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SIA RADIKAL (LATVIA)

This is your average post-thrash for the new generation. The music is jumpy and crunchy with the casual more clever twist, as well as the more aggressive adherence to purer thrash ("Taisnibas"). The abrasive edge of the guitars may recall some acts from the industrial scene (Swamp Terrorists, later-period Skrew, etc.); the latter disappears for the cool balladic closer "Vel Tur Ir Cels", which boasts the most proficient execution on the album.

Monokars Full-Length, 2011

SIANYDE (UK)

This is classic power/proto-thrash which comes with very buzzy guitars and good clean vocals. The band try to play it more complex, which comes for the sake of the fast sections, which are not many at all, replaced by thundering, 10-ton riffs (check out "Under Dark Skies") with a doomy flavour. It can't be termed "progressive", but the song-structures are clever despite their somewhat monotonous nature.

Under Dark Skies EP, 2011

SIAX (CZECH)

Based on the debut, these Czech purveyors pull out competent old school thrash/death metal which comes served with an elusive semi-technical edge (the fast stylish shredder "Necrosadus") recalling mid-period Pestilence whereas on the longer material the shadow of Sepultura (think "Arise" and "Beneath the Remains", above all) is quite strong. The band mix the tempos so there's no boredom to be witnessed despite the not very eventful delivery which only drags for a bit on the overlong "Fist Of Pestilence". The vocalist is a semi-shouty death metaller with a comprehensive and forceful approach.

Inquisition Full-length, 1993
Progeria EP, 1995
Land Of Stones Full-length, 1998

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SIBAT (PHILIPPINES)

2 songs of noisy crusty thrashcore in a constant up-tempo with buzzy guitars and monotonous shouty vocals.

Demo Demo, 2010

SIBERIAN MEAT GRINDER (PHILIPPINES)

The debut: direct in-your-face thrash/crossover brought to you straight from Siberia (kidding, of course!). The guys are proficient musicians and they manage to come up with a few more diverse cuts, like the death metal-laced "Still in the Game" and the surprisingly serious progressiver "Fire from the Grave" which oppose to the monolithic wall of merry sharp riffage which comprises most of this effort. The vocals are shouty and punkish assisted by the others on the numerous choruses.
"Metal Bear Stomp" carries on in the same direction with ripping uplifting tunes coming in spades from invigorating cuts like the title-track and "Can't Stop Won't Stop". "Enter Bearface" is a short melodic stomper, and "Style" reveals more stripped-down hardcore-ish aesthetics ala Pro-Pain which dominate the second half in an unpretentious, nonchalant manner.
"Join the Bear Cult" is another highly dynamic thrash/crossover slab, the uplifting unpretentious tone retained the entire time, the delivery at times catchy and infectious ("Not Today"), at others formidable and foreboding (the steam-rolling drama "Fire It Up"). Watch out for the addictive melodic tunes on "For the Cult", and for the brutal Slayer-esque rhythms on "Hammer of the Ghetto Tsa", the latter's impetuousness matched by the Russian-sung closer "One More Step".

Siberian Meat Grinder Full-Length, 2015
Metal Bear Stomp Full-length, 2017
Join the Bear Cult Full-length, 2022

Official Site

SIBIREAL (RUSSIA)

Based on the full-length, this act provide decent atmospheric black/thrash which comes with both progressive and death metal-ish ("Blood Color Sky") shades at times, but the dominant delivery is epic and officiant ("Through the Pain"), the vicious black metal vocals prominently heard including on the imposing doom pageant "Giennah". "Shine of Abyss" is a really nice short melo-thrasher, and the closing "Paradoxes of Time" is a cover of the Ukrainian thrashers Fatal Energy.

Giennah EP, 2017
Blood Color Sky Full-length, 2020

Official Site

SIC ZONE (GERMANY)

Based on "Re Evil Lotion", these lads, who were previously known as A-Rise and were playing more orthodox retro death metal, pull out choppy abrasive post-thrash with frequent more quiet breaks. The approach is linear despite the several quirks in the riff-department. "Unforgiving" is a wild mechanical shredder with echoes of Meshuggah, and "Myoldway" is a less bridled thrashcore insanity; the rest very seldom leaves the confines of the good old pedestrian post-thrash...
"A-Rise" is a varied post-thrash/post-death affair with a solid pinch of groove. The guys scare everyone initially with the brutal death metal rager "My Personal Terror", but afterwards things don't sound too different from the previous recording, the nice soothing ballad "Emotional Cripple" a relative winner with its nice serene motifs, the closing jumpy drama "Kill" another positive occurrence.

Bear the Consequences Full-length, 2013
Re Evil Lotion Full-length, 2016
Cold Eyes EP, 2017
A-Rise Full-length, 2019

Official Site

SICADA (USA)

This is energetic modern thrash with an elusive semi-technical/progressive edge which should be accentuated more in the future; the vocalist shouts in an aggressive death metal fashion, but doesn't have the power to carry this short effort which goes down to balladic dimensions on the final "Requisition".

Requisition EP, 2015

Official Site

SICK DAMNATION (BRAZIL)

A modern melo-thrashism violated by sparse death metal-ish outrages (the proto-blaster "Next Cure"); the title-track tries to inject a doze of retro metal mentality into the proceedings, and its vehemency is admirable for sure especially in the company of other more dynamic numbers like "Grey Skies" and the galloping speed/thrasher "Enigma". The vocalist is a clean mid-ranger spicing his delivery with the odd meaner croon, and less appropriately with the casual shouty death metal antic, pulling it off quite well on the more varied quasi-progressive closer "Humanphobia".

Damnocracy Full-Length, 2019

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SICK DISTORTION (SERBIA)

Modern melodic thrash metal which mixes peaceful balladic passages with a few hard-hitting rhythms ("The Pain"), but generally this is calm mid-paced to slow stuff with shades of gothic and doom ("Kataklizma").

Sick Distortion Demo, 2007

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SICK FAITH (COLOMBIA)

Based on the full-length, this act play some "sick", but also "faithful" modern-ish thrash which rips the air with razor-sharp guitars, swirling fast tempos, and forceful shouty vocals. There's room for melodic deviations, of course, and the overall approach recalls more recent Kreator quite a bit: check out the progressive speed/thrashing "symphony" "Tyrannical Government Model", or the dramatic proto-galloper "Ashes Of Illusions". Direct fierce thrashers like "Forgotten Humanity" and "Killing Scorn" deliver the goods no worse, and will cause numerous neck sprains worldwide. This is a cool effort with a major headbanging potential which sees a young act rising from the Andes ready to rival the more established names on the scene.
"A Comedy Called Religion" has a more classic sound, and the guys rip all the same thrashing admirably with sharp cutting riffs. The tempo varies from one song to another also including a few jumpier, more technical sections ("Unholy Crusade"). "Clay Idols" is a heads-down headbanger to the bone, and "No Trace of Divinity" is a cool Paradox-esque speed/thrasher lending a trick or two to the dynamic closer "False Messiah".

Agents of War EP, 2012
Blinded Nation Full-length, 2013
A Comedy Called Religion Full-Length, 2015

Official Site

SICK FROM HATE (USA)

This is aggressive thrash/proto-death which is more than just senseless bash the guys managing to produce something not very far from the Sadus debut with a bigger emphasis on death metal perhaps (yes, no kidding!). The ultra-fast downpour gets under control on the dark stomper "Nightmares Of Death" which rhythm-section will remind you of Death's "Scream, Bloody, Gore". Three short rages follow to put these obscures in the annals of the first death metal acts and into the list of those who were destined to remain unheard. The band members also played in two other acts around the same time: the only slightly less intense death/thrashers Necromansy with whom they amazed the underground with 4(!) demos released in one year (1986); and another death/thrash formation Sounds from Hell.

Demo Demo, 1987

SICK VIOLENCE (CHILE)

Classic speed/thrash metal quite close to early Whiplash and the Portuguese Alastor; so this is direct speedy stuff with vicious black-ish vocals which come unpleasantly screamy at times trying to hinder the better musical delivery. That same delivery is constantly fast, and despite the complete lack of variety, it will be a cool listen for those who enjoy retro no-gimmicks speed/thrash metal all the way through. Some of the band members also play with the speed metallers Motosierra.
"Hegemonía de la Decadencia Humana" is a more varied, more appealing recording, only the singer is more on the hoarse shouty death metal side. Relatively short bursting cuts ("Insignificante a los Ojos", the title-track) pass by in quick dizzying succession, the hardcore sniffs on "Retrato de UnaMuerteSilenciosa" also boding a more brutal proto-death edge, the melodic tunes epitomized on "Quimeras de Libertad" pairing well with the romantic sensitivity of the closing roller-coaster "Quimeras de Libertad".

Metal Bitch Full-length, 2010
Hegemonía de la Decadencia Humana Full-length, 2021

Official Site

SICKENING HORROR (GREECE)

The Greek tech-death stalwarts have switched to thrash for a change, and have done a fairly good job here although the delivery isn't as technical the guys lashing in a more streamlined fashion, with generally short bursting ("Outburst", "Fragments of Time") leading the show in the first half, with death metal showing its head ("Transmutation") more boldly on occasion. The second half is more experimental with fusion and psychedelic elements rushing to embellish the more rigid thrashy frame the results still on the positive side with "Dawn of the Sick" being a courteous dreamy shredder, and "Loophole" introducing a more modern trippy edge which is prolonged by the choppy fusion-esque closer "Fire Imploded".

Chaos Revamped Full-length, 2020

Official Site

SICKLEAVE (SWEDEN)

This band manage to mix modern and classic thrash quite well on their two demos. The music stays more often in the classic camp, recalling the Brits Xentrix and Metallica. At times there's an inclusion of nice clean vocals (the semi-ballad "Parasite").

180 Demo, 2005
So Far, So Good, So Sickleave Demo, 2005

Official Site

SICKNESS (CHILE)

A 4-song demo which introduces raw, badly produced, mid-paced thrash with classic touches. The sound is really messy and doesn't do justice the several cool calm balladic breaks. Otherwise the pace is mid with clumsy riff patterns, which also stay around at the end on the very amateurish cover of Accept's "Metal Heart", ruined in every conceivable department, especially in the listless semi-declamatory vocal performance.
The full-length is a relatively faster-paced more dynamic affair, appearing whole 13 years after the demo, although it's stomping mid-pacers like "Don't Escape" and "Everything Goes to Hell" that constitute the core of the album again, and approach which starts dragging on the longer numbers ("Become a God") a bit regardless of the proficient melodic lead guitar work.

Demo Rehearsal Demo, 2005
Human Race Decay Full-length, 2018

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SICKNESS (USA)

Based on the "3 Headed Monster" demo, this act play quite cool choppy semi-intricate old school thrash which rushes in with the ripping "Gruesome Discovery", before "It's Your Funeral" offers crunchy stop-and-go techniques, another less ordinary cut with a fervent speedy tail, "Headline News" complicating the environment with a more serious, more ambitious layout, a nice prog-thrasher with aggressive speedy accumulations. The vocalist is a cool clean high-pitcher, think a more lyrical version of John Connelly (Nuclear Assault).
The self-titled demo is another worthy slab, the band playing on the verge of death ("Push the Button") at times, moshing hard with a lot of dynamics involved, "My Great Escape" racing with the speed of light, before "No Justice" introduces a more technical flair with less regular riffage. "If He's Alive... Let's Kill Him" is a short 1.5-min violent basher, and "Nightmares" is another more complex proposition, the band still indulging in their staple fast-paced tactics at some stage.

Sickness Demo, 1989
3 Headed Monster Demo, 1990

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SICKOMANIA (INTERNATIONAL)

The debut: a Danish/Swedish collaboration this one, the style classic thrash with both a melodic and a pronounced semi-technical flair, the guys serving both heavy pounders ("Saint Psycho") and energetic shredders ("Psychotic Path"), the more aggressive death-laced "Theater of Memories" ending up on the more intricate side with echoes of Darkane and Altered Aeon. The closing "Beyond the Ninth Gate" is a 10-min all-instrumental saga which spends most of the time in dramatic/doom atmospherics, missing the expressive shouty semi-death metal vocalist.
"The Devil Is Not As Black As He Is Painted" is a faithful follower to the first instalment, the band shredding with gusto, excluding the more lyrical walkabout "Magic Is Gone", the more intricate dramatic extrapolations on "Beyond the Darklands" siding well with the academic semi-balladisms of "We Sleep Among the Wolves". The second half takes it easy on the speed, the heavy dramatic "Perfect Phobia" doing away with a couple of more entangled arrangements, whereas "The Path to Paradise" unleashes some unbridled aggression as a farewell gesture.

Sickomania Full-Length, 2021
The Devil Is Not As Black As He Is Painted Full-Length, 2024

Official Site

SICKOTICKS (SPAIN)

This act specialize in classic power/thrash which marches on with leveled mid-tempo pieces ("Pandemic", "When Will It Be My Time To Die?"), the more intense occurrences ("All That You Fear", "Master of Liars") surprisingly the more dynamic ones, the brief thrash/crossover ripper "Sickosession" matching those with its vivid brisk rhythms. The singer is a semi-shouty deathster, rolling onward with confrontational quarrelsome panache. Some of the band members also play with the retro thrashers Metralla.

All That You Fear Full-length, 2021

Official Site

SICOCIS (USA)

Four guys from Vegas concentrate on modern progressive thrash which opens with the impressive orchestral intro "Premonitions". The following compositions are diverse offerings blending sharp, edgy riffs with sprawling balladic/semi-balladic passages. There is not much speed to be encountered, the closest to the headbanging parametres being the atmospheric galloping opus "Hourglass" which boasts fine Oriental motifs. On the more ambitious songs ("Corridors Within") the band show an obvious fascination with their Swedish peers Opeth, as well as a penchant for more pompous gothic arrangements (the symphonic closer "Revelations End (act 3)"). A vocal "duel" can be heard throughout, the better side being the clean side, the other being a much less expressive low-tuned guttural death metal one.

Sicocis Full-length, 2012

Official Site

SICOMOTOR (CHILE)

This is decent power/speed/thrash metal which relies on speedy, intense cuts, both in the form of short explosive ("Escupiendo Al Cemento") and longer, more thought-out ones ("Ser Chiloe"). "Sico-Sis" is a more pure thrasher, almost instrumental-only, followed by the excellent speed metal killer "Sicomotor"; the guys relaxing on the closing "Ya No Estan", which is more moderate power metal. The singer is in the semi-clean registers, having a cool mid-ranged pitch with a gruff, drunken shade.

Majando La Isla Full-Length, 2011

SICPHORM (POLAND)

Based on "Tomorrow Morrow Land", this act deliver angry groovy post-thrash which has a certain more dynamic, hardcore-ish veneer ("Don't Kill The Prophet"), but this isn't exactly a Biohazard rip-off as the delivery as "Face Off" is a more serious cut, and "Obey" is a sinister dirger that could have been on a Khold effort even. More energetic outtakes ("Moral Backbone") retain the intrigue later although it's all too groovy and somewhat stagnant in the second half where also the formidable doom behemoth "Enif Si Gnihton" belongs. The vocals are shouty and quarrelsome and add up to the noisy drama with their unflinching belligerent stance.

Wake Up Full-length, 2015
New Order EP, 2019
Tomorrow Morrow Land Full-length, 2020

Official Site

SIDE EFFECTZ (BRAZIL)

Thrash, death metal and grindcore come together on this album mixed in almost equal dozes. This is actually an entertaining listen with short 1.5-2min songs where fierce blast-beats alternate with thrashy riffs of the classic school. The vocals are strictly in the brutal death metal camp. Although the ultra-fast aggressive sections take a considerable place here, they aren't annoying and nicely go along with the energetic thrashy ones.

Traitors Execution Full-length, 2002

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SIDEBLAST (FRANCE)

A fast and aggressive blend of thrash and death metal staying closer to death metal most of the time; there are quite a few cool thrashy riffs, but they get mixed with even more blast-beats (maybe to justify the band name?), and this might pull back the regular thrash fan. Some clever, technical play ala Morbid Angel could be heard here and there, but the guys' desire to play as fast as possible leave the technical attempts somewhat unfinished although some of them deliver the goods: "Flight of a Moth". The bonus track is an interesting semi-technical death metal cover version of Sepultura's "Arise".

Flight of a Moth Full-length, 2007

Official Site

SIDER (BULGARIA)

An excellent obscure entry into the progressive thrash metal genre; this is also quite energetic speedy music which suits well the long (8-9min) compositions which never drag because of that. To some the guys' (and a girl, the keyboardist) approach wouldn't be very easy since there are elements of the 90's power/speed metal wave present as well plus a cool, albeit overdone at times, presence of keyboards. The music shares some of the progressive semi-epic qualities of the Swedish scene of around the same time (the last Hexenhaus album, Pathos, Abstrakt Algebra, Memento Mori, etc.) when it slows down, but thrash metal is much wider covered, even on the slowest compositions: the mid-tempo shredder "Room of Dreams". The 10-min opus "Metamorphoses of Emptiness" is a pensive doom track with balladic elements, and kind of doesn't fit into the much more dynamic picture very well; could have been well viewed as a leftover from an Abstrakt Algebra, or a late 90's Candlemass album. "Realised Insanity" restores the faith big time right after that offering heavy thrashy riffs on a dramatic keyboard background. Another monumental 10-min effort follows suit: "Edge of Absurd", which is way more satisfying than the previous one providing complex twisted riffs on a heavy steam-rolling base; please, ignore the exiting quirky funky rhythms near the end. "Dying World" is a standout technical speed/thrasher, a fast intense number, before the closing "Faith" smashes you with another 10-min portion of thought-out progressive thrash, quite speedy at times as well, the latter tendencies creating a very nice contrast to the dreamy semi-balladic passages. The singer isn't bad at all singing in a calm mid-paced tone, seldom changing the pitch, but sounding well attached and emotional recalling the last Hexenhaus vocalist Thomas Lyon.

Labyrinth Full-Length, 1997

SIDEWINDER (UK)

Intense old school thrash topped by dense semi-shouty vocals, the pummeling nature of cuts like "Crown the Alpha" and the proto-deathy "Raw Deal" exacerbating the environment, the latter consoled with the balladic piece of all-instrumental tranquility "Ceasefire". Expect unbridled death metal to ravage you on "Sub-Human Scum", while the final "Last Orders" is a crossover-ish merry-go-rounder with a furious Slayer-esque epitaph.

War Tapes Vol.1 Full-length, 2023

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SIDIUS (HOLLAND)

Based on the single, this is cool technical thrash/death metal of the modern type. At their best the guys reach Morbid Angel and even Suffocation, but their willingness to insert as many super-fast blast-beating sections as possible ruins the impression a bit. Still tracks like the jumpy twisting "Thrown Back" and the excellent longer technical death/thrasher at the end "The Unexpected" are nice takes on quality aggressive technical metal.

Obsessed By Darkness Demo, 2002
The Devourment Single, 2005

Official Site

SIECRIST (BRAZIL)

Based on the debut, this is intense ripping old school thrash/death which exudes both melody and technicality on the excellent inspired opening title-track, the short but equally intriguing "Depression Suicide" largely excelling in the proficient lead department, before "Agression" tones down the aggression with steady not very eventful mid-tempo rhythms. Brace yourselves for some wild headbanging fun on "Master of Evil", the galloping epicer "The Last Flight" bemusing the audience with an array of dense hard-hitting thrashing riffs and more brutal deathly accumulations. The sizzling drama is also deftly supported by shouty confrontational death metal vocals, the man selflessly rending his lungs at every opportunity.

Freezin' Hell Full-length 1992
Soul in Fire Full-length 1995
No Choice Full-length 1998
What's Going on Your Mind? Full-length 2003

SIEGE OF POWER (HOLLAND)

This is intense modern hardcore-ish thrash created by luminaries from the Dutch metal scene (Asphyx, Thanatos, Hail of Bullets, etc.); this is simplistic unpretentious stuff with occasional lyrical escapades ("Born into Hate") and a couple of heavy quasi-doomsters ("Torture Lab") in the vein of Asphyx and Hail of Bullets, those heavyweights severely opposing to dynamic short speedsters like "Uglification" and "Diatribe", the angry shouty death metal vocals accommodating all stylistic swings with vociferous panache.
“This Is Tomorrow” doesn’t violate any previously established canons, and rolls on in the same straight-forward fashion, the moody march-like “Scavengers” contrasting with the virulent death metal fury “Zero Containment”, the more thrash-clad “Ghosts of Humanity” and “Oblivion” holding the fortress with dignity, warding off melancholic semi-balladic outtakes like “Deeper Wounds”.

Warning Blast Full-length, 2018
This Is Tomorrow Full-length, 2023

Official Site

SIEGED MIND (RUSSIA)

Based on the "Restless" demo: these guys pull out first-class technical power/thrash/death metal along the lines of late period Death and Chuck Schuldiner's (R.I.P.) side-project Control Denied. The vocals are strictly in the death metal camp (with rare inclusions of semi-clean, doomy ones), but the music is closer to thrash, and even power/speed at times. The guitar melodies are quite nice and slightly overshadow the technical riffage, but this is hardly a complaint. There isn't much aggression involved, but the tempo is energetic interrupted by slower more atmospheric passages graced by great lead guitar work. "Restless Time" will remind you of Death's "Destiny" from "Individual Thought Patterns". "My Way" is a cool, more quiet instrumental with power/epic sections after which the demo loses its both aggressive and technical edge ending with the cool melodic, progressive power/thrash metal opus "Edge of Pain".

"Emptiness" is a brilliant debut in the best tradition of later-period Death. The sound quality is muddier than the one on "Restless" (surprisingly!; that same demo was later re-released as the full-length "Eternal" in 2005)), but this isn't a big detraction for one to hear some great technical riffs and nice melodic hooks. The guys try to keep an energetic tempo throughout, and admirably succeed. The singer does a good job with his gruff delivery, similar to the early Schuldiner (R.I.P.) vocals. The lead guitar work is also good but is a bit uneven, on some songs hitting the top ("Thoughts Of Wisemen", "Revelation"), on others shorter and not that striking. Watch out for the technical masterpiece title-track which apart from the smashing technical riffs is graced by a marvelous balladic interlude. The closing "Revelation" is a more ambitious turn to progressive song-writing, and here one can hear superb more melodic hooks, as well as Gothenburg-styled guitar "duels" ala Dark Tranquillity.
"Lost Life In Evidence" is vintage Death again, but sounds surprisingly aggressive and closer to the Americans' earlier period citing "Human" in terms of both music and lyrical content. The opening "It Became an Evernight Sensation" is an aggressive slab of abrasive technicality also coming from the slightly thin guitar sound followed by the short lead instrumental "...In Evidence". The leads are in top form for the next "Lost Life" which is a fine speedster of a more straight-forward nature. "Mortal Illusions" is a return to a more technical ground by preserving the speed, but the technical prowess reaches the top on the hallucinogenic "Drowning in Madness" which is a sweeping labyrinthine piece with a nice doomy ending. "A Matter of Principle" is not too far behind relying more on stylish semi-Oriental melodic hooks, speedy passages and escalating dramatic sections in a way not far from "Low Life" from "Spiritual Healing". The end is another delight for the Death fans: a very cool cover of "Leprosy" with an added technical boost.
The band members are keeping themselves busier with their other project: the gothic/doom metal act Forgive-Me-Not with whom they already have six full-lengths released.

Emptiness Full-length, 1995
Restless Demo, 1998
Lost Life In Evidence Full-length, 2000
Eternal... Full-length, 2005

SIEGES EVEN (GERMANY)

This Sieges Even album would be of only interest to thrash metal fans. "Life Cycle" up to this point remains one of the best works of classic progressive/technical thrash metal, a masterpiece that should be in everyone's collection. There's a lot to hear here, the riffs swirl and turn in the most unexpected directions bordering on absurdity on the most twisted sections, interrupted by great atmospheric, quiet passages. The guys don't forget to throw more straight-forward moments for the headbangers, and here comes the blistering "Apocalyptic Disposition" which is still accompanied by more complex riffage, and great melodic leads. "The Roads to Iliad" is one of the greatest instrumentals in metal history, a feast of technical guitar wizardry seldom equalled even by the best Shrapnel performers. With this one actually ends the lighter part of the album as the next two songs are longer and more elaborate, with more loose, almost jazz-like structures, especially the multi-layered 13-min long magnum opus "Straggler From Atlantis" which is a small album in itself with the many time-changes and numerous melodies and riffs included. The clean, high vocals are an acquired taste although they never go for the very high tones, and sound as a mix between Alan Tecchio (Watchtower) and John Arch (Fates Warning). This phenomenal album, along with same year's Deathrow's "Deception Ignored", put technical/progressive thrash on a very high level, and has been a big influence on later practitioners of the genre: Helstar ("Nosferatu", James Rivera's Vigilante), Psychotic Waltz, Skeptic Sense, Mind-Ashes, Sore Plexus, etc. Having reached their creative peak with their very first effort, Sieges Even could do nothing else, but change their style, in their case into progressive rock/metal, still quite good, but of no interest to thrash metal fans.
The demo is already on a sky-high level with its inspired complex delivery which is evident from the opener "Kristallnacht" which is a prime shredder covering a wide range of paces, and the professionalism of the guys is hide to hinder although the very messy production and the hissing guitars do their best to obstruct the proceedings. "Tell-Tale Heart" exudes plenty of twists on a swirling pounding base which almost reaches proto-death drama, among other mind-shattering musical "excursions". "Enigma/Traveling Through Time" are two compositions entwined together to create some of the finest moments on the whole progressive metal scene: a progressive thrash opera second to none, this is a textbook for all practitioners of all that is called technical and elaborate in music. "Unknown" is a macabre brutal piece again with more overt tones of proto-death, a more immediate cut with a few vitriolic puzzling passages to further boggle the mind. The voice of Franz Herde at this stage is still thin and not very rehearsed, his higher attempts sounding quite laughable reminding of early Warrel Dane. After hearing this, one shouldn't be surprised at the grandiosity which "Life Cycles" turned out to be.

Demo Demo, 1987
Life Cycle Full-length, 1988

Official Site

SIEGRID INGRID (BRAZIL)

Based on "Pissed Off", this band play angry stomping modern thrash/post-thrash not far from mid-period Pantera with harsh overshouty vocals. "Forces" surprisingly breaks the groovy idyll and starts thrashing with force reaching classic headbanging proportions, influencing the following "When You Die" which is more on the crossover side, but is a totally wild shredfest, too. The rest doesn't break the established formula too much the guys content enough with their trite, pretty standard for the time approach. Some of the musicians are also engaged with the retro thrash/deathsters Skinlepsy.
"Back from Hell": the Brazilian veterans are back from hell, and their passion for the less bridled side of the genre is quite evident from the overt headbanger "Nojo" and the death metal rager "In Search of Light". The post-thrash heroics have been phased out completely, the guys shredding with bile, the short crossover/death wilder "Fuck! I Hate You" pairing well with the insane grindy outbreaks on "Dead Inside".

The Choice EP, 1992
Pissed Off Full-length, 1995
The Corpse Falls Full-length, 1999
Back from Hell Full-Length, 2023

Official Site

SIFILIS (PORTUGAL)

Playful modern post-thrash borrowing heavily from Flotsam & Jetsam's mid-90's period, finished with an entertaining crossover cover of the Megadeth hit "Pece Sells...", done in a more optimistic melodic manner with the bad punky vocals an obstruction to the jolly uplifting riffs.

The Slay Begins Demo, 1997

Official Site

SIGHTLESS (FINLAND)

A good mixture of brutal classic death metal and thrash with a two-vocal assault: one a deep growl, the other higher-pitched, resembling a more hysterical Mille Petrozza. Probably to increase their appeal, the guys insert melodic guitar lines from the Swedish school from time to time.

Withered Garden Demo, 2001
Promo Demo, 2004
Recrucify Demo, 2005

Official Site

SIGHTS SET AT MIDNIGHT (USA)

Based on the full-length, this is typical modern thrash/death metal which, when fast, is a decent slab of headbanging music, but there are numerous slower metalcore breaks, some of them accompanied by weak clean vocals, which still are better than the even weaker shouty hardcore main ones.

Sights Set at Midnight EP, 2008
Bloodlines Full-length, 2009

My Space

SIGMA (CHILE)

Based on "Mortales Moshers", these Chileans play classic thrash/crossover with more concentration on the thrashy aspect, also offering slower heavy tracks ("Humanidad Caotica", "Cambio De Sistema"), but the odd grindcore number is just around the corner: "Fuck Cop", as well as the hardcore joy "Slam More". The rest is heads-down thrash, partially ruined by the fuzzy guitar sound, and the slightly strained hardcore vocals.
"Viene En Mascre" clings between the more aggressive approach of early Prong and Cryptic Slaughter, and the more playful delivery of early Ratos de Porao. Some thrash heights are reached on the cool headbanger "You Are A Worm (Cover Betrayed)", which betrays the band's formula of short direct tracks, and boldly thrashes for more than 6-min, mostly in mid-tempo, with heavy crushing riffs.

Mortales Moshers Full-Length, 2001
Viene En Mascre Full-Length, 2002

SIGN OF EVIL (ITALY)

"Venom Metal" this is indeed although the guys speed up to thrash/crossover dimensions at times ("Rape Me In Hell (With Werewolf From Kult)"), but for most of the time this is a competently done Venom-worship sustained in a more energetic manner, kind of recalling the Brits' more expressively thrashy period ("Prime Evil", "Temples of Ice"), topped by very cool high-strung clean vocals with a dramatic gruff blend.

Venom Metal EP, 2010

SIGN OF GOMORRA (GERMANY)

This is crusty thrash of the old school with crossover gimmicks provides as well, the resultant fiesta becoming both melodic and more complex on the cool varied "We Miss You!", before "Murder in White" starts thrashing harder, the very intimidating shouty death metal singer standing vigilant on the side, giving bigger gravity to the doom-laden officious "War". Some of the band members were also active the progressive death metallers Lamporphyr.

Pained by Life Full-length, 1996

Youtube

SIGNS OF CHAOS (CANADA)

Based on "Blindsided", this act serve modern thrash of the more relaxed metalcore type. The very shouty death metal vocals occupy quite a bit of space, but they can't stand on the way of the better moments on the album, like the semi-technical twister "Bastard Son" and the and the inspired shredder "Blindsided", the progressive transformations on "No One Gets Out Alive" working better on the calmer semi-balladic segments. Some of the band members are also involved with the the death metallers Fumigation and the modern post-thrash formation Bioencrypt.

Rise Full-length, 2012
Watch It Burn Full-length, 2016
Blindsided Full-length, 2023

Official Site

SIGNUM (ARGENTINA)

Decent modern power/thrash with unsuitable growling death metal vocals; the music is mid-paced and peaceful with shades of gothic, but a lot of energy occasionally emits from speedsters like "Burn This Place" which aren't a very frequent phenomenon. This is professionally done and all, but will hardly make anyone fall in love with it.

Burn This Place Full-Length, 2010

SIGNUM MORTIS (CHILE)

Retro speed/thrash with gruff death metal vocals; some tracks come decorated with more intense death metal blasting riffs, and generally there is no lack of energy here, with only one composition descending to mid-pace: the cool melodic galloper "Libertad", which also brings the winds of modernism for a while. The rest is pretty fast stuff featuring nice sharp riffs and the odd tinge of melody akin to Rigor Mortis and early Agressor.

Sangrienta Humanidad EP, 2010

SIHIRATOR (BOSNIA & HERZEGOVINA)

The "Moshus Pejgamberov" EP is five tracks of pretty good retro thrash with sharp vivid riffs, fast pace, and slightly unsuitable gruff death metal vocals. The guys thrash with gusto and competence coming close to the "merciless" approach of the Swedes Merciless at times except for the several stomping moments ("Egzekucija Hodze") which are also quite good as well as the melodic leads, which are short, but deliver. This is a promising start which should further be extended into a full-length to finally put this European country on the metal map.
The "Mracna Strana Svjetlosti" EP is another commendable short effort, the band now seeming fully prepared to hit with a longer offering soon. This is awesome speed/thrash with rough, subdued death metal vocals and very cool melodic undercurrents which are supported by a strong bass bottom. "Snovi Jednog Nevjernika" slows down with formidable pounding riffs, before turning into another raging speed/thrash crescendo with great technical death metal shades at the end. "Udji U Moj Dzennet" is again not the fastest number in the world, at least not in the beginning, but later on develops in a merciless speedy fashion, reaching early Angel Dust heights with ease, and not without the help of more clever technical decisions, where the bass again plays an important role. The closing "Gdje Vjecno Odzvanja Tisina" starts in an imposing gothic/doom fashion ala early Nightfall, but expect the obligatory faster sections later on, which turn into another nod to Angel Dust and all the other good speed/thrash metal practitioners from the 80's. The band shouldn't hesitate, and continue testing the soil: the time is right for a more ambitious undertaking...

A.S. Demo, 2010
Moshus Pejgamberov EP, 2010
Mracna Strana Svjetlosti EP, 2011

Official Site

SIJJIN (GERMANY)

This is quite cool old school thrash/death with an emphasis on speedy, very dynamic decisions. There's little to complain on polished, hyper-active rifforamas like "Those Who Wait to Enter" and "Sumerian Promises" which propel this album forward with gleeful ease, the more technical nature of "Angel of the Eastern Gate" sending the approach in fuller-fledged death metal realms; a place where one will also find the short pulverizer "Darkness on Saqqara" and the varied melodic odyssey "Outer Chambers of Entity". The vocals are of the guttural subversive variety, but the man makes sure his tirades are well noted. The band members also shred with the Spanish old school thrash cohort Legen Beltza, the death/thrash hybriders Extinction, and the black/doom/death metal legends Necros Christos.

Sumerian Promises Full-length, 2021

SIL KHANNAZ (MALAYSIA)

Based on "Berdiri Antara Panji-Panji", these guys come up with good technical thrash/death metal which owes something to later period Death, although here the focus is more on melody rather than technicality. Still the riffs cut with technical precision on quite a few moments, and the approach in general is not fast. Swedish-styled guitars can be heard here and there, and the complexity takes bigger proportions ("Santapan Campa") here and there producing fine progressive moments. "Al-hulm Al-Araq" offers more up-tempo riffage, and "Mastica Ibni Israel" hits the top with some furious sections. After that the music takes calmer directions, but keeps the technicality on a high level. The closing "Teras Besi" is a melodic gothic track with nice soaring melodies followed by the real closer "Airmata Palastine", a short acoustic instrumental.
The debut shows the band not yet fully perfected the technical thrash/death metal formula with a sound much closer to death metal. Still this is a good effort slightly hinting at the guys' bigger potential, on more technical tracks like "Sinner Burning...", or the excellent Pestilence-like "Legion of Damned". There is a variety here, not all songs are fast and aggressive; "Frantical Scream" is a cool mid-paced number with a gothic atmosphere. On the other hand we have short blasting tracks, like "Debauch Absorption" and "Beyond My Darkest Moment" which may cause you a headache with their ultra-fast chaotic riffs. The guitar work is on a quite high level all over, especially on the two aforementioned technical numbers, and the closing "Conception of Madness" which is a fine mix of speedy and heavy pounding riffs.
"Gerbang Kayangan" comes as a disappointment after the debut with less technical and much less aggressive guitars without many fast-paced moments. Actually the tempo is seldom really dynamic ("Debauch Absortion" is the exception), and most of the tracks evolve around atmospheric gothic moments with sparse more intense outbursts ("Pendita Gila" is the other thrashy delight but it comes too late to correct the impression).
"Bara Pawaka" is more proficient music-wise than its predecessors, but hasn't yet acquired the technical tendencies fully. So we have more standard modern thrash/death metal which livens up with the occasional highly-charged technical masterpiece: "One`s Mind", which comes in the middle and would possibly make you go back to the beginning, just to check whether you have missed something more of the same previously; no kidding, this is perfectly crafted late-period Death worship. The Death influence is further accentuated with the Death cover "Within the Mind", very well made, followed by another nice cover version: King Diamond's "The Candle"; the vocals try at times to resemble the King, and admirably succeed. The cover version mania carries on, with a faithful interpretation of the Judas Priest's immortal hit "The Ripper"; the singer here tries to imitate the Metal God, but gives up at some point, and starts growling. The Celtic Frost's "Usurper" comes next, to crush your skull. The end is preserved for a great melodic speed/thrash/epic metal anthem, called "Samarkhand", which could be another cover, but to these ears it sounds pretty new. As a whole the guys have given us quite an amalgam, which has its good moments, albeit being in the form of songs already heard before; hey, and don't forget "One's Mind": this song alone will make you cry.
"The Madness of Fear" is a slower and more melodic opus, the hectic rifforamas on "Saktimuna" not such a common occurrence, the majority of the compositions sculpted around infectious Oriental melodies ("A Tremendous Sacrifice (True Seed)", "Adruja Wijayamala Singa"), the formidable dramatic "Lemuria (The Ancient Eastern Paradise)" soaring above the soothing balladisms of the closing "Mohing Asang (War Hymm)".

Conception of Madness Full-length, 1993
Pendita Gila EP, 1995
Gerbang Kayangan Full-length, 1997
Bara Pawaka Full-length, 2000
Darah Muda Full-length, 2003
Berdiri Antara Panji-Panji Full-length, 2006
Tawanan Dosa Full-length, 2018
Intravena Tantrika Full-length, 2020
The Madness of Fear Full-length, 2023

My Space

SILA UDARA (RUSSIA)

Pretty decent classic thrash/crossover with a few more modern gimmicks inserted, as well as several more frank hardcore sections. The tempo moves from mid to up the whole time, and the songs' length increases with the passage of time, reaching much more complex, almost progressive, dimensions towards the end with a certain number of laid-back, balladic passages present, and the album consequently losing its crossover spirit, with only the hoarse, but clean and forceful, vocals reminding of it.

Sila Udara Full-Length, 2011

SILENCE (FRANCE)

This progressive rock outfit started their career with this excellent slab of power/thrash-oriented, all-instrumental shred which mixes hard, razor-sharp riffs with beautiful atmospheric passages, and the obligatory lead parts, the latter carrying a lot of melody, producing some of the most addictive tunes of recent times, comprising brilliant spiral-like cuts recalling the great Tom Scholz (Boston) with its characteristic blend of melody and technicality. There's a fair balance achieved between the riff and lead sections, the former being really sharp and intense with a shade of industrial at times, except on the several short balladic pieces where the influence of Yngwie Malmsteen is pretty obvious (remember "Crying" from "Trilogy") in a good way. There aren't any show-offy sections, and the compositions aren't very long all wrapped in a calming atmospheric "veil" which is aptly supported by the cool unobtrusive keyboard background. Later the band took a much more melodic direction releasing four more albums of solid progressive metal/AOR.

