RED PILL (ITALY)

Laid-back groovy post-thrash which gets wonderfully fast on occasion ("Love Song", the shocking classic-sounding crossover speedster "Caco-phonic Party"), but this shouldn't mislead you; nothing more interestig happens, if we also exclude the stylish melodic leads. The clean side of the vocal participation is not bad, actually, having a nice alternative edge as well as the music itself which at times resembles a more aggressive Alice in Chains. The closer "Always Behind You" is another hit moshing out in a less controlled manner also relying on a spinning more technical section near the end.

Sinners' Club Full-length, 2010

Official Site

RED SKY (USA)

Based on the debut, these guys offer an entertaining mix of hardcore (not much), thrash and death metal which is both fast and technical with death metal leading the pack still leaving enough room for thrash metal to breathe, and the latter acquits itself with energetic pieces like the speedy "Knife Behind The Smile", the pounding Ghoul-like "In Throes Of Disappointment", the steam-rolling proto-doomy "Free From Nothing", or the surreal technical "Vault". Certainly, the death metal side carries more of the speed here, with the casual more technical hook springing up, and the latter should be given more space in the future.
"MPFW" is exclusively death metal with hardcore again present, but the thrash metal fan may not be very satisfied since his/her favourite style is hardly involved the guys lashing directly with the technical leanings left aside as well producing short to-the-point tracks of the fast intense kind.

Knife Behind The Smile - LP Full-length, 1998
MPFW Full-length, 2000

My Space

RED TO GREY (GERMANY)

A fine retro thrash metal band; the band's debut consists of 6 songs only, but is a commendable effort with great stylish guitars and a mighty bass-bottom. The guys play energetically with heavy riffs, several technical and balladic breaks, jumping occasionally on the power/speed metal wagon: "The Phantom". The style is very similar to the one of the one album wonder Sardonyx, including the high, clean vocals; this band are perhaps better in the lead department.
"Wrath of the Weak" is a better work, with more technical and faster riffs, sounding well more aggressive than the debut. The music here is closer to the first two Forbidden albums, sharing both the technicality of "Twisted into Form" and the energy of "Forbidden Evil". The singer sings higher, and better. The only complaint is the inclusion of "The Phantom", which was the weakest song from the debut, here offered without any changes whatsoever. Fortunately it's followed by the awesome up-tempo piece "Total Cleaning"- a really nice song, with a great chorus, very cool tempo changes and swirling, melodic leads. There were rumours of a third album in the makings, including anouncements on the band's website, scheduled first for 2006, but they're all gone now...
"Admissions" is finally out, after numerous delays and cancellations mostly due to some of the musicians' involvements with oter bands (the progressive metallers Valley's Eve; the power metal outfit Ferra Saeva,etc.), and shows the band in fine form once again. The album continues exactly from where "Wrath of the Weak" left off: the opener "Admissions" offers a nice combination of straight thrashing and more complex passages. "Cast The First Stone" is an awesome up-tempo technical thrasher, in the Scariot, and even Coroner vein, if we exclude the catchy memorable chorus- a track, which the band put for download on their website a long time ago, here re-mastered and better. "Free" calms down with slower heavy riffs and a touch of power metal. "The Amour Piercing Dread" follows in the same spirit, adding epic elements and very cool leads. "In The Darkest Corner" desirably returns the sound to the faster, thrashy territories, and the lashing riffs will make you jump around in no time. "Sweet Suffering" is a speed/thrash riff-fest at its best, again accompanied by a great chorus, and amazing guitar hooks from beginning to end: another song released for download on the band's site earlier, here coming almost unaltered. "The Fall Of God" is a more melodic power/thrasher, and "Celebration Of The Cult" adds some speed metal to this mix. "The Cheated One" is more than a worthy closer to this very good album being a stomping heavy piece with smashing punishing riffs. It was really worth the wait to see whether one of the biggest hopes of German thrash metal would manage to sustain their high status; they did, with flying colours...

Circle of Pain Full-length, 1998
Wrath of the Weak Full-length, 2000
Admissions Full-Length, 2008

Official Site

REDEEMER (AUSTRALIA)

Very good power/thrash metal akin to Helstar and Liege Lord; the short atmospheric sinister introduction will impress you from the very beginning although it has nothing to do with thrash or power metal. The guitar work is heavy, and the pace is mid-ranged, but the guys know how to move things around by adding more intense riffs, like on the nice "Transmuter". "Metallic Frenzy" deserves its title, although this is not a very aggressive number, but combines a lot of energy with cool semi-technical hooks, and is probably the best song.