The Fifth Season Full-length, 1997

Official Site

SILENCE (USA)

In the early 90's quality albums like this probably made people think that thrash metal would never fall from grace. The music on display is both stomping and fast, more on the faster side, the songs are long the highlight being the 10-min very diverse "Necromantic", but the band manage to keep them interesting, not without the help of some interesting leads: check out the opener "Vision". "Voice of the Pariah" starts as a ballad, and one wouldn't bother too much if it had stayed this way since it's really good, but the guys have other plans, and what follows is some stupendous fast-paced thrash which will keep you headbanging throughout the whole 6-min. Late 80's Metallica might be a good reference point, as well as Anthrax's best period (1986-1990). The band spice things up with some shorter, more immediate thrashers, too ("Pitbull", "Death by Womba").

Vision Full-length, 1991

SILENCE OF OBLIVION (BRAZIL)

There's only one artist, the name Gustavo Martins (also the retro thrash/deathsters Rattle), involved here who produces intense modern-ish power/thrash with sterile mechanical riffs which still aptly support the more dynamic parts ("In Choosing Right or Left...") which dominate the landscape, even coming with a slightly more technical edge ("4th Industrial Age", the excellent short roller-coaster "Real Life"). Groovy Pantera worships like "Slaves of State Machine" can't be considered a great asset, but Martins knows his craft including his semi-clean/semi-shouty exploits behind the mike.

In Choosing Right or Left... Full-length, 2018

Youtube

SILENCE UNSOUND (USA)

A classic/modern power/thrash offering which comes with a slight progressive flair even on the shorter material ("Inherent Earth") before the more modern-sounding proto-groover "Technotheistic" kills the accumulated inertia, the guys having problems later to recapture the more vivid aura of the first few cuts, "Moment of Clarity" at the end the needed moment of energy the guys thrashing with more verve as a finishing touch. The vocals are quite good with a cleaner attached timbre, a vital ingredient in this mildly entertaining effort.

Silence Unsound Full-Length, 2018

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SILENCER (USA)

The compilation "Found On The Sun" features a fine multi-faced collection of tracks; the first half provides good headbanging thrash with tracks like "Apollocide" and "The Bruising Beast" being sure-handed thrash winners. "Structures" is a fine, Paradox-like speed/thrasher; "This Mystic Image" is a cool mid-paced power metal number, suggesting at the other side of the band's style to come soon. "Cold War" is a long track with an epic flair mixing power, speed and thrash in a way no worse than the Danes Manticora. "Megalith" brings back the intense thrashing, but this time with a genuine technical edge. "Wrathchild" is, yes-you guessed right, an Iron Maiden cover, which is followed by a couple of live songs that are clearly in the power/speed metal camp with no traces of thrash. "Kozmos" comes with full force being another smashing thrash metal number with some stupendous leads. "Missing Hope" is a heavy ballad followed by another speed/thrash assault, "Industrial Command" (no traces of industrial here). The last song "Morning Star" is a cool mid-paced power/thrasher, stylishly ending this cool diverse compilation.
Their last (and present) period is the most disappointing: "Death Of Awe" is unimpressive modern death/thrash metal sounding like anyone else out there.
"Divisions" is again your pretty average modern thrash, this time containing no shades of death metal except for the gruff vocals. The tempo isn't as dynamic, and there are just a few more up-tempo moments (the dry "D.E.A.T.H.R.A.Y."; the cool headbangers "Betrayal and Massacre: An Overture to Germania" and "Suppressor"). The rest is uneventful proto-groovy stuff with no highlights whatsoever.
"The Great Bear" is an oddity which many fans will simply discard as the next flop by a once hopeful band. The truth is that although this is hardly a masterpiece, this strange effort has something to offer with its offbeat progressive approach which blends power, a bit of thrash, post-thrash, and groove to a diverse, and at times not very easy to get into amalgam which revolves (lyric-wise) around the US/Russian competition for the conquest of space in the 1960's/1970's. So expect numerous samples, interludes, and even the Russian national hymn as a finishing touch to this ambitious, but flawed release which sees the band taking a U-turn from their conventional more recent modern thrash/death metal past into a not very well trodden path. At this stage things sound a bit messy here and there, and the thrash metal fan will be expecting in vain to hear some riff to bang his/her head to; but the future albums might be no-brainers if the guys manage to polish their approach and bring more focus on the composing of the actual songs.

Kozmos EP, 2000
Black Flames And Burning Worlds Split, 2001
Structures EP, 2002
Found On The Sun Best of/Compilation, 2003
Death Of Awe Full-length, 2005
Divisions Full-length, 2009
The Great Bear Full-Length, 2012

Official Site

SILENCH CREW (SPAIN)

Based on "Trajan", this crew deliver modern groovy post-thrash, the heavy seismic riffs of "Worldwide Mess" pairing well with the the more relaxed stoner/doom-laden layout of "The Birth Of Hope". "Northern Wars" is a cool dynamic near-thrasher, but the rest is too lethargic and repetitive to strike a cord. The singer is of the chameleonic type, one side clean and attached, the other gruff and deathly, alternating quite frequently to mixed impression.

Ten Tattooed Ways to Face Life Full-length, 2013
Trajan Full-length, 2021

Official Site

SILENT (NORWAY)

Based on the second demo, these folks offer modern thrash/post-thrash with a hefty progressive flair, from the surreal volatile rhythms on "Mr. Winter" to the choppy dramatic, also semi-balladic on occasion, sentiments of "Knowledge About Nothing", this is a not very usual listen, also augmented by the curious semi-technical creeper "Could" and the classic mid-paced, also atmospheric, thrashisms of "The Clear Ice". "How Much Further" is an all-instrumental piece with a monolithic mid-tempo rhythm-section; and the final "Prevent" brings a doze of psychedelia into a heavier doom canvas. The vocalist sticks to a semi-shouty hardcore timbre, and strangely fits the diverse unorthodox musicalities. Some of the musicians used to play in the progressive doom/death outfit Old Words New.

2 Song Rehearsal Demo, 1994
Silent Demo, 1994

Youtube

SILENT AVENGER (CZECH)

This is melodic thrash with epic overtones; the sound clings between the classic and the modern school, and develops in a peaceful calm tone with numerous melodic ornamentations and the odd galloping rhythm, the latter killed by the several balladic interludes which are not bad, by the way, and are assisted by very good lead guitar work. The main problem is that the music may tire the listener with its reluctance to speed up and its somewhat repetitive nature, a situation partly saved by the stylish keyboard insertions which should have been more. The singer merges with the music singing in a sleepy one-dimensional fashion without ever breaking his clean mid-ranged tone.

Ke Hvezd~m Full-length, 2010

Official Site

SILENT CIVILIAN (USA)

Modern thrash, not miles away from Trivium and the likes; these guys here adhere more often to other genres, breaking the otherwise biting, energetic sound of the guitars, and the clean vocal interruptions are not as appropriate as the ones on the works of the aforementioned band.

Rebirth of the Temple Full-length, 2006

Official Site

SILENT DARKNESS (USA)

This band refused to lay the banner of classic thrash to rest, and this obscure effort is a faithful tribute to all things old school sustained in a consistent heavy mid-pace with a volcanic bass bottom and a bit underwhelming, not very clearly heard, semi-clean vocals. "We The People" at the end turns to more intense headbanging thrash for a change and wins.

Dementia Demo, 1992

Official Site

SILENT DECAY (GERMANY)

Modern power/thrash metal which has it all: catchy melodic guitar lines, groove, balladic passages, even smells metalcore at times. The classic thrash metal fan will not be fascinated, especially when he hears that there is this annoying mixture of hardcore-ish and clean vocals, which every third contemporary metal act uses.

The Pain Of Creation Full-Length, 2007

SILENT DISASTER (TURKEY)

Cool modern power/thrash with a heavy crushing rhythm section, good mid-pace, and two nice attempts at more classic-sounding headbanging stuff: "Fight In My Mind" and "Red and Gold". The leads are really good, but the vocals are not very suitable, being gruff semi-death metal ones.

And The Earth Is Blind EP, 2009

My Space

SILENT EYE (SOUTH KOREA)

Based on "Hell Hound", these guys pull out good power/thrash of the old school. "Golgotha" is a nice headbanging opener, followed by the more melodic, but faster "Hell Hound", where cool melodic guitars are thrown in. The melody takes the upper hand later on, but the thrash riffs remain on most of the songs, like the excellent machine gun-like "Crush Into The Fate", the killing intense technical thrasher "Anubis": a riff-fest at its absolute finest, the highlight of the whole album. The peak being reached with this one, the band settle for a more laid-back power/speed/thrash metal mix which still produces very good results: the keyboard-driven speed metal bomb "Tears", and the great closing "Nll": another speed metal track graced by great leads and a nice chorus.
The debut is closer related to thrash, and is the better work displayed early with the smashing opener "Fear Of Abyss". "Buried Soul In The Castle Wall" is a slower stomping power/thrasher followed by a very good original cover of Iron Maiden's "Hallowed Be Thy Name", including nice angelic female vocals in the beginning. The better is yet to come, though, with "Land Of Dead": a brilliant speed/thrashing number, the speed metal killer "Suicide By Illusion" which boasts great leads, and the magnificent intense technical thrashterpiece "Grievance". "World Of Thousand Years" starts like black metal ala Dimmu Borgir, but later the guys serve another technical thrash delight finished with a great balladic passage. "Darkness Walking Through The Hallway" starts with a lengthy bass intro, but later doesn't betray the gained technical inertia, adding more aggressive faster riffs to the proceedings which suddenly flow into a very cool melodic quiet interlude before speeding up admirably near the end. "Dear Jane" again misleads in the beginning starting with soaring black metal melodies although it never switches onto thrash metal which shouldn't be a complaint as up to this point the guys have managed to satisfy even the most capricious thrash fans, but evolves into a majestic gothic number with a symphonic touch ala Bal-Sagoth. This album could be considered one of the finest achievements of the South Korean thrash metal scene, and is also a sign that Japan might soon be overtaken by its smaller neighbour as the leading metal force in the Far East.
The self-titled EP is another strong offering featuring four tracks of blistering speed/thrash, this time more melodic, staying closer to speed metal, infused with a big doze of happy keyboard melodies. The guitarists give themselves a lot of freedom in the melodic sector producing overwhelming passages which would not have been too appropriate on the other, more riff-oriented works. The vocals are higher, quite soaring, but are well fitting into the overall more laid-back picture. This is a short lesson on how modern speed metal should sound which comes as a break for the guys between the more aggressive thrashing full-lengths.

Buried Soul In The Castle Wall Full-length, 2001
Silent Eye EP, 2003
Hell Hound Full-length, 2006

Official Site

SILENT FURY (USA)

This band is mostly in the heroic power metal camp with sudden switches to more energetic thrashier escapades ("Blind"). "The Force" is a truly inspired thrasher with a few curious semi-technical twists, and the vocals are clean and emotional without necessarily aiming at the very high registers.

Demo Demo, 1989

SILENT IMAGES (SWEDEN)

The EP: three songs of stylish technical thrash on the modern side with a few sections which betray the guys' origin. The band alternate the pace the whole time, but there's seldom a very fast passage to be encountered, the dominant tempo being jumpy and mid. "Realpolitik" is a wild shredder lifting the mood up quite a bit even recalling Atheist's "Jupiter" in a few ways. The singer is a rending deathly growler seldom intercepted by more appropriate clean insertions. There's a lot of promise in this short effort which sees an act well equipped to march with the finest out there.
The full-length fulfils the promises the guys thrashing with a good sense of technicality again without speeding up a lot; which is a pity since when the band brutalize the environment, they reach impossible heights technicality-wise: the raging hecticer "Realpolitik". "I Am The City (Je Suis La Nuit)" is a choppy mid-pacer with an intense death metal-ish final section, and "Tick-Tock" is the guys' tribute to the doom metal movement to which "Aupolitik" also aims with its heavy steam-rolling riffs. "Brethren's Burden" speeds up again, but in a more friendly optimistic fashion without completely forgetting about the more original quirks the latter siding with the math fraternity on the following imposing opus "Rise, Narcissus, Rise!". "Ignotum" is a short stylish headbanger, and the closer, aptly titled "Epilogue: Of Fervid Custodians" is a crunchy progressiver concentrating more on the melody citing more recent Cynic as an influence with its more oblivious spacey arrangements.

Silent Images EP, 2014
Knightfall Full-Length, 2016

Official Site

SILENT NO MORE (USA)

Based on "Based", this band play pulverizing old school thrash which can be a bit jocund and hardcore-ish ("Faustus") on occasion, but there are also more stylish technical moments ("Woke"), as well as some truly heavy steam-rollers ("Here Come the Boys"). Watch out also for the headbanging delight "Border Disorder" and for the lively trippy shredder "Cut and Run", the band really knowing their craft, calming down for the stomping quasi-groover "Psychosis", but there's a lot of life in short explosive tracks like "Huac" and the closing speedster "Party Time". The singer is an angry shouter with echoes of both Rob Flynn (Machine Head) and Phil Anselmo (Pantera).

Paradigm Full-length, 2021
Based Full-length, 2022

Official Site

SILENT OVERDRIVE (GERMANY)

Based on the full-length: ordinary modern post-thrash with a lot of groove, clean vocals, angry basic ones, etc.; there are cool headbanging moments ("Lost Your Belief"), but they could hardly be distinguished among the much less inspired rest, unless you pay serious attention to which the music won't lead you.

Babylon Nation EP, 2005
Disease Full-length, 2006

Official Site

SILENT SCREAM (GERMANY)

Based on the debut: interesting power/thrash with an alternative edge, a distant echo from Depressive Edge and Lost Century; the music here is less adventurous seldom relying on speed which is a shame since when it's on full throttle, the results are impressive: the speed metal delight "Fallen Angel". Later on the sound favours power metal more, in a way not too dissimilar to mid-period Squealer. Near the end the guys remember to insert more intense numbers for a change: "This Is Life", and the cool varied closer "Silent Scream".

Bow Down and Pray Full-length, 1998
Serenades of Fear Full-length, 2004

Fan Site

SILENT SCREAM (USA)

The album title betrays the Slayer-influence, but this is more of a death metal album mixed with thrash. The music is pounding and heavy with a strong bass-bottom and aggressive death metal vocals which come as a mix between Chuck Schuldiner (R.I.P.) and John Tardy. The sound also recalls Death at times, especially when it introduces more melody ("From The Darkest Depths Of The Imagination"). The album has its pure direct headbanging thrashers ("Open Season") and those which come longer decorated with more stylish moments ("Theatre of the Depraved"). The leads are short and often ignored which is a shame since they are proficient and are a welcome contrast to the punishing rhythm section. Near the end the guys try something more complex with the last two compositions being longer with cool semi-technical riffs, but those moments are kind of unfinished, with the band again relying more on their trade mark heavy guitar work.

From the Darkest Depths of the Imagination Full Length,1992

My Space

SILENT SCYTHE (SWEDEN)

A good power/thrash metal band whose sound is modern-ish, and at times comes quite close to Iced Earth and Mystic Prophecy, ably supported by good vocals which sound like a cross between Matt Barlow and Tim "Ripper" Owens. "Longing for Sorrow" opens like a typical modern Swedish album, with "Longing", featuring all the staples of the genre if we exclude the very catchy chorus. "Old World Disorder" adds some groove mixed with melodic interludes recalling Nevermore and Iced Earth. "My Only Family (My Only Enemy)" carries on in the same vein, but is more simplistic and softer, but this is the predominant style from now on. The last song ("To Each His Own") is much longer than the rest, but doesn't betray the mid-paced power/thrash metal style witnessed previously; more intricate technical sections can be heard as well as quiet acoustic ones, but there's nothing progressive here. The actual final number is an acoustic live version of an older composition of the band ("Unknown").

Longing For Sorrow Full-length, 2003
Suffer In Silence Full-length, 2004

Official Site

SILENT STORM (RUSSIA)

The debut demo: modern thrash with atmospheric gothic overtones with a few more aggressive outbreaks ("Psycho", which also contains a couple of more twisted technical riffs); otherwise the music is mid-paced at best with the guitars having a mechanical fuzzy sound, and the singer is hardly intelligible with his brutal low-tuned timbre.
The "Blood Red" demo is a major improvement over the debut one being quite good technical/progressive thrash/death ala late-period Death and the Czechs Scenery. A couple of more aggressive blasting moments are scattered around, but the concentration is clearly on complex intriguing arrangements, clever technical riffs, varied tempos all this nicely summed up on the good cover of Death's "Crystal Mountain" at the end.

Mental Nails Demo, 2009
Blood Red Demo, 2010

SILENT STRAIN (CANADA)

This is the band where Dave Padden (Annihilator) tries to do something outside the shadow of Mr. Jeff Waters. Whether you will like this act or not depends to a certain extent on how you feel towards Padden who is largely considered one of the weakest (if not the weakest) singers ever recruited by Waters. The music has nothing to do with Annihilator being generic modern groovy thrash mixed with some Swedish death metal elements. The musicianship is below par and Padden doesn't do much to save the day: he tries to give a more brutal edge to his voice to better suit the music reaching hardcore-heights at quite a few times, but when he unleashes the vocals he used to use on the Annihilator albums, plus more melodic ones, the final mixture is not really striking. Listening to this, one would probably advise Padden to take it easy for the time being feeling more comfortable under the "cloak" of Annihilator.

Demo Demo, 2006

Official Site

SILENT TERROR (GERMANY)

First-class technical thrash, quite unique and original; the band alternate moody, slower, but very technical passages (think the Germans Of Rytes and Coroner's "Grin" (but more aggressive)) with a few very fast moments ala Necrodeath and Atheist. The tracks are lengthy, one of them even almost hitting the 10-min mark, but there's so much happening inside that you would hardly notice that, and it definitely requires a few listens before you start fully appreciating this very complex stuff. There are also great atmospheric, acoustic sections as well as really abstract ones (fans of Cynic's "Focus" and Pestilence's "Spheres", beware!), but the concentration is clearly on the more up-tempo, hard-hitting side. The vocals are similar to the vicious, mean snarls of Kelly Shaeffer (Atheist) (these are probably a bit more vicious); a very obscure, but highly recommended effort.

Humanity...Sold Out Demo, 1991

SILENTEND (MEXICO)

This act serve retro thrash with bold echoes of the Bay-Area, the ripping qualities of the opening "M.A.D." later tamed to an effective mid-tempo trot on the remainder, although "Weapon of Hate" is another intense proposition, with "A Stolen Life" acquiring meeker power metal-ish tendencies, also utilizing the vocals a bit better, the man sacrificing his shouty antics for a more lyrical cleaner performance.

Neverending War Full-length, 2022

Official Site

SILENXCE (HOL)

This album is obviously a compilation of the band's demos, the last one dating back from 1990. "Better Late Than Never", as the saying goes. Never late, though, for some more classic speed/thrash metal, and this is exactly the case here: for fans of early Angel Dust and Paradox these guys are a must. The album starts in a blistering, speedy way, with "Crucial Incision", a smashing speed/thrasher. "Agent Orange", which is not a Sodom cover, blasts in a similar fashion as well as most of the other tracks which follow suit. Especially interesting is "Respect the Act", which breaks the pattern by adding some really cool Oriental hooks. The only time when the guys take a break from this intense thrashing is on the intro, and on the short melodic interlude in the middle "Infernal Ending".

Search For Distant Lights... Full-length, 2003

SILICON HEAD (HOLLAND)

Some of the guys from the death/gothic/doom metal masters Orphanage have decided here to mix the sound of their previous band with the trendy groovy approach of the time. As a result we have the 90's post-thrash style served with a heavy pinch of a heavy/doom twist. Not bad, but the tracks are divided: some of them belong to the groovy genre whereas others are a direct take on the Orphanage sound. Seldom do the band try to put the two sides together (the very good intense "The Conversation", the jumpy "No Direction"), which is a pity since when that happens the album is very close to taking off. "Hear" is a masterful acoustic ballad, something which Orphanage can do better than anyone else, with a fine female vocal participation.

Bash Full-length, 1997

SILIUS (AUSTRIA)

An energetic classic/modern thrash hybrid which definitely has its friendlier side (the frolic proto-groover "War Planet", the lyrical progressiver "Kingdom of Betrayal"), but there's no speed lost on ripping headachers like "Evol Monument" and "Seven Demons". The singer is an attached semi-cleaner who uses his higher-pitched timbre to a positive impression at times. The band members are also involved with the death metallers Fornicator, and the modern thrash formation InstinctHate.
"Worship to Extinction" is decidedly less energetic and more classic-inclined on occasion, with heavy pounders ("Horrorscopes", "Worship") occupying the front seat, the thick clouds dissipated by fast dynamic breezes like "Lesson in Blood" and "Venom Baptism", but the number of those isn't sufficient to enliven the not very eventful setting.

Hell Awakening Full-length, 2017
Worship to Extinction Full-Length, 2020

Official Site

SILMERIA (FRANCE)

The debut: this French act offers modern thrash with a slight progressive twist and a few more intense death metal moments (including the brutal low-tuned vocals). Except for those death metal moments which speed up quite a bit, the rest develops in a predictable mid-pace with more quiet balladic sections springing up from time to time. There's a lot of atmosphere present in a way not far from their peers and compatriots Misanthrope, but here one will come across slower doom cuts ("Watchtower", the dark crusher "Quadruple Degats"). "A Lampoon To God" is a merrier hardcore-ish piece, and "Kamikazee" is an energetic modern thrasher, which influences the closing "Chtulhu F'Taghn", an aggressive death metal-laced piece with a nice balladic interlude. There are by all means attempts at a more serious song-writing, but it seems as though the guys can't be bothered complicating their approach too much at this stage.
"The Sinking Mind" arrives after a 10-year break, and serves Modern thrash of the dark brooding variety, the gruff throaty death metal vocals adding another tenebrous blend on the proceedings. Expect heavy mid-tempo riffs for most of the time, the slow-building doom properties of "The Sinking Mind" well noted, the moshing energy of "No Place for Weaks" a welcome digression, with "Slaves" also trying something marginally more energetic, also introducing a cool female throat.

The Triumph Of Death (Metal?) Full-Length, 2011
The Sinking Mind Full-length, 2021

Official Site

SILO (USA)

This was the early incarnation of the technical/progressive thrash wizards Vision Purple so expect virtuoso swirls on every corner, great lead sections, and good clean vocals without too many experimentations. After the warming-up title-track comes the behemoth opus "Eggplant" which is supreme progressive thrash with puzzling riffs galore and some of the most enchanting lead passages of the late-80's. Such a masterpiece is hard to beat, but here comes "Genetic Pit" which is another brilliant piece that embraces the best from their compatriots Toxik and Realm and melds it together in a seamless symbiosis one may end up listening to over and over. This one-demo-wonder, along with the Vision Purple output, can easily pass for the the American underground scene's finest hour.
The "Too Young To Die" demo is a more immediate affair the guys speed/thrashing more directly with a lot of passion, producing in the end some notable more progressive achievements: the opening shredding title-track. The rest is more straight-forward and shorter "The Passing" still making heads turn with its stylish hooks and twists thrown in. The Unknown track at the end is a tribute to the Bay-Area, ripping technical mid-tempo thrash with sharp cutting guitars and great leads.

Too Young To Die Demo, 1989
No One's Home Demo, 1989

SILVER CYPHER (USA)

A cool power/thrash metal debut with a dark, moody atmosphere; the music is mid-paced to up-tempo with some off-beat moments, like the 10-min epic track "Conflict in Tristram", the 1-min lead guitar performance "The Fall of Man", and the last song with the strange title "1d3r", which has a strong alternative vibe.

Yesterday's Tomorrow Full-length, 2007

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SILVER FIST (USA)

Based on "Fe Ciega", these folks, half of whom come from the power/speed metal heroes Muro, serve slightly thrash-fixated power/speed metal, quite similar to the one of Muro, which relies too much on catchy melodies, still speed/thrashing harder on occasion ("Mi Rebelion"), but also having plenty of time to insert the more tender semi-ballads ("El Dolor", the keyboard abundant title-track). Interesting more progressive compositions ("Mi Ultimo Dia") also roam around, but the last word have the faster-paced numbers like "Entre el Odio y el Amor" and "Se Acabo". The vocals aren't bad at all being emotional without being too high-strung, mostly occupying the mid-ranged parametres. Some of the musicians are also involved with the death metallers Hateskor.

Ave Fenix Full-length, 2004
Legrimas de Sangre Full-length, 2006
Tears of Blood Full-length, 2007
Todaveda Vivo EP, 2015
Fe Ciega Full-length, 2016

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SILVER ORIONIS (SWITZERLAND)

Silver is the alias of the guy who is behind this project. He uses modern thrash as a base for his exploits which evolve around semi-complex mid-paced riffs which grow into several long elaborate compositions, but the musicianship on those is nothing special making them slightly dragging listens, especially the semi-balladic oddity "Reflection". In the second half the guy infuses more atmosphere, and "The Garden" hits the right notes with its creepy rhythms and escalating drama. "Straight-Arrow" is the desirable more dynamic cut, and "Timelines" is another more cleverly-concocted progressive opus, but the rest is just passable. Silver is not a big talent as a singer his baritone trying to capture the magic of James Hetfield, and actually succeeding here and there.

Axia Full-Length, 2013

Official Site

SILVERTONGUEDEVIL (USA)

Based on "Orthodox Heresy", this band play aggressive retro thrash/death which is equal parts Devastation, Slayer and Gammacide. The opening "The Sinful Nun of Satan's Abbey" will sprain your neck big time before it exits with a cool slower passage. The heaviness of the latter is well translated on the following "The Dark Chamber" in the beginning before this cut turns into a violent moshpit manufacturer with more nods to death metal. The headbanging fun never ends at times served in a more restrained thrashier manner ("Pan Reborn"), at others splitting heads with brutal death metal outrages ("Murdered by Martyrs"). "Goddess of Unspeakable Lust" in the middle is almost radio-friendly by the album's standards with its relaxed semi-balladic rhythms, but its sluggish off-context nature is immediately cancelled by the ripping "Suicide with Occam's Razor" which sets the tone for the remaining material also bringing a fresh more technical flair to the recordings the latter handsomely felt on the hectic shredder "Pontifex Diabolus" and the closing diverse rager "Radical Fleshwork Assembly". The vocalist is a comprehensive semi-clean semi-shouter who actually sings on quite a few times ranking every bit as high as his colleagues for whom the best is surely yet to come.

Pornographic Scripture Full-Length, 2011
Orthodox Heresy Full-Length, 2015

Official Site

SIMBIOSIS (ARGENTINA)

Based on the full-length: members of Malon, Hermetica and the heavy metal outfit Heinkel have joined forces for the creation of this not very impressive, dragging groovy post-thrash effort which is deeply sunk in all the cliches staple for the style the pleasant digressions being a few spacey moments ("Frio Austral") which bring a fresh, quasi-progressive feel also helped by the better vocal insertions there. Mentioning the singer, the guy can really sing, and is by all means the best performer in the band as is also evident from the cool acoustic ballad "Morir Otra Vez No Alcanza "; it's just that undemanding music of this kind sadly undervalues his talents.

Simbiosis EP, 1998
Riesgo y Reaccion Full-length, 1999

SIMBIOZ (UKRAINE)

Based on the full-length, these Ukrainians pull out quite good technical thrash/death which is along the lines of later-period Death on the faster moments, but there are complex passages where the guys (and a girl, the soprano vocalist who appears from time to time) unleash some awesome vortex-like riffs which also bring Atheist and Coroner to mind. On the shorter tracks the band play pure headbanging thrash without too many technical gimmicks, but most of the material is unobtrusively complex although there is no song longer than 5-min here. The musicianship all over is top-notch with very good lead guitar work accompanying the great riff-patterns well boosted by the very clear sound quality.

Sruivaiushii Teni EP, 2004
Tainui Vechnuih Snov Full-length, 2006

Official Site

SIMERIANS (ARGENTINA)

Decent classic thrash metal with with gruffer proto-death moments; first the lead guitarist shows his talents on the excellent atmospheric intro "Lugubres Presagios" before the others get involved on the varied energetic mosher "Inpolitica" which also introduces a couple of more stylish decisions, the latter further developed on the fine technical speedster "Tiempos De Guerra". "Persiguiendo a La Muerte" is a diverse 10-min opus the guys thrashing there in a more conventional mid-tempo leaving the final "damage" to an overlong balladic outro. The singer is a suitable rough death metal growler similar to Mike Browning (Nocturnus).

Tiempos De Guerra Demo, 2009

SIMPLE AGGRESSION (USA)

This band's debut is one of the better thrash/funk albums around. It leaves behind the attempts made in the genre from Re-Animator and Mordred, for example. The important thing is that these guys never forget that they are a thrash metal act above all, and the thrashy guitar dominates although the funky moments are also quite a few, but they aren't annoying, and aren't left without a thrash company like it had happened on lesser works. The music is ably supported by very good vocals, melodic ones, fitting the band's style very well; might remind you of a more hoarse version of Faith No More's Mike Patton. It is nice to hear an album in the mid-90's "stripped" from the typical for the time groove with a nice fresh take on thrash metal.
"Gravity" "gravitates" too much towards the modern 90's trends, and has almost nothing to do with the debut music-wise being a slightly more complex version of the modern groovy metal.

Formulations in Black Full-length, 1993
Gravity Full-length, 1996

SIMPLEFAST (GREECE)

Based on the full-length debut, this act provide modern melodic power/thrash which only most particular feature is the "gruff vs. clean" vocal duel which serves to no purpose since the music is quite soft and friendly. "Sins" is an exception with its faster more dynamic riffage recalling Face Down Hero and Perzonal War, and "As Chaos Prevails" is a formidable heavy squasher with nice speedy implements creating imposing progressive atmosphere. "Enter the Maze" is a cool doom instrumental leaving the more intense crescendos for the closing brisk power/thrasher "Chasing Ghosts".
"Eternal" doesn't radically differ from its predecessor, but moments of a more serious song-writing (the Paradox-esque "Nero Reborn") can be easily detected as well as imposing mid-paced epicers ("Atonement"). The speedy side of the hybrid is reflected in "Tension" and the uplifting speed metal anthem "Eternal", but overall this is a more academic recording with "Divine Prophecy" shredding morosely with heavy hammering riffs.

Cursed EP, 2014
Apocalypse Full-length, 2017
Eternal Full-length, 2020

Official Site

SIMULACRA (GREECE)

The line-up features Fotis: the guitarist who later joined another fine Greek act, Utmost Contempt. This is stylish dark technical thrash of the modern type, quite close to Coroner's "Grin" and Aftermath's "Eyes of Tomorrow". The riffs are quite complex and creepy, and although the band seldom speeds up, in the end one can not help, but be moved by this unique approach. The singer is not an asset, and his rending hardcore-ish shouts could be a serious obstacle to some. "Forever Angel" is quite an interesting composition which starts in an expected sleepy very complex mode, but suddenly bursts into a fast passage which flows into a melodic, almost crossover deviation, before it settles for the technical arrangements from the beginning. "Second God" is a minimalistic tech-thrash masterpiece also adding some more dynamic guitar work ala Coroner's "Mental Vortex". "Rapture" lasts for more than 9-min and may be considered the downpoint here since the band's delivery is hardly suitable for such a long song, and despite a few lively moments here and there, it ends up sounding a bit boring, and on top of that the bad singer has decided here to participate more actively, worsening things even further. As a whole this is quite an unusual read of the modern technical thrash genre, and an obvious influence later on Utmost Contempt.

...Towards Rapture? Demo, 2000

SIN PIEDAD (ARGENTINA)

This Argentine outfit acquit themselves with dynamic modern thrash which relies on both sharpness and melody both sides ably blended together for the production of another capable Gothenburg worship, low on originality, but high on musicianship and production qualities. Most of the tracks race with the speed of light and this is this short effort's main saving grace. The singer is a throaty semi-shouty death metaller who, despite his efforts, can't be heard very clearly at times.

Condenado a Vivir EP, 2012

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SINARO (USA)

This is modern thrash which can be both lyrical and melodic ("The Living Dead") and angry and intense ("Fear the Unknown") where the delivery comes very close to early The Haunted and Dew-Scented. However, the concentration is not so much on aggression here as the guys vary things around, mixing both currents on "Downfall of a Nation" before "Eternal Lies" serves a portion of more technical riffage as an epitaph. The singer is a hoarse semi-death shouter who delivers with his intense, even passionate in a curious aggressive manner, timbre.

The Living Dead Full-Length, 2019

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SINATE (NEW ZEALAND)

Based on "Beyond Human", this act plays intense crunchy death/thrash metal of the modern type, a dynamic affair despite the frequent nods towards the groovy scene. There's a lot of headbanging thrash to be encountered some of which comes with twisting technical sections ("One Day Closer"), some with jumpy steam-roller riffs ("Final Vision"), some with an open old school attitude ("Waiting to Die"). "Psycho Society" is a nice combination of heavy groovy and sharp speedy riffs summing up the album's influences quite well near the end, and the closer "The Last War" will rip you at with a violent grinding break in the middle.
"To the Death" is in a similar vein ripping fast'n tight riffs supported by a crisp sound quality and generally good, albeit fairly predictable, arrangements. The speedy delivery predominates, but this is hardly a complaint since this is when the band sound the most convincing except on the several blast-beating moments. The band members also have another project: 8 Foot Sativa where the style is pretty similar, maybe a tad less intense.

Beyond Human Full-length, 2005
Violent Ambitions Full-length, 2006
To the Death Full-Length, 2012

Official Site

SINATHROP (HUNGARY)

This is modern post-thrash with an intriguing technical flavour. The riffs are jumpy with a dry mechanical echo reminiscent of mid-period Prong and the Canadians Obliveon. The inevitable groovy "traps" are also around and the guys don't bother circling them, but jump straight into them creating the unnecessary repetitive patterns the latter aggravated by the dry dispassionate semi-clean vocals.

Pray For God EP, 2008

Official Site

SINAYA (BRAZIL)

Based on the full-length, this girls-only outfit indulge in a modern-ish thrash/death metal brand the girl behind the mike coming from the gruff sinister Angela Kosoff (Arch Enemy) school. Music-wise this is more brooding, less speedy stuff although the brisk "Always Pain" will have no problems stirring wild moshing parties all around. "Crowd in Panic" more fully epitomized the dark current of the album with its heavy volcanic rhythms, with "Deep in the Grave" and "Buried by Terror" touching doom in an intriguing creepy fashion.

Obscure Raids EP, 2013
Maze of Madness Full-length, 2018

Official Site

SINDONE (ITALY)

Based on the "Multiverse" EP, Sindone play an interesting brand of power/thrash metal; the sound is definitely modern, but is rich in atmosphere which brings them at times close to the gothic metal acts. The vocals are also worth mentioning: on one side we have semi-death metal ones, on the other one come the more traditional ones which sound like a more hoarse and angrier Kai Hansen. The music is mostly heavy and mid-paced, but "System Failure" speeds up respectably showing that, when necessary, these guys can thrash along with the best out there. "Proton" comes as a complete surprise, though, near the end being a complete ambient track with no guitars or vocals, also atmospheric, but scarily non-metal. Hopefully this is just the casual offbeat song, but not a hint at some future direction taken?

Time Leave My Life Demo, 1995
A Symbol Of Power EP, 2000
Multiverse EP, 2004

Official Site

SINDROME (ARGENTINA)

Argentine thrash metal has been witnessing a revival in the past few years with the coming of bands like Serpentor, Malicia and this one. Sindrome are the most modern sounding of the lot with riffage not too far from the later works of the Argentinian thrash metal legends from the not so distant past Lethal. The band's music is mostly heavy and mid-paced with occasional sparkles of modern groovy post-thrash which are quickly buried in the predominant classic riffs. When the guys decide to speed up, they thrash with force ("Fuera De Lin", the aggressive Bay-Area-esque "Desata Tu Lo") no worse than any other big name out there.

Sindrome Full-Length, 2006

SINDROME (USA)

This band should have had a big influence on the spawning death metal genre: their first demo is relentless, aggressive thrash/proto-death drawing comparisons to Possessed's "Seven Churches" or Slaughter's "Strappado". The opening title-track is a distinct qualifier for "Scream Bloody Gore" with its vicious rhythms the intense semi-declamatory/semi-death vocals greatly helping on the side. "Rapture In Blood" attempts something more stylish and a tad more moderate, a nice diverse cut, but "Precognition" brings back the relentless mosh with a few stomping sections thrown in. The alternation between the two sides goes on with "Cathedral Of Ice", another more laid-back and more technical proposition with darker late-80's Slayer-esque overtones. All the way to the closing "Aortic Expulsion", a raging proto-death cut with a few intriguing twisted developments and hysterical screamy leads.
The "Vault of Inner Conscience" demo is a revelation, standout technical/progressive thrash ala Nocturnus' "The Lake" and Dark Angel's "Time Dies Not Heal". The clinical riffage on "Descending Into Madness" transforms into the atmospheric technical pirouettes on "Extra Sensory Warning (E.S.W.)" which offers more complex configurations and a couple of memorable melodic tunes. "Astral Projection" speeds up by retaining the technical escapades all over, the roller-coaster reaching a dramatic fever pitch with a portion of tightly-knotted hectic riffs mid-way. "Against Infinity" retains the elaborate template being another great less ordinary shredder with virtuoso lead pyrotechnics ala Nocturnus again. "Exit Screaming" is indeed the exit, a more energetic proposition with all the technical tools of the trade lined up to make it the highlight on this perennial delight for all fans of high quality old school thrash.

Into The Halls Of Extermination Demo, 1987
Vault Of Inner Conscience Demo, 1991

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SINDROME K (BRAZIL)

Based on "Sobreviventes do Mal", this act exercise energetic moshing old school thrash that crosses heavy slow-burning strolls ("Nosso Destino") with brisk Bay-Areasque skirmishes ("Tarde Demais"), the perennial headbanger "Bem-Vindo ao Caos!" the most aggressive occurrence on this recording, which also boasts intense semi-shouty hardcore vocals and by all means the interesting atmospheric diverser "Em Nome de Deus", the latter's lyrical sentiments later mirrored on the leisurely-executed power/thrash filler "Sua Sombra".

Aqui Se Paga Full-length, 2021
Sobreviventes do Mal Full-length, 2023

Official Site

SINFUL LUST (USA)

Based on the "Confession" demo, these lads serve playful groovy post-thrash with a pronounced stoner flavor. The singer assists the not very hard-hitting musical setting with a soulful hoarse semi-clean timbre, his colleagues producing a heavy behemoth in the form of "Lose Yourself", and a slightly more dynamic shredder ("Alone") later on, those two bringing the sound close to Flotsam & Jetsam's "Quatro".

Demo Demo, 1991
Sinful Lust Demo, 1992
Confession Demo, 1996

SINGLE BULLET SOLUTION (USA)

Modern thrash/death metal ala Terror 2000 and Corporation 187. This is fast energetic music with a good sense of melody ruined by the very deep death metal growls, and the several shifts into metalcore.

EP EP, 2009

SINGLE BULLET THEORY (USA)

Based on "IV", this band plays modern thrash with more thought-out progressive tendencies breaking the intense approach, which relies on heavy sharp riffs and sparse metalcore breaks. The longer compositions are too varied, the leads stealing the show completely there, as well as the more aggressive death metal sections ("Hands of the Wicked"). Still, the musical prowess on the 10-min instrumental "saga" "Auctioneer of Souls" should be noted, the major damage done by the very good leads again, on top of contrasting tempos and more atmospheric drama. "Samsara" is another more ambitious piece, combining melo-death/thrash with more moderate progressive leanings. This isn't completely without merits, actually, fitting well into the already depleted NWOAHM catalogue (think Suidakra, God Forbid, Trivium).
"Route 666" is more ordinary with an angrier and more conventional delivery, owing much to Machine Head's "The More Things Change...", consequently adhering to heavy, a bit repetitive, riff patterns with the casual faster piece ("Automatic Impulse") thrown in. "Imperfect Fit" is a more stylish technical cut, with the next "Revamp/Rebuild" sharing some of its flair with slower, almost doomy, guitars. The second half as a whole is more diverse with the more energetic melo-thrasher "Route 666", and the laid-back alternative closer "Bone Machine". The shouty vocals are an expected addition as well as the casual metalcore leanings.
"Divine Ways of Chaos" doesn't radically change the formula from its predecessor the more energetic, more classic-prone ("Fire from the Sky", "Bleeding for You") material by far the better option, also coming more technically-decorated with mild longer heavy rockers like "The Arena" not creating a very positive impression except with the cool attached clean vocals which soar above the main harsh deathly ones. The band overdo it on the over 8-min semi-balladic saga "Into the Afterglow", accumulating too many anti-aggressive elements to make it a recommended listen, the similarly-styled but shorter and more compact "Paralyzed" at the end by all means the better listen.

The Anatomy of Being EP, 2000
Route 666 Full-length, 2003
Behind Eyes of Hatred Full-length, 2004
On Broken Wings Full-length, 2007
IV Full-Length, 2011
Divine Ways of Chaos Full-length, 2018

Official Site

SINGRA (ANGOLA)

Based on the full-length, this act indulge in alternative modern prog-post-thrash which is reflected in really long sprawling compositions, the shorter material ("Puma", "Soldado Desconhecido" producing some verve, also thanks to the acceptable vocal duel, one side angry and death metal-based, the other attached and cleaner. Pay attention to "Revolucao", a belligerent jumpy track that is that close to turn into full-fledged thrash of the old school.

Eu Contra o Mundo EP, 2013
O Portal EP, 2021
A Casa Assombrada Full-length, 2023

Official Site

SINICLE (USA)

Modern industrialized post-thrash which takes its inspiration from early Mastodon, Strapping Young Lad and Voodoocult. "Baltimore" is an interesting more complex number, and "Broken Silence" is a curious sterile, also lyrical ballad the harsh vociferous singer acquiring a warm cleaner tone on it. "Free Like Me" attempts something doomy, and manages to pull it off in a way no worse than Acid Bath, the nice lead section in the second half helping a lot alongside the poignant balladic additive which occupies quite a bit of space on the closing "Operations Activate".

Angels & Demons Full-Length, 2017

SINIESTRO (SWEDEN)

Based on the full-length: these guys were previously known as Graverape Ritual with one album released in 2010 of classic thrash/death. This new incarnation towards the lighter side of the spectre with a blend of black and thrash which still delivers with its weird riffage ("Liberato") and its stripped-down headbanging qualities ("Inside My Head", "EU-topia"). "Allegiance To No One" is another delight with its epic arrangements accompanied by haunting violin tunes; and "The Disease" is an awesome sprawling thrasher recalling the band's past exploits with a portion of more brutal death-laced riffs. Another pleasant surprise would be the great closing instrumental "Transylvania", an ambient orchestral symphony which enchants with its atmosphere regardless of its total lack of any metal hints.
"Vortexx" is a more aggressive effort, the band inviting both death metal and hardcore into their repertoire, the exhausting nature of brutalizers like "One Last Bullet One Last Ride" and the title-track starkly contrasting with the super-catchy melodizer "Blod eld Dod" and the weird spacey stomper "Escape by Death". "Anti Human Commando" is a sprawling 10-min epic, a far-reaching conglomerate of thrash, black, death and more, the wide variety pacified by the closing organ-immersed all-instrumental piece of idyll "My Innermost Sun".

Oppression of the Sunlight EP, 2014
Revelations in Mayhem Full-length, 2016
Arctic Blood EP, 2018
Vortexx Full-length, 2021

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SINISTER (DENMARK)

This is stylish, at times quite wild, technical thrash/proto-death along the lines the guys' compatriots Invocator (the guitarist had played in that formation at some stage) and Atheist's "Piece of Time". Frantic fast-paced rhythms interlace with slower labyrinthine ones making each of the three tracks interesting eventful listens. "Boundless Delusions" spices the situation with some melodic hooks and could be viewed the highlight on this short, but quite impressive, effort. The singer is a dead ringer for Kelly Shaeffer (Atheist again), maybe a bit more strained and throaty. The band later carried on under the name Chiro Therium where the style mutated into a modern form of groovy post-thrash.

Fractions of Minority Demo, 1990

SINISTER (USA, OH)

This band's line-up included musicians who later took part in other thrash metal acts: Mystik, Metalourd, Wretch. If these guys had continued with this band, they would have probably done a better job than the one with the aforementioned ones; this is awesome speed/thrash which manages to sound quite fast, but it's in the heavy, slower numbers where the band really show their class ("The Kill", "Feeding Ground"). This is great music which will remind you of many 80's heroes: Griffin, Agent Steel, Aftermath, Helstar, Savage Grace, etc.

Demo Demo, 1988
Demo Demo, 1989

SINISTER (USA, WI)

Based on the "Up From the Abyss" demo, this outfit pull out cleverly-executed semi-technical thrash that has all the energy in the world as evident from "The Pawn" before "Why?" comes out with more technical, more hectic ways of execution the guys still thrashing their souls out, a process which goes on even on the more progressive-prone "Sentence of Fear". "The Witch" slows down for a couple of more intricate insertions, adding more to the stylish aura of this cool recording. The vocalist is an intense semi-shouty render who spits the lyrics with venomous panache.
The "Last Hope Cemetary" demo starts with "Distortions of Reality", an exemplary progressive/technical thrasher which can qualify for "Twisted into Form" any time. "Brain Dead" is shorter and more immediate, but the bash acquires more interesting dimensions, not without the help of the capable bassist. "Destiny of Man" is a dramatic hectic epicer with echoes of Fates Warning, and "Bastard Child" is a more complex headbanger again reminding of Forbidden's magnum opus. "Armor" is another highlight, a surgical clinical shredder with gradual speedier accumulations, the guys riding the progressive thrash wave with vigour and enthusiasm, sadly remaining just an underground phenomenon.

Last Hope Cemetary Demo 1988
Up from the Abyss Demo, 1990

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SINISTER BLACK (USA)

A late comer on the classic 90's thrash metal scene pulling out energetic music sounding close to the Forbidden debut and even Rigor Mortis on the faster moments, but there are quite a few slower pounding sections, some of them even sounding proto-groovy at times, as well as one bland heavy rocker: "Footstep from Hell". "Roadkill" at the end will smash you with brutal proto-death riffage as though the guys were preing for entering the death metal arena which never happened.

Court of Corruption Demo, 1990

SINISTER MINISTER (USA)

Based on the demo, this band play sharp crunchy retro power/thrash which exudes both technical and progressive tendencies throughout. This is largely a mid-paced fare which shows its more lyrical heart ("Time's Taking Over") on occasion, the expert lead licks giving this recording a certain proficient flair, also with the shreddy Megadeth-esque march "Innocent Angel". "One on One" is a serious riff-fest that could have graced "Rust in Peace" even, the cool clean mid-ranged vocalist doing his best to assist the leveled but enticing musicalities.

Some Thing Real Demo, 1990
For What It's Worth EP, 1991

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SINISTER REFLECTION (USA)

An obscure US trio providing bland insipid 90's post-thrash with hardcore, grunge, and even electronics meshed in.

Sinister Reflection Demo, 1994

SINISTER SAM (USA)

Based on the "Catfish Gumbo" demo, this act serve quirky fusion-esque thrash, think a cross of Faith No More's "The Real Thing" and Mordred's "Fool's Game". Hard thrashing moments take turns with weird funky accumulations, the cool semi-declamatory vocals merging with the frequent shouty choruses. "FResno" is a nice technical proposition with echoes of Megadeth and a nice ambient break; and "Lecter" is a totally outlandish prog-thrasher with heavy pounding rhythms and dynamic rap/foxtrot-like excursions. Later on one will bump into "Doctor McCoy", another eccentric funk/thrash compendium with stunning wa-wa leads, the next-in-line exhibition of musical eclecticism which this recording possesses in spades.

Catfish Gumbo Demo, 1991
Picklehead Willy Demo, 1992

SINISTRAL (USA)

Interesting progressive power/thrash which will engage you from the very first chords (the ones after the short acoustic intro) of the opening instrumental "The Lucifer Effect" which is a labyrinth of moods and complex music on a sterile, mechanical base, reminiscent of the Dutch avantgardists Kong and the Americans Odyssey. "The Minimalist" would be a pullback to some: first, introducing the bad deathly, semi-shouty vocals; and second, decreasing the technical delivery almost to the point of disappearance. But then comes the vortex-like instrumental piece "Home Sickness", and things get back on track delivering with complex arrangements and very cool technical leads. The unimpressive vocal performance continues on the creepy dry shredder "Distancing", which works music-wise with stylish minimalistic riffs in a doom slow-ish pace, creating a lot of macabre atmosphere. Then arrives another all-instrumental composition, "The Letter", which is abstract modern thrash with industrial undercurrents and very good leads. "Jester" wraps it up nicely in the end, another vocal track, which is vintage early-90's Coroner, a great technical cut with serpentine swirling guitars and a few faster sections (speed is never dominant here), a dramatic number with the standout musicianship. If we exclude the not very convincing vocal delivery, the rest is top-notch technical metal which only benefits from the bigger space taken by the music.

The Lucifer Effect Demo, 2011

SINISTRUM (USA)

Based on the full-length, this act deliver intense retro death/thrash with fats ripping riffs, some of those openly brutal (“Abomination Rising”), others pensive and brooding (“Legacy in Barbarity”). The tank-like belligerence of “Deus Mortis” is duly acknowledged, as is the near-hardcore impetuosity of “Hordes of Hell”. The singer is a growling deathster whose antics are at times barely comprehensible. The musicians are also busy with the death metal outfits Sarcoma and Effigy, and the melo-deathsters Abominant.

Trichotomy of Death EP, 2022
Infernal Dawn Full-length, 2024

Official Site

SINKING (FINLAND)

Groovy post-thrash quite close to the works of Machine Head mixing heavy riffage ala "Burn My Eyes" with their more melodic period. There is the obligatory duel between the angry vocals ala Phil Anselmo and semi-clean ones, which aren't bad, by the way, and somehow remind me of a more aggressive version of Peter Steele (Carnivore, Type-O-Negative). Some up-tempo thrashers stir the mood here: "This Could Get Burned", "Bowls For Bowling", but the rest is average at best.

New Trinity Full-length, 2006

Official Site

SINMATE (FINLAND)

Decent modern thrash with harsh death metal vocals; the delivery is mostly straight and direct except for the stylish hectic piece "Revolution Now!", and generally the guys aren't interested in a very fast play preferring to pull out more atmosphere ("While the Moment Stagnates") which will remind of their compatriots Mokoma and the Swedes Raise Hell. Near the end the band liven up for the release of "Here Today, Buried Tomorrow" which is a cool speedster, and the closer "Sindom" adding diversity to this cool, but hardly exceptional effort which will also recall the Gothenburg school on the more intense sections.

Carnival for Mankind Full-Length, 2014

Official Site

SINN (FRANCE)

Modern thrash metal which sounds quite fast and cool ("Kill Your Idol", "No Heaven Beyond") at times, but the rest of the songs are slower and far less hard-hitting.

The 666 X Murder Project EP, 2003

Official Site

SINNER (ARGENTINA)

This obscurity from the South American underground serves edgy pounding power/thrash which is still more on the old school side despite the slight aggro-shades in the vocal department. The guys thrash with heavy, mostly mid-tempo in the first half, guitars bringing Xentrix and early Testament to mind, and even the muddy sound production can't conceal the compulsive headbanging moments on the excellent Bay-Area worship "No Other Man". "Shadows" begins with a haunting lead-driven section, and could swear that this must have been Alex Scholnick (Testament) to pull this out so expertly; the rest of the track is another very cool nod to the Bay-Area with its brisk semi-technical passages.

Chronicles Of Extermination Demo, 1994

SINNER'S TABLE (USA)

Two tracks created by two musicians from New York; of crisp energetic old school thrash/crossover; moshing invigorating stuff which is a bit pummeling on "Phantom Pain", and is ripping and bouncy on "Vice", an exemplary headbanger spearheaded by forceful shouty semi-deathly vocals.

Demo Demo, 2022

Official Site

SINNERY (ISRAEL)

Fast dynamic modern thrash exacerbated by even more intense shouty semi-death metal vocals. The album isn't completely devoid of melody (check out the restrained tunes on "Magic Bullet") the latter occupying quite a bit of space on the final trio of longer, more ambitious compositions among which "Symphony of Sorrow" is a doom/semi-ballad with not many faster surprises; a situation greatly improved on the closer "A Feast of Fools", a varied fast-pacer with nice semi-technical guitars of the speed/thrashing variety.
"Black Bile" comes served with a more classic sound, the band mixing playful catchy mid-pacers ("Who Will Be Eaten First") with heavy atmospheric behemoths ("Sever") and intense moshers ("Mouthful of Nails"). "Hanged from the Sun" is a cool semi-balladic proposition influencing the second half which completely loses the speed, ending with the lethargic doom-laden drama "10 Holes".

A Feast of Fools Full-Length, 2016
Black Bile Full-Length, 2022

Official Site

SINNING IS OUR SAVIOUR (USA)

On their full-length debut this band come up with a fairly good blend of melodic death metal slightly influenced by the Gothenburg school, and thrash. The music isn't always fast with frequently changing tempos and nice technical touches. The sound might remind you of the Canadians Quo Vadis, especially the more technical guitar work.

Recording Session Demo 2003 Demo, 2003
Painted With Utter Desolation Full-length, 2004
Sinning Is Our Savior Demo, 2004

Official Site

SINOPSIS (CHILE)

This band play thrash/crossover with cool fast thrashy guitars, not too far from the Brazilians Ratos de Porao, clinging between their more hardcore-based and their more thrash-fixated period.

Speedcore Overdose Demo, 2005

SINORMA (FRANCE)

Based on "Love like...", this French trio play modern thrash/death with hysterical screechy death metal vocals. The music has some choppy technical pretensions ("Love Like a Despot") and acquires more dynamic overtones ("Love Like a Snake") at times, but there are also shades of doom ("Love Like an Animal") and sincere playful Pro-Painesque groovy numbers ("Love Like a Business Man").

Follow Us EP, 2011
Faceless Full-length, 2013
Love like... Full-length, 2017

Official Site

SINPHOBIA (ITALY)

Modern-ish thrash/post-thrash with shouty quarrelsome vocals with a death metal tone; "Thread of Salvation" throws in some death metal drama which remains for a couple of tracks which measure the Gothenburg standards far'n wide before less interesting groove emerges in the second half to further increase the derivative nature of this recording.

Sinphobia Full-Length, 2014

Official Site

SINS OF THE DAMNED (CHILE)

This band provide brisk classic speed/thrash which on then most inspired moments ("Sacred Sickness and Pain") can even reach the grandiosity of Angel Dust's fabulous debut. More complex (the 8-min opus "Death's All Around You") tunes also roam around although the fast-paced rhythms never disappear on those as the melee is literally never-ending the leveled spiteful semi-declamatory vocals leading the show without actually singing much. A more diverse epic flavour can be detected on "Too Drunk", one that can be traced to "Day After Day" as well, the only number which betrays the hyper-active approach, introducing mellower power metal riffage into the vigorous structure.

Chronicles of Disgrace Compilation, 2017

Official Site

SINS OF THE FATHER (AUSTRALIA)

Intense crushing modern thrash with steam-roller riffs which at times transform into cool energetic headbanging moments ("Fear Of Reality"), but the more clumsy groovy moments are also around ("Black Cat"). The singer growls in a harsh semi-shouty manner recalling a more deathy version of Kirk Windstein (Crowbar).

Sins of the Father Full-length, 2011

My Space

SINS OF THE FLESH (USA)

Based on the full-length, this act pulls out abrasive thrashcore not far from the Cerebral Fix debut and the early efforts of Hellbastard. Expect fast music, short tracks and raw semi-shouty vocals, plus a few nods to doom near the end reflected in separate parts from certain songs.
The EP is three tracks of more serious thrash with more brutal, now clearly death metal, vocals. A pullback might be the loss of speed, the sound now sticking to repetitive mid-paced riffs which are certainly missing on the 1.5-min exploder "Skip Skool", which is stripped-down hardcore ala the debut.

Greed Full-length, 1988
Know Your Enemy EP, 1989

Fan Site

SINTAX (ISRAEL)

The debut: heavy modern post-thrash which marches forward in a steady battle-like manner with more intense pieces ("Let's Get Mental") scattered around. The riffs are squashingly heavy, but keep the dynamics with short crossover-ish exploders like "The Answer" and more classic-prone headbangers like "I Get It Now". The vocals are shouty and angry by also carrying a good sense of melody on the more lyrical moments.
"Nano3000" follows is a more intense and more exciting proposition with genuinely explosive moments (the wild ride "Reefers Sting and Honey"), plus an intriguing deathly technicaller ("Most Hated Man in the Universe") thrown in for very good measure. The title-track is on the heavy quasi-groovy side, but there's nothing banal and ordinary here, with "Shooting Stars" clearly shooting at the stars with a more flexible progressive layout; and with the closing "Lunchtime Funeral" providing lunch for everyone around with a round of sharp semi-technical, also fast-paced, riffs.

Sway for a Better Day Full-Length, 2015
Nano3000 Full-length, 2021

Official Site

SINTANIC (USA)

Melodic post-thrash with groovy and stoner/doom borrowings; at their best the guys slightly touch the alternative twists of Tool, but the material on offer is too soft to hold the thrash metal fans' attention, except if they are also big lovers of Metallica's "Load" and "Reload" which can also be cited as soundalikes.

Sintanic EP, 2010

SINTELIA (GREECE)

This is pretty cool atmospheric progressive thrash pulling all the stops on the excellent elaborate "Lands of Nowhere" which obviously follows the path of "Master of Puppets" with a galloping flavour and more screamy leads. "Groundless" is a more traditional mid-paced pounder, and the title-track is another hard-hitting complexer with a stretched balladic interlude. "See Who I Am" is a full-blooded ballad, a cool track despite its sleepy nature the lead guitarist not hiding his fascination with Kirk Hammett; neither does the singer with James Hetfield although the guy's timbre isn't as deep and less emotional.

Dies Irae Demo, 1996

SINTILLION (USA)

Based on the "Nation in Pain" demo (which is eight songs long and could easily pass for a full-length with its very good sound quality), this band mix genuine technical moments with more conventional less tamed ones, in a way not too far from Living Death's "World Neurosis", or even Megadeth's "Rust in Peace". Both styles are mixed in equal dozes so just when you think that the music has become too complex, here comes a cool straight riff which will make you jump around; but you have to know that very soon you'll have to stop because the next technical stroke is very nearby. As a matter of fact, the technical play is more concentrated on, but is never of a very elaborate nature; there are speedy parts, there are mid-paced as well as slower ones, all nicely blended together. With their music firmly rooted in 80's thrash with the coming of the new trends in metal, it's understandable why these very talented musicians never made it to the first division although they richly deserved that.
The 1992 demo is three songs of more carefree, less serious power/thrash which adds some modern-ish elements on the proto-groovy "No Better Than Yesterday", but "Feelings of Deceit" is a full-blooded old school technical thrasher with the intricate riffs and the authoritative bass implements. "Separation of One" is another less ordinary shredder recalling the better moments from the Bay-Area, seeing the band still holding onto the classic metal canons for most of the time.

Nation in Pain Demo, 1990
Demo Demo, 1992
Cripsy Elevator Crunch Demo, 1993

SION (ARGENTINA)

Based on the debut, this band play state-of-the-art progressive thrash with enchanting balladic passages where the leads reign supreme. The guys mosh with force on quite a few moments, and "Entre La Luz Y La Oscuridad I" would easily fascinate fans of Watchtower and Toxik with its labyrinthine structure and not very predictable time-changes. The title-track leads the pack towards more abstract waters with its dissonant riffage and expressive bass support, and things go further down the rabbit hole, first with the hectic pounder "Bajo Prueba", then with the wild cacophonous thrasher "Dependencia Externa" which is "saved" by a portion of very good melodic leads; the rest reaches a death metal intensity with echoes of Sadus and Death. The closer "Espera Dolorosa" is a bit on the more immediate side (finally!) with some nice melodic passages, but all jaws will drop on the puzzling section ala Coroner near the end. This is a really admirable achievement, and one would be quite curious to check out whether this compelling ultra-stylish, complex approach has been sustained on the sophomore release...
"Prisma" is a progressive jazzorama with no ties to metal whatsoever; it's a fairly interesting release with the quirky rhythms and the illogical arrangements, but it'll hold no water for the thrash metal lovers.
The demo is by all means an auspicious beginning although it suffers a bit from the muddy production. It starts shortly, but ambitiously with the half-min Bach-influenced intro before the band explode with the enchanting galloping chaos unleashed on "Sentir sin Sufrir", the horrifying unrehearsed death metal vocals adding more to the instilling horror. Things acquire more disciplined and more coherent parametres on "Tercer Rio" and the aggressive title-track, before the situation becomes familiar once again with "Alla Turca", an excerpt from Mozart's legendary operetta, a display of virtuoso musicianship which gets preserved to an extent on the semi-polished progressive wonder "Dependencia Extrema" and the dense stylish shredder "Falsos Testimonios" on which the lead guitar player completely steals the show. Death metal reigns supreme of the brutal "Necrofobia", but expect a few lyrical inclusions from the lead guitar again, the guys showing proficiency in spades although the full-length is still a major improvement over this.

Misericordia Demo, 1997
Reflexiones Full-length, 1999
Prisma Full-length, 2001

Offical Site

SIPHON (BRAZIL)

Modern 90's post-thrash that has its verve and bite, especially on the boldly thrashy "The Long Train to Nowhere" and "The Answer", the good assured James Hetfield-like vocals helping with the rowdy cause, the latter biting the groovy dust with "The Sky" and seldom leaving those tedious confines, the brooding atmospheric "Flat on Your Back" capturing some of the morose gravity of The Black Album, also with the cool dramatic semi-ballad "Here It Comes Again".

Learning Disorder Full-Length, 1997

SIRIUN (BRAZIL)

The debut: modern thrash/post-thrash bordering on death metal at times; the guys shred with passion producing noisy proto-blasting moments ("Spread of Hate") which are still captivating with their mechanical sterile flair. In the second half the sound takes a radical turn towards Meshuggah-esque dirges with the robotic title-track and the mechanized headbanger "Transmutation". "Intent" is even more brutal touching death metal, but it's the final track "Becoming Aware" that delivers the best with its technical dispassionate riffs with mathematical time-changes and a cool fast-paced retro passage. This is a fine release which is well conformed with the tastes of the time when math and djent rule the scene, by still staying on metal ground not without the help of the expressive shouty death metal vocals.
"In Chaos We Trust" is another sterile, "hygienic" affair the dispassionate staccato riffage all over the place, still producing the odd more energetic piece ("Infected", the cool wild semi-technicaller "Spread of Hate"). The title-track is a varied roller-coaster with quite a few influences embedded among which the mathcore allusions are a really tasteful gimmick; and "Becoming Aware" is a vociferous, industrialized nod to the Pantera legacy.

In Chaos We Trust Full-Length, 2014
In Chaos We Trust Full-Length, 2018

SIROLL! (SPAIN)

A diverse intense offering serving thrash, hardcore and death metal on an abrasive modern base. Heavy steam-rollers ("Dret I Deure") shake hands with surprising, but very welcome melodic escapades ("Segcent") this symbiosis rudely broken by the fast-paced ragers ("Races Perilloses"). The vocals are rough brutal death metal ones and kind of don't suit the varied character of the music.

Mes Llenya! Full-Length, 2015

SISTHEMA (ITALY)

Based on "Bioelectric Violent Sisthem", these Italians pull out mechanized industrial post-thrash quite close to the Danes Grope, maybe a tad more dynamic ("Naked Skin" is a cool robotic headbanger). Still, the monotony is hard to get by, especially on heavy doom exercises like "Sickman". The band shifted their style towards the gothic sector on subsequent releases preserving some of the dryness of the guitars, plus adding nice female vocals to support the not very striking main vociferous hardcore ones.

Bioelectric Violent Sisthem Full-length, 1998
The Fourth Discontinuity Full-length, 2001
Black Leaves Falling Full-length, 2008

My Space

SITHLORD (AUSTRALIA)

The debut: a thrash/black/death metal band; the base is the German school, Destruction, Kreator, but there are more brutal parts on both works which will remind you of Darkthrone, early Bathory, Satyricon, Necrodeath, among others ("Holy Virgin's Demise"). You can even hear the Australian National Anthem performed with a thrash metal intensity as an introduction to the EP; might serve as the opening of some major event there...
"From Out of the Darkness" appears "from out of the darkness" after a 17-year break, but there's nothing lost from the band's previous vigour and spite, the delivery firmly on the classic thrash side the guys attempting something more serious on the title-track, with roaring speed/thrashers ("The Alliance of Hate", the furious "The Accursed") keeping the tension high, the speed of light nearly reached on the maddening outrage "Siths Revenge", the proto-death closer "Dead by Dawn" finishing those who have managed to somehow survive the preceding massacre... not for the faint-of-heart.

Labyrinth To The Gods EP, 2000
The Return to Godless Times Full-length, 2002
From Out of the Darkness Full-length, 2019

SITUACION HOSTIL (PERU)

Based on the demo, this band plays abrasive thrash/crossover of the classic type. There is hardcore, punk, and harsh semi-death metal vocals, but the speed is not so much accentuated on the overall approach leaning towards the heavy mid-paced side also reminding of the Germans Warpath on the more intense moments.

Abracadabra Demo, 1989
Situaci'a2n General Split album, 1999

SIX BEER (MEXICO)

Based on the debut: cool thrash mixed with heavy/power metal; will appeal to fans of both genres. The music is mid to up-tempo, with slightly rough semi-clean vocals. Don't expect to hear a full-fledged thrasher: all songs mix the aforementioned styles, some sounding more intense, some clinging more towards the heavy/power metal side.
"Vida Futura" is more aggressive the band thrashing with force on a few tracks. The songs are longer, but those ones are the lesser achievements where the guys let themselves loose more than necessary, often ruining the preceding thrashy passage with bland, insipid hard'n heavy rhythms. However, the shorter, more direct numbers could make a few thrash heads turn, although the end is quite dull, preserved for two long boring ballads.
"Angeles Ca'a1dos" returns to the more laid-back power/thrash formula, but wins on all counts with its catchy hooks and galloping passages which get nicely translated on a couple of more vigorous cuts ("Apocalipsis", "Cuando la Luz se Escape de tus Ojos"). The mid-paced "idyll" reaches the inevitable ballad near the end: "Six Michelada" which is a tender romantic piece with a good vocal performance which takes a more melodic turn here without losing its traditional hoarse blend. The final "El Fantasma" is also a ballad, but is way better with its more dynamic guitars and very good leads.
"Mentes Perdidas" is nothing special serving rough modern-ish post-thrash with doomy tendencies ("No Viviras") so don't expect anything headbanging here the muddy sound quality additionally presupposing a not very eventful delivery. Later on the band entertain themselves playing pure hard rock "Ni Escape Ni Piedad" being the only more energetic number here speed/thrashing in a surprisingly classic fashion near the end.

Lengua de Serpiente Full-length, 1989
Vida Futura Full-length, 1993
Mentes Perdidas Full-length, 2002
Angeles Caidos Full-length, 2007

Official Site

SIX DEGREES OF SEPARATION (CZECH)

Based on "Triotus, Tricephalus and Tribadism", this band plays a cool mix of doom and thrash, more on the melodic and modern side, but edgy enough to keep the fans interested. The music is mid-tempo for most of the time, but sudden very fast proto-death outbreaks are quite frequent as well, albeit short. There are nice balladic moments, too, where the otherwise good emotional semi-clean singer takes a mellower direction.
"Moon 2002: Nocturnal Breed" is a similar mixture, probably a bit more melodic with more concentration on power and doom metal, and the vocal performance is more diverse this time also featuring cool female ones. A wide gamut of moods and emotions has been covered well supported by catchy choruses, melodic hooks, keyboard implements and a few blast-beat passages.
"Of Us" continues the diversity of the previous works, but its concentration on thrash is bigger, and as such it would be of a bigger interest to fans of the genre. The delivery is melodic and modern with touches of power metal, mid-paced with sparse blasting outbursts. "Of Common Guilt" is a nice exception to the formula thrashing hard and fast, but the middle is occupied by much slower compositions with adherence to doom, a situation livened up by the last three numbers: the edgier, but still more mid-tempo "For John", the more dynamic proto-death metal-laced "Felicitas", and the speed/thrashing closer "For Jack".
"Old Dogs" is another encompassing opus, with epic power metal occupying the front seat, with enchanting melodic pageants like "Lunacy Mantra" keeping the audience ensnared, the jumpy Confessor-esque doomster "Blind Date with the Past" another positive occurrence. "Best for Me" is the place where the thrashers may have some fun although this is still a not very usual progressive saga, with "Common Aim LTD" providing another doze of lively speedy rhythms. The rest is engaging sprawling soundscapes with either atmospheric balladic ("Thoughtful Sheep (Coming of Age)") etudes or with brisk dramatic jumps and jolts ("For the Little Girl").

Moon 2002: Nocturnal Breed Full-length, 2002
Triotus, Tricephalus and Tribadism Full-length, 2005
Chain-driven Sunset Full-length, 2007
Of Us Full-length, 2010
Old Dogs Full-length, 2020

Official Site

SIX IN LINE (SWEDEN)

Three songs of more radio-friendly old school speed/thrash ornate with the odd power metal hook and the more stylish lead section. The not very pleasant side are the rough drunken vocals which could have been more acceptable if they weren't hissing hysterically for most of the time. The guys infuse the effort with merrier crossover rhythms ("We Intend To Hang You"), and generally the diversity in the musical department is quite big the guys never settling for one riff-pattern for very long.

U Shud Hev Invtd Me EP, 2011

SIX PACK (USA)

Evil intense old school black/thrash which interest in, or rather passion for, alcohol sides them with the legends Tankard. Music-wise, however, this act are way more brutal often crossing the boundaries towards death metal (but of course "Alcoholic Attack"!). "Six Pack" is a wonderful, less predictable technicaller, but the rest is aggressive bash without deviations "Toxic Church" splitting your head with brutal lashing guitars recalling Devastation and Slayer at their wildest. The vocalist is a harsh semi-shouty death metaller whose rendings at times border on the hysterical.

Drunken Possession Full-Length, 2016

Official Site

SIX POUNDER (MEXICO)

This act pull out modern dynamic thrash with volcanic riffs and several cool faster passages: check out the merry galloping riffage in "Rise in Terror" which also boasts the finest lead guitar work on this effort. "The Marksman" is pure retro thrashing fury, an unexpected breath of fresh air which gives a nice boost to the album followed by another fast-paced ripper: "The One" which is the highlight here with its various tempos and lashing riffs. A bit of groove sneaks in here and there, but this album should be a sure pick for fans of the more vivid side of the modern trends.

Ruled By Anger Full-Length, 2012

SIX REASONS TO KILL (GERMANY)

Based on "Another Horizon": this band offers run-of-the-mill Swedish thrash/death metal which doesn't lack energy and dynamics, but all the annoying gimmicks are here as well: the recently acquired by the genre practitioners metalcore breaks, the very melodic hooks, the clean vocals, etc. Still the guys have an idea of what cool headbanging thrash is, as is evident from songs like "Another Horizon" and "Weak In Darkening". The pure aggressive death metal attacks are not too bad, either: "Massgrave Memorial", and could have been more.

Kiss the Demon Full-length, 2000
Reborn Full-length, 2005
Another Horizon Full-length, 2008

Official Site

SIX STRING SLAUGHTER (DENMARK)

Based on "As The Continents Collide", this band play modern thrash/death which comprises both formidable stompers ("We Are Sick in Our Minds") and fervent blitzkriegers ("Earth's Sixth Mass Extinction"), the latter side dominating despite the presence of the epic Amon Amarth-esque hymn that is the title-track. The gruff semi-shouty death metal vocals acquire a higher pitch on occasion, but this is a parade that can tolerate all kinds of vocal swings, including crunchy semi-technical propositions like "Children of the Apocalypse". Some of the band members also play with the brutal deathsters Corpus Mortale, and the industrial death metal formation Human Machine.

The World Slaughter EP, 2009
The Next Slaughter EP, 2010
Born Unspoiled Full-length, 2014
As The Continents Collide Full-length, 2021

Official Site

SIX STRING SUICIDE (GREECE)

There's only one person responsible for this, going under the name Tasos Kiliaras. This guy comes up with an energetic mixture of thrash and hardcore, and gives an additional aggressive edge to the music with his gruff, but effective, semi-death metal vocals. He does a particularly good job on the leads which are short, but proficient, with a cool melodic blend at times. The music actually stays closer to thrash, and is mostly up-tempo, with the exception of the groovy/doom pageant "King of the World", and the stomping heavy instrumental at the end "Sick Society". The other songs are quite good intense thrashy pieces with hard headbanging riffs.

Piss Around the World Full-length, 1998

SIXGUNS OVER TOMBSTONE (CANADA)

These are the same guys who also play in the folk metallers Shadowblade. Here the music is harder and better being a mix of power, speed and thrash ("Anti-Photon" is a major heavy galloping thrasher; and "Boot Hill" is great heavy riffy thrash in mid-tempo) metal with excellent dual guitar melodies (as well as leads) and a pinch of folk on the slower material which is not very frequent. The singer is a nice addition with his melodic, but also forceful timbre, covering all ranges with dexterity, even gruffing at times wherever needed. "Solar" is a pleasant surprise towards the end thrashing with a certain doze of technicality, with a brilliant twisted speedy ending. More galloping riffs follow on the energetic speedsters "Fire from the Sky" and "Hallows Eve" which close the album in a fine brisk fashion making a really satisfying cross over the major metal genres from the 80's.

Sixguns Over Tombstone EP, 2007
Putting Revenge on the Map Full-length, 2009

My Space

SIXKILLER ZERO (UK)

Based on the first EP, this band plays an atmospheric brand of the 90's post-thrash, the mood marred by the throaty semi-death metal vocalist. The dynamic moments are not too many ("Say What You See"; the surprising headbanger at the end "My Da Could Beat Your Da In A Fight"), and despite the not very usual approach to the style, it all wears thin, even on an EP.

The Rise of the Robot of Satan EP 2006
Battle Royale EP 2008

My Space

SIXTY NINE (BELGIUM)

Thrash/crossover similar to D.R.I. and Attitude Adjustment with a pinch of less restrained aesthetics ala Slayer's "Reign in Blood"; these Belgians are more aggressive and vary things a bit more with sudden slower breaks and interesting riffs, but the general mood is pretty much the same. Short concrete jolts like "Contamination" and "Fear" attack you from all sides, the intimidating quarrelsome hardcore vocals adding more to the splitting pressure the latter partially relieved by the more carefully-assembled full-fledged thrasher "Eternal Life", the highlight here.

Just For The Fun Full-length, 1988

Vibrations of Doom

SIZED (BRAZIL)

A capable emulation of mid-period Sepultura borrowing both from the more classic spirit of "Arise" and the heavy more modern sound of "Chaos AD". As a result we have an alternation between fast and slower numbers with more carefree crossover tracks ("Way to It All", well sustained in the spirit of the Sepultura cover of New Model Army's "The Hunt") thrown in. The guitars are a bit noisy, but this is hardly a hindrance for major crushers, like "Insufficient", to sound aggressive and moshy. Still, the buzz favours the heavier songs more the latter also boosted by the angry semi-shouty singer.

Confronting The Mirror Full-length 2010

Official Site

SJK (BULGARIA)

Based on "The Metal Chronicles Part I", these Bulgarians play cool modern power/thrash metal quite reminiscent of both Judas Priest's "Jugulator" and Fight's "War of Words" with a capable singer who pulls out pretty cool high-pitched performance, as opposed to his equally as impressive dominant mid-ranged one, very close to the antics of the Metal God spiced with the less piercing semi-screams of Tim "Ripper" Owens. The band is skilful in delivering heavy, mostly mid-tempo, tracks with crushing riffs, screaming leads and a good sense of melody (check out "Worm In A Brain"). "Venom Grace" is a vivid headbanging number, but "Crossroad" is the compulsory ballad. "House of Cards" is a dramatic power/thrasher with intense rhythms, but "Clouds Of Doubt" goes away with all the laurels being the highlight here: a compelling 8-min progressive song with jumpy riffs and engaging melodic decisions. The final "Eternity" is an edgy thrasher with lashing guitars in a galloping pace finishing this stylish effort with aplomb. Although Tim Owens tries to keep this particular breed of metal alive with his projects Beyond Fear and Charred Walls of the Damned, these guys seem to pull it out in a better, more inspired, way, and it would be interesting to check whether this style has been established from the beginning.
The debut is already a sure-handed heavy affair epitomizing the guys' staple sound quite well, maybe slower and heavier with a crushing rhythm section, and stylish technical/jazzy insertions ("Smokejack") here and there. More classic-sounding power/thrash metal can be heard on "Seeker", but this leads to the loss of dynamics near the end where the guys indulge in doom/bluesy explorations, the biggest embarrassment being the remake of the opening "Euthanasia", turned into a dancey industrial KMFDM-like anthem to a not very positive effect.

Euthanasia Full-length 1999
Worm in a Brain Full-length 2002
The Metal Chronicles t I Full-length 2005

Official Site

SKAB (USA)

A band who have already embraced the modern 90's tendencies trying to produce their own version of Exhorder's "Slaughter in The Vatican". This is a mixed bag although "Cat Call" pulls out some fairly effective technical riffs which are nowhere to be encountered later the rest of the material being a bit repetitive and too heavy. The vocals are semi-clean, a bit shouty at times, but not bad also having a somewhat mean tone.