The Light is Struck Full-length, 1990

REDEEMER (CANADA)

Modern power/thrash metal also featuring other influences, like the cool doomster "Dark Passenger", for example, and generally trying to walk on the path carved by more recent Annihilator, except for the several annoying groovy moments. The approach is not very edgy with the fastest tracks opening and closing the album ("I Am Revenge & "Scourge Of Man"); the rest is pretty peaceful in mid-tempo topped by throaty semi-shouty vocals.

Global Exorcism Full-length, 2010

Official Site

REDEMTHOR (COLOMBIA)

An enchanting ambient, nearly 3-min, intro ("A Hope In The Dark") doesn't promise the old school fun which ensues, the guys acquitting themselves with cool thrashy riffs, both in the speedy and stomping department with an expressive cutting edge, switching at times to pure Germanic speed metal ("X-Lerion") to a positive effect. The sound quality is very good, and the singer is fitting with his clean tember, despite his tendency to hit the higher registers quite often, more or less appropriately.

Demo Demo, 2010

REDEYE (FINLAND)

Fast intense old school death/thrash metal close to the early Swedish school (Merciless, Grave, Unleashed) adding the casual slower deviation (the steam-rolling Bolt Thrower-esque "Walking Circles"). The riffs are both fast and heavy, and the vocalist is the typical guttural death metal growler.

...Of Blood EP, 2011

REDIMONI (SPAIN)

The demo: if we exclude the hysterical part of the dual vocals used here, we'll be left with very good classic thrash along the lines of Darkness and Necronomicon. The full-length goes a few levels up the aggression scale, and offers high-octane retro thrash metal again with a classic edge, but considerably faster. Certainly there are calmer moments: the steam-rolling "Shah Mat"; the crossover-laced "Wrath Wars"; the epic/power metal oddity "Hell's Ascension"; the galloping speed/power metal anthem "Irongoat", and, of course, the melodic Motorhead-ish, with an epic twist, closer “Riding To Battle”. Some of you may say that this list is quite long for a thrash metal album, but believe me, all those songs get lost among the rest of the material, since the album is whole 13 tracks long. And this is this rest which will make your day with its uncompromising high-speed approach, and a decidedly faster and more brutal sound than their 80’s counterparts.

The Onset of Chaos EP, 2005
Into The Coiling Arms Of Mayhem Full-length, 2008

Official Site

REDMIST DESTRUCTION (UK)

Based on the full-length, this young outfit delivers decent retro thrash/crossover with a more aggressive, Slayer-esque edge (the merciless opener "Eternity Deprived") on occasion. The vocals of the shouty, hardcore type, but suit the music just fine. That same music, for most of the time, is jolly and energetic, seldom leaving the up-tempo compartment, with a few surprises along the way: the "bass vs. acoustic" balladic instrumental "The Noble Dead", on the more lyrical side; the more serious engaging thrash/proto-deathster "Gefängnisstadt", on the more brutal side. Merry tributes to H.P.Lovecraft (or to Stuart Gordon's cult film: "Herbert West - Reanimator") can also be heard; in other words, the party never ends here...

Redmist Destruction EP, 2010
Nobility In Death Full-length, 2012

Official Site

REDOX (SPAIN)

On the full-length debut these Spaniards pull out heavy mid-paced modern power/thrash metal which hesitates sometimes towards the classic spectre (the excellent riff-fest in the early Overkill vein "Playing With Lies"), but not hard enough. So groove takes over on quite a few times, and the best song is a semi-ballad: "Fear Of Not Dying", with the short acoustic instrumental "Lullaby" a very close second. "Need Turned Into Addiction" is a cool pounding modern thrasher which could have been well fitting into Flotsam & Jetsam's "Quatro".
"Equilibrium" treads similar to the debut waters offering uneventful modern power/thrash metal with again the more balladic moments working better ("Time Cures Everything"). "Perfect Gene" is a nice headbanger with a cool female vocal insertion accompanying the quiet balladic break in the middle; but the rest never leaves the mid-pace sitting somewhere between more recent Children of Bodom and Lyzanxia.