Restrainer Demo, 1992

SKAFFOLD (RUSSIA)

Melodic thrash/death metal with sparse blast-beats and a dual vocal attack: low growls versus screechy hysterical ones. The music is closer to death metal, and is graced by stylish technical "decorations" ruined by the hollowly-sounding drums. The At the Gates influence is pretty obvious although on the slower tracks ("Jizh Navsegda" (Life Forever)) the band run away from it going into a doom/death metal direction. The progressive pretensions are not very well grounded despite the beauty of the several balladic moments ("Kazn" (Prison)) which smell Opeth quite a bit.

Ia Znaiu Pravdu (I Know the Truth) Full-Length, 2010

SKAR (USA)

Based on the full-length, this outfit serve groovy post-thrash with echoes of Helmet and mid-period Prong. The approach isn't very eventful, and the tedious one-dimensional grooves will wear out before long with bluesy ballads and other demonstrations of tenderness not not doing much to impress the listener who will at least be mildly entertained by the versatile vocalist who covers a wide gamut of notes from angry shouts to romantic clean tirades. Some of the band members also take part in the very similarly-styled Cryptkicker.

Imbedded in Flesh EP, 1997
Blood of Sorrow Full-length, 1998

My Space

SKARZ (GREECE)

Look no further than Pestilence's first and the first two Death outings; in other words, expect the good old thrash/death hybrid here served with a hefty doze of technicality, the twisted riffs of "Skarz" pairing well with the stylish bash on the title-track, the headbanging fever on full-throttle on more immediate ragers like "Serpent of Darkness" and "Talking Dead". The more intricate shreds return with the short hectic "Premonition", but the entire spirit of the recording encapsulated by "Deathing till T(h)rash.", both title and music-wise, the complex progressive pageants left for the last two sagas, both clinging more towards the death metal side, both multi-layered absorbing masterpieces that could have found a place on "Human" with ease. The vocals are intense and vociferous, coming as a blend between Martin Van Drunen (Pestilence) and John Tardy (Obituary).

What Remains Full-Length, 2020

Official Site

SKDA (BRAZIL)

Based on "Origin": another addition to the one-man-does-it-all endeavours, the name in this case Diego Skda, who specializes in modern thrash with both seismic hammering riffs ("Ten Plagues") and thick groovy connotations ("Darkest Times"), Diego adding a shouty death metal baritone to the musical picture. "Destroy the Fear" violates the dominant mid-paced flair in the second half, the other belligerent occurrence here being the semi-technical rager "Militia".
“Illusions” continues the modern thrash/post-thrash saga with the staple seismic reverberations laid out deftly with the opening “The Master Eye”, the dramatic stomps of “Visions of Death” perfectly legitimate as well, the dynamic jolts of “Confusion” confusing no one, but starkly contrast with the soothing balladic strides of “Lies”. Mosh with moderation on the vehement delight “Optical Illusions”, the melee also assisted by cool female vocals; and listen with more care on the more complex Oriental shenanigans from the closer “Prophets of Desolation”, which also contains a stylish wink at Accept’s immortal “Princess of the Dawn”.

Origin Full-length, 2022
Illusions Full-length, 2023

Official Site

SKELETAL AUGURY (CHINA)

Black/thrash metal maniacs from China who after the insane blasting opener "Skeletal Augury" settle for cool up-tempo thrash by preserving the husky sinister croaky vocals. The thrash attack carries on until another black metal madness ("Funeral Mutilate") in the middle. More speedy thrash comes after that with a shade of Impaled Nazarene on "Total Maniac" and a couple of other tracks before "Temple of Blood" closes the album in a heavy doom manner. The guys insert film sample dialogues in the beginning of almost every track, sometimes getting carried away with this touch, forgetting to stop it before it starts to annoy.
"Bless of Destroyed, Raped, Dismembered Flesh": the brutal black/thrash saga carries on on full-throttle on this opus which is more professionally done although in terms of aggression nothing has been lost. The approach has become more technical with clever death metal licks "tearing the silence" now more often, and thrash now taking a bigger space making headbangers like "Black Hydra" and the semi-technical riff-fest "Barbaric Realm" the highlight on the album. The end is actually occupied by purely thrashing pieces which sound quite classic and will lift the mood up.
"Eureka" is more thrash-oriented, the stylish melodic lead sections on "The Vesperia" complementing the hard thrashing riffs of "Screaming Chitipati". "Trauma Experience" brings back the black with vicious smashing strokes, but "Black Lacquered Coffin" is first-rate old school thrash, working well in team with the laid-back dreamy "Eliminate" and the academic doom-laden stroll "Dervish in Cold Woods".

Victory of the Holocaust Full-length, 2009
Bless of Destroyed, Raped, Dismembered Flesh Full-Length, 2014
????? (Eureka) Full-length, 2024

Official Site

SKELETAL DAMAGE (UK)

This UK trio specializes in not very exciting or eventful modern thrash which breaks the proto-groovy monotony at times with the odd brutal death metal inclusion. Rare displays of style (the long engaging "The Dogs of War") are not excluded, neither are more energetic, jumpy riffs ("Blue on Blue"). The second half is actually more interesting, featuring the cool diverse "Of False Hope", which boasts great melodic leads and several breathtaking balladic interludes. The closing "Night Turns to Day" is a surprising deathster of the semi-blasting type, and delivers to produce the final headbanging portion, this time spiced with a few more technical decisions. The singer is a not very impressive semi-shouter, but suits the not very demanding musical approach.

Fire and Forget Full-length, 2011

Official Site

SKELETAL EARTH (USA)

Based on the EP, these guys come up with classic sounding thrashy death metal which combines the groovy steam roller-like sound of Obituary with the grinding aggression of Morbid Angel, plus more light-hearted crossover moments. There is even one attempt at semi-technical performance ("Sybil") which could have reached somewhere if it were longer.
"Eulogy For A Dying Fetus" is a frenetic, wild mix of thrash and death, quite chaotic at times, but strangely listenable and compelling, and even technical ("Psych"). The tracks are short, within the 2-3min range, and the music packs a punch all the time with good aggressive riffage. If you listen carefully, there's no way you will miss the cool cover version of Van Halen's "You Really Got Me".
"De.Ev' O.Lu' Shun" offers a more serious attitude with slower longer compositions and added modern 90's elements ("Dreamscape", which also serves straight fervent thrashy riffs at some point). The sound is considerably softer and tracks like the slower groovy "Hypochrist", or crossover delights like the closing "Dr. Love", are not a rarity taking turns with old school headbangers ("Absence Of Intimidation"). As a whole this album is inferior to the strong debut showing the guys more mature and more diverse, but not better.

Eulogy For A Dying Fetus Full-length, 1991
Dreighphuck EP, 1993
De.ev'o.lu'shun Full-length, 1994

SKELETAL PRISON (USA)

Another modern thrash/death slab, nothing too striking on display, sharp lashing riffs, moderately brutal vocals, a few more entangled arrangements, the lots... the sound barrier is never crossed the guys bigger experts at the livelier mid-tempo parametres ("Sacred Massacre"), a few groovy escapades ("Masters") staying more on the filler side. Watch out for the near-progressive experience that is "Obsidian Temple" and the closing twisted shredder "Symbiotic Hypocrisy", a very pleasant surprise, a lofty miasmic construction that would make Morbid Angel very proud.

Condemned to Flesh Full-length, 2019

Official Site

SKELETAL REMAINS (USA)

Heavy dark/doom thrash/death of the old school, the very guttural intimidating vocalist assisting the seismic musical process with vociferous panache ("Process Of My Possession") at times, at others merely follows the doom-laden march ("Legions Of The Undead") with tenebrous determination, all the way to "Laughing in Hell", the final nail in this somewhat monotonous doom/thrash/death coffin, hit on the head with an abrupt blast-beating outburst.

Legions of the Undead Demo, 1994

SKELETAL THRONE (MEXICO)

Based on the debut, a thrash/death blend, more on the classic side, with vociferous guttural death metal vocals. The guys like mixing it up, and the listener will come across both volcanic pounders ("Blood on My Hands") and raging brutalizers ("Malevolent Throne"), the doom ambience of "Eternal Conspiracy" a decent nod at the doom/death school of thought, contaminating the second half which exudes slow-motion aesthetics more than the good taste allows.
“Barbaric Torment” follows the established trajectory, the band coming out with both ten-ton hammering cuts (“Internal Suffocation”) and aggressive fast-paced trips (“Burn the Cross”), the latter side way more sparsely covered this time, the guys clearly fascinated more with the seismic contours of the genre, the brief spastic technical wonder "Skeletal Throne” the absolute highlight on this decent albeit pedestrian offering.

Human Deterioration Full-Length, 2020
Barbaric Torment Full-length, 2023

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SKELETON (SWEDEN)

The full-length debut: retro speed/thrash delivered by these young Swedes who juggle between more entangled Paradox-esque vistas ("Delusive Immortality") and more linear, also meeker, power/thrash ("Humanoid") hybrids. "Only Ruins Remain" is clearly the highlight, an engaging lyrical, epic ballad/semi-ballad which partially influences "Born to Fight", and overall works well in line with the relatively peaceful tone of the album which receives a desirable speedy boots by the galloping delight "Purposeless". The vocals are quite good attached clean croons, the man covering several gamuts including a couple of more pathos-induced high-pitched tirades.
The "Skeletal Structure" EP sticks to the same formulas, the mellower mid-pacer "Conducting Dices" still enchanting with its semi-technical arrangements. "The Hunt" speed/thrashes with passion, and the title-track notches both the complexity and the melody for a thrilling ride the latter acquiring galloping confines on the all-instrumental trip "Center of the Universe". "Surveillance" is a nice heavy ballad, and "Empire" is an ambitious near-10-min long parade the band failing to make this one a winner with clumsy repetitive, not very dynamic riffs taking over way before the end.
"Magnum Opus" indeed sounds like a magnum opus for most of the time, the galloping impetuousness of "No Negotiations" opening the lofty proceedings, the epic accumulations of "For Our Amusement" clinging more towards the power/thrash dimensions, whereas "An Act of Compliance" is a nice prog-thrash odyssey with a more melodic clout. "The Resistance" is a cool brisk speedster wrapped in a more elaborate clout, the stomping drama on "A Great Charade" embellished by enchanting melodic hooks. The not very eventful mid-paced delivery on the title-track brings the winds of power metal once again, the latter staying around for the closing "Symbiosis".
"Our Way" is a more moderate and consequently less exciting fare, the guys betting on slow doom-fixated songs ("Comprehend the End") and moderately lively speedsters ("Human Rampaging", "Crusade") with thrash failing to materialize fully anywhere, the epic gravity of "Equilibrium" and the plodding complexity of "Monophobia" not doing much to freshen up the situation, the band sounding mild and friendly without the bite from past instalments.

Only Ruins Remain Full-Length, 2019
Clockwork Dominion EP, 2020
Skeletal Structure EP, 2020
Magnum Opus Full-Length, 2021
Our Way Full-length, 2023

Youtube

SKELETON (USA)

Based on the "Never Slow Down" demo, this is excellent power/thrash metal (which actually slows down) with a more aggressive edge than the one which usually goes with the style. The vocals are melodic, resembling Michael Coons from Laaz Rockit (the ones he used on the first two albums). The music isn't far from Laaz Rockit's "Know Your Enemy" and Helstar's "Remnants of War".
The "Requiem" demo is just two songs: "Requiem" is a nice soulful ballad, but "Hammerhead of Fury" is blistering speed/thrash metal with ripping riffs in the good old Bay-Area style.
The "Happy World" demo contains two songs which have embraced the 90's modern post-thrash idea, and two others to oppose to them: "Blood of Life", which is a smashing mosher ala Anthrax with a few slower mid-tempo moments, and the final "Opposites Attract" which is a wild speed/thrasher with fine technical implements.

Never Slow Down Demo, 1988
Requiem Demo, 1990
Happy World Demo, 1992

Official Site

SKELETON CREW (FRANCE)

Based on the full-length: one of the finest moments from the French metal scene of the new millennium: stylish, quite technical at times, atmospheric dark/gothic thrash. The tempo is mostly mid-paced, but the riffs crush admirably, with nods to both the modern and the classic school with several quite intense shredding sections on the first two tracks which are also the fastest. Some of the songs are quite complex with different time and tempo changes alternating, but not in an annoying way, and the dark-sounding guitars create quite a dramatic environment. The thing that may annoy, though, is the two vocal styles used: one is in the gothic/death metal-camp being subdued semi-whispered, but it's the other one which does the damage being from the clean gothic/alternative variety, and could be skipped for the future; what could be another pullback is that on the moments with those vocals the sound gets a bit more melodic with a more clear shade of gothic.
The EP contains the title-track, also featured on the full-length, plus two other songs which are in the same cutting atmospheric mode, mid-tempo gothic-infused cuts with semi-whispered/semi-death vocals. The delivery is kind of more restrained with more laid-back guitar work still missing the visceral effect of the succeeding effort.
"Mirror of Shadows" is more on the gothic/power metal side with thrash not present very frequently. The singer is still on the amateurish, gruff semi-clean side sounding close to early Carl McCoy (Fields of the Nephilim), including the music at times which is dark and mid-paced touching doom metal quite often.
The demo is a capable power/thrash affair with the dark gothic veneer still lurking in the vicinity, the two sides finely blended on the pounding "In Riot", the bass-driven "Killin' Way" also boasting expert lead sections. At this stage the vocalist is a not very emotional semi-clean throat, carrying then not very eventful mid-tempo parade which also includes the melancholic semi-ballad "I'm Just A Man".

Lost in My Nightmare Demo, 1996
Mirror of Shadows Full-Length, 1997
Shining Blood EP, 2000
Unmuted System Full-length, 2005

Official Site

SKELETON PIT (GERMANY)

The debut: fast blitzkrieg retro thrash along the lines of Tankard and Necronomicon; the band mosh out on full-throttle and seldom pause for a break producing quite a few "Nuclear Thrash Mutants", like the title here implies, also supported by a couple of aggressive Slayer-esque pieces near the end. There'll be a lot of necks sprained once this roller-coaster is over which also benefits from the good shouty attached, semi-clean vocals and the crystal-clear sound quality.
"Lust to Lynch" is a faithful sequel to the first instalment, with speed and violence flowing freely from intense moshers like "Plague of Violence" and "Last Blood". Ironically, the softest cuts here are "Skull Splitting Attack" and "Thrashorcism"", not overtly dynamic mid-tempo stompers which influence the second half, the two currents forming an appetizing bond on the diverse closer "The Evil Horde".

Chaos at the Mosh-Reactor Full-Length, 2015
Lust to Lynch Full-Length, 2020

Official Site

SKELETON PROOF TANKS (USA)

Based on "Grief", this is heavy old school thrash/death metal akin to late-period Protector with grindcore breaks ("Surgery Of Fecal Sores") and other such not very restrained extreme gimmicks.

Out of the Hydra's Teeth EP, 2005
Conflagration Full-length, 2005
Grief Full-length, 2006

My Space

SKELETON WOLF

These folks deliver modern Scandinavian thrash which can only be listened on a cold winter night... kidding of course, but the guys' mixture of more dynamic Swedish school guitars and heavier slower passages hasn't been given the sparkle of life the latter more prominent on the purer thrashy material ("M.P.F.F.") which is a bit hard to track down due to the profusion of slower, semi-balladic touches, those marring the album, an atmospheric rather than a moshing-around listen.

Skeleton Wolf Full-Length, 2016

SKELETONS (UK)

The sludge masters increase their repertoire with some modern thrash here, and the result is a more dynamic affair with a strong post-thrash flavour. Watch out for the short explosive deathster "Skinning Angels" which would be a rude awakening even for the hard-boiled headbangers. After this truly scary moment the effort picks up quite a bit of energy, and the second half is way thrashier than sludgier. The band die-hard fans would hardly feel betrayed here; on the contrary, they'll feel appropriately intoxicated by the several dynamic "injections" which show another dimension to be explored further by the band.

Tombs Full-Length, 2014

Official Site

SKELETONS OF SOCIETY (HOLLAND)

Based on the demo, these folks serve heavy stomping thrash/crossover with a few more linear thrashing attacks ("The Attack") trying to follow the model established by Slaughter's "Slaughter in the Vatican". "Day After" is a more quirky stylish piece, and "Dreamer" is an energetic galloper its bouncy retro rhythms contrasting with the gruff angry hardcore vocals.

Demo Demo, 1992
Downfall EP, 2012

Official Site

SKELETONWITCH (USA)

Melodic death meets thrash, and somewhere along the way a black metal singer. The black metal vocals are one side of the show; on the other one we have low death growls. The solos on the band's debut are from the classic heavy metal school. So, as a whole, we have a fusion of styles which would make this band appealing to fans from several sides of the metal circuit.
"Beyond the Permafrost" is the band's finest hour so far with a stronger concentration on thrash, excellent melodic guitar lines and cool speedy riffs. The sound is definitely classic if we exclude sparse touches from the Gothenburg school. "Baptized in Flames" is probably the only track which could be classified as melodic death metal; the rest is nice classic thrash of the more melodic variety.
"Breathing The Fire" follows on the steps of its predecessor quite closely serving decent retro thrash in an energetic tempo, with distant echoes of melo-death ("Released from the Catacombs" and parts of other songs) at times. The fast pace for most of the time makes the atmospheric mid-paced sleeper near the end "Strangled by Unseen Hands" the highlight of the album, with the closing raging more modern-sounding thrasher "...And Into The Flame" a close second.
"Forever Abomination" is another decent offering crossing thrash with melo-death again keeping the energy high with short (2.5-3min) vivid tracks although the guitars lack an edge, a slight compensation offered in the more technical sector ("Choke Beyond Betrayal"). Black metal springs up timidly on the more extreme cut "Shredding Sacred Flesh" suiting the expressively raven-like black metal vocals, and the closing "My Skin Of Deceit" also keeps the intensity high relying on purer death metal riffage as a finishing touch. The band have found their own niche and stick to it without too many deviations, but one more album of the same may just remain unnoticed.
"Serpents Unleashed": the guys keep on churning classic/modern thrash worships and indeed, this effort has no chances to get noticed in the sea of similar works at present. This is so pedestrian by modern standards that only diehard fans of the style may really enjoy it thoroughly till the end where one will find frolic melodic speedsters ("Unending, Everliving"), short ripping thrashers ("Blade On The Flesh, Blood On My Hands"), nods to the melo-death movement ("This Evil Embrace"), and the closing "More Cruel Than Weak" which is the highlight with its more eventful, less predictable, delivery and sharper guitars.
The "The Apothic Gloom" could be considered a slight deviation from the norm with its optimistic, uplifting opening title-track which is closer to death. The tone remains more on the death metal side blast-beats ruining the otherwise cool thrasher "Well of Despair". "Black Waters" goes straight into operatic black metal territories scattering the sound all over the place, the not very positive impression hardly corrected on the closing melodic death opus "Red Death, White Light" which is epic, brisk rhythms alternating with spasmodic blast-beats for over 7-min which would leave the listener passingly amused, but not really impressed.
"Devouring Radiant Light" has very few ties to thrash if any at all, the guys carrying on with their penchant for bombastic black/death metal arrangements, with "Temple of the Sun" the only cut that has any thrash-clad character, the rest following its own hyper-active, operatic mind that will invariably reach the final destination where acts like Dimmu Borgir and Cradle of Filth reside.

At One with the Shadows Full-length, 2004
Worship the Witch EP, 2006
Beyond the Permafrost Full-Length, 2007
Breathing The Fire Full-length, 2009
Forever Abomination Full-length 2011
Serpents Unleashed Full-Length, 2013
The Apothic Gloom EP, 2016
Devouring Radiant Light Full-length, 2018

My Space

SKELETOR (HOLLAND)

The full-length debut: modern thrash/death played with intensity and a bit of technicality; the guys vary the delivery quite a bit ranging from intense speedsters (the opener "Bound in Blood", the stylish proto-blaster "New Skin for the Old Ceremony") to groovy steam-rollers ("Unbroken") to more complex, almost progressive, exercises in the craft (the closer "Perpetual Death"). The lead guitar work is quite good (check the closer again) and the vocals are fitting, maybe a tad more brutal for the style grunting with passion on quite a few times. Some of the band members also take part in the Swiss black/death metal act Tribes of Cain.
"Mental State" treads the same path, the band intense and moshing as ever, pouring their sizzling emotions in the form of raging cuts like "Skeletor Salvation" and "Hordes of the Retarded", the more atmospheric chugs of "Unknown Error" raising a few eyebrows, too, "Anal Avenger" pricking a few more assholes as a finishing touch despite its choppier, less ordinary nature.

Skeletor Full-length, 2010
Bastards of the Universe EP, 2015
Mental State Full-length, 2023

My Space

SKELETOR (NEW ZEALAND)

This power trio indulge in a heavy seismic blend of modern post-thrash and stoner/sludge which is not very exciting since the mid-pace is seldom broken topped by not very pleasant shouty death metal vocals. "Impending Doom" near the end is a faster cut with sudden blasting passages inserted to a fairly disorienting effect, and remains the most interesting moment on this eruption-causing effort.

Skeletor Full-Length, 2012

Official Site

SKELETOR (USA)

Melodic thrash with a modern edge and dual vocals: one clean, the other from the death metal type. The last track is a surprisingly nice touch being a take on some popular evergreens ("Green Sleeves" and the likes).

Baked Alaskans Demo, 2000

Official Site

SKELETORY (GERMANY)

These Germans offer laid-back modern/classic thrash with progressive overtones. There's still some energy at play: "Taste of Blood" is a diverse cut with several speedy sections, and "Remnants Of Humanity" is a dynamic lasher echoing more recent Paradox "Electrify" being the closest reference. The other two compositions are a bit heavy-handed, mid-paced and a bit monotonous. The singer isn't bad, though, his mid-ranged clean antics fitting the music again reminding of the Paradox frontman Charly Steinhauer. The band were previously known as Silenced under which name they released a solitary album in 2007 of a pretty similar style, maybe a tad more aggressive.

Cause of Death EP, 2011

SKELLUM (USA)

Based on the "Groping in the Dark" demo, this band play rough, roughly-produced old school thrash with shouty unrehearsed vocals and heavy pounding riffs which can occasionally extend to something more complex ("Existing To Perish") at times, but it's the short dramatic "Groping In The Dark" that enchants the most here, cancelling outright the balladic clumsiness witnessed on "The Abused".

Groping in the Dark Demo, 1990
Frigid Demo, 1992

SKELTERIA (USA)

Two guys are behind this dedication to the old school thrash metal idea which is sustained on full-speed ahead for most of the time. The guitars have a sterile, computerized feel to them, and the vocals are strongly synthesized and not very clearly heard. "Midnight" is a subdued, more melodic power/thrasher, but the rest is fast and kind of one-dimensional, a situation enlivened up by the final "Open the Coffin", which is a varied piece mixing slow funeral doom sections with the staple speedy ones. This offering could have had more soul, though: it's obvious that the musicians have used the computer a lot during the recordings...
The self-titled album is another retro thrash affair "graced" by a dirtier sound which surprisingly favours the energetic delivery which cites Slayer and Atomica as influences: check out the intense roller-coasters "Desensitized to Death" and the 7-min of intense moshing thrash "Funeral For a Dream". The not very rehearsed shouty vocals are an impediment, though, since they occupy quite a bit of space, and the thin leads, albeit melodic and occasionally stylish, are another minor annoyance deafening all the rest creating the impression that all the othe instruments have been silenced for the lead guitarist to show his skills unobstructed. Later it becomes evident that this time there is just one guy behind the recordings, the name Evan Kotner, seeing the band's line-up going towards complete disappearance.

The Nightmare Begins Full-length, 2011
Just for the Hell of It EP, 2012
Skelteria Full-length, 2012

Official Site

SKEPTIC SENSE (GERMANY)

One of the few bands who managed to impersonate Realm and Deathrow without sounding ridiculous; even the vocals are quite close to the ones of Mark Antoni (Realm), but are a tad more controlled on the higher tones. This is standout progressive/technical thrash rubbing shoulders with other groups from the genre like Sieges Even, Deathrow, and even Mekong Delta. The guys like to keep things simple with short, but eventful songs (tempo changes and riffs, I mean, not off-beat non-metal elements). The tempo changes all the time, and this creates a somewhat chaotic feeling, but on every subsequent listen you'll find that there's nothing out-of-hand here, and everything is logical and coherent. "Human Indulgence" is the band's tribute to the faster, more aggressive side of thrash, and could be well placed on Toxik's "World Circus", or Forbidden's "Forbidden Evil", for example. The music isn't very easy to get into at first, but you'll be rewarded for the invested time. This bad is one of the representatives of the progressive/technical thrash metal wave which started in Germany in the early 90's, and one of its finest representatives; very highly recommended.

Presence Of Mind Full-length, 1994

My Space

SKEPTOR (USA)

This talented young act provide excellent complex progressive thrash summing up the best from the veterans Toxik, Realm, and Intruder. The guys start very ambitiously with the long eventful opening title-track which thrashes wild amidst head-scratching, elaborate sections. There's no technical ground uncovered on the following puzzler "Key to Power" which shreds to no end creating spiral-like structures also leaving room for one final fast-paced moment. Then comes "Tyrant" which is ripping headbanging thrash to the bone. "Savage Metal" is exactly what the title promises: brutal thrash with some of the most cleverly-concocted intricate guitar arrangements this one echoing the Dutch masters Expulsion. "Disciples of the Fourth Branch" is another super-technical portion of thrash reaching the extreme complexity of acts like Deathrow and Skeptic Sense with ease with mind-scratching decisions galore waiting at every corner. The closing "Sentenced to Death" is a wild speedster with furious tremolo pickings and the obligatory odd time-signatures, the long lost Toxik composition from "World Circus". The singer is an exemplary high-stringer easily flirting with the Rob Halford falcetto whenever necessary pulling out commendable performance all over. This is a truly unique achievement, a highly recommended album which already puts the band fairly high up in the rankings from the start.

United We Stand...Together We Fall Full-Length, 2014

Official Site

SKIES OF REDEMPTION (USA)

This US trio indulge in staple Swedish melodic thrash/death metal which is more on the controlled side without missing completely in the speedy department. The compositions elongate with time also becoming more technical ("Wages of Internal Conflict") with echoes of Anata and their compatriots Arsis. "Skies of Redemption" is a more serious progressive cut and despite the reduction of speed remains the highlight. The vocals are of the brutal shouty death metal variety and may be considered a pullback to an extent.

A Passage Through Tribulations Full-Length, 2009

Official Site

SKIMMED (CZECHIA)

Chaotic aggressive, also fairly intricate thrash/crossover of the old school which sometimes borders on Cryptic Slaughter-esque ferocity; the tracks are short jolts of eccentric violence which pass by stupefying the audience, but this is definitely worth lending an ear due to its unrestrained character. "Undertaker" and "Skimmed" are admirable longer songs, twisted technical hecticers along the lines of Hellwitch, especially "Skimmed", a wild unorthodox conglomerate of crooked not very logical riff-patterns, those constantly overlapping each other in a dizzy-ing bizarre fashion. The rest is wild stylized bash, at times accentuated by nice stylish lead sections ("Post Mortem", "On the Way Between the Graves"). "Judgment" is another excellent short entangled conundrum, the musicians showing how music can be attention-grabbing within the span of just 2-min. "A.D.L." is a goofy punky vaudeville, a less pretentious way to finish this very interesting opus. Later the guys became the thrash/crossover veterans Insania, a band with which they carved a very lasting career for themselves, still active as well, but with a much more conventional, less striking thrashcore sound.

New Insanity Full-length, 1990

Official Site

SKIN CULTURE (BRAZIL)

A diverse blend of post-thrash, modern thrash and death metal. There's some twisted, chaotic technicality involved ("Supernatural Catastrophic") bordering on djent, and its mechanical, robotic character can sound appealing ("Extreme Of Consciousness") at times. The rest is decidedly slower and too jumpy to attract a wide crowd from the regular thrash fanbase, not to mention the overshouty aggro-vocals with a death metal blend which annoyingly take too much space at times.

Murdernation Full-Length, 2015

SKIN FAILURE (UK)

Modern energetic thrashcore with semi-intriguing progressive leanings ("Sleeveless Jesus/The Void") at times, the alternative vibes emitted from "Meat Pond/Down by the River" ruining the setting a bit, but all goes back to dramatic normal with "Full Throttle Nothing Pt.2/The Montage", a rowdy shredder with overt echoes of Strapping Young Lad. The creepy minimalism of "Southern Fried Homicide/The Radillac Battle Sequence" is also worth noting, the shouty deathly raspy vocalist exacerbating the environment additionally, spicing his venomous approach with the odd cleaner insertion, recalling Burton Bell (Fear Factory).

Radillac Full-Length, 2022

Official Site

SKIN LIMIT SHOW (UK)

Based on the full-length: Stuart Toolin from the industrial metal wizards Pitchshifter had tried his hands on a more thrash-fixated sound with expected heavy abrasive results. The overall delivery strongly recalls the father band to the point that this can easily pass for a long lost Pitchshifter album with an increased dynamics on cuts like "Vehement" and "Defaced". "Intolerance" is a post-thrash groover, the only not really interesting piece here; and "Gegen" is pure industrial miasma the "agony" prolonged by the nice choppy title-tack and the robotic mechanizer "Machine". Another winner is the closing "Mind Hate", a crunchy dirge in the best tradition of Godflesh and the Canadians Soulstorm.

Wound Freeze Full-length, 1994
Walking Knife EP, 1995

SKIN RIPPER (COLOMBIA)

Cool retro thrash which comes in various tempos with a characteristic dark sound which may remind of Deathwish and Hallows' Eve's better moments. The musicianship is clever with a few serious attempts at a more complex song-writing (don't read progressive here): check out the diverse opus "March of Fallen Souls", but the jollier, crossover, side of the genre hasn't been completely ignored, either: the closing punky hymn "Jail Breakers".

Jail Breakers EP, 2011

Official Site

SKIN SLICER (CANADA)

A new Canadian trio from hell unleashes straight retro speed/thrash with apocalyptic black-ish vocals. The music is very close to the works of the Portuguese Alastor and the Japanese acts Abigail and Barbatos. So expect mostly up-tempo riffs ("Born In Hell" is the only slower heavy doom track) with short leads, lighter heavy metal anthems ("Metal Warriors") and a few short thrash/crossover happiness-es ("Heaven Is Destroyed").

Made in Hell Full-length, 2008

My Space

SKINKEEPER (CANADA)

Based on the 1st demo, this is primal Venom-esque thrash with very good bass support, but the rest is below par including the chaotically shouty vocals which accompany a scattered mid-paced barrage which could even pass for an early aggro-recording the chugga-chugga wall of noise pricked by the sparse more sensible lead section, and the jumpy joke piece at the end "Choo Choo Train".

Demo Demo, 1991
Starve Demo, 1994

SKINLEPSY (BRAZIL)

The debut: intense old school thrash pours over the unsuspecting listener which can be viciously aggressive ("Crawling as a Worm" at times decorated with the casual death metal-ish throw-in. Generally the tempo is quite fast the guys showing no remorse touching their renowned compatriots Sepultura's mid-period with ease if we exclude the deliberately dry sterile guitar sound which could be lessened on future efforts. The singer semi-shouts in a forceful deathly manner, not as convincing as Max Cavalera, but not far behind. The band members are also active with the death/thrash formation Desaster, and the grindcore veterans Siegrid Ingrid.
"Dissolved" has no intentions of slowing down as the delivery has moved up in terms of aggression with more frequent nods to death metal ("The Mentor"). "Ask to Diablo" is an imposing heavy stomper, but stoppages of the kind are simply not many at all here as the band mosh with the utmost intensity adding the odd more technical hook ("Caustic Honor", the excellent short instrumental "Insomnia") on occasion.

Condemning the Empty Souls Full-Length, 2013
Dissolved Full-Length, 2017

Official Site

SKINNER (USA)

The EP: this is a project of ex-Imagika members among whom is the singer Norman Skinner (also Machine Called Man, etc.). The band's music is a mix of speed, power and thrash recalling the early days of the father band including the excellent "And So It Burns" since the concentration is clearly on thrash regardless of the several balladic passages, the progressive leanings (the more thoughtful closer "The Enemy Within") and the infectious melodic lead guitars. Skinner is in fine form covering several ranges with ease without losing his characteristic hoarse blend which comes curiously mixed with brutal death metal insertions on the aforementioned closer.
"The Dark Design" is a decent re-emergence with Skinner in a traditionally fine form behind the mike, his passionate croons leading this dramatic power/thrash show that straddles between heavy epic pieces ("What's Left Inside", the semi-balladic elegy "The Haunting Hours") and more aggressive thrashy extrapolations ("My Tribulation"), the quiet lyrical "Among the Ashes" finely complementing the soulful balladic arrangements on "Unfinished".

The Enemy Within EP, 2012
The Dark Design Full-Length, 2023

Official Site

SKIPTOE (USA)

Based on the "Throwing Dirt" demo, Skiptoe play thrash/crossover with no borrowings from the groovy 90's post-thrash scene having in mind the time of release; this is old school music, not really heavy, recalling Excel and C.I.A.

Throwing Dirt Demo, 1994
Mortal Lies Demo, 1994
Live at WREK Live album, 1996
Mortal Lies-The Demos Best of/Compilation, 1997

SKIRMISH (FINLAND)

Based on the full-length: prepare for a constant skirmish of modern melo-death/thrash riffs along the lines of Carnal Forge and Maze of Torment. A few more abstract, Meshuggah-sque ("Insurgency") elements can be felt as well as nice epic pounding rhythms ("Mystery in a Blazing Dream") ala Amon Amarth, but overall the established formula is seldom broken coming with guttural, low-tuned death metal vocals.
"Jet-Black Days" is more complex, with more serious arrangements, and some of the songs come with a good sense of aggression ("Replacement") as opposed to the more morose ones. The album picks steam a bit by bit until it reaches the end where "Terminal Embrace" is a shattering thrash/deathster with loads of hard-hitting riffs and a few enchanting melodies coming from the lead department.

Four Devouring Pieces EP, 2006
Undefined Phobias EP, 2008
Skirmish EP, 2010
Through The Abacinated Eyes Full-length, 2011
Jet-Black Days Full-Length, 2013

Official Site

SKITARG (SWEDEN)

This act, who have the penchant to paint their faces in a manner not too far from Kiss, produce (based on "DEN H'8fRDASTE J'8eVELN") modern thrash with a few epic and more tender balladic sections lacking the energy and vigour of their compatriots from the Gothenburg school relying instead on melody and catchiness which brings pleasant clean vocals as opposed to the much more brutal main death metal ones. The tempo is mostly mid without too many highlights, a situation saved by the very good lead guitar work and the several more dynamic cuts ("De Lever!"; the closing grinding outbreak "Reich'Fuhrer Drrvakt").
"Tarmageddon": the modern thrash saga carries on unabated here served in a more dynamic fashion this time although again there's not much speed to be savoured, and some sprawling, not very eventful, ballads ("LIV-negativ", the elegiac "Kast-abort") may seriously stretch the fans' nerves. The sound is quite epic-tinged creating a feeling that the guys are getting ready to embrace the folk/pagan vogue some time in the future.

Skitarg Full-Length, 2010
DEN H'8fRDASTE J'8eVELN Full-length, 2011
Tarmageddon Full-Length, 2014

Official Site

SKITZO (USA, NJ)

An excellent 3-song demo of technical power/thrash metal; the band has an approach which is based both on the more complex style of Sieges Even and Watchtower, and the more aggressive lashing one of Helstar and the Dutch Paralysis. "Progressive Psychosis", a very appropriately-titled song, by the way, is a great example of mixing the two sides sounding both energetic and galloping, and twisting and meandering the latter accompanied by an unobtrusive keyboard background; there's a lot to hear here: sharp hitting riffs, sparse acoustic implements, faster headbanging sections, labyrinthine passages, etc. "The Killer Instinct" is an aggressive mid-paced smasher which loosens up a bit on the technical side in the 1st half, but wait till you hear the super-twisted riffage near the end: exemplary technical thrash ala Coroner's "Mental Vortex" in a creepy doom pace. "Too Late For Repentance" is the ultimate technical/progressive thrasher: a surreal hallucinogenic composition with great bass support; precise technical, at times quite abstract, riffing; brilliant fast technical leads; a nice speedy mid-passage, and more. The singer is a cool addition with his attached clean, at times quite high-strung, tone trying to capture the inimitable blend of Mike Soliz (Watchtower) on a few times. It's a pity that acts like this never managed to produce an official release: this small gem could have been the backbone of a full-length masterpiece...
The unreleased demo features five previously unreleased tracks in league with the ones already heard from the debut demo. It should come as no surprise the high level of musicianship displayed here having in mind what delight the first three compositions were. "Stagged" is an awesome opener which chops and slices its way with hectic mathematical riffs ala Watchtower. "Born Again" is more along the lines of the 80's American power metal movement with the semi-gallops and a few stylish insertions ala Helstar's "Nosferatu" alongside a cool dramatic accumulation serving as the chorus later followed by the most unpredictable time-changes on the demo. "Mother's Revenge" is a progressive power/thrasher with creepy overlapping rhythms, a larger-than-life amalgam of moods and technical riffs which circle around the mid-tempo. "Symmetrical" is the fastest composition here thrashing in an energetic galloping manner akin to Savage Steel's "Do or Die", becoming wonderfully chaotic towards the middle not to mention the fine melodic lead section near the end. "In Vain" is a superb technical shredder again sustained in a jumpy mid-pace, one of the highest achievements of the band, full of strange rhythmic shifts entwined with beautiful melodic tunes. This masterpiece is another testimony that the best works of metal can be found after years of hard digging in the underground...

, Progressive Psychosis Demo, 1990
Unreleased Demo

SKITZO (USA, CA)

You might find it hard to believe, but Skitzo are one of the oldest metal bands in the USA: their first demos date back from the distant 1985. Their predominant style is aggressive, well-constructed thrash mixing both the classic and the modern sound throughout the different periods of their career. "Synusar'Sukus" is probably the band's best effort, still closer to the classic sound; this is very aggressive stuff with nods to death metal ("Leatherface"), and the best parts are where the band don't play very fast, but crush impressively with heavy doom-laden riffage ("Grinding Gears"). Such intense stuff could wear down both musicians and listeners quickly, and this is the reason why the last three tracks are nothing more than senseless joke-songs with not much music involved.
"Dementia Praecox" is the next in line return for the guys who mosh on the good old way adding more brutal death metal-ish elements whenever needed ("Back To The Grave") also displaying their more tender side on the hard rocking anthem "Born In Hell". "Sick Son Of A Bitch" is vintage classic Overkill, a fast raging speedster, but expect more novelties later like the crossover frolicker "Mindless Corruption", the short death metal exploder "Lust And Perversion", the surprisingly stylish semi-technical "March Of The Rhino", and the closing soulful balladic instrumental "Attack Of The Zombie Hippies".

Derragerous EP, 1989
The Skulling EP, 1991
Evilution Full-length, 1992
Synusar'sukus Full-length, 1994
Psychobabble Full-length, 1996
Got Sick! Full-length, 2000
Hellavator Musick Full-length, 2002
Heavy Shit Full-length, 2005
Five Point Containment Full-length, 2007
Dementia Praecox Full-Length, 2015

Official Site

SKIZOPATIX (ITALY)

Based on the full-length, this Italian duo play fairly competent old school thrash which built around fast blitzkrieg rhythms as exemplified by the short bursting "Zombie Arrapati". Diversity arrives in the middle with the nice balladic stomper "Il Filo Rosso", and the cool cover of Manowar's "Kingdom Come" ruined by the very weak vocal performance which is horrible on the whole album, by the way. Anyway, one would quickly learn to completely ignore the "singing" thanks to the good music which in the 2nd half continues to enchant with speedy cuts like "Skizoviolenza" and "La Triade" where speed metal also steps in before "Maniaci Di Guerra" brutalizes the environment with less restrained proto-deathy hooks those missing from the imposing balladic closer "Skizopatix II (La Storia)", another stylish display of diversity seeing an act ready to interfere more prominently into the contemporary metal scene if, of course, they take care of the horrible vocal side.
"A Volte Ritornano": the bad vocal side remains, but the music is nothing short of outstanding the guys coming up with the exemplary speed/thrashing shredder "Bar" in the beginning, awesome classic stuff at its best. The rest which follows is by no means a sloucher, mind you: "Il Porno" is brutal bash with superb technical leads; "Condannato" is stunning technical thrash in mid-pace; and "Morte In Un Horror Film" is a longer more complex composition served in various tempos including a smashing blasting passage in the middle. "ForzaSatana" is vintage retro speed/thrash, nothing fancy here; and "Pazzo" is another more elaborate headbanger growing into the formidable steam-rolling technicaller "Anatomia Di Un Omicidio". "Cazzo Mosh" deserves its title being aggressive direct mosh without any ado graced by a brilliant lead section; and the closing "Capodanno" is nearly 9-min of intricate technical thrashisms blending fast-paced sections with some of the most labyrinthine riff-patterns to come out of Europe recently. This is a masterpiece in every respect, a consummate display of inspired high-class musicianship, leaving the weaker vocals just a not such an annoying afterthought after all.
The EP is another super-energetic slab of the good old thrash featuring the energizing semi-technical galloper "n-Dipendenza", a very cool cover of Metal Church's immortal hit "Metal Church" ruined by the very screechy vocals; and the merry rock'n roll stupidity "Canzone D'Amore". "Problema di Fisica" is a mild power metal anthem , and the final "Meritevole Inno Per Noi Metallari" is an optimistic speed metal revelation still hinting nothing at the amazing transformation the band would experience just a few months later.
"Storie per Menti Distorte" is not as striking but it's still an acceptable foray into the band's discography, the quirky semi-technical stomps of "Circolo Vizioso di Connessioni Fatue" not meeting any equal rhythms, "Dentro al Tombino" moshing with little restraint, the even more raging rhythms unleashed on "Gastroscopia" creating a vortex of violence, the latter mortified to an extent by the more complex arrangements on the pretty cool "Io Sono la Tua Morte", a stylish wink at the technical exuberance of the previous entry. Elsewhere we have the varied approach on the cleverly-executed "La Sfiga del Supereroe" and the more immediate bash on "P.D.V.", this last cut winking at the proto-death formulas for a tiring hyper-active ride, the singer surprisingly sounding a tad more restrained and by no means as irritating.

Skizoviolenza Full-length, 2016
Disfunzioni EP, 2016
A Volte Ritornano Full-Length, 2016
Storie per Menti Distorte Full-length, 2018

Official Site

SKLEPMASTER (CZECH)

This is modern thrash/death metal which comes served with brutal, low-tuned, ultimately incomprehensive vocals, running from the Gothenburg patterns by sticking to darker, more brooding riffage. The guys try to mix things up, alternating fast and slow sections on almost every track, the later kind of working better coming with a nice doom shade ("Devil In My Face").
"Accursed Through Eternity" is an elaboration on the EP the dark gloomy tones ably translated as well as the cool melodic tunes. Again, the emphasis is not so much on speed as it is on mood and atmosphere which are also aptly reflected in the several short acoustic interludes including a dreamy ambient closer. The vocals again remain the downside their rough brutal character hampering the musical proceedings to an extent.

The Unforgiven Sin EP, 2011
Accursed Through Eternity Full-Length, 2013

Official Site

SKOFFIN (USA)

This young act indulge in in intense bashing thrash/proto-death in the vein of Morbid Saint, Rigor Mortis and Devastation. The guitar sound is crisp and sharp, and the band are not strangers to some more intriguing motifs: check out the twisting meandering riffs on "Shadow of the White Skull", or the hectic shredding on "Napalm 'Nam". The strong bass-bottom is a major asset giving the music a characteristic thundering reverberation. The closing "Catastrophic End" is more death metal-immersed number which finishes this effort with aplomb in team with a blistering lead section, another indication that there's more potential hidden here to be given more opportunities for exposure later.

Lucid Persecution Full-Length, 2014

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SKOLOPENDRIA (RUSSIA)

Three songs of energetic classic thrash with a boosted modern production; the guys shred well sticking to energetic, a bit jumpy crossover-ish rhythms, "Rojdenie" being the exception: a groovy, sleepy cut with abrasive riffs. The singer is all right with a not very attached clean tone shouting unpleasantly with a synthesized blend at times (the aforementioned "Rojdenie").

Bejat Demo, 2011

SKOMBRUS (BRAZIL)

Based on the full-length, this act indulge in brisk intense old school thrash which keeps the fast-paced guitars coming even on the more serious, longer material ("Bankrupt Justice") whereas the shorter tracks like "Guilhotine, Torture and Genocide" are pure rage the screamy leads a fine addition all over. "State of Suffering" is a fabulous mix of technicality and melody with speedy lashing riffs flying from all sides, the highlight on this enjoyable recording which loses a few points from the not very impressive subdued death metal vocals.

Crack Massacre EP, 2014
Betrayal of the Breed Full-length, 2017

Official Site

SKOURGE (USA)

Based on the full-length, this act serve retro thrash/death which is accentuated by vociferous death metal vocals ala John Tardy (Obituary). The squashing character of the sic has also been lifted by the famed Floridians, cuts like "Peasants Revolt" and "Hallucinator" tumbling the walls of many a shack, whereas the more dynamic roller-coaster "Freedom Denied" provides fun for the restless side of the fanbase alongside the rowdy explosive shorter "Nothing Is Sacred".

Spiritual Despair EP, 2018
Condemned EP, 2019
Hardcore Up Your Ass EP, 2021
Torrential Torment Full-length, 2023

Official Site

SKOX (FRANCE)

Based on the full-length, these folks deliver energetic intense modern thrash with very expressed, shouty death metal vocals. The guitar work is very crisp polished by the modern production working fine on the mid-paced material as well among which "Running Out Of Time" is a particularly seismic number. "Thrashtastik" by all means deserves its title although it's more of the hardcore type with abrasive, direct riffage. However, its primal intensity has no match later the music losing its fast-character summed up by the closing doomster "Leaving The Killing Field". The vocalist is a gruff deathly semi-shouter who takes quite a bit of space.

Skox EP, 2010
Years of Legions Full-length, 2016

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SKRAMASAX (CZECH)

An early incarnation of this band included future members of quality thrash metal acts like Calibos and Section Brain, who did not survive long enough in the band to take part in the recordings of this album. But even without them the guys manage to pull out worthy speed/thrash metal along the lines of Iron Angel and Toxic Shock. The 1st part is more melodic with a certain power/thrash metal flavour, but the second half picks up speed admirably, still finding time for one long (7-min), heavy, almost doomy number ("Smrtici Znameni"), followed by the smashing Slayer-esque thrasher "Lovec Lidi". This was a promising debut and considering that the Czech metal scene had become active a bit later than the major ones, this band could have perfectly served as one of its backbones through the 90's (if, of course, they had continued in the same vein).

Dark Powers Full-length, 1991

SKRED (USA)

Modern thrash/death which lacks imagination, but makes up with an intense rhythm-section which easily reaches fierce headbanging parametres on the swirling title-track and "Thin the Herd" the latter a prime death metal provider. However, elsewhere the delivery is mid-paced and officiant siding more with Amon Amarth than the impetuousness of early In Flames and Dark Tranquillity. The singer is the staple for the genre shouty deathster who at least assists the musical camaraderie with authority.

Rags To Rampage Full-Length, 2018

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SKREW (USA)

This great band was formed by Adam Grossman, one of the legends of industrial metal, after he put an end to his previous formation Angkor Wat. The band came on the scene with a splash with their excellent debut of sharp, riff-oriented thrash (there is a three guitar attack present on every album), "decorated" with industrial elements which have started to turn into a trend in the early 90's. "Dusted" continued in the same uncompromising fashion, being another stellar work, this time with an increased presence of industrial. "Shadow of a Doubt" threw a certain "shadow of a doubt" over the band with its less aggressive, slower, groovy and choppy sound sounding like a not very convincing attempt at a more technical and interesting play which misused the triple guitar support a bit. "Angel Seed XXIII" followed on the steps of its predecessor, speeding up a bit, and generally containing a thrashier and heavier material. As a matter of fact, if you give the last two albums a few more spins, you might find that they are not too bad; they have their moments as well and show that the guys have moved on although in a less impressive way compared to the beginning.
"Universal Immolation": after a long period of silence the industrial masters are testing the soil with this 4-tracker which sees them treading the waters already stirred by their last two albums which means that there's no "back to the roots" here, but the fan will have to prepare for dark brooding riffs with a big doze of groove thrown in the short shredder "Empires" the sole reminder of the band's glorious beginnings. New tricks: the lower-tuned death metal vocals of Adam Grossman, and the sudden blasting black metal insertion on "Nazarene Lash". So get ready for the larger-than-life opera which should follow...
"Universal Immolation" the full-length: Mr. Adam Grossman and Co. return just a few months later with a full-length, and not surprisingly (judging by the album-title) have included all the four tracks from the preceding EP. Combined with five new songs, however, these tracks deliver in a much better way and make this new offering way superior to the band's last lacklustre full-length affair. The opener "Rise" doesn't promise much being groovy modern dirge along the lines of "Angel Seed"; neither does the following "Blind Deaf And Dumb" which is a groovy creeper of the somber kind. Enters "Empires", and things start moving around with more dynamic riffage which even borders on the technical and progressive in the middle. From this moment onwards the situation hits pretty much the top, first with the technical headbanger "Nazarene Lash" which even blast-beats for a while in a less controlled black-ish fashion; then with the diverse sinister "Hijack" which is a doom-laden piece with funereal atmosphere. "Chaos" starts to "reign" with the coming of "Chaos Reigning", another morose cut, and just when the proceedings become too macabre and monotonous, arrives "the Lie" to "lie" to everyone that this will be another bore providing a requisite doze of hard-hitting energetic passages which reach a headbanging pitch somewhere in the middle. The closing "Omega" is a hard shredder with cutting guitars and a few dramatic build-ups which hit the blast-beats again for a bit before the fine surreal ending wraps things up.
Industrial is barely present here the band now sounding like a fully accomplished modern thrash/death metal outfit who have made some adjustments, all for the better, to their established, but declining main approach, and now look well equipped to shine with the brightest out there if, of course, they decide to appear more regularly on the scene. And, the more brutal death metal vocals introduced are not courtesy of Grossman, but are handled by a new throat, the name Hunter Townsend, who is also a full-time member of the metalcore heroes Prey for Sleep.

Burning in Water, Drowning In Flames Full-length, 1991
Dusted Full-length, 1994
Shadow of a Doubt Full-length, 1996
Angel Seed XXIII Full-length, 1997
Universal Immolation EP, 2013
Universal Immolation Full-Length, 2014

My Space

SKRYPT (INDIA)

Four tracks of clever, technical modern post-thrash which meanders through with choppy hectic rhythms with a more overt progressive flavour on "Artifice" which even touches Sieges Even; adding a technical death metal touch to the proceedings on "Anathema" the latter also graced by a few surreal, more mechanical shreds. "Supremacy" is another more intense death-ornate cut, and the closer "Constructing The Absolute" is an eventful hectic technicaller with dramatic crescendos on a more orthodox, melo-death/thrash base. The vocalist is the traditional shouty death metaller, the downside on this otherwise cleverly-concocted effort. Some of the musicians also play with the death metal outfit Godless.

Discord EP, 2010

Official Site

SKULL (COLOMBIA)

A Colombian trio whose vocalist and bassist looks like Lemmy Kilmister quite a lot, but the resemblances with the Brits end here since the music on offer here is nice classic speed/thrash metal with early Metallica and the Whiplash debut being the main influences. The guys spare no speed on the first two songs before they decide to come up with "Ferro", which sounds too crossover-ish in the beginning, but later on turns into a major headbanger again. After another fast-paced song ("Lonely Wolf") the sound quality drops for the remaining four ones which are apparently leftovers from the band's earlier days although the style is the same, with a Bulldozer cover coming up at the end ("Cut Throat").

A Night Of The Battle City EP, 2009

My Space

SKULL (NEW ZEALAND)

Based on “Church of Blood”, this one-man show, the name Jeremy Giles, specializes in decent classic thrash infused with melodic gothic overtones (“Vampiric Isolation”), the subdued death metal vocalist adding to the dark atmospheric approach, the latter also enhanced by the catchy power ,metal heroics on “Re-Animator”. There’s energy aplenty as well, “Bitter” and “Beyond the Grace of Hell” shattering the listener with their seismic heaviness, the closing “Breeding Bloodthirst” thrashing with bigger gusto and an eye on the moshing side of the spectre.
"Death and Metal" is woven of both lengthy sprawling compositions ("Return us to the Flames of Hell") and more immediate shorters (the title-track, "Diabolical Dreamin'"), the latter side more widely covered, also comprising the pulverizing drama "Death in the Flesh" and the diverse melodious saga "Reborn with a Bloodthirsty Bite", Giles also sparing a brief all-instrumental tribute to the fields of ambient/doom with "Empty Graves".

Drag Me to Hell Full-length, 2022
The Great Descent into Hell Full-length, 2023
Church of Blood Full-length, 2023
Death and Metal Full-Length, 2023

Official Site

SKULL (SWEDEN)

Bashing raw thrash/proto-death also with an overt hardcore sting; the delivery is quite fast and brutal the band marching on relentlessly not using the bad singer a lot whose low-tuned death metal insertions are barely heard. At around the same time the guys also operated under the name Contra where the style was much better constructed speed/thrash.

You're Dead Demo, 1990

SKULL ALTAR (FINLAND)

Pretty decent retro thrash/death which races with the speed of light ("Impure", "War Ravages") at times, but at others it stomps with determination ("Primary Commission"), the more elaborate layout of "Sections" suggesting bigger musical proficiency, the latter failing to materialize here due to the ample supply of speedy blitzkriegers like "Insanity" and Embed to Trenches". The shouty semi-hardcore singer is deafened at times by his colleagues but overall he's a fitting choice for the hyper-active musical histrionics. Some of the bad members are also busy with the death metal outfit Messiah Paratroops.

Triple Terror Full-length, 2021

Official Site

SKULL ARCHER (USA)

This outfit indulge in dynamic bashing retro thrash/crossover which is reflected in short ripping headachers (the proto-death "Thrill of the Hunt", "Ambushed"), a few heavy pounders ("Exile by Arrows") dissipating the hyper-active aura which also receives a cool semi-progressive veneer with the eventful saga "Visions of Demise". A slightly more technical melee gets stirred on "Scent of Insanity", bot these are glimpses in a sea of intense stripped-down moshing carnival which is spearheaded by vociferous semi-shouty vocals. Some of the band members also play with the classic thrashers Exploder.

Skull Archer Full-length, 2020

Official Site

SKULL BONE (CHILE)

Classic thrash/crossover in the manner of Lawnmower Deth and mid-period broken Bones, with catchy chorus-bound hymns (“Hits of Steel”) shaking hands with wilder thrashcore moshers (“National Pornographic”), the not very emotional but fitting semi-declamatory punky vocals trying hard not to falter on the more dramatic tones. “Rancid” is a less restrained violator, still crossover-bound; and “Empty Bastards” is a surprisingly lively galloper with overt speed/power metal tendencies.

Floor of Bodies EP, 2023

Official Site

SKULL CRUSHER (HOLLAND)

Although present on the same tape with Second Hell, this band aren't as brutal and intense. Their music is more along the lines of bands like Warrant (Germany) and Tyrant (Germany), speed metal mixed with melodic thrash; music which will definitely not crush your skull (pun intended).

Metal Deadness Split, 1986
No Boundary for Hell Demo, 1986

SKULL CRUSHER (THAILAND)

Cool intense retro speed/thrash metal with vicious black metal vocals which are more on the hysterical screamy side, but are not very annoying. Shades of black in the musical department can also be felt ("Order from Hell"), of the blasting type, but the rest is cool energetic stuff with Alastor and Iron Angel's debut the closest soundalikes.

In the Name of War Demo, 2010

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SKULL HAMMER (CANADA)

This Canadian outfit acquit themselves with cool classic speed/thrash which has plenty of energy and sharp, ripping riffs producing something not far from the Metallica debut ("Hammer Fist" is a sure reminder of "Hit the Lights" and "Whiplash"). Then arrive the deviations in the middle: the intense shredder "Welcome to Camp Blood" which even acquires slight proto-death tendencies for a while; the more engaging longer "The Age of Steel". The second half returns to the optimistic speedy formula wrapping things up with the sweeping speedy closer "Destroyers Of The Faith". The singer is a forceful semi-cleaner who spices his approach with the odd clean note producing a convincing attached performance all over.

Destroyers of the Faith Full-length, 2012

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SKULL HAMMER (USA)

This US trio plays typical 80's American power/thrash metal mixing the heavy dark sound of the Nasty Savage debut ("Fear The Truth") with more intense riffage ala Blessed Death and Destructor ("Demons Roulette").
"Pay It In Blood" is an elaboration on the EP offering a similar mix between faster and slower numbers as both sides deliver as the preferences would probably go towards the former where the approach again recalls Destructor, and early Whiplash on the more intense moments. In the middle the album loses steam quite a bit with a string of mild toothless heavy/power metal hymns ("The Gladiator", "Blasphemy", etc.), but near the end a hefty compensation is provided, first with the furious thrasher "Born Evil", and then with the sinister galloper "Convicted of Conviction". The closing "Hit By God" is an unfocused doom-fixated affair again "courting" power metal more. The singer is not a detriment although his mid-leveled gruff semi-clean delivery isn't very expressive, lacking the necessary emotional blend to these ears sounding not far from the old Omen vocalist J.D. Kimball (R.I.P.).

Fear the Truth EP, 2008
Pay It In Blood Full-length, 2010

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SKULL HARVEST (GERMANY)

Well done: a live album right after just one demo; this is a feat. Otherwise, this is heavy mid-paced thrash with hoarse semi-death metal vocals. At times the music slows down to a doom/death pace ("Harvest Desire") which sounds like a hesitation as to what direction the band should go, rather than an intentional variation.

Demo Demo, 2001
Live At K1, Elmshorn 24.02.01 Live album, 2001

Official Site

SKULL KORAPTOR (GREECE)

Based on the full-length, this Greek trio pull out decent retro speed/thrash that moshes on full-throttle on pieces like “Hatred” and “Blast It Out”, the more composed pounds on “Next Station_ CHAOS” suit better the harsh semi-shouty vocals. The uplifting speed metal of “Breakthrough” pairs well with the melodious thrashing of “Voices of Despair”, the final “Obsessed” betting on heavier more laid-back histrionics.

Dead Ahead EP, 2014
Chaos Station Full-length, 2020

Official Site

SKULL KRUSHER (COLOMBIA)

Based on the full-length, these folks pull out noisy, fuzzy old school thrash which is more on the one-dimensional, bashing side with expressive bass support. "Yearnings of Bane" is the seeming highlight here, a furious stylish thrasher with a covert death metal flair soaring above the rest which is really simplistic, direct stuff topped by angry shouty vocals.

Wild Nation EP, 2012
In the Name of Rage Full-length, 2015

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SKULL PIN (USA)

This act pull out jumpy groovy post-thrash with doom elements which is quite heavy and crushing, and strangely dynamic at the least expected places. The resultant mixture is not bad if we exclude the final string of songs which are mere groovers without any merits the assured angry vocals being the best art there.

The Perfect Harmony for Doomsday Full-Length, 2013

Official Site

SKULL SOCIETY (COLOMBIA)

Classic thrash with hyper-active ripping qualities; the delivery resembles mid-period Sepultura although a couple of more intricate numbers ("The War") keep things within the less predictable confines. Watch out for the raging bullets "From the Burning Depths", "From Fear to Evil" and the more diverse "Mass Murder", the mild crossover joke "Brandy, Metal, Destruccion" canceled by the decent Sepultura cover of "Inner Self", the actual highlight here being the closing "Mind Collapse", an outstanding, also fairly dynamic, progressive instrumental.

From Fear to Evil Full-length, 2021

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SKULL VULTURES (CANADA)

Two songs showing an act fascinated with the more technical side of the modern thrash movement, not far from Gojira and Biomechanical. "Reclaim" is more immediate and more dynamic, whereas "Only Darkness" is more complex, but also features notable guitar work with a progressive flavour. The singer is nothing special, and could be considered the weak link with his slightly hysterical shouty death metal/hardcore-ish tember.

Skull Vultures EP, 2014

SKULLBREAKER (GERMANY)

German thrash metal mixing classic and modern elements with Dew-Scented being a close soundalike; nothing to lose your sleep over: fast one-dimensional thrash with no hooks or technical riffs whatsoever.

Total Thrash Terror Full-length, 2005

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SKULLCRACK (USA)

Dynamic moshing old school thrash/crossover with very shouty quarrelsome vocals. Hold your fillings on hyper-active bullets like "Worthless" and "Not for Sale", uncompromising lashers which breeze in the least fussy fashion, supported by pure hardcore outbreaks ("The Real Enemy") and quirky but effective lead-driven tractates ("The Real Enemy").

Addicted to the Underground Full-Length, 2022

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SKULLCRUSH (MACEDONIA)

Germanic thrash played by the book with more adherences to speed metal; the band play with competence if we exclude the not very clear sound quality which may have been applied intentionally as a nod to the old school. The band soften down in the middle relaxing with less intense guitars and mid-tempos, but the ending is worthy in the form of the headbanging hit "Nepokor". The singer doesn't quite shine with his gruff drunken semi-clean tone which completely lacks emotion and depth.

Skullcrush Full-Length, 2009

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SKULLCRUSHER (COLOMBIA)

These Colombians had concentrated on the raw brutal side of classic thrash metal, the one with the proto-death tendencies, and probably this stuff would have had some appeal if it wasn't for the awful underground sound quality which makes all into one big mass of sound of the fast aggressive type with early Messiah perhaps the most likely influence.

Who Cares Demo, 1991

SKULLCRUSHER (BRAZIL)

This is a 4-track demo of interesting dark brooding thrash which may remind you of the works of their compatriots The Mist who perfected this approach a year later on "The Hangman Tree"; the music is a cool mix of pounding doom riffs and faster sections which never go over the up-tempo. On the more intense parts the guys touch Rigor Mortis ("Remains of a Cruel War"), and some stylish guitar work is not a "stranger" to the proceedings, but the not very good sound quality spoils things a bit. "The Worst Intentions" is a captivating semi-technical number also recalling early Coroner graced by good bass performance. The singer has already acquired a semi-death metal tone, but his delivery is intelligible and well suited to the moody music.

Protect Your Soul Demo, 1990

SKULLCRUSHER (MEXICO)

Intense blitzkrieg old school thrash moving forward in a steady speedy manner assisted by not very pleasant shouty hardcore vocals. Things never get out of control although the approach is on the border of death metal at times the guys shredding really brutally on the more inspired moments ("Bullets of Blood").

Skullcrusher Attack EP, 2010

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SKULLCRUSHER (SWEDEN)

This is the first attempt of the musicians from Freevil to play music, and they come up with modern groovy thrash/death metal, very similar to later-period Massacra ("Sick", "Humanize Human"). In other words we have slightly one-dimensional mid-paced stuff which livens up for the casual number ("The New Conspiracy", and especially the explosive bomb "Breaking Point", which pleasantly surprises with melodic leads as well), but this makes the rest even more unimpressive and unappealing.

Tortured To Death Demo, 1997

SKULLDRAIN (SWEDEN)

This act operate within the modern thrash/death zone where so many other modern practitioners fall into. The guys differ from the majority thanks to more clever decisions like the technical build-ups on "White Phosphorus Bombings", the cleverly inserted gallops on "Trigger the Crisis", and the warmer progressive atmospherics on "Antisocial Agenda". "Through Death" is a destructive headbanger with lashing semi-technical riffs, and the vocalist is the staple attached shouter with a more melodic timbre without any death metal leanings. Some of the band members are also active with the thrash metal formation Zodiac Ciphers, and the black/death metal hybriders Mortellez.

Hatred Rising Full-Length, 2017

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SKULLED (GERMANY)

Based on "Eat Thrash", these folks will make anyone "eat thrash" with their remorseless fast-paced approach which only offers respite on the balladic beginning of "Riot Of The Rats", and partially on the more laid-back developments on the longer and more serious "Shell Shock". "Kate Mosh" recalls Slayer in their prime only without the vocals which are in the more attached, semi-clean camp; and "Satan in My Drink" is more than a fitting epitaph to this entertaining immediate roller-coaster.

Demo[n] Inside EP, 2013
Chaos Through Order Full-length, 2014
Eat Thrash Full-length, 2017

Official Site

SKULLFACE (GREECE)

There's only one guy behind all here, going under the name Nikk, who acquits himself with fast classic thrash not far from mid-period Flames, sometimes relaxing with soft crossover, sometimes bashing in a more extreme proto-death fashion. As a whole the man entertains himself here trying his hands on many influences, and generally this effort is hard to be taken seriously despite the few good thrashy moments. The vocals provided are of the husky semi-whispered type carrying both a black and a death metal blend.

Halloween Sacrifice Full-length, 2008

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SKULLPL8 (USA)

A mix of modern thrash and death metal; reminds of Six Feet Under's "Haunted" (especially in the vocal department); it also features cleaner non-death metal vocals.

Standing in Blood Full-length, 2002
Planet Hell Full-length, 2003

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SKULLPTED (BRAZIL)

This is just one artist, the name Pietro Dinatto, who indulges in diverse old school power/thrash, accompanying his musical creations with a forceful semi-death timbre. "Mob Kid" is a catchy sing-alonger which doesn't quite fit the uncompromising character of the rest which also comprises the cool intriguing semi-technicaller "Empty Pale Soul", but run for cover on the proto-death madness "Evil's Already Done". More pacifiers later in the form of meeker power/thrashers ("Reaper", "War"), the final "Golden Mountain" a nice balladic closure with Dinatto acquiring a warmer cleaner baritone resembling James Hetfield.

Evil's Already Done Full-length, 2021

Official Site

SKULLPTURE (CHILE)

Based on the full-length debut: this is rough badly produced retro thrash/death metal with noisy guitars and very brutal low-tuned vocals. The guys adhere to a fast play without any unnecessary gimmicks sticking to the death metal formula more, thrash being present on the calmer numbers ("Necrofagia") which aren't too many and carry a nice technical charge.
The demo comes with a very clear sound quality, offering intense thrash/death with more dominant death metal tendencies, quite close to Benediction and Asphyx. The singer doesn't hide his fascination with Dave Ingram (Benediction, Bolt Thrower) which is particularly evident on the faithful cover of the Brits' "Subconscious Terror" near the end.
"Reborn In Decay" is a near-full-fledged death metal opus with the aforementioned acts again very close soundalikes. Thrash doesn't feature in any form the guys having chosen their career path without any further stylistic hesitations.

Demo Demo, 2010
Skullpture...The Sinister Art Full-length, 2011
Reborn In Decay Full-Length, 2019

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SKULLSPLITTER (CHILE)

Based on the full-length, this act specialize in retro thrash/death supported by screechy hysterical deathly vocals. The delivery can be quite bashing and relentless ("Procreational Agriculture"), but watch out for the atmospheric contrived shredder "200,000 Days" and the twisted Morbid Angel-esque "Evicted from the Grave". "Symbiosis" is a surprisingly playful stomper, and "Unrequited" is an effective bashing thrasher.

Sign of the Bastard EP, 2008
Exploitation 101 Full-Length, 2020

Official Site

SKWEEG (USA)

Based on the self-titled, these lads serve heavy 90's post-thrash which is suitably jumpy and crunchy, the shouty quarrelsome vocals the main intimidating ingredient here, the playful doom "Burned" also recalling Helmet, with "Sludge" a nice companion to the latter, a welcoming bouncer with "BFG 9000" providing a dancey industrial setting ala KMFDM.
"Wattevr" features more abrasive, industrialized groovy post-thrash which is generally heavy and one-dimensional, the lively jumps on "Live for Today" generating some semi-headbanging suspense, the latter not receiving much support from the rest, if we exclude the short mechanized crossover anthem "Slap You Down". "Sun Crusher" is a cool atmospheric dirger ala Ministry, and the closing "Reciprocate" is a frolic dancey piece with echoes of KMFDM again. The singer remains a harsh semi-clean presence, both singing and reciting throughout.

Skweeg Full-length, 1996
Wattevr Full-length, 1999
3 Full-length, 2011

Official Site

SKY CHURCH (PHILIPPINES)

Based on "Unaware/Unwarned", these guys pull out cool energetic modern thrash with a groovy edge. The heavy stomping sound alternates with brisk fast-paced riffage, and as a result on quite a few times the fans can get their doze of intense headbanging: check out the short explosive "Bomber" which definitely deserves its bombastic title, or the smashing Pantera-sque "Call Upon". The singer further brings the band closer to the Americans with his angry potent Phil Anselmo-like delivery. The jollier more light-hearted moments are directly taken from the textbooks of Lawnmower Deth ("Confusion"), or early Suicidal Tendencies ("Futile"), and are not bad, either.
"Unaware/Unwarned" is a better effort the band having incorporated several more aggressive death metal elements which come intertwined with more stylish technical riffs. The resultant "therapy" has a strange proficient "aura" which works despite the dominant mid-pace (rudely broken with the excellent death metal-ish technicaller "Behind My Wound") and the not very pleasant brutal death metal vocals. The bass plays a prominent role here thundering its way "behind the curtains" all the musicians reaching their highest potential on the two closing numbers: "Sucking Up My Brain" which is an oddity with the sudden mixtures of intense death metal shredding and cool melodic tunes; and "Agony" which is a heavy crunchy track apparently written earlier with great melodies and a virtuous bass interlude reminding of Metallica's "Orion". It seems as though the guys are "aware" of their musical skills, but they shouldn't keep themselves deep in the underground by releasing albums so sporadically.

Urge of the Human Device Full-length, 1996
Unaware/Unwarned Full-length, 2000

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SKY OF CALVARIA (GERMANY)

Modern thrash with shades of metalcore; still, it's not a total Gotherburg rip-off, and at times actually thrashes quite hard: check out the 5-min of headbanging intensity "Fire To The Earth". "Wrath Of Triton" is a cool melodic thrashing anthem, but this formula gets repeated later on almost every subsequent number abandoned to an extent on the exiting trio of more serious, progressive opuses among which "Hallucinated Wings" is a particularly interesting shredder with echoes of Darkane. The closer "Hereditas Lucem" is also worth mentioning with its futuristic, more mechanical technical rhythms which are just on the edge of becoming visionary.

Bestiarium Full-Length, 2015

SKYCLAD (UK)

Martin Walkyier formed this band after he left Sabbat, and on the first Skyclad works it clearly shows who the mastermind was, behind the other band's success. Skyclad's debut is a much better follow-up to "Dreamweaver" than the Sabbat last effort, with the characteristic pagan atmosphere and sharp riffs. Once "The Sky Beneath My Feet" hits you with its superb combination of hard-hitting guitars and genuine atmospheric moments, you know that this will not be an ordinary experience. "Trance Dance (A Dreamtime Walkabout)" elaborates on those same atmospheric moments by retaining the steel riffage. "The Widdershins Jig" is the first real hint at the band's future metamorphosis: a nice laid-back epic violin-driven heavy/power metal piece. After it the songs become more complex starting with the great riff-fest "Our Dying Island", also decorated by stylish epic passages. Another long more elaborate affair awaits you: "The Cradle Will Fall", this time coming with genuine technical sections; a tendency continued on the following "Skyclad". "Moongleam And Meadowsweet" is a marvellous ballad with a striking acoustic guitar performance serving as a "calm before the storm", because then comes the closing track "Terminus", a smashing stomping semi-technical thrasher which will literally make you count the days until the band's next release.
"A Burnt Offering for the Bone Idol" promises a similar entertainment, at least on the energetic power/thrashing opener "A Broken Promised Land" with a stronger presence of the violin which from now on will be one of the main instruments used by the band. Later on the thrash metal fan will realize that there won't be too many aggressive riffs, like on the debut, but he will definitely appreciate numbers like the up-tempo "Salt on the Earth (Another Man's Poison)", the stomping thrasher "Karmageddon", or the closing heavy doom/thrash track "Alone In Death's Shadow". This transitional album prepared the ground for a change in style into quite original, and pretty much one-of-a-kind at the time, folk/heavy/power metal, a sub-genre where Skyclad still remain unbeaten.

The Wayward Sons of Mother Earth Full-length, 1991
Tracks from the Wilderness EP, 1992
A Burnt Offering for the Bone Idol Full-length, 1992

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SKYDANCER (SPAIN)

"Way of Deted" offers modern melodic thrash/death metal with a small classic twist. The music is dynamic switching between fast and slower sections the whole time leaving room for one laid-back power/heavy metal hymn at the end ("Embrujada").
"Land of the Grim" is in a similar vein, maybe the classic throw-ins are a bit more common, but the riffs' sharpness is ultimately sunk in sweeping melodies which reach heights in the lead sections (check out "Ancestral Lands"). Keyboards have been incorporated adding further to the melodic drama which is noteworthy on the closing opus "The Galician Exile" which finishes this effort with more style than it actually deserves.

Pozo de Logrimas Full-length, 2007
Endorsed by Self-destruction Full-length, 2009
Way Of Deted EP, 2010
Land of the Grim Full-Length, 2013

Official Site

SKYHEX (CANADA)

Cool modern power/thrash which can be dramatic with decent accumulations in the riff-department which contrast with the not very convincing varied vocals which are all over the place: clean, deathly, shouty, declamatory, etc. "Savior of Metal" in the second half compensates for the relative lack of speed at the beginning, but the focus is strictly on heavy pounding riffs as evident from the epic closer "Black Owl".

Lake of Bones Full-Length, 2015

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SKYLLA (CZECHIA)

Based on “SvatyGral”, this act serve pleasant feelgood power/proto-thrash of the old school which moves along familiar mid-tempo perimeters, “Patrona z Valky” providing the obligatory dynamic strolls, whereas “Sag Ihm” tries to bring the actual thrash for a rousing energetic finale. The singer is a capable clean mid-ranger who takes more passionate tender notes on the several balladic tunes. Some of the band members are also engaged with the heavy metal outfits Iras and Hever.

Waterloo Full-length, 2010
Remaster Full-length, 2020
Tora Tora Full-length, 2020
Svaty Gral Full-length, 2023

Official Site

SKYLLA (SPAIN)

This band play stylish semi-technical thrash/death which serves various tempos the fast ones leading the show second only to the very good, both melodic and screamy, leads. "Suicides Scenery" is pure death metal madness, and "Why" is an experimental joke "flirting" with Dr. Alban's hit "It's MY Life". The closing "Pilgrim" is another curiosity, a dark gothic number in mid-pace. The singer is a forceful death metal semi-shouter who makes himself heard due to his authoritative delivery.

The Confession Demo, 1992

Official Site

SKYRION (BRAZIL)

Based on "The Edge", this outfit serve quite cool progressive power/thrash fronted by a girl (the name Clarissa Moraes) which comes with a rich dark sound well exemplified by the intense thrashing opener "Arkham". Then comes the title-track which increases the speed turning the delivery into a speed/thrashing cavalcade with a great memorable chorus. The memorable choruses remain, but the intensity gets abandoned for a string of more moderate power metal-based cuts before "Opening Pandora's Box" erupts with more speed/thrashing pleasantries painted on a dark, brooding canvas with Oriental motifs floating around. "Endless Cycle" is the dreamy filler, and "This Madness of Mine" is the final stroke of progressive speed/thrashing genius which still reigns on the "eagle fly free" hymn "Final Call" which is indeed the final call on this cool atmospheric effort.
The debut is another commendable crunchy affair, more melodic as a whole although heads will bang on the very aptly-titled "Born for Metal" which also boasts a great melodic lead section. "Burning Temptations" is an ultra-heavy pounder leading to the semi-balladic "Innocent Eyes" graced by enchanting Oriental rhythms. "Blind Faith" is a vigorous hard-hitting power/thrasher and the band keep the intensity high for the remaining material "Future" coming out with genuine speed metal riffs not to mention the great catchy chorus. The final "Alone in Darkness" is more on the balladic side, but is still a fitting closer to this excellent, deeply atmospheric effort which sees a major star rising on the South American metal horizon.

Beyond Creation Full-length, 2008
The Edge Full-length, 2016

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SKYRMISHER (GERMANY)

Based on the full-length, these lads indulge in modern thrash/death that comes decorated with a strong abrasive edge, the latter more prominent on the faster-paced material (“Braindead”) whereas the mid-tempo one (“Curse of the Beast”) benefits from the presence of several more melodic tricks. The vociferous deathly throat behind the mike suits the fervent environment which also features the epic march “Der Madenmann” and the thrash/crossover relaxer “SL 16”.

Extractor Hood EP, 2019
Violent Onslaught Full-length, 2024

Official Site

SKYTURK (TURKEY)

Even the sky can't help these Turks who pull out unimaginative noisy thrash which, despite its classic pretensions, suffers from such a bad sound quality that even more renowned musicians wouldn't be able to correct the impression. This is pounding thrash which varies the pace in a way similar to the Brits Deathwish and later-period Messiah, and the final "Prince of Death" is a nice atmospheric progressive cut, featuring a great flamenco guitar passage; it's just that with the constant buzz accompanying the music the listener would be ultimately distracted and not without the help of the unpleasant shouty vocals.

Phantasm Or Real? Demo, 1998

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SLAG (USA)

90's post-thrash with grunge and garage rock overtones; heavy mid-paced at best stuff which still manages to generate quite a bit of intensity on the pounding "Mother Nature", with "Last Rites" even finding the way to thrash for a bit on a more overt retro fashion. The singer is a semi-clean throat who does a decent job, even emitting passion where necessary.

Miscommunication Demo, 1995

SLAMMER (BRAZIL)

Based on the full-length, this trio indulge in old school Germanic speed/thrash, a stance perfectly exemplified with the opening bashing intro "1986", and later on one can totally savour fast-paced heroic hymns like the Motorhead-ish "Sons of Evil", the stomping power/thrasher "Ignes Corpora", and the more serious thrasher "Throne in Flames". Watch out also for the heavy mellower doom closer "The Cursed of Abbadon", the hoarse semi-shouty vocalist making a more positive impression with a more expressive cleaner timbre.

Passage to Hell EP, 2020
Slammer Full-length, 2021

Official Site

SLAMMER (UK)

Slammer have often been referred to as the British answer to Metallica (although Xentrix could be considered a very close call, too), and while this has not been completely ungrounded, this doesn't really describe the band's sound accurately. The roots of the music are firmly in the Bay Area scene, but at from Metallica, there are also shades of Testament, Defiance and others, and Slammer seldom reach the technical heights typical for the Metallica's later 80's period, although they almost equal them in terms of heaviness.
"The Work of Idle Hands" contains the heavier, and arguably the lesser material (certainly here the opinions can be divided). The songs are energetic with sharp riffs slowing down on the longer ones ("God's Prey") which is surprisingly catchy and memorable, not without the help of the very good "Chuck Billy meets James Hetfield"-like vocals (this guy is a bit higher-pitched, and maybe more melodic). "Hellhound", on the other hand, is longer, but comes thrashing in a fairly aggressive manner, and is the highlight here.
"Nightmare Scenario" adds more technicality to the proceedings, a tendency obvious on the very first song "What's Your Pleasure?" with the choppy guitars, bass breaks, more stylish leads, and great Oriental melodic hooks. On the best moments the sound actually comes close to Metallica's late 80's period, but there's more melody in the approach. Even the faster more immediate thrashers ("In The Name Of God", "Architect Of Pain") are served with a decidedly more technical edge. The music isn't as fast anymore being replaced by more complex technical one, a great example of which is the last track "Corruption", a marvellous closer which deserves to be even on "...And Justice for All".
The "Insanity Addicts" EP is a stylish precursor to the strong sophomore the guys having already epitomized the heavy more technical sound as speed isn't the order of the day on carefully-plotted pounders like the title-track and the leveled composed shredder "Bring The Hammer Down". "Maniac" speeds up in order to justify its "manic" title, and "I.O.U." wraps it on with style to spare with both technical and melodic developments fighting for domination the whole time to the listener's entertainment.

The Work of Idle Hands Full-length, 1989
Born for War EP 1989 EP, 1989
Insanity Addicts EP, 1990

Nightmare Scenario Full-length, 1991

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SLANDERUS (USA)

Based on the "Sanctuary of Life" EP, this band play pleasant friendly power/thrash which is both modern and classic-sounding with cool balladic dimensions ("Cage of Mercy"). The tempo never goes above the mid and as a whole the style clings more towards the power metal side the good emotional clean vocals another apt support, especially on the last two longer, progressive opuses where they occupy more space.
"Walls of the Mind" carries on in the same direction with more epic arrangements which turn to more serious progressive ("Clarity in Duality") with atmospheric balladic elements incorporated. "The Hedonist" thrashes harder by retaining the more elaborate arrangements, and "Stand in Line" embedded several headbanging decisions into its labyrinthine 8-min length, a progressive composition worthy of Manticora. "Into Me You See" is a full-fledged ballad, and "The Significance of Insignificance" is a more vivid power metal anthem with a cool catchy chorus.
"Absorbing Infinity" is largely a progressive power metal saga with a few more cumulative thrash-prone sections ("Tectonic Plates"), the rest meandering from feelgood power metal swayers ("Cobra Kai") to epic sprawling elegies ("Omen"), the short balladic "A Small Sacrifice" a cool respite, the closer "Absolution" another uneven lengthy odyssey, the guys stumbling on those more complex exercises, regardless of echoes of Tourniquet detected on those.

Pseudo Reality EP , 2013
Sanctuary of Life EP, 2015
Walls of the Mind EP, 2017
Absorbing Infinity Full-length, 2022

Official Site

SLAPDASH (SWEDEN)

The technical thrash act Rosicrucian decide to change their name, and consequently, their style. While there's nothing wrong with the name Slapdash (whatever that may mean: hasty and careless), the change in music is hardly for the better; the new style is your average modern post-thrash ala Pantera (just check the heavy aggro-pounder "No Love Last") with some of the technical proficiency (the jumpy nervy "New God") of Rosicrucian only timidly showing here and there, plus the odd more energetic cut (the vivid opener "Nothing Remains"). A kind of relief that they never recorded again.

Bound EP, 1995
240.25 Actual Reality Full-length, 1996

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SLAPDOWN (FRANCE)

Based on the full-length, these folks serve retro thrash/death which is performed simplistically, without any particular ado, with short blitzkriegers ("Beware", "Antes Que tu Mueras") probing the aether with gleeful vehemence, the shouty death metal singer creating further drama on the side, with a more modern vibe arriving with "Hate", the hardcore flavour of "Built by Depravity" another more abrasive presence.

Cult EP, 2018
Fundamentally Wicked Full-length, 2021

Official Site

SLASHER (BRAZIL)

The debut: a decent blend of modern and retro thrash with angry, but subdued, not very shouty, vocals. The album is a mixture of fast classic and slower modern tracks the latter overtaking the space in the second half diminishing the impact from this otherwise not bad offering somewhat reminiscent of the last two albums of their compatriots MX.
"Katharsis" is another slashing affair perhaps clinging more on the modern side this time, the boosted edge of the guitars now an advantage despite the diminished speedy delivery. In the second half the album gets lost in repetitive modern thrash patterns killing all the inertia with the dragging closer "All Covered in Blood" which is a bland blend of power metal and post-thrash.

Broken Faith EP 2009
Pray For The Dead Full-length 2011
Katharsis Full-Length, 2014

Official Site

SLASHING DEATH (POLAND)

Based on the "Kill Me Coz I Can't Stop" demo, this is thrash/crossover which in terms of speed and brutality surpasses even Wehrmacht and Beyond Possession. The music is quite intense bordering on grindcore with short 1,1.5-min tracks. The aggression leaves some room for more melodic, punk-ish numbers, though: "Power".

Deathly Ceremonic Demo, 1988
Live at Thrash Camp Demo, 1988
Irrevocably And With No Hope Demo, 1989
Kill Me Coz I Can't Stop Demo, 1990
Kill Me Coz I Have No Hope Best of/Compilation, 1992
Kill Me Coz I Can't Stop/Irrevocably & With No Hope/Live at Thrash Cam Best of/Compilation, 2004

SLATE GREY (CANADA)

Based on "World Turns to Black", these guys provide dynamic modern thrash with steel, sharp riffs and with a vocal "duel" between clean and death metal throats. The delivery at times clings towards the melo-death side but this can't be a complaint as the guys do everything proficiently moshing hard on short rippers like "Remedy" and "Angel", complicating the environment on more elaborate cuts like "Speechless" and the diverse progressiver "Generation of Degenerates".

Living in Obscurity EP, 2008
Nothing Ever Dies Full-length, 2009
World Turns to Black Full-length, 2017

Official Site

SLAUGHTER (CANADA)

A cult thrash metal band; "Strappado" is a raw and brutal affair, sounding like early Celtic Frost mixed with Possessed's "Seven Churches", which delivers the goods in a respectable manner. The opener "Disintegrator Incinerator" will shock the unprepared with its brutal fast proto-death-ish riffs in the beginning although the continuation is much slower, but almost as impressive: "Nocturnal Hell" is a fine, monotonous hypnotic track in the best tradition of Celtic Frost. "F.O.D. (Fuck of Death)" carries on in the same vein before "Tortured Soul" kills those who survived the first brutal attack with another explosion of aggressive merciless guitars, this time served with a heavy doom break. Later on both styles take turns, but the songs become shorter, and the faster numbers come with an even bigger death-ish edge, with "One Foot In The Grave" boldly jumping the "fence" towards grindcore.
"Not Dead Yet" should have been the band's real initiation into the death metal field which they "courted" so well on the debut. Well, but no, and not only because it's a compilation of demos and live recordings; similar to Possessed the guys have chosen the thrash metal path and have chosen wisely because with the much improved musicianship this great album is what "Eyes Of Terror" was for Possessed: a sure-handed take on more thought-out, even semi-technical at times, thrash. The speed remains for most of the time, but the more polished guitar sound brings now the style closer to acts like Vio-Lence and Rigor Mortis. The slower songs ("Threshold Of Pain") don't carry the Celtic Frost legacy, but have a sound of their own, maybe resembling Slayer's late-80's period. The second half is a true revelation: "Time Warp" is a nice little semi-technical thrasher recalling early Coroner as well as the longer more complex "The Dark". "Astral Projektor" is a fine speed/thrasher with a nice guitar work reminiscent of Mike Scaccia (Rigor Mortis, Ministry), and "Telepathic Screams" is a masterpiece of up-tempo atmospheric thrash with technical, but not fully developed, tendencies. This work screamed for a follow-up which was to elaborate on the stylish sparkles scattered throughout, but like it was the case with Possessed it remained without any continuation, still being more than enough to secure the band a place among the finest practitioners of the genre from Canada.
"Not Dead Yet" is excluded from the band's discography at present, and is listed in the one of the act named Strappado who is the obvious continuation of Slaughter founded by the guitarist and singer Dave Hewson from that same band.

Nocturnal Hell EP, 1986
Strappado Full-length, 1986
Not Dead Yet Full-length, 1990

Official Site

SLAUGHTER (POLAND)

Despite the bad sound quality, this demo could pass as one of the first attempts at death metal on Polish ground. The music is a very fast and brutal fusion of thrash an death metal, similar to the first two Death albums, and Kreator's "Pleasure to Kill", but kind of more vicious and relentless. In the vocal department again we have a Kreator resemblance as the guy is definitely influenced by Mille Petrozza, although his voice is more aggressive and hysterical. The last track "Fucking Thrash" is intended as a joke (no one can fuck with thrash, you know that!), but it alone can break your neck if you try to headbang to it. Seldom can one hear so much sheer speed involved; this very obscure demo could have been an influence on Impaled Nazarene and other extreme metal bands.

Into the Darkness Demo, 1989

SLAUGHTER (BRAZIL)

Based on the "The Broken Knee" demo, these lads serve rough old school thrash which throws itself down the proto-death end with the brutal chaotic melee on "The Final Command", the aggressive shouty deathly vocals also leading in that direction, with "Reality" serving a few more restrained heavier riffs in order to produce something a bit more complex. The rest is violent unhinged stuff covering hardcore ("A Village Called Earth") and full-fledged death ("A Village Called Earth") along the way, the musicians' efforts severely hampered by the very pristine sound quality.

Death Machine Demo, 1987
Slaves of System Demo, 1987
Change This Reality Demo, 1989
The Broken Knee Demo, 1990

SLAUGHTER COMMAND (GERMANY)

Bashing black-ish thrash with not very pleasant screechy raven-like vocals. The music packs a punch and the riff-patterns are not bad at all despite the hissing reverberation accompanying the guitars for most of the time. Purer thrash arrives with "Adamantium Rage" and improves the situation the remaining numbers all possessing the razor-sharp retro spirit which doesn't get betrayed even on longer compositions like the Impaled Nazarene-sque "Impious Verses/Dragged to the Altar". More thrashing roller-coasters later on with "Camp Blood" and the vicious thrash/deathster "Interceptor" before the title-track wraps it on more complicated landscapes along the lines of mid-period Destruction. Some of the musicians indulge in more orthodox black metal with Moredhel.

Ride the Tornado Full-Length, 2012

Official Site

SLAUGHTER DENIAL (ITALY)

Based on the full-length, these Italians provide a modern thrash/death mixture which in this case means that some groove is inevitable, but it comes with a nice aggressive flavour ala early Pantera (think the period with Phil Anselmo, not the very early one), also recalling Slipknot (yeah, those same ones) in the intense guitar department. The album has the necessary amount of energy flowing out of the cuts in the second half like "Treachery" and "Reedemer Butcher". "Chilling Abduction" is a cool more technical, jumpy track, and the final "Mind Diverted" is a more industrial take with an overlong voice sample finishing it, the latter not involving the hysterical shouty vocals which are at times interrupted by more appropriate death metal-tinged ones.

Eyes of Madness EP, 2010
Treachery Full-length, 2011

Official Site

SLAUGHTER HOUSE (USA)

Based on the debut, this act serve a playful laid-back blend of power, speed and thrash which is close to acquiring an elusive groovy vibe on the opening "F.T.W.". Not much hard-hitting thrash on "Let The Neighbors Hear" which hesitates between cheesy rock and more intense speed metal. A somewhat awkward amalgam which concentrates on the cheese and the sleaze on "U.S.A." that may impress the Cinderella or Quiet Riot crowd. "It Ain't Easy" is another sloppy mix of speed and poppy aesthetics the band apparently intent on turning this concoction into their trade mark since almost every subsequent cut epitomizes this approach, "Kick 'Em When They're Down" after overcoming a cool balladic intro, being a surprisingly energetic speed metal anthem. Elsewhere "Incomplete Insanity" is a semi-galloping merry-go-rounder, and "Demon's Flight" is a really boring 7-min quasi-doom rockabilia. "Wasting Away" is a blase pensioner's rocker starkly contrasting with "Black Sheep", the last entertaining fast-pacer if we exclude the joke closer "Electric Rasp", 1.5 min of carefree crossover. This is a fairly bland recording which may not find its most devoted fanbase among the thrash metal one.
"Face Reality" is an audible improvement in nearly every respect with a couple of sharper thrashers like "Open Eyes Open" provided on top more diverse, more serious speedsters ("Baby Song"). "Getting Away With Murder" is by far the highlight, a rigorous speed/thrasher in the vein of Tankard and Vectom, and the final "D.W.DIE" is the only indication of open radio-friendliness that so heavily peppered the debut.

Slaughter House Full-length, 1990
Face Reality Full-length, 1991

SLAUGHTER LORD (AUSTRALIA)

This obscure Australian band feature two Mortal Sin members, but their music is far from the Metallica-esque one of their more renowned compatriots. Slaughterlord never got lucky to have an official release, and their raw primitive, Slayer-influenced thrash bordering on death metal at times, have reached the ears of a very limited number of thrash metal fans. The compilation is an uneven mixture of very messy amateurish songs and nice thrashers with good riffs, surely a sign that, if having been given the chance, these guys could have become something more than just an underground phenomenon.

Demo Demo, 1986
Rehearsal Demo Demo, 1986
Taste of Blood Demo, 1986
Thrash 'til Death Best of/Compilation, 1998

SLAUGHTER MESSIAH (BELGIUM)

Based on the full-length, this act serve a retro black/thrash saga with a few shades of death metal as well, the hyper-active parade tolerating a few more entangled developments ("Mutilated by Depths") the latter playing a more prominent role in the second half where also the diverse progressiver "Hideous Affliction" and the pounding roller-coaster "Pyre" belong. The singer is a harsh death/black semi-shouter/semi-rasper who fits the musical twists which also continue on the other two acts the band members are active with, the black metallers Heinous, and the speed metal outfit Horacle.

Black Speed Terror EP, 2013
Putrid Invokation EP, 2014
Morbid Re-Incantations EP, 2016
Cursed to the Pyre Full-length, 2020

Official Site

SLAUGHTER OF THE SOULS (POLAND)

Ripping modern thrash/death with a Gothenburg flavour so the band name is actually not very misleading. There are a few slower moments ("Damnation") with a semi-balladic vibe, and generally in the second half the intensity gets decreased by a few notches. Still, the final "Among The Deaf" is a revelation, a dynamic headbanger with cool semi-technical riffs. The singer shouts in a forceful, comprehensive manner leading the show with panache. The guys are also active with the death metal act Night Gallery.

MMXII Full-Length, 2012

Official Site

SLAUGHTER SHACK (USA)

Based on the demo, this act play a playful form of thrash which isn't exactly crossover-laced, but clings more towards Re-Animator, the Mordred debut and Anthrax on the more aggressive parts. The fast sections aren't many at all, and the band at some stage seem quite content shredding in a calm power metal-ish manner the rough semi-clean vocals not very fitting on the last couple of cuts which are more on the sleepy side. Despite the clear sound quality, the band can hardly convince anyone that they can produce something more interesting.

Slaughter Shack Demo, 1989
Fuck You/Fuck You Too Split, 1992

Official Site

SLAUGHTER STRIKE (CANADA)

Bashing raw retro thrash/death metal which ranges from outrageous grinding ("Into The Slaughter", "Lone Wolf Dementia") to atmospheric doom ("Carnal Promises") compositions all accompanied by low-tuned semi-whispered death metal vocals. The pace is usually fast, but one-dimensional, and the drums are too hollow stifling the other instruments on quite a few times.

At Life's End EP, 2010

Official Site

SLAUGHTERCHRIST (USA)

These guys had tried hard to slaughter Christ with their only demo of exquisite vicious intense thrash/death which, despite the garage sound quality, manage to pull out fairly interesting twisted riffs on a strong technical base which relies on several tempo-changes and a thundering bass bottom. The overall delivery recalls Hexx and early Coroner (the interesting unpredictable twister "Faith"; the excellent closing progressive saga "Revolving Death") with its meandering arrangements and more stylish musical decisions plus the oblivious proficient lead sweep which is another highlight, albeit not very frequently applied. The guys relax for a bit with the short more direct "Pray (Prey)", but on the other material they really do a great job except probably in the vocal department where the guy just semi-recites in a dark scary death metal fashion. The band could have been major stars on the burgeoning at the time death metal circuit if they had lasted longer. Some of them also took part in the short-lived death/thrash metal outfit Baphomet who released a solitary demo in 1987.

Reflections of Things to Come Demo, 1990

Official Site

SLAUGHTERDAY (GREECE)

The demo: this is classic thrash with an abrasive guitar sound which blasts out at times in a not very controlled blacky fashion ("Slaughterday") that breaks the otherwise monolithic sound which is quite close to early Celtic Frost and Hellhammer if we exclude the hysterical shouty vocals which come served with a pinch of black metal. A cover of Ramones' "I Don't Care" is thrown in at the end sustained in the appropriate punk spirit except for, again, the bad vocals.
The full-length is oriented towards the death metal idea more, with bold shades of black metal embedded as well; in other words, thrash doesn't have much to do here "Entrapped in Agony" summing up the black/death metal idea in a more encompassing manner being a nearly 9-min progressive behemoth, the highlight on this otherwise brutal, chaotic recording which is very appropriately finished with a cover of Sore Throat's "War is Horrendous".

Rulers Command From Iron Thrones Demo, 2011
Countless Graves Is the Legacy of Wars Full-Length, 2018

Official Site

SLAUGHTERED (CHILE)

Two songs of intense speedy classic thrash with a pinch of hardcore; there's some Slayer influence in the guitar work as well a few scary death metal shouts unleashed on "Chilean Horror Homicide" as opposed to the main gruff semi-hardcore vocals.

DxTxF Demo, 2008

My Space

SLAUGHTERED CORPSE (INTERNATIONAL)

Retro death/thrash which isn’t very high on musical merits, the guys just bashing with passion with direct violent riffs, the maddening “Asphyxia” pure death metal vitriol, “Open Illustrations” a sturdy lengthy doom-laden hymn. Things get further diversified with the creepy more technical wonder “Sounds of Death”, before thrash puts its foot down more firmly with the short not exactly dissonant “Cognitive Dissonance”, the intricate shreds on “Acts of Illusions” recalling Hellwitch and Vicious Circle. More doom-fixated, also chemical, mystery with “Chemicals”, the vocalist rending his lungs to the brim, reaching hysterical heights despite his dominant death metal throat, the short closure “Digestive Rectum” another entry into the fields of the funereal slowmotion tactics.

The End of an Era Full-length, 2023

Official Site

SLAUGHTERED GRACE (USA)

Pedestrian, not exorbitantly intricate speed/thrash close to Hallows Eve and Destructor; "Music For The Dead" is a nice short instrumental sustained in a brisk uplifting tempo, but the rest is more on the average side although the guys do pull out a couple of delectable melodies ("Twins of Sin") some of which sound quite close to the ones from the early Mercyful Fate recordings; and the headbangers will by all means enjoy the short, non-fussy cuts ("I Don't Want Your Millions", "Worldwide Suicide") some of those executed with an overt hardcore flavour.

Call This Planet...Slaughtered Grace Full-length, 1989

SLAUGHTERED PRIEST (GREECE)

This act, which consists of only two "satanists" (one of whom, the alias Ungod, is a "notorious" figure on the Greek underground, taking part in numerous black metal projects), plays cool sinister black/thrash of the old school, mixing energetic up-tempo numbers ala early Bathory with heavy doomier ones in the spirit of Khold. Sparse abstract blasts ala early Satyricon can be caught ("Antihumanity"), as well as heavy stompers in the best tradition of Celtic Frost: "I'll Keep Burning Your Cross". "Your Temple" suddenly switches onto a more technical play being a very good intense thrasher. The vocals are mean snarly, coming as a mix between early Quorthon (R.I.P.) and Gard from Khold.
"World Wide War" is the more proficient effort, thrashing faster with a better sound quality although the mixture from the debut remains. The vicious Bathory sound returns with "Proud To Be A Sinner" ably supporting vintage old school speed/thrashers like "Lightnings Of Vengeance", the speed delight at the end "Unholy War", and the excellent diverse opener "W.C. (World's Coffin)". "Rise Against Humanity" crosses over the good behaviour with more extreme black semi-blasts, and "Slaughtered Priest" is sinister doom/black/thrash in the best tradition of Khold and more recent Satyricon.
"Serpent's Nekrowhores" is a cool, albeit too short (six songs only), effort of merry-go-round classic black/thrash which develops in an energetic speedy fashion for most of the time this time recalling the Japanese practitioners in the trade (early Sabbat, in particular) and Toxic Holocaust with its non-stop barrage of roller-coaster guitars which surprisingly moves up the technical level on a few longer cuts ("Serpent's Nekrowhores", which also scores high in the melody department; "Vomiting Your Inner Self" which is a dramatic thrasher with genuine atmospheric moments). Fans of the band should by all means be happy the guys staying faithful to their roots without sounding repetitive or boring.

"Confess Your Sins" will make you confess your sins big time especially with the speed metal attack unleashed upon you with the explosive opening "Speed Metal Attack". The mosh carries on on full-throttle the speedy approach getting a bit merrier towards the middle clinging more towards speed metal the guys never losing it producing an intense sound not far from the one of Solitaire and Alastor. "Thrash The Witch" would rather speed the witch with its relentless fast barrage before "Bloodthirsty Pentagram Bitch" loses it quite a bit with its more stripped hardcore-ish approach. No any complaints, though, on the excellent closer "Demonic Terror" which combines melody and ferocity in an impressive manner making this effort arguably the band's finest hour.
"Bang Your Head for Satan" will bang your head not only for Satan but for all the denizens of Hell combines, the ravaging "Torment the Chapel" backed up by every other composition here, the catchier friendlier "Symbol of Lies" staying off-course for a bit, before the virulent skirmishes on "Unholy Command" and the title-track override the meeker epic build-ups on "Rites of Schizophrenia". "Back to Hades" preserves the epicness, but the vehement developments later easily bind it with the more extreme side of the black metal movement, "Crypt of the Insane" bashing with passion as well, the band remaining true to their uncompromising stance.

Eternal Goat Reign Full-length, 2008
World Wide War Full-length, 2009
Serpent's Nekrowhores Full-length, 2011
Confess Your Sins Full-Length, 2012
Iron Chains and Metal Blades Full-length, 2016
Bang Your Head for Satan Full-length, 2023

Official Site

SLAUGHTERER (GERMANY)

Based on "The Conjuror of Realities", this act indulge in vicious aggressive thrash/death which is more prone to death metal, but the fun is ensured thanks to fast, sharp riffs which at times cross the border of the good behaviour: the uncontrolled blast-beats on "Compulsive Disorder". The title-track is a more curious piece with twisted melodies ala Immolation abounding; and "Morbid Realm Of Pestilence" is a surreal, more technical composition thrash taking the upper hand for once there, its role further diminished by the guttural semi-shouty death metal vocals.

Possessing Violence Full-length, 2014
The Conjuror of Realities Full-length, 2016

Official Site

SLAUGHTERHAMMER (GERMANY)

An ultimately raw and brutal recording of fast amateurish thrash/proto-death with very extreme growling vocals which only emit some unintelligible sounds of the semi-vomiting type. The music is constantly fast and clearly favours the early death metal sound sounding well more vicious than the Death debut, for example, but the musicianship is of such a low quality that one would hardly wonder why he has never heard of it after all these years; this is just a wall of guitars and bass with hardly any drum work at all. If Hellhammer had released pioneering twisted brutality of the slower doom kind, this act here had aimed at the other extreme, but the Swiss' music skills were way better.

Zombie Surrender Demo, 1986

SLAUGHTERHOUSE (CHILE)

Based on the full-length, this band play retro thrash/death with vicious riffing and apocalyptic shouty death metal vocals. The more death-laced material ("Adenochrome") is also the more technical, whereas the thrashier expletives ("Archons") are more streamlined and not as flashy. "The Panopticon" is a wonderful melodic technicaller with echoes of the Canadians Quo Vadis, and "Cognitive Dissonance" is an impetuous roller-coaster with bold attempts at progressive. "Inner Agony" is another wink at the more intricate ways of expression, a short restless twister, and "Misotheism" is a sweeping look at the Floridian death metal movement, a complex saga with nods to Morbid Angel, above all. Some of the band members also play with the old school death/thrash hybriders Venus Torment.

Unholy Justice EP, 2014
Genuflection EP, 2018
Human Dissociation Full-length, 2021

Official Site

SLAUGHTERRA (GERMANY)

Based on "Lugenherz", this band play modern dynamic thrash with melodic metalcore implements. The tempos vary from one track to another but ultimately this is too familiar to make one stand with it till the end. The guys were earlier known as Tortured when they managed to release a solitary demo in 2010.

Slaughterra Full-length, 2013
Lugenherz Full-length, 2016

Official Site

SLAVATOR (SWEDEN)

With three demos released in just one year (now that's what I call productivity) it's obvious that the band want their voice to be heard. The titles of some of the demos (and split) already give you a clue: the guys play old school thrash metal with nods to the German scene of the 80's, and a shade of Slayer and Evildead. The music is fast and aggressive most of the time: simplistic, but true to the high models.

Demo Demo, 2005
Sacrificial Homicide Demo, 2005
Thrash Metal Warfare Demo, 2005
Hellish Thrash Assault Split, 2006

Official Site

SLAVE (COSTA RICA)

If we exclude the not very pleasant fuzzy background noise, the rest is pretty acceptable old school thrash which is full of energy in a way not too different from Slayer's "Reign in Blood" and Evildead's "Annihilation of Civilization". The guys here are perhaps more sophisticated, especially in the lead department where some cool moments can be caught despite the screamy nature of the guitars. Still, the pace is pretty fast for most of the time the slower passages not a very frequent occurrence. The closing "Thrashed" will do more than just "thrash" you: this is a squashing proto-death cut which will nail you down with its merciless downpour of riffs lasting for just above 2-min. The semi-declamatory death-laced vocals aren't really an asset but are suitable and not distracting.

Brutality Demo, 2011

SLAVE (JAPAN)

An energetic mixture of power, speed and thrash which suffers a bit from the inexpressive punk-ish vocals which only favour the more laid-back approach on "PSYCHOXXX", and partially the more lively thrash/crossover jump-arounder "D.N.A.". The sound quality is really bad considerably hampering the guys' sincere efforts.

Demo Demo, 1997

SLAVE AGENT (CANADA)

The EP: a classic thrash ripper which takes no prisoners ("Heinous Beings..."), at others stomping with more brains ("God Have Mercy") by also trying something more intricate for good measure. Both sides are equally as dexterously pulled with the diverse "Order of the Masses" trying to please a wider gamut of fans by combining both sides, the mean semi-shouty vocals being effective without occupying too much space.
The full-length is another pretty good bouncy classic thrash which this time comes served with clever progressive structures and occasional winks at the Bay-Area ("Wretched Connection"), with more intense mosh generated on less compromising cuts like "Clarity of Thought.", which still features a few more entangled arrangements. The speed metal-ish vehemence of "Post-Modern Terror" is also more than welcome, the guys slowing down on the dramatic steam-roller "Power Eternal". The melodic aesthetics of "Alternate Histories" kind of betray the more hard-hitting character of the remainder which also includes the 9.5-min closer "Parasite, the Bitter End", an absorbing pro-thrash journey with several nuanced intertwined, with virtuous melodies and arresting lead guitar work leading the lofty show.
“Silent Universe” breaks no new boundaries, the guys moshing with passion all over, the vehement sweepers “Forced to Suffer” and “Betrayer” leading the ferocious pack, the more intricate histrionics of “Slaughter at the Gate” complementing the entangled musicalities of the encompassing progressive 10-min closer “Alien Tomb”.

Slave Agent EP, 2020
Alternate Histories Full-length, 2021
Silent Universe Full-length, 2024

Official Site

SLAVE PIT (NORTH MACEDONIA/BULGARIA)

Based on the full-length, this act specialize in standard by-the-book classic thrash accentuated by the expressive semi-shouty death metal vocals the latter inevitably bringing a shade of proto-death ("Ancient Disease", "Slave Pit (Fire Madness)") with them. "War Has Begun" goes over the top with less bridled blasting sections, but the remaining material doesn't cross the borders of decent behaviour too often.

At War with People EP, 2014
Massacre on the Battlefield Full-length, 2018

Official Site

SLAVE STEEL (ITALY)

Based on “In Fieri”, this outfit serve heavy modern groovy post-thrash/post-death with stomping dramatic riffage and very shouty hardcore/deathly vocals. “2 Hours” is a capable dramatizer with sudden rhythmic eruptions, and “Warm up” is a soothing doom-ornate number with catchy melodious developments. “Kantharos” is a lively bouncer with more assured thrashy tendencies, its bridled vigour partially supported by the seismic ten-ton guitars unleashed on the formidable closer “F(r)ail”. Some of the musicians are also active with the death'n rollers Goblin King.

Entanglement Full-length, 2015
Slave Steel EP, 2018
In Fieri Full-length, 2023

Official Site

SLAVE TO MISERY (GERMANY)

The debut: the album-title might incline you to think that you'll come across some technical thrash here, but this isn't the case. This is modern melodic thrash metal with a certain amount of groove present, but also nice melodic leads and riffs, and a somewhat gothic atmosphere bringing to mind early Lake of Tears. So you can imagine that this would be pretty far from a technical paradise although it's not bad at all with its dark semi-depressing guitars.
"The Maze" is another modern power/thrash affair without any particular surprises if we exclude the several more intense exercises on more hard-hitting thrash like "Taking Power" and the cool headbanger "My Place". The rest is much less belligerent also coming with a semi-balladic shade ("All Is Lost"), and with a touch of progressive ("One of One", the dramatic brooding shredder "Burning").

Technical Paradise Full-length, 2004
The Maze Full-Length, 2018

Official Site

SLAVE ZERO (IRELAND)

Old school thrash (based on the debut) with shouty death metal vocals; the music is a hit-and-miss affair: there are some nice moments, the 10-min epic thrasher "When Science Turns To Hope" which reminds of the similar exploits of the Finns A.R.G., and a cool cover version of Death's "Zombie Ritual"; but there are quite a few tracks which sound uninspired and derivative. This could, however, be forgiven as the band definitely have potential and these flaws can be easily smoothed out on future efforts.
The "Disambiguated Visionary" EP provides a very clinical, mechanized guitar edge, to these ears for the much better, for the sake of the more dynamic moments from the guys' previous repertoire. Still, the stylish jumpy decisions on "Embroidered Strategy of Calcul" are quite captivating embroidering twisted Atheist-like tapestries, and the short "Oscillating Perceptions of an Abstract Existence" is a wild chaotic thrash/deathster with head-spinning vortex-like riff-patterns. The closer "Anthropic Landscape Theory" is another labyrinth of escalating technical drama which is this time more on the melodic side, and a pleasant epitaph to this really impressive new beginning for the band.
The "The Pain Remits" EP switches onto a heavier sound with doom metal taking over on the opening title-track. Then comes "I Fear For You" which is a fairly dynamic, not very predictable technical jumper also graced by a slower doomier passage, but remains a really tasty hectic shredfest. "Soul Of Ruin" is another appetizing mixture of very technical and heavy riff-patterns, a spastic rifforama at its most shining best with a brilliant balladic bass-driven exit. "Relief" is hardly a "relief" being the next in line exercise in virtuous technicality of the creepy, less flashy type with fine melodic leads. "Faceless" closes this short effort in a more orthodox progressive fashion, a timid melodic number, the only reminder of the less interesting approach from the debut.
"Exempt from All Tolerance" is a stunning display of technical wizardry at which the preceding very good EP can't be even considered a hint. The guys start shredding with so much style from the opening title-track that the listener will be literally overwhelmed by the perennial cannonade of spastic, overlapping rhythms and riff-patterns which will bring sweet memories of heroes like Atheist, Coroner, Mekong Delta and early Nomicon. This is addictive stuff which will throw you into several spontaneous pogos as well: check the brutal insertions on the cataclysmic puzzler "Antidote to Suffering". "Engineering Opportunities to 'Ordain' the Innocent" is a superb cavalcade of stop-and-go rhythms which would make even Tommy Vetterli (Coroner) wince on a couple of times at these audacious time-changes which flow unperturbed by the very dynamic, headbanging background. A string of shorter, more death metal-based numbers follows from which "A Sacrifice For The Greater Good" is the relatively more atmospheric, less exuberant shredder, and "Impervious Determination Undermining a Malignant Ambition" is the shortest way to the asylum, 2.5-min of crazy compulsive technical rhythms with a nice futuristic colouring. "Straight for the Jugular" is an ultra-technical deathster (there's not a lot of thrash to be encountered here) with an almost undecipherable conglomerate of twists and turns paving the way for the closer "Vengeance" which brutalizes the environment with a few blast-beats on top of a very nice quiet mid-break and virtuoso lead sections. The vocals remain the weakling being too shouty and forced, both the lower-pitched growls and the higher-positioned shrieks the latter to point of hysteria. Listening to this extraordinary album, one may find it really hard to believe that these are the same guys behind the very ordinary debut; by far one of the most impressive efforts of the new millennium.

The Defiant Stand Full-length, 2002
The Pain Remits EP, 2006
Exempt from All Tolerance Full-length, 2009
Disambiguated Visionary EP, 2013

Official Site

SLAVER (BRAZIL)

This band is another one where M'e1rcio Cambito, the singer and guitarist of the new Brazilian thrash metal heroes Violator, displays his talents. This 3-song demo is a direct take on the early Destruction blistering speed/thrash style. This is excellent intense fast-paced stuff, hitting you like a hammer ("Thrash Forces" is the new thrash metal hymn), touching Kreator's "Pleasure to Kill" on the more intense ts ("Slaver"). Cambito gives a new shade to his vocals here coming as a lower-pitched gruffer version of Schmier, trying some quite cool semi-shrieks in his vein (check out "Slaver" again). Hopefully his engagements with his main band won't keep the fans waiting long for the eventual full-length.

Thrash Forces Demo, 2006
Brazilian Thrash Massacre Split, 2007

My Space

SLAVERY (BRAZIL)

Death/thrash metal resembling Hellwitch and early Massacra; very energetic, with two vocals quarrelling throughout the albums: one of the regular death-type, the other a vicious snarl. "To Kill in Cold Blood" is a fine combination of thrash and death metal with fast tempos and a dark brooding atmosphere. The album has its more brutal uncompromising side ("Devil's Triangle") which, when given a more technical edge ("World of Tears"), touches Hellwitch and Morbid Angel, but it's energetic thrashers like "Burial To Crowd" and "Silence Is Agony Of Die", which would please the thrash metal fan more and should have been more. "Immortality" is a nice technical death/thrashing piece started with a marvellous acoustic intro.
"Immortal Dismalness" is mostly aggressive relentless thrash metal with a more technical edge, this time sounding quite like Hellwitch, although the more immediate numbers ("Heartless By Face") are not miles away from early Kreator ("Pleasure to Kill") as well. The break from the intense delivery is in the form of "Flatlines": a fine slower, gothic-laced song, after which the sound becomes more brutal, with death metal coming back for a while, as a remastered version of the best track from the debut "World of Tears" (at least to these ears the difference between the two versions is very small). "Melancholies Of A Soul" is a marvellous closer: a lead-driven atmospheric instrumental followed by the equally as enchanting short orchestral outro "Melancholies".

To Kill in Cold Blood Full-length, 1992
Immortal Dismalness Full-length, 1994

SLAVERY (CHILE)

"Collapse" offers heavy thrash which hesitates between the classic and the modern school. The mixture works well and the music is mostly mid-paced acquiring more melodic tendencies ("Damned Sunset") brought by atmospheric offbeat moments. When the guys put more energy into the proceedings, they can come up with cool more energetic thrashers: "No More", which is arguably their more preferable side. On the other extreme we have the dark doom "I Live In Torment".

Collapse Full-length, 1997
Rencor EP, 2005

Official Site

SLAVERY (GERMANY)

The debut: these guys play decent classic power/thrash with quite a few epic throw-ins ala Falconer; as a result the music will also remind you of the Swiss Drifter and Bifrost. The speedy outbreaks scattered throughout are the better side since they give the music a desirable boost, and the dominant mid-tempo wears thin after a few listens not containing very interesting guitar work although the singer is a find with his emotional clean delivery again recalling the early (and also present as of this writing) Falconer singer Mathias Blad.
"Dawn of Mankind" comes with a more modern sound and more conventional song formulas which don't contain a lot of thrash sticking to moderate power/speed metal patterns consequently feeling more comfortable staying closer to the 90's trends in the style. The speedy crescendos on "Collective Suicide Salvation" are a cool deviation from the established calm patterns, but those moments are very rare the only saving grace of this saga being the very good dramatic vocals which surpass the other performers by miles.

Lost Reality Full-length, 2009
Dawn of Mankind Full-length, 2012

Official Site

SLAVES (ITALY)

This is a total, also fairly cool, take on Slayer (think a mix of "Show No Mercy" and "Reign in Blood), from the pristine production to the intense semi-declamatory Tom Araya-sque vocals. Remorseless headbangers ("Invasion", "Cryogenic" accentuate this recording which occasionally displays a more contrived aspect ("Evil Cannot Die"), but one can't simply sit still on compulsive outbursts of energy like "Blood on the Sword" and "Insolent Aggression", infectious Slayer-esque roller-coasters, the dark brooding "Hell Crawler" pacifying the turbulent spirits, before "Wait & Pray" brings the sound of "Show No Mercy" right at your door with angry sharp riffage. Fans of the American legends will rejoice as seldom can one come across such a devotional tribute to a grand model. The band members later continued their career under the Insane moniker, producing one more album of the same Slayer-esque seismicity.

Insolent Aggression Full-Length, 2001

SLAVES OF IMPERIUM (FRANCE)

The debut: this is classic thrash, a typical product from the French scene, these lads staying closer to later-period Loudblast perhaps, the stylish lead guitar work impressing the most, the delivery hesitating between heavy stompers ("Lethal Injection of Solitude") and more hard-hitting fast-pacers ("Masquerade"), the shouty death metal vocals at times intercepted by something a bit better and cleaner. "Empty Shell" is a more complex epic, and the final "Sweet Bitterness" picks a more brutal deathly veneer as a closure.
"New Waves of Cynicism" contains the same old waves of retro thrashing, the melo-death sentiments of the opening "Parasite" failing to turn into the leitmotif, the sincere invigorating thrash unleashed on "Open the Gates of Madness" later cancelled by a string of dark gothic-tinged walkabouts ("Aftermath", "Equation of the Void") where even some strongly emotional clean vocals come up to the surface. Brace yourselves for "Toxic Consciousness of Self Destruction" towards the end, a moshing wonder with suggestive atmospheric overtones.

Observe Analyse Sanitize Full-length, 2022
New Waves of Cynicism Full-Length, 2024

Official Site

SLAVES OF PAIN (MEXICO)

A hellish trio from Mexico who unleash blitzkrieg old school thrash/proto-death over the unsuspecting listener the latter smitten by the vitriolic riffage which also comes with a pronounced abrasive edge as well, the guys turning the tables towards pure death metal on the squashing "The Centaur of the North" and the short maddening roller-coaster "Pessimistic Speech". The vocals are rough deathly, semi-declamatory, and can also be heard on the works of the death metallers Pyphomgertum, and the melodic black metal formation Yatrogeny with whom some of the musicians here are involved.

Prayers of the Death Full-length, 2018

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SLAVESTATE (GERMANY)

This formation specialize in intense retro thrash which has its more brutal death metal leanings ("Blowback", the semi-technical "The Panopticon"), but the overall approach resembles Sacrifice with a similar mean, screechy vocal approach. "Mouthpiece" is a heavy squasher with shades of doom setting the tone for a string of less energetic, less impressive pieces until "Acts of Subversion" starts thrashing with passion once again. As a whole the second half isn't that great the band seldom coming with all the guns blazing regardless of the scattered blast-beats applied which to these ears are plain annoying.

Illicit Mandate Full-Length, 2016

Official Site

SLAVOCRACY (SLOVENIA)

A classic thrash/death hybrid which races with the speed of light on quite a few occasions, with venomous fiery riffs flying in rapid succession, with "Deathmarch" and "Prosperity" creating feverish semi-technical atmosphere. The rough semi-death/semi-hardcore shouty vocals are a passable ingredient, not exactly a detriment, the death-dominated scenery letting the corrosive thrasher "Bite The Bullet" sneak through, the closing "Promises" overdoing it as a finishing touch, hyper-blasting with no restraint for a somewhat underwhelming conclusion.

Slavocracy Full-Length, 2021

Official Site

SLAYER (USA)

An essential band for every self-respected metal fan; theirs was the first real thrash metal album, along with Metallica's "Kill'em All". The band made revolution with the groundbreaking "Reign In Blood" which pushed the boundaries of the genre to its extremes. After such a masterpiece an inevitable change of style followed suit, but Slayer did it in the best possible way opting for a heavier, slower and an overall darker sound on the next two. They recorded sporadically during the 90's lying in wait for the old school days to return, killing the time by making covers of their favourite punk bands ("Undisputed Attitude"), or experimenting with the modern style ("God Hates Us All"). "Christ Illusion" captures only partially the vintage Slayer sound of the 80's, but is a sure step in the right direction; setting up the scene for another revolution in thrash?
Well, the truth is that Slayer were probably the only ones from the old "dogs" of thrash who never messed it up without experimenting with other styles outside the thrash metal spectre without splitting-up during the "dark ages", either, and although "Diabolus in Musica" and "God Hates Us All" were by no means vintage Slayer, they were at least pretty decent more "updated" slabs of thrash, their impact further strengthened by the fact that during the times they were released very few were the brave ones to even entertain the idea of a "classic thrash resurrection", let alone talk aloud about it. "Christ Illusion" saw the guys shaking off the modern elements from the last two albums, and it looked as though the "fathers" of the genre would be able to lead the pack again during the movement's second peak.
So, will Slayer be worthy leaders of the pack in 2009, a very successful for metal in general year? After listening to "World Painted Blood" two, three and more times, the answer is: "Yes", "Yes", and again: "Yes", because this is the best Slayer album since "Seasons in the Abyss", despite the few annoyances along the way, like the mechanized guitar sound and Araya's sparse shouty quarrelsome vocals which he acquired more recently. The title track lifts the mood up in an energetic up-tempo opening confidently despite a few modern "leftovers" in the middle, but is completely overshadowed by the rest which starts with the thrashing madness "Unit 731" which will throw the listener with a splash straight into the middle of the 1980's, and the next "Snuff" will keep him buried there with the staple Slayer creepy mid-paced riffage also added. "Beauty Through Order" begins in a crushing mid-tempo manner, before turning into another whirlwind of fast headbanging riffs very soon after. The mayhem carries on unabated on the next two songs until "Human Strain" which is a slower sinister sleeper, followed by the proto-modern "Americon", but this slight loss of inertia comes fully compensated on the full-on aggression on "Psychopathy Red". A time for a rest is needed after this exhausting number, and "Playing with Dolls" is the last relatively relaxing "stop from the train", again mid-paced and not as intense, before the closing "Not of This God" smashes everything around with its furious riffs. Slayer simply had no right to flop now, in a time when the genre they helped establish is pretty much on top of the music scene once again, both in terms of quality and quantity, and although this is not "Reign in Blood 2" (some albums only "live" once), it is a perfectly acceptable mix of fast aggressive and heavy slower compositions, in a way quite similar to "South of Heaven" and "Seasons in the Abyss". It doesn't quite reach the level of those two (their dark brooding atmosphere and musical depth can not possibly be matched), but it clearly shows an old-timer more than well equipped to compete with both their old colleagues and the new up-and-coming forces on the field.
"Repentless": meet half-Slayer, legends of thrash metal, who were robbed by life... sorry, death, after Jeff Hanneman's untimely demise. And not only that, but the greatest drummer in the universe (you know who) packed up and left leaving his former comrades badly crippled. So what have the remainers cooked this time? Well, this can only be a job half done with half of the crew not present. Paul Bostaph, another famous drum guru, steps in to fill in Lombardo's unfillable shoes whereas another guitarist hasn't been recruited leaving Hanneman's legacy hanging in the air, to these ears not awkwardly. A promising beginning with two "repentless" blitzkriegers, one of which is the title-track, raises the joy high; alas, tehn follow a string of not very focused mid-pacers one of which, "When The Stillness Comes", is Slayer's first attempt at the semi-ballad/ballad (what the f...?). It takes "Implode" to bring the aggression back, albeit with a tinge of hardcore, and "Piano Wire" is another slow dramatizer, but its creepy rhythms are way more desirable than the ones on the previous cuts. The finishing touches are nothing short of outstanding, though, "Atrocity Vendor" a vintage Slayer brutalizer, a sure leftover from "Reign in Blood"; "You Against You" another classic rager; and the closer "Pride In Prejudice" a somewhat modernized, atmospheric shredder.
This is far from a flop, and is by no means weaker than the band's last two installments. Considering the absence of two of the band members, this album is still an above average achievement which indelibly leaves an aftertaste due to its not very impressive middle, but sparkles of the guys' 80's genius can clearly be felt, and would at least keep the fans' hopes smouldering that, who knows, "Reign in Blood 2" could still be a possibility if not in this, perhaps in the next lifetime...

Show No Mercy Full-length, 1983
Haunting the Chapel EP, 1984
Hell Awaits Full-length, 1985
Reign in Blood Full-length, 1986
South of Heaven Full-length, 1988
Seasons in the Abyss Full-length, 1990
Divine Intervention Full-length, 1994
Live Intrusion EP, 1995
Serenity in Murder EP, 1995
Undisputed Attitude Full-length, 1996
Diabolus In Musica Full-length, 1998
God Hates Us All Full-length, 2001
Eternal Pyre EP, 2006
Christ Illusion Full-length, 2006
World Painted Blood Full-length, 2009
Repentless Full-Length, 2015

Official Site

SLAYGROUND (PARAGUAY)

The debut: these South American newcomers serve fresh, critically thinking, blitzkrieg retro thrash sustained in an up-pace with several melodic ornamentations which can't possibly stand on the way of ragers like "Carnage" and "Bonded by Violence" the latter leading the show supported by the casual more relaxed crossover cut ("The Coroner"). There's plenty of thrash "metal up your ass" here, like the title of one of the songs here describes so well, that few will be those disappointed after hearing this sincere downpour which also boasts good attached shouty semi-clean vocals.
"Witching Hour" is another moshing beast, "Hyperion's Cruciforms" the definitive headbanger with its fervent riffs, "The Guardian" complicating the environment with both soaring melodies and more thought-out decisions. The moshing session continues with the non-fussy shorter "Hunted" and the very fittingly-titled wilder "Thrashers Attack". More unbridled rifforamas unleashed on "March to the Wall", before "Mark of the Damned" offers a handsome combination of explosive speedy passages and tasty melodic lead sections.

Critical Thinking Full-Length, 2014
Witching Hour Full-Length, 2023

Official Site

SLAYING OF DEATH (MACEDONIA)

This band play modern thrash/death which focuses on melody more, with the Gothenburg school a tangible influence. There are sharp more intricate sections ("Flowing Fire") to be come across, but it's the fast-paced flyers like "Sorrow Less" and "Cannot Sink" which attract more with their "eagle fly free" clout, the epic/doom officiousness of "Wilde Flowers" a more than welcome digression, with twisted deviant riffs ala Demilich also provided to give this recording a needed level of originality, with "Holy Simplicity" and "Slaying of Death" following on the same less orthodox path for an interesting heavy quasi-progressive finale.

Spiritual Orphans Full-Length, 2020

Official Site

SLEAZY WIZARD (JAPAN)

A pretty decent between classic and modern power/thrash; energetic speed roller-coasters ("Lookin' for Fun", "Ghost of Past") take turns with longer, but monotonous and not very exciting, groovers ("Stone Dead Rocker", the nice semi-balladic "Another Phase of Truth"), with a few really nice surprises (the excellent more technical energizer "Chance", the retro thrashing headbanger "You Must Be a Star") the show topped by good inebriate semi-clean vocals. The band members are also active with other outfits, like the power metallers Galactica Phantom, the heavy metal/shred purveyors Jill's Project, etc.

Stone Dead Full-length, 1997

Youtube

SLEDGE (FINLAND)

Based on the full-length, this act provide optimistic thrash/crossover which doesn't miss out on a more officiant slower material ("See The End"). Still, faster surprises are not a rarity (the speed/thrashing delight "G", the frolic merry-go-rounder "Unicus Interitum"), and the closing "V2" even serves more intriguing progressive thrash on an urgent fast-paced base. The vocals are another cool addition singing passionately and dramatically recalling Jan Lubitski (Depressive Age).

Get the Innsmouth Look! EP, 2015
Midnight Crisis Casino Full-length, 2016

Official Site

SLEDGEHAMMER NOSEJOB (HOLLAND)

This is an optimistic roller-coater thrasher which by all means has a bite ("Crematorium") including a more brutal death metal flair ("Crashing") also expressed in the growling shouty vocals. "Psycho Rocker" moves to the other extreme with friendly pop rock rhythms, and the closing "1347 Black Death" tries some imposing battle-like approach ala Bolt Thrower which remains the highlight on this varied uplifting recording. Some of the musicians also play in the death metal formation Massive Assault.

Stop! Hammertime! Full-length, 2017

Official Site

SLEEPER'S GUILT (LUXEMBOURG)

Really cool retro power/speed/thrash with nice atmosphere and sharp cutting riffs; all nuances are immaculately presented on the opening "Price To Pay" before "World in Ashes" introduces more laid-back progressive passages with a balladic undercurrent. "The Promise" is a wild thrasher with more clever insertions sounding like a more aggressive version of Sanctuary's "Into the Mirror Black". "Dancing All Alone" is a dramatic power/thrasher with choppy riffs, and "Stay" embraces the progressive motifs once again this time with a stronger emphasis on the balladic arrangements. The final "Raven's Fight" is an encompassing 10-min opera which blends wild thrashing with pensive doom moments excelling in the lead department as well. The singer is by all means an asset with his deep clean tone which elicits emotion and passion in a way not far from Warrel Dane.

Sleepers' Guilt EP, 2012

Official Site

SLEEPING VILLAGE (IRELAND)

Based on the self-titled demo, this act pull out decent stomping thrash which is also graced by a very good sound quality. The music loses steam later on with a string of longer not very exciting compositions where the bass player wins the highest marks for his standout performance. The end is on the more technical side, the guys offering several mixes of the same songs for the listener to choose which one he/she thinks is better. This is good stuff and the band could have capitalized on it if perhaps located in a more metal-prone country.

Eternal Darkness Demo, 1991
Sleeping Village Demo, 1992

SLEEPLESS (USA)

The EP: this is hectic semi-technical thrashy stuff which wins quite a few points from the clean attached soaring vocals, the dramatic accumulations on "The Man Who Could Not Sleep" passing for progressive whereas the more urgent layout on "Host Desecration" nicely crosses swords with some really stylish surreal shredding. "Deluded Hordes" deludes no one with its more orthodox speed/thrashing shenanigans, the short semi-galloping "Blood Libel" aggravating the environment towards the end, the hyper-active finale disturbing the beauty sleep of many a damsel in the vicinity. Some of the band members are also involved with the death/thrash cohort Dead Conspiracy.
The full-length loses the thrash idea a bit, but the creepy macabre atmosphere sustained by slow-burning pieces like "The King Who's Not There" and "Host Desecration" should keep the fans hooked, although this is decidedly a less aggressive recording, the overall approach resembling a cross between Nevermore and Andromeda, save for the short brutalizer "Blood Libel (A Vampire Tale)", a vicious twisted thrasher partly supported by the dynamic brooder "Deluded Hordes" and the more linear proto-speedster "Mushroom Clouds at Night". Watch out for the closing "The Man Who Could Not Sleep", a labyrinthine dramatic meanderer which covers a wide ground without falling into too many convoluted traps.

Blood Libel EP, 2021
Host Desecration Full-length, 2022

Official Site

SLEEPWALKERS (BRAZIL)

These lads provide a retro brand of power/thrash which is built around steady mid-paced rhythms ("Silent War") with subversive doom embellishments ("Nowhere") making the atmosphere thick with threat. The "gruff deathly male vs. semi-angelic female" vocal duel doesn't exactly produce any miracles, but the semi-ballad "Life Under The Shadow Of Death" is really effective, the crusty early Sacrilege-sque "Death Us Apart" another positive occurrence. The compositions become longer and more contrived in the second half, the rowdier thrashier "Subconscious Cruelty" leading the pack there, but the male vocal participation remains a debatable inclusion, making this otherwise cool album a somewhat curious footnote into South American metal of recent years.

Hypnos Full-Length, 2019

SLEEPY HOLLOW (USA)

Heavy mid-paced power/thrash of the old school supported by threatening semi-shouty semi-deathly vocals. The music makes sense on "Terror Struck", a staccato rhythm-prone quasi-progressiver with a couple of intense fast-paced passages; "War Machine" adding a more complex, also more laid-back, touch to the proceedings, the band again trying to bend it with bigger complexity with the help of more meandering riff-applications and more frequent tempo-shifts.

3 of 13 Demo, 1991

Youtube

SLICED PIMPLES (DENMARK)

A very enjoyable band who play wild and furious crossover/thrash not too distant from S.O.D.; the album is only half-hour long consisting of 12 songs. The guys infuse their intense sound with a great sense of humour and some punk-ish touches including a version of a Danish children's song.

Brains Condemned To Serious Laughter Full-Length, 1988
Fuckin' Serious Guess Why...? Full-length, 1989

SLID (GERMANY)

First-rate modern, sterile technical/progressive thrash which also comes with a pinch of retro thrash/crossover the resultant "cocktail" featuring such alternative progressive pieces like the spacey "Hell Ya" and the interesting mechanical headbanger "G-Sus". "Pink Noise" reaches almost Voivod-like dizziness due to the dissonant guitars, and "In Between" is another dynamic ripper with clever hectic arrangements. The energetic thrashing "carnage" carries on with the more straight-forward "Mr. Torance", and later with the intricate technicaller "Deathmath" which also features a cool memorable chorus. Jumpy technical rhythms alternate with spacey progressivisms on "My Will To Live" whereas "Attack Of The 50 Feed Woman" is a raging mechanizer the fast-paced riffage also transferred to the closing speed/thrashing rifforama "Warhead". The singer shouts in a dry, robotic manner the whole time, but he can't possibly rival the superb musical delivery which puts these folks right beside Voivod and Myopia as one of the best practitioners of modern/classic progressive/technical thrash of the new millennium.

Some Like It...Dad? Full-Length, 2004

Official Site

SLIKK WIKKED (USA)

Based on the full-length, this band provide a pretty decent blend of power, speed and thrash metal which is marked by some admirable speedsters ("Death Never Rests", the title-track, etc.). Certainly, mixes of the kind inevitably come with quite a few melodic fillers, and this album is no exception although their number is inordinately big, and they also contain the odd harder riff to keep the listener on the edge ("Ascent to Madness" a very good example of that). "Dead in My Eyes" is a nice more serious speed/thrasher, and "On the Rocks" is a cool speedy support to the more dynamic part of the album. The singer should by all means be mentioned as well his emotional, soaring clean timbre a sure highlight on this entertaining diverse opus.

Black Wind of Death EP, 2015
Savage Full-length, 2016

Official Site

SLIMER (INDONESIA)

This band plays decent old school power/thrash with crisp, edgy riffs and somewhat annoying shouty, hardcore-ish vocals. The music is mostly mid-paced, but isn't stale and repetitive the guys varying things with melodic hooks and piercing leads. The closer "Tanda Luka" is a nice lyrical ballad, ruined to an extent by the gruff, not very emotional, vocal delivery.

Otak Sampah Full-Length, 2011

SLIPKNOT (USA)

Don't get terrified, folks: these are not the Iowa-based showmen; this is a 6-track EP of fast, aggressive thrash/crossover. The guys are more intense than D.R.I., but less vicious and brutal than Wehrmacht.

Slipknot EP, 1989

SLICED (COLOMBIA)

This is modern thrash not very far from Dew-Scented with overshouty death metal vocals. The overall attitude is rowdy and dynamic with a couple of more contrived cuts ("Conspirationist Paranoia") roaming around, with "Redlust" providing the marginally less exciting, slower semi-balladic side of this recording, the latter also boosted by the cumbersome doominess of the closing "Dust As Blood".

Optophobia, EP 2019

Official Site

SLOD (GERMANY)

This outfit, the acronym standing for "Seven Lines of Death", have fun thrashing in the good old school manner the harsh semi-shouty death metal vocals the only awkward moment. Otherwise the team know what they do and provide energetic crisp riffs, and cuts like "Friend of Enemy" and "Revenge" will stir the fan's blood in no time; the latter will have to prepare to be smitten by the polished technical fury of the closing "District of Death" which is an ambitious undertaking with progressive/atmospheric undercurrents and could serve as a template for the production of something striking later.

Line I: In Your Eyes Full-Length, 2012

Official Site

SLOGAN (HUNGARY)

On their demos Slogan mix jolly crossover/thrash with more serious, almost technical, riffs the final result at times not too far from the similar, but more stylish histrionics of the Swiss formations Calhoun Conquer and Lunacy. The singer has an awful indifferent voice and does a good job to pull the listener back on occasion. On the full-lengths thrash metal is no longer existent; the style is progressive metal with just a few redeemable merits.

Forgotten Moods Demo, 1990
The Art of Ego Demo, 1992
Speci_l V_szontekercseknek +S Gyurmahabarcsoknak Full-length, 1994
Voluntary Swoon Full-length, 1994
Nincs Best of/Compilation, 1997

Official Site

SLOW DEATH (BRAZIL)

Raw, abrasive thrash which tries to disguise the band's infatuations with the growing groovy movement, but their heavy delivery is just too seismic to be viewed as a pure classic effort. The angry shouty singer also hints at the metamorphosis the genre was experiencing at the time, but still near the end ("Crossing the Light") the band show their teeth and start thrashing with force the thin, screamy leads a not very pleasant addition on top of the sloppy, noisy production.

Native Demo, 1992

Official Site

SLOW DEATH FACTORY (DENMARK)

This band is a side-project of the Illdisposed guys, who here have joined efforts with two others from the thrashers Demolition Inc. Alas, this collaboration offers nothing more than boring groovy post-thrash, mid-paced to slow with heavy guitars which seldom pack a punch. The energetic speedy sections ("Behavioral Abnormalities") are very few, and the borrowings from stoner/doom, hardcore and even gothic do not seem to help a lot.

From the Gutter to Your Ears Full-length, 2008

Official Site

SLOW DECAY (GERMANY)

Based on the "Fridge" demo, these unknown Germans play energetic hard-hitting thrash with echoes of Slayer and Kreator. The guys know their craft shredding like the time was the most prosperous one for this kind of music with short blazing leads coming out of nowhere to assist the fast-paced riffage. The muddy sound quality tries hard to impede the proceedings, but the inspired musicianship overcomes it although the singer could have been a bit more attached: his semi-hardcore-ish recitals are put too up front in the mix deafening the instruments when in action.

Fridge Demo, 1990
Scenotest Demo, 1991

SLOWGATE (SWEDEN)

Based on "Nordic Rage": this band play quite common modern POST-thrash; their music isn't very groovy, and has energy, although it is melodic stuff with power and heavy metal moments added as well. The second half is the better one with longer and edgier tracks sharing something with the Metallica's Black Album.
"Force of the Unknown" is a more varied affair with quite a bit of aggression offered in the beginning, of the modern The Haunted type with casual death metal throw-ins which are way superior to the bland groovy passages. "Moving the Clouds" is a fairly stylish composition which mixes haunting progressive with raging thrash and alternative to produce a hallucinogenic piece with clean vocals quarrelling with the main gruff death metal ones. The other highlight would probably be "Split Personality Syndrome": a sprawling doom/progressive track; or alternatively the short brutal ball of fury "Hit My Face" near the end.

Force of the Unknown Full-length, 2002
Nordic Rage Full-length, 2005

Official Site

SLOWMOTION APOCALYPSE (ITALY)

On both albums this band stick to the well established pattern of Swedish thrash/death metal along the lines of The Haunted, Carnal Forge and the likes. There are no surprises here although this is by all means professional work and hardly is there a band from Italy at the present moment who are better practitioners of this style than these guys.

My Own Private Armageddon Full-length, 2005
Obsidian Full-length, 2007

Official Site

SLUDGE! (USA)

Based on the demo, this act indulges in noisy sludge/doom with modern post-thrash tendencies. The strong buzz of the guitars is a detriment for the music to be appreciated fully, but if you can imagine a mixture of Crowbar and Pantera, accompanied by shouty angry vocals, then the picture should be not far from complete. The riffs move up the speed scale ("Twisted Thoughts For Sweetie") at times, and create some thrashy dynamics here and there, but this is mostly for the doom metal fans with its heavy thunderous riffage and the seismic rhythm-section.

Alone & Twisted Demo, 1998
Behavior Modification Theory Full-length, 1999
As a Man Thinketh Full-length, 2002

SLUDGE BOX (USA)

This is a short-stopover for Jason Viebrooks, then bass player who has hit some admirable heights with acts like Grip Inc, Exhorder, heathen... this short temptation is a decent doom/post-thrash blend which will remind of Crowbar ("Tap The Vein") on the more convincing moments, the morose dirgy riffage on "Pyre" reaching for deeper doom waters, those attempts cancelled outright by the dynamic bounces on "Covet", the dramatic semi-clean/semi-shouty vocals accommodating all stylistic switches with quarrelsome composure.

Sludge Box Demo, 1998

SLUDGEHAMMER (CANADA)

This is playful retro power/thrash with frequent crossover elements plus the added heaviness in the form of several quite seismic doom rhythms ("Ectogenesis"; check out the playful technical, melodic quirks on this one). "Consuming Afterbirth" is a cool dynamic headbanger with great melodic leads (man, can this guy shred!) the latter clearly the star of the show giving this opus a Shrapnel-like decoration at times including on the excellent balladic "Utopian", and the bonus track "Casualties" at the end, a great technical number with numerous twists and turns. The only real drawback here would be the not very impressive guttural death metal vocals which contribute nothing to the entertaining melodic carnival provided by the music.

The Fallen Sun Full-Length, 2016

SLUG (BRAZIL)

Based on "Points Of View", this outfit specialize in modern playful post-thrash which crosses the doom-laden aesthetics of The Flotsam's "Quatro" with the more radio-friendly shreds of Skid Row's "Slave to the Grind". The blend works and the fans will have good fun jumping around on the more dynamic material which is mostly mid-tempo, especially on the extremely catchy anthem "Fight Against Myself" and the more intense shredder "V.V.". The singer delivers with his forceful semi-clean timbre which he doesn't strain too much, and even manages to give it a more melodic inflection from time to time (the closer "Out of Your Minds").

Shattered Full-length, 1997
Points Of View Full-length, 2002
Not For Sale Full-length, 2005

Official Site

SLUG SHELL (USA)

Angry modern thrash/death metal which has its furious side (the over-dramatic death metal opera "The Agony of Perseverance") but generally this is seismic, stomping music the earth-shattering rhythms dissipated at times by more energetic cuts ("Lighter Fluid"; the dramatic semi-technical shredder "Possessed"). The closer "Wrath of Ra" is by all means the highlight, a virtuous all-instrumental composition covering a wide gamut of time and tempo-shifts during its nearly 8-min including some hard death/thrashing among the complicated, melodic progressive landscapes.

The Agony of Perseverance Full-Length, 2016

Official Site

SLUGGARD (AUSTRALIA)

Only one guy is behind this project, known with the initials B.F., and he entertains himself playing wicked retro black/thrash metal mixing heavy Celtic Frost-esque passages with ultra-fast blasting ones supported by unholy low-tuned grunts which are very hard to comprehend.

Sluggard Demo, 2010

SLUGNUT (USA)

Based on "All the Splendor and Rot", Slugnut pull out nice Bay Area-influenced riffs along the lines of early Metallica and Exodus supported by black metal with the overall sound not too far from the Swedes Witchery, or Raise Hell's second album. This is simplistic music, not very fast and aggressive, but having enough headbanging moments to keep the thrashers happy with production qualities recalling the 80's, and some crossover atmosphere bringing to mind Nuclear Assault.

Spasmatic Straightjacket Recital Full-length, 1996
All the Splendor and Rot Full-length, 2005

Official Site

SLUGS (DENMARK)

This band was formed by two members of the Danish thrashers Sacrificial. Based on the "Rotten" demo, the style isn't miles away from the guys' previous band, but isn't as aggressive although it's still a thrash/death metal hybrid of the modern type. The music is more melodic, slower and groovy, with a couple of more up-tempo thrashers, like "Anti-Revolutionary", stirring the mood.
The "Halfway to Hell" demo is a very mild playful affair which hasn't much to do with either thrash or death metal. This is rocky stuff which would be hard to classify as even post-thrash. At their best the guys manage to capture the high-octane merriment of Down and Spirit Caravan, so you can imagine that for thrash metal fans this would be a waste of time; a big waste...

Sex, Slugs & Rock'N'Roll Demo, 2001
Rotten Demo, 2003
Halfway to Hell Demo, 2005

Official Site

SLUMGUDGEON (FINLAND)

Based on "Factoraped", this band play typical groovy post-thrash which lacks imagination but makes up with a couple of more vivid moments ("Four Days"), the jumpy funky "Change to Suffer" capturing some of the complex shenanigans of Tool. The rest is not really worth mentioning if we exclude the effective doomster "Eyesore", the good clean attached singer the major asset here.
"...and on What Grounds?" is a marginally better achievement, alternative semi-thrash with several dynamic grungers ("Self-Opinion Juts Out") scattered around, the rowdy "Happy Days" bordering on full-fledged thrash on occasion, "New Losers" attempting some thrash/crossover for a change, and comes out being the highlight, with the atmospheric psychedelic title-track a close second, a mixture of The Doors and Hawkwind on a steady proto-doom base. Later the guys made a much bigger impact on the scene as Mokoma.

Durga EP, 1992
...and on What Grounds? Full-length, 1993
Factoraped Full-length, 1995

Official Site

SLUMK CORRECTIONAL (SYRIA)

Based on the "Dreaming Underneath Destruction" EP, this Syrian band offer thrash/death metal with nods to both the classic and the modern school. The sound ranges from aggressive to more laid-back, but the highlight here is the nice Oriental melodies, embedded in the music so well that the only band who have managed to pull them so well, are Orphaned Land (and Melechesh, of course, both acts from Israel). Another cool touch are the female vocals which further enhance the good impression from this talented band.

Dreaming Underneath Destruction EP, 2005
F.T.U.N. EP, 2007

Official Site

SLUTVOMIT (USA)

Based on "Swarming Darkness", this formation offer classic black/thrash with an evil atmosphere reminiscent of the Japanese examples in the field: Sabbat, Abigail, etc. Both styles get mixed on almost every song except on the short outbursts ("Bombing the Chapel", "Servants of Satan") where the style is pure blasting black metal. On the other hand, we have energetic thrashers like "Eden Ablaze" to dissipate the darkness as well as more ambitious shredders: the final "Harbinger of Doom". The singer is an unholy witch-like shouter who suits well the macabre musical approach.
"Copulation of Cloven Hooves" is a hyper-active metal affair the thrashy crescendos not making much sense although both "Endless Graves" and "Scythe of Mass Damnation" are effective little rippers in the vein of early Bathory, the title-track serving a more officious, more academic lustre, with purer speed metal aesthetics coming to the fore with "Baphomet's Call". Black metal largely features in the atmosphere evocation, and on the blasting outrage "Sepulchral Dawn"; the rest is the good old speed/thrash with an evil twist.

Turning the Cross Towards Hell EP, 2011
Swarming Darkness Full-length, 2013
Copulation of Cloven Hooves Full-length, 2019

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SLYMER (GERMANY)

Based on "Blood Party", these lads deliver crisp energetic retro thrash/crossover which only less suitable element are the gruff semi-shouty death metal vocals which walk hand in hand with the other side, intense near-hysterical semi-screeches. Otherwise, the band rip the neighbourhood to shreds with fast uncompromising blitzkriegers ("Citizen of the Year", "Blood Party"), with more sincerely hardcore-ish outtakes ("Dead Dog Durango") adding more to the sizzling drama, with "Cannibal Conscience" trying something in the purer thrash sector.

Slapstick Surgery Full-length, 2015
Blood Party Full-length, 2020

Official Site

SLYTRACT (HUNGARY)

The debut: competent decently executed modern death/thrash metal with a slight technical edge; the guys play with inspiration blasting some furious pieces: the opener of the way "Antidote", the Swedish-influenced track "Answer". "Marching Through The Defeated" is a short intense composition, rich in both speed and technicality, probably the highlight. The epic death metal sound of Amon Amarth is paid tribute with "Between & Under", but the thrashing continues intact on "As The Corners Take Shape" and the slower crunchy closing "Localized" (there's actually one peaceful ambient outro after this one).
"Existing Unreal" offers a more mechanical, sterile sound which retains the technicality mostly reflected in the very jumpy rhythm-section and the quick tempo-changes, Despite the cold atmosphere, some cool melodies ("Prevailing Millions") can be caught as well as calmer epic moments ("Nothing Seen Within"). Groove reigns supreme on the steam-rolling "Shall They Learn War Anymore" with raging death metal superseding it on the following "Millenary Venus"; but expect right modern thrash with crushing riffage "My Mist", and an interesting gothic/thrash/industrial "cocktail" on the final "Nexus" where the brutal death growls are intercepted by good clean vocals.
The self-titled arrives after a big gap in the band's discography, and shows the guys having moved deeper down the groovy sterile hole with heavy mechanized riffs the dystopian atmosphere slightly disturbed by lyrical melodic walkabouts and the odd more aggressive faster-paced stroke. Moments of futuristic Gojira-sque pogressiveness ("Son") can certainly be detected, but to these ears the shorter, more concrete quasi-thrashers ("Law", "Acid") deliver in a better way with their respectable nods to the Nevermore heritage.

Explanation: Unknown Full-length, 2008
Existing Unreal Full-length, 2011
Slytract Full-Length, 2019

Official Site

SMACKFACTOR (POLAND)

Based on "Use Once and Destroy", this act provide modern post-thrash with covert death metal tendencies also reflected in the shouty rending vocals those intercepted at times by better cleaner ones. The delivery is mostly heavy and mid-tempo with several more aggressive numbers ("Tools of the End Times", the short dramatic "17 Seconds") added to the fore also bringing a covert progressive flair with them.

Smackfactor Full-length, 2008
Use Once and Destroy Full-length, 2017

Official Site

SMALL EXPERIMENT (POLAND)

This is a small experiment, obviously, in atmospheric dark modern thrash with elements of gothic; catchy Oriental hooks intercept with haunting keyboard melodies topped by not very suitable low-tuned death metal vocals. The overall delivery comes as a mix of early Theatre of Tragedy and Cemetary on a crunchy thrash base. Attempts at a fast play ("Someone Is Going to Die") are very rare, but there's a lot of mood and drama packed in these five pieces of darkness.

In My Old Age...Only Lust And Rage EP, 2011

SMASH (USA)

Interesting choppy, semi-technical classic thrash which has both verve and passion ("Your Life Is a Joke") and heavy intensity ("Smash Rap"), the mean but assured semi-clean vocalist commanding the proceedings with the expected authority. The very good sound quality greatly facilitates the musicians' efforts which also include the Bay-Areasque trot "Learned My Lesson" and the quasi-progressive piece "A Sinister Smile", the only real blemish here being the goofy cheesy "Goodbye Saddam".

Smash Demo, 1989

Official Site

SMASH'EM UP (USA)

This is brisk sprightly retro speed/thrash which thrives on soaring dynamic cuts ("Thrash 'Em Up", "Florida Man"), the dramatic stomps on "Cosmic War" not finding a match later, the bristling vigour of pieces like "Beer Fighter" and "Sludge Blood" and the more technical polish of "SmashGPT" overwriting any attempts at commonality, the intense shouty vocalist supplementing the very active musical carnival.

SmashBlaster Full-length, 2024

Official Site

SMASH CORPS (USA)

Classic thrash/crossover, well done, with sharp direct tracks; at from the all-out thrashers ("Confused") one could hear slower mid-paced ones ("Alcoholic") as well as the odd more laid-back groovy number ("No Hope"), which is also served with more upbeat moments. "Don't Piss Me off" is an interesting technical song showing the band capable of pulling out more serious music.

Premeditated Full-length, 2008

My Space

SMASH POTATER (USA)

Based on the "Zom-Beez" demo, this comically-titled band plays some serious thrash/crossover which is intense and fast with biting guitars and a very clear sound quality. I see quite a few of you out there jumping compulsively on the instant moshing hit "Livin' to Thrash, Thrashin' to Live (Geezer Mosh)" to thrash everything around: this is indeed thrash/mosh till death! The singer is another good asset with his expressive semi-declamatory delivery spitting his antics in a vicious, but also melodic, way.
The "Smash" demo is another 3-tracker, and offers another short assault on the senses, fast'n furious thrash which this time comes with a noisy guitar sound and a nice cover of Exodus' "Faster Than You'll Ever Live to Be" from "Fabulous Disaster". "Dude, I'm Wearing My Glasses!" betrays the band's crossover inclinations, but all this is done with a lot of intensity with a clear aim at the headbanging side of the fanbase.
The 2012 EP is another fairly intense affair the band thrashing with no remorse shooting short painful bullets, the latter boasting the odd cool short screamy lead section. This is seriously neck-spraining and ear-splitting the latter thanks to the piercing drilling sound of the guitars which may get on your nerves even on a small effort like this.
The full-length, apart from winning the "Best Album Title Award of the Year", retains all the rage and fury from the earlier short efforts "shooting" short extreme pieces with an accentuated hardcore intensity at least half of them not lasting for more than 1.5-min. There's nothing complicated here, just pure direct bash splitting the eardrums in the good old school manner.
"Suburban Legends": expect a very similar no-bars-held approach to the one encountered on the earlier opuses, with more seriously-performed Slayer-esque ragers ("Diners, Drive-Ins & Drive-Bys") taking turns with short hardcore-ish outbursts ("Massive Chilling Capacity"), a couple of very effective melodic walkabouts ("The Scene Is Dead") clearly making the picture more tolerable. The same, however, can't be said about the grindcore piece of violence "Toxic Masculinity Holocaust" and other such brief displays of unruly behaviour.

Smash Demo, 2010
Christ-Smash Demo, 2010
Zom-Beez Demo, 2011
Horrific Halloween Double Creature Feature Split, 2011
The EP EP, 2012
In Buffet There Is No Law! EP, 2013
The Full Length Full-length, 2015
Suburban Legends Full-length, 2019

Official Site

SMASHER (SPAIN)

These young Spaniards pull out sharp cutting classic thrash bordering at times (the title-track) on proto-death, and generally keeping the tempo up the whole time, occasionally adding the more technical hook ("God of Hate"). Aggression pours from all sides, especially on relentless headbangers like "Nuclear Holocaust" and the appropriately-titled "Violent Moshpit" the latter switching to brutal blast-beats at some point, not to mention the first-rate lead guitar work which is short and to-the-point, but clearly has a certain virtuoso edge. The singer keeps a mid-ranged semi-clean timbre which is nothing exceptional, but keeps on par with the very intense musical delivery.

Eternal Punishment Full-Length, 2014

Youtube

SMERSH (RUSSIA, KRASNOYARSK)

Based on “K Budustemu”, this one-man band, the name Sergey Kryuchkov, plays corrosive old school thrash with both technical implements (“Temnuie Veka”) and not very imaginative proto-groovy strolls (“Chto Mui Ostavim Im?”) taking turns unevenly, the melancholic semi-balladic “Vstan!” decelerating to meeker parametres, the attached mean semi-clean vocals doing the bigger damage on the admirable diverse bashing saga “Budustem”.

??????? Full-length, 2021
... Full-length, 2022
??????????????????????? EP, 2023
? ?????????????? Full-length, 2024

Official Site

SMERSH (RUSSIA, TULA)

A decent blend of classic and modern power/thrash metal in mid-pace with progressive overtones; sudden technical outbursts ("Patriot"; the excellent abstract Voivod-esque "Proshai Nabsegda") make this effort even more confusing since they are far superior to the much more peaceful rest. The listener will inevitably wake up on the vigorous galloping speedster "Vremya Nas Zovet" near the end which is a nice reminder of the American 80's scene's heydays. The overall style actually recalls the Russian legends Black Obelisk who in a similar vein delivered competent progressive heavy/power metal with the occasional more intense thrashy passage.

Vek Chumui Full-Length, 2009

SMILIN' LIAR

An alternative form of post-thrash with dry mechanical riffage and bad vocals which go into quite a few directions. The tempo isn't energetic at all ("Embrace the Impact" is the sole exception) being quite jumpy and hectic without being interesting, and the softer balladic side of their music is much more attractive ("Screaming Through Actions").

Loaded Language Full-Length, 2003

SMILING SACRIFICE (USA)

Rough bashing thrashcore which is a pretty intense affair with short explosive tracks following in a quick succession the more moderate material bordering on sincere punk, but both sides seem to work well despite the really messy sound quality. The singer is a mean punker with a cool high-strung semi-shouty tone suiting perfectly the merry unpretentious music.

Speaking Of Death... What Are You Doing Tonight? Demo, 1987

SMILODON (FRANCE)

Based on the "Corridor of Submission", this French trio deliver crunchy mid-tempo retro power/thrash which energetic flair is best exemplified by the vivid "Shadow of Justice", the somewhat plodding riffs of "Addicted to Power" at least matching the macabre semi-declamatory vocals. "Chasm of Stink" is a more than welcome imperious galloper, but "Leave the Hole" is just a mellow hard'n heavy rocker.

Smilodon Demo, 1993
Corridor of Submission Demo, 1995

SMIRNOFF (GERMANY)

This very obscure band offer standout fast-paced thrash sounding like a mix between Slayer's "Reign in Blood" and early Destruction. At times the speed comes too much ("Total Flegma", "Fuckin Oberek"), pulling the sound into an undesirable hardcore direction, but here the guys' sense of humour finds a wonderful expression in some nice melodic guitars, based on children's cartoons themes. "Apokalipsa" will catch you absolutely unprepared with its ultra-brutal sound, a vicious mix of death and black metal, preceding the future death and black metal scene with a few years. The vocals are very effective sinister semi-whispers serving more as a background, rather than put in the front.

Nicht Zu Schnell Demo, 1988

SMIRNOFF (POLAND)

Based on the first demo, this band offer very aggressive blasting death/thrash ("Zemsta", the pure black/death metal madness "Apokalipsa") metal mixed with ultra-heavy slower tracks ("Total Flegma"). The faster material is the predominant one, and this vicious brutal recording could easily pass for the most brutal underground work in the whole of Europe at the time: a surprisingly forceful ball of fury and aggression. Reportedly on future releases the guys softened the course quite a lot (which is really sad, if it's true) moving to ordinary thrash/crossover.

Nicht Zu Schnell Demo, 1988
O.K. !? Demo, 1989
Fuck me Tender Demo, 1990
Bljon Der Demo, 1995

Official Site

SMOKIN HELL BASTARDS (GERMANY)

A blend of retro thrash, crossover and a little bit of death/post-death the guys moshing with gusto ("No God"), but making sure to provide the requisite more melodic undercurrents ("Men of Mayhem") with death metal ("Step Ahead") appropriately brutalizing the environment here and there, also suiting the intense forceful death metal singer who occupies quite a bit of space.

BoozeFellas Full-length, 2011
Mayhem Full-length, 2017

Official Site

SMOKY FLAVOR (JAPAN)

Energetic old school stuff based around a slid speed/thrash base which comes served with an abrasive hissing reverberation and not very audible clean semi-declamatory vocals. Nothing to lose your sleep over the guys also randomly flirting with the numetal currents (the industrialized frolicker "Dxxx Line"), also adding a desirable atmospheric, also melodic, vibe on "Door1", the undisputable highlight here.

Imaginary EP, 1996

Official Site

SMORRAH (GERMANY)

Based on the full-length, this band play modern/classic thrash which is accompanied by a noisy abrasive vibe, the very shouty deathly singer another exacerbating factor. “Dead Snake Eyes” is a major ripper, and “Age of Decay” and “Hope Dies Last” are another pair of blitzkriegers which should also be mentioned. The stoner/groovy aura of “Buried Underneath” and the balladic dragger “When the Tide Comes In” may be skipped, but make sure you lend an ear to the dramatic proto-death stomper “Evil Betrayal”.

The Evil Within EP, 2018
Welcome to Your Nightmare Full-length, 2024

Official Site

SMUT (USA)

Noisy abrasive, semi-amateurish thrash which is mostly all-instrumental with distorted guitars, violent tempos, and clear shades of hardcore (the short vehement "Mass Murder"). Melees like "Snuff" and "Don't Die" can even be considered early attempts at death metal, but this is all to sloppily executed to be considered influential on any extreme genre.

Demo Demo, 1985

SNAG (USA)

An interesting mix of the fashionable at the time groovy post-thrash and brisk intense retro thrash with a Slayer flavour; both approaches are well blended together intercepting each other at the most appropriate time, the classic influences maybe a bit more accentuated on, some of them being pure bashing extreme thrash/proto-death ("Indestructible", "Guilty Until Proven Innocence") leaving the Slayer influences far behind. Expect hard-hitting relentless music with a downpour of sharp fast riffs accompanied by gruff, but intelligible, semi-clean vocals and memorable shouty choruses ala Anthrax.

Beginning to End EP, 1992
Awakened State Full-length, 1995

SNAIL'S PACE (ITALY)

These Italian "snails" play naive playful thrash with more serious Bay-Areasque arrangements at times. On the longer material ("Stream Of Consciousness") the music captures the calculated technicality of Metallica and Heathen, but the silly shouty choruses diminish the values of this recording. The bad sound quality is another detriment, but overall this effort kind of deserves its very obscure status.

States of Human Regression Demo, 1990

SNAIR (USA)

This is the first act where Mike Howe started singing before moving onto much bigger glories first with Heretic, then with Metal Church. Based on the demo which is without him, this act indulge in classic power/thrash which is noisier and not as aptly concocted as the one of the other two mentioned outfits, but has its raw charm with the frolic speedster "Do Or Die" and the very good cover of Judas Priest's "Hell Bent For Leather" at the end partly ruined by the not very lyrical, mean-ish semi-clean vocals.

Demo Demo, 1988
Stay Home Full-length, 1990

SNAKE EYES (POLAND)

The debut: an uneven mix of classic and modern thrash staying truer to the crossover patterns on at least half of the tracks which doesn't give many chances to the more clever guitar riffs to develop. Still, on the longer compositions there is more to be heard in terms of musicianship and more elaborate song-structures if we exclude the very thin leads and the gruff low, not very comprehensible, death metal vocals. Some of the guys involved here give a southern/sludgy twist to the modern thrash metal formula with their other band Death Lot Lizard whereas others concentrate on pure classic death metal with Incinerate Infection.
"No One Left to Die" stays closer to the retro thrash parametres, and as such delivers the good in a better way than its predecessor, the guys mixing steady mid-paced pounders (the title-track) with more dynamic, also more technical, extrapolations ("Roi De Rats"), the hard vicious thrashing on "Underdog" compensated by really stylish melodic lead sections. "Talamasca" is a really effective sinister heavy steam-roller, the band producing another more such exercise in brooding darkness ("Fear of Gehenna"), before grabbing everyone's attention with the encompassing 11.5-min odyssey "Sigh of Death", an arresting all-instrumental journey through the metal spectre with thrash playing second fiddle to an amalgamation of beautiful lead-driven segments, complex progressive etudes, and quiet atmospheric motifs.

Beware Of The Snake Full-length, 2010
Macabre Tales EP, 2012
No One Left to Die Full-length, 2022

My Space

SNAKEPIT (CANADA)

Retro thrash/death which is either reflected in short ripping cuts (the title-track, "Concrete Wasteland") or in longer more technical walkabouts (("Death's Embrace") with sparse outbreaks of extremity (the blast-beating madnesses "Consumed Within" and "Greed") peppering the landscape, matching the singer's intense venomous death metal baritone.

Eternal Conflagration Full-Length, 2020

Official Site

SNAPSHOT (FRANCE)

Based on the full-length, this band provide modern thrash/post-thrash/post-death that occasionally comes served with an intriguing alternative vibe ("End of the Line"), but more often is this heavy squashing stuff ("Starved to Death"), the corey energizer "Bullshit" rising above in terms of energy, matching the shouty deathly singer's belligerence with verve to spare.

Unity 731 EP, 2019
H8TE-8 Shades Of Pain Full-Length, 2022

Official Site

SNAPJAW (ROMANIA)

Four tracks of decent classic/modern thrash metal which is atmospheric and mid-paced for most of the time, also sounding dry and sterile but in a good way. "Maniac" is a cool number speeding up a bit, thrashing hard at times. The awful rending vocals should be replaced, though: this guy sounds like being in constant agony with no relief whatsoever (maybe the singing causes him so much pain?). Cerebral Fix with a more mechanical drier edge could be a good reference point.

Murder Is Only Flesh Deep EP, 2008

My Space

SNIFFILIS (SLOVENIA)

A cool mix of classic and modern 90's power/thrash metal with a lot of dynamics varying the pace the whole time the dominant one being mid, but there will be a lot of jumping around on all-out moshers like "Antikrist" and "Sved". The crossover joy hasn't been neglected, either: the merry jumpy instrumental "Ded Ket" (could mean "dead cat"?!), and the closing "Bazileus" comes with interesting progressive arrangements. The singer ruins the picture a bit with his hoarse hardcore tone.

Sniffilis Full-length, 1994

SNIPER (GERMANY)

Based on "Seducer Of Human Souls": the classic 80's sound of bands like Slayer, Sodom, Destruction, the Bay Area bands are brought to us for the umpteenth time this millennium, this time mixed with old school Floridian death metal. The result is crushing, occasionally fast, music which will delight both thrash and death metal fans. At from the all out thrash assaults, the guys try something more technical, and although now these are only sparkles here and there, this could later bring better results.
"Plasmodium" is four songs of raging death/thrash, pretty fast stuff, but offering little outside the so often used Gothenburg formula, except maybe for "Darkness Descends" (which is not a Dark Angel cover) which comes with a more controlled technical delivery.

Your World is Doomed Full-length, 2004
Seducer Of Human Souls Full-length, 2006
Plasmodium EP, 2010

Official Site

SNOTWEB (USA)

This 3-tracker offers intense vigorous thrash quite reminiscent of Evildead's "Annihilation of Civilization", with more sinister proto-death overtones ("Bladder Problemyeast Infection") adding more spice to the remorseless proceedings which are a bit more than just senseless violent bash despite the really proficient lead guitar work lurking underneath. The singer shouts in a very rending, albeit comprehensive semi-declamatory fashion, and may have been an influence on John Tardy (Obituary).

Demo Demo, 1988

My Space

SNUFF (IRAN)

This is modern prog-thrash with brutal guttural death metal vocals. We have intense shorters ("Ghoulized Motor"), more eventful intricate shredders ("Gauge"), elaborate progressivers ("Insanity"), and slower-motion doom-laden sagas ("Sleep Running"). The pace isn't very fast, the band mostly relying on pleasantly entangled configurations to pull it through, the final result on the moody anti-climactic side.

This Is the Way Full-length, 2021

Official Site

SNYPER (UK)

Based on the first two demos ("Manifestations" is actually only one song and an intro, and is more speed metal-based), these guys come up with a fairly interesting brand of speed and thrash metal with a dark technical sound and good bass and guitar work both nicely displayed on the instrumental "Beginning of the End". This is music long on both atmosphere and musicianship with very interesting melodies and splendid "duels" between the guitars and the bass. The overall sound is close to the Mexicans Toxodeth, but here there is no trace of a show-off or a "one-man-rules-it-all" performance. The vocals are in the death metal camp, but they fit the dark ominous sound very well.
The "The Citadel" debut demo is just one song which is an intense diverse speed/thrasher with a pounding rhythm-section and very good technical leads; a really good start for the band who after a long string of good demos disappeared without realising their potential.
The "Manifestations" compilation is a weird affair containing a few tracks from the first two demos, but nothing from the "Ephexis" demo, and just two songs from the "Something Illusionary" one. Still, it features whole twelve compositions, reportedly most of them from the unreleased full-length "4 What It's Worth" scheduled for release in 1991 so apparently the guys were hiding those gems (and gems they are indeed) somewhere under a stone to resurface some 23 years later. There won't be any disappointed with this dark atmospheric slab of the good old school thrash which begins with the imposing dark shredding on "Death Rite At Sunset" with which the band took part in the Thrash Assault split with nine other British bands in 1989, also featured on the "Obituary" demo. Indoctrinate" follows suit which is a dark hypnotic mid-paced sleeper with a few more inventive technical shreds. A duo of familiar from the demos songs follows before the title-track from the unreleased album hits with another portion of less dynamic, almost balladic, riffs accompanied by fine lead sections. "Feel Not, See Nothing" from the "Something Illusionary" demo is a heavy technical cut the technical tendencies further developed on the next "Circle Of Pain" which also introduces imposing bassisms. "Manifestations" from the debut demo is an excellent progressive number concentrating on the melodic hooks and the great melodic leads. "Beginning Of The End/Penance" carries on in the same vein speeding up a bit near the end to grow later into another track from the "Something Illusionary" demo, "Sacred Blade", before "No Death So Sad" wraps it up with a seamless bend of fast and slow sections in the spirit of Nocturnus with a breath-taking doom/balladic finish. The deep low-tuned death metal vocals are a perfect fit to the dark brooding music which could have been of some interest to doom and death metal fans as well with its frequently oppressing atmosphere and menacing rhythm-section.

Manifestations Demo, 1988
Obituary Demo, 1988
The Citadel Demo, 1988
Ephexis Demo, 1989
Something Illusionary Demo, 1990
Manifestations Best Of Compilation, 2013

SO I SCREAM (POLAND)

Modern thrash of the more melodic semi-groovy variety; the band insert quiet, atmospheric, gothic passages, and as a result we have quite a few tracks which sound like a thrashy mid-period Paradise Lost ("Narcissism", "Imponderabilia", "Underdog"). Unnecessary exercises in frantic hardcore ("?!?") are scattered throughout as well as awkward blends of fierce death metal and the aforementioned calmer moments. This is quite an uneven mix of several styles, not working very well together, and some refinement in the future would be good.

The End of Tolerance Full-Length, 2007

SO I SIN (AUSTRIA)

Based on the full-length, this band specialize in modernized Slayer-ish thrash, at least in the beginning, which looks at the Americans' more recent releases spicing the delivery with softer post-thrash rhythms ("Pure Veil of Darkness") and gothic atmospherics the latter not very far from Paradise Lost. The aggressive thrashing nature of the album gradually disappears in the second half to be replaced by mellow friendlier riffage which wakes up on the final cut "Real Deal", a hard-hitting thrasher with ripping guitars. The singer tries to emulate the more recent style acquired by Tom Araya, and does a good job at that.

Craving for Desire EP, 2007
Sichart Full-length, 2013

Official Site

SO WHAT? (JAPAN)

Based on the debut, this band play an eclectic mix of thrash/crossover, rock, post-thrash and punk the guys just having fun all over, not having any pretensions at seriousness, the frolic "Crazy Men" presiding over the more playful funky "Cosmetic Renaissance". The cool clean vocalist is a fair addition to the merry musical proceedings, the groovy stroll "D.J." ruining the elevating mood a bit with its more derivative demeanour, the short ripping "203" a needed doze of vitality, a capable amalgam of punk and crossover.

So What? Full-length, 1995
Fragile Full-length, 1996
Heal Full-length, 1998

Official Site

SOAKING WET (HOLLAND)

This is prototypical classic thrash with a few jumpier sections, with shades of crossover and hardcore. The delivery can get quite wild ("Wall of Silence") at times, but also watch out for more stylish, elaborate compositions ("Looking for Me") where the approach is mid-paced at best. The production quality is quite raw, but at least it doesn't obstruct the cool clean singer who leads the show with attached, semi-declamatory punk-ish antics.

Cry in Wonder Demo, 1991

SOARITUS (AUSTRIA)

A modern thrash/death affair which mixes the tempos trying to preserve a somewhat playful character throughout although the latter can't possibly "survive" on engaging progressivers like "The Scryer". "Blasphemy" hits the top with its brilliant melodic lead sections, and later on the band pull out a few more serious compositions as a finishing touch clearly showing a bigger ambition than the badly disguised Gothenburg sound provided for most of the time at this stage.

Hell Inherited I Full-Length, 2015

Official Site

SOASHYANT (IRAN)

Dark atmospheric modern thrash metal, rich in melody, but lacking in sharpness bringing the winds of power metal here and there. "The Last Fly" is a great balladic instrumental standing proud beside the scary doom shredder "Wolf", which is a cool heavy piece with nice Oriental implements. The singer doesn't impress much with his rough semi-death metal delivery playing a secondary role to the better music.

Soashyant Full-length, 2010

My Space

SOBER ASSAULT (SLOVENIA)

Based on the full-length, this act serve sterile modern thrash that borrows bits and pieces of early Meshuggah, but this is more flexible stuff with fast headbanging sections ("Pill-Happy") provided aplenty alongside interesting melodic walkabouts ("Momento Mori") with "Temptress" being the calmer moodier digression. Elsewhere the band mosh with passion with rippers like "Reaper Of The Gods" and "Fatal Benevolence" tearing the silence not without the help of several stylish semi-technical skirmishes, and of course the intense shouty death metal vocals which occupy quite a bit of space without making too much noise.

The First Assault EP, 2015
Of Violence and Woe EP, 2016
Heralds of the Disclaimed Full-length, 2018

Official Site

SOBER TRUTH (GERMANY)

Based on "Outta Hell", these guys play jolly dynamic post-thrash which even manages to sound technical on the closing "Leave me Alone"; still, before this more intriguing moment the music seldom leaves the predictable groovy mode assisted, maybe not very deservedly, by the excellent diverse vocals which move from a forceful James Hetfield-like delivery to a deeper doomy one at the appropriate time.
"Psychosis" is a way more aggressive affair with "Solitude" opening the proceedings with an overtly brutal deathly flair, and although later on the band introduce the more laid-back post-thrash style, the situation isn't exactly mild and friendly with "Dark Valley" featuring some epic extreme progressive ala Hollenthon, with "Horizon" thrashing wildly with a dispassionate mechanistic flair. A positive upgrade by all means that may as well have started earlier, on the preceding efforts.

Riven Full-length, 2008
Outta Hell Full-length, 2010
New Slavery World EP, 2014
Locust? Lunatic Asylum Full-length, 2017
Psychosis Full-length, 2019

Official Site

SOBERNOT (CHILE)

Based on the full-length, this act serve potent modern-ish thrash/post-thrash that is built around heavy squashers ("Nowhere to Run") which don't break the mid-paced parametres much, but create the requisite amount of intensity including with a few direct nods to the Pantera ("Dead Space") heritage. The lead guitar work is quite proficient, and the vocals could pass for another asset the guy sticking to the mid-ranged semi-clean baritone, but manages to extract quite a bit of melodic croons from this minimalistic delivery.
"Destroy" tries to justify its title by moshing harder, the opener "No Mercy" a premier headbanger, "Smoke Masters" doing a decent job with its more variegated power/thrash character. Modern odes to the groove ("Death by Cunnilingus") are perfectly skippable, but the soulful ballad "Across the Toxic Dew" is a nice touch, differing among the prevalent field of modern chugs, the intense thrashing mosher "The Second Coming" and "Killer Winter" restoring the faith, although this effort is seldom on the very exciting side.

Aurt EP, 2015
Silent Conspiracy Full-length, 2018
Destroy Full-length, 2022

Official Site

SOBIBOR (COLOMBIA)

Cool energetic retro thrash metal with nice headbanging pieces occasionally interrupted by the odd slower track: the melodic closing power metal number "Sobibor" or the doomy dragging "Danzando Con La Muerte" which kind of breaks the fine pace of the album although the guys have no problems recapturing it again, this time with a shade of crossover ("Furia Y Metal").
The trio is back with "Misantropia" which again mixes straight-forward speed/thrash with crossover elements the latter being more frequent than on the debut bringing a merry optimistic attitude on soaring speed metal anthems like "Pacto De Sangre" and "Mujer o Demonio (El Martillo De Las Brujas)". A darker, more aggressive sound comes forward on "Vencer o Morir" which is even graced by a few blast-beats before the optimism returns on full-throttle with "Requiem". "Dementor" is a really "demented" speedster, a very fast piece which is followed by two laid-back punk/crossover variations the final one being a rendition of a Ramones' track.

Furia Y Metal Full-length, 2006
Misantropia Full-Length, 2012

My Space

SOBIBOR (FINLAND)

A very good demo of intense Bay Area thrash metal reminiscent of Vio-Lence and Exodus.

The First Execution Demo, 1990

SOCAVON (COLOMBIA)

Atmospheric dark thrash metal topped by very brutal low-tuned death metal vocals which don't quite suit the much more melodic music; this same music borrows readily from gothic and doom, and at times comes pretty close to Paradise Lost's magnum opus "Shades of God". "Guerra" is a surprising headbanging piece in the middle, but the rest never leaves the mid-pace and may depress you with its gloomy funereal atmosphere.
"Cenizas del Palacio" thrashes harder with a more open death metal edge even adhering to black metal hyper-blasts (the opening "Noche y Niebla"), and despite the more aggressive musical approach the keyboards have sneaked into the sound quite a bit. Actually, the mid-paced songs are very few (the operatic doomster "Lagrimas Del Pasado"; the atmospheric steam-roller opus "Lamentos"), the rest being intense thrash/death metal the way they used to play it in the early-90's. The "duel" between keyboards and guitars is appealing, though, and gives the album a characteristic orchestral flavour, recalling Nocturnus and early Therion.

Pasos en Sangre Full-length, 2003
Cenizas del Palacio Full-length, 2009

Official Site

SOCIAL BLACK YELLING (INDONESIA)

Based on "Naluri Pembunuh", these guys provide "social black" retro thrash which is fairly brisk and energetic. The guys know their craft and unleash fiery riffs all around the blitzkrieg approach seldom interrupted by the casual ("Ras Tergilas") slower dragger. "Amplifikasi" reaches almost death metal-like dimensions, and "Hells Fuel" is the obligatory thrash/crossover relaxer. The vocalist is a gruff death metal semi-shouter who rends his throat without mercy.

Mankind Under Condemnation Full-length, 2011
Naluri Pembunuh Full-length. 2015

Official Site

SOCIAL BOMB (USA)

This is quite cool intense thrash/crossover with short explosive tracks and fine melodic guitar work. "Chronomegalodon" is a prime headbanger akin to Slayer and Dark Angel, and the second half contains mostly spontaneous outbursts of thrashcore, like "Extraterrestrial Armada" and "Weapons of Thrash Destruction" where the melodic riffs are still preserved, but this is moshing fun with one exception: the longer melo-death laced "Planetary Devastation(Kraken vs Chrono)" which hits the heights with the portion of melodic tunes flowing from all sides. This is a brisk refreshing release showing a seldom encountered, infectiously melodic, side of the thrash/crossover genre.

Live By The Slice! Full-Length, 2014

SOCIAL DECAY (USA)

Based on the 1992 demo, these guys don't care about any modern trends, but go head-over-heels into classic thrash territory pulling out very good thrash in the tradition of later period Helstar ("Distant Thunder", in particular). This band maybe rely more on slower, heavier, and less technical guitars. "Social Decay" jumps on the American power metal wagon, but is a great number with nice melodic vocal lines and an infectious chorus.

Demo Demo, 1992
Insights of Reality Demo, 1995
Bipolar Disorder Demo, 1996

SOCIAL DECEIT (USA)

This is raucous crunchy thrash/crossover which can get a bit hyper-active ("GOD", the short brutalizer "Murder Kit") on occasion, but there are frolic sing-alongers ("Mountain Song") and punky joys ("Heart And Soul") scattered around, the leveled clan punk singer handling those adroitly, slackening a bit on the ambitious complex progressive "Utopia" at the end.

Demo Demo, 1990

Youtube

SOCIAL DECLINE (DENMARK)

This is modern groovy post-thrash "I Am the State" displaying more bite and verve with its rugged lively riffs, the exacerbating shouty vocalist doing a decent job alongside the proficient licks of the six-stringer. "Silvercage" is a nice headbanger with echoes of the old school,bringing more life into this not bad recording which also brags about the presence of the cool epic progressive closer "Victory of Plutocracy".

Beyond the Gates Full-Length, 2023

Official Site

SOCIAL DESPAIR (GREECE)

The EP: this is intense thrash/proto-death which acquires more frivolous hardcore aesthetics at times ("Civil War", "Society"), but those awful brutal guttural vocals just don't fit the latter stretches. "Technology Kills" is an explosive, half-a-min grinder, and if we exclude those deviations, the rest is an aggressive slab of the good old thrash with a Slayer, Devastation vibe.
The full-length is intense bashing classic thrash topped by vicious throaty death metal vocals. The ferocious death metal intensity of numbers like “Buried Deep in Me” and “Thrash without Mercy” is hard to bypass, as is the marginally more contrived layout of “The Inner Eclipse”, the finale provided by a short crossover (“Social Despair”) etude. Some of the band members are also involved with the retro thrashers Horus Legion.

Social Despair EP, 2007
Refusal for Abreaction Full-length, 2013

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SOCIAL DISORDER (USA)

Based on the full-length, this band play heavy thrash/crossover ala Hatrix. The usual amount of energy which goes with this kind of music isn't very well covered in the 1st half waiting for the arrival of the spasmodic "Don't Need You" and the thrashing delight "The Collapse" later on. "Year And A Day" is a friendly power metal hymn for which the band don't seem to have the requisite musical skills to pull it through successfully.

Media Lies EP, 1991
Goin' the Distance Full-length, 1992

My Space

SOCIAL HATE (BRAZIL)

This is speedy old school thrash which is accompanied by somewhat overshouty death metal vocals. Music-wise things stay within the fast-paced parametres the entire time, with headbanging delights like "Entrepreneurs of the Faith" and "War, Hate and Progress" amply provided, the fine dark macabre "Mental Desorder" the highlight, this one the least affected by the muddy production.

Nacao Suicida Full-length, 2021

Official Site

SOCIAL SCREAM (GREECE)

Based on "Initiation to the Myths", these lads play quite cool old school power/speed/thrash which only glaring flaw seems to be the not very suitable death metal vocals. Otherwise the music simply rips with short bursting speedsters ("Metal Retaliation") nicely complementing mellower power metal walkabouts ("Black Smith", "Prison of Freedom"). "List of Sins" is an excellent more contrived speed/thrasher ala Manticora with "No Faces Reflected" providing the balladic respite before "Wolf Karma" stirs the blood with its speed metal swagger, and "Initiation to the Myths" unleashes a cavalcade of blistering shreds in the best tradition of Paradox which raises the level quite high towards the end despite the elegiac tone of the closing "From Ashes to Hope".
The debut is more on the epic power metal side, with only sparse ventures into more aggressive, thrash-peppered territories.

Epiclesis Full-length, 2014
Initiation to the Myths Full-length, 2018

Official Site

SOCIETY (USA)

Based on the demo, this act indulge in energetic thrash/crossover with very shouty quarrelsome death metal vocals. The music clings between frolic mid-tempo pounders ("Vivisection") and speedy numbers ("Religion"), the abrasive production not giving too many chances to the musicians to really shine. The guys are currently active with another project, the groove/industrial formation Wraith of Salem.

Mea Culpa Demo, 1995
Ancient Gods New Gods Requiem EP, 1996

SOCIETY KILLS (USA)

This band play friendly merry-go-round modern post-thrash which is too mild for most of the time also flirting with stoner/doom and the garage rock of Monster Magnet. Some thrashier intensity ("Brake Light Failure") can by all means be encountered, but the aim to entertain the softer souls despite the singer's gruff semi-death metal-ish tenor.

The Wolf & The Lamb Full-length, 2016

SOCIETYS CHILD (USA)

This is an interesting progressive/power/thrash conglomerate which hesitates between the modern and the old school the entire time, but said hesitation produces delectable fruit, like the ambitious shredding drama “Twisted Fate”, the virtuoso musicianship disappearing to an extent on the dirgy groovy title-track, but comes back with full force on the “Queen of the Damned – Enraged” combo, a nice conglomerate of balladic idylls and jarring tech-thrash riffs. More quiet sentiments (“Jeanius”) later, with dazzling lead guitar explosions (“No Morrills”) popping up here and there, the passionate mid-ranged clean vocalist doing a decent job to stitch things together, becoming more intimidating on the more aggressive moments from the encompassing closer “Witch Hunt”. Some of the musicians were also involved with the progressive metallers Visionary.

Taken Over Full-length, 1999

SODOM (GERMANY)

One of the "holy three" of German thrash metal, Sodom's beginnings were unpromising and amateurish, going towards black metal; that's why "Persecution Mania" came as a surprise with its tight and catchy thrash metal sound. "Agent Orange" was a worthy follow-up, but the troublesome 90's saw the band throwing themselves into the opposite extremes from the intense, death metal-like sound on "Tapping The Vein" to the punk-ish spirit of "Till Death Do Us Unite". "Code Red" showed some light in the tunnel, and "M-16" almost brought down all competition on their knees, being a stellar album, arguably the band's magnum opus. Despite the more restrained and melodic sound on "Sodom", Sodom haven't said their final word yet.
"The Final Sign of Evil", as you can easily guess by the album-title, is a re-recording of the "In the Sign of Evil" EP, plus seven other songs which were never released before under any form, and were originally written for that same EP. The line-up who recorded this album is exactly the same who took part in the first one: Tom Angelripper, Chris Witchhunter and Grave Violator.
One of the band's founding members: Chris Witchhunter, passed away on September, 7th 2008, reportedly due to "decompensation of his organic system".
The band started the millennium in flying colours with the excellent "M-16", but Angelripper (or other reasons?)'s side-occupations put them on hold, before they appeared after a lengthy 5-year pause with the mild unimpressive self-titled effort. They tried to "apologize" with the re-recording of "The Sign of Evil", but this was hardly what the fans expected with a new material so sporadically released. It's the beginning of the new decade, and Sodom are back in the game with a new full-length, "In War and Pieces", with only Angelripper on board from the original line-up. The war themes are brought back, so shall we have another old school thrash roller-coaster? Well, to an extent, at least in the 1st half where the guys really try hard to sound as classic and intense as possible. "In War and Pieces" is a sure-handed opener mixing slower and faster parts to a positive effect. Then "Hellfire" comes thrashing down with force, before "Through Toxic Veins" slightly calms the situation down with a more laid-back galloping delivery. "Nothing Counts More Than Blood" carries on in the same vein with a few more energetic headbanging parts added before "Storm Raging Up" slows down in a heavy stomping manner with a nice speedy "apology" at the end. "Feigned Death Throes" is a slow semi-balladic sleeper, something new in the band's repertoire, but delivers with its hypnotic proto-doom riffs. "Soul Contraband" is a more intense pounder with a few proto-modern sections and could be considered a filler. The acoustic intro on "God Bless You" may scare you provided that there were a couple of slower tracks previously, and indeed later on the song is not a very pleasant surprise with its melodic modern riffage and the clinging towards the semi-ballad again. Another sleepy filler follows suit, "The Art of Killing Poetry", and before the listener gets completely pulled back, comes "Knarrenheinz" to save the day moshing far'n wide reaching Slayer-esque extremes. The closing "Styptic asite", unfortunately, is another waste with its retouched guitars and anemic delivery exiting the album in a fairly unsatisfying fashion. By all means better than its predecessor, this album is hardly the best answer to the big competition which the guys face nowadays, and in order to not be left behind by both new and old names, Angelripper and Co. should put more effort into it next time.
"Epitome of Torture" is a more fitting entry into the veterans' repertoire than the last couple of albums the band having not thrashed so wildly since the time of "M-16". The opener "My Final Bullet" also shows a penchant for more melodic licks which can be heard on quite a few of the other songs as well. "S.O.D.O.M." is a direct ear-splitter followed by a string of similar fast "bullets" some of them served with a portion of heavier stomping aesthetics ("Epitome Of Torture"), others jumping on the proto-death metal wagon ("Stigmatized") recalling the so promising "Tapping the Vein". "CANNIBAL" is the obvious filler, a mid-tempo speed/proto-thrasher which doesn't add up to the album's ferocious nature, neither does it provide the best possible break of the experienced "carnage". The band carry on after it with the smashing "Shoot Today Kill Tomorrow" again introducing a more brutal moment of death metalness on "Invokating The Demons". After the machine-gun intensity of the appropriately-titled "Katjuschka", which starts with the popular tune from the Russian World War II hymn of the same title, comes the closing duo which is a bit underwhelming with its temperate speedless nature, but shows a not very frequently witnessed, lyrical, side of the band which strongly reminds of the Kreator endeavours to spice it up in a more restrained vein on "Phantom Antichrist".
The band have made a successful attempt at catching up with their compatriots at a time when they were dangerously falling behind both older and newer acts, and will continue to stay on the front echelon for another while. Returning to the very front echelon, however, has been postponed until another commendable release.
"Decision Day": Tom Angelripper and his cohorts keep churning albums on more or less regular bases so one has to accept them as a part of the eventful metal landscape of recent years. In this case the gang have done well, though, despite the bigger variety in terms of riff-patterns and song-structures. The opening "In Retribution" will delight all those who like headbanging with might. Later on more melody sneaks in (the eventful title-track), but it's moshers like "Caligula" and "Who Is God?" that matter here, and those will leave mid-paced fillers like "Strange Lost World" hanging more or less awkwardly. "Vaginal Born Evil" is an attractive epic thrasher with fast and slow rhythms alternating throughout; a structure repeated on the next "Belligerence" and on the closing "Refused To Die" which shows the band "refusing to die", carrying on with their legacy, pleasing their fans without any major setbacks along the way.
"Genesis XIX": no surprises on this Genesis, for the better mind you, as the band thrash their way through with remorseless pieces like "Euthanasia" and "Glock 'n' Roll", the more serious layout of the title-track giving this album a graver aura, the latter dissipated by the more playful rhythms on the stomping "Nicht mehr mein Land". Another lengthy behemoth ("The Harpooneer") arrives later, but there's no speed lost on this diverse ride, the proto-death extremities on the short direct "Dehumanized" reminding of the guys' flirtation with the powers of darkness (remember "Tapping the Vein"), with "Occult Perpetrator" calming the ball down with seismic steam-rolling rhythms.

In the Sign of Evil EP, 1984
Obsessed By Cruelty Full-length, 1986
Expurse of Sodomy EP, 1987
Persecution Mania Full-length, 1987
Agent Orange Full-length, 1989
Ausgebombt EP, 1989
Better Off Dead Full-length, 1990
The Saw Is The Law EP, 1991
Tapping the Vein Full-length, 1992
Aber bitte mit Sahne EP, 1993
Get What You Deserve Full-length, 1994
Masquerade In Blood Full-length, 1995
'Til Death Do Us Unite Full-length, 1997
Code Red Full-length, 1999
M-16 Full-length, 2001
Sodom Full-length, 2006
The Final Sign Of Evil Full-length, 2007
In War and Pieces Full-length, 2010
Epitome of Torture Full-Length, 2013
Decision Day Full-Length, 2016
Genesis XIX Full-Length, 2020

Official Site

SODOMA (BRAZIL, PESSOA, ABA)

Based on the "Renascida em Trevas" demo, this is brutal thrash/death of the more classic variety with even more brutal low-tuned death metal growls; the guitar work is good with quite a few technical licks bringing the sound close to Morbid Angel at times. The music alternates super-fast sections with really cool up-tempo technical ones decorating some songs with the casual keyboard refrain ("Rainha Das Concubinas").
The debut demo is a rougher offering with a thin guitar sound surrounded by fuzzy noise and brutal death metal vocals. The band mix things by adding slower, pounding passages to the dominant pretty fast approach, where some good bass performance can be caught. The music clings more towards death metal with frequent nods to the Floridian school (think Brutality, Monstrosity).

Sadomazocristo Demo, 2005
Renascida em Trevas Demo, 2008
Sempiterno Agressor Full-length, 2011

Official Site

SODOMA (BRAZIL, NATAL, RIO GRANDE DO NORTE)

This is melodic speedy stuff quite close to the works of their compatriots Vodu and Viper's debut. So this is mostly speed metal with shades of thrash on the more intense moments. This is fast energetic music of the soaring, uplifting type and a sure precursor to the future 90's speed/power metal wave. The sound production is quite muddy disfavouring the guitars, but boosting the thundering bass. "Sodoma" is a more aggressive piece, but the next "Divina Tormenta" is a pure epic power metal joy the speed returning with full force on the last two numbers. The singer has a leveled clean timbre who never tries anything adventurous, but sings in a dispassionate articulate manner with the casual higher semi-shout.

Prisioneiros Do Absurdo Demo, 1987

SODOMIZER (BRAZIL)

The band's debut is good classic heavy/power metal with a sound close to old veterans like Metal Church, Malice, Tyrant (USA). The sophomore album is harder with nods to the speed/thrash metal scene: Exciter ("Bring Your Dead"'s main riff will remind you of "Violence and Force"), Whiplash, Exodus ("Cenobites", for example, sounds like a leftover from "Bonded by Blood"), accompanied by good aggressive Paul Baloff (R.I.P.)-like vocals. This is enjoyable, fast-paced and catchy, stuff with only one track reminding of the debut: the power metal-based galloper "Heavy Metal Horror".
"Jesus Is Not Here Today", say the Brazilians, and indeed, he would hardly be around with titles like "Let's Satan Take Your Soul" and "When The Devils Order Is Better Obey", so he would miss since the new album is another cool slice of the good old speed/proto-thrash, more melodic than its predecessor, quite faithful to early Exciter again except that the songs are longer and more thought-out, without offering anything too complex music-wise, just fiery speedy riffs with the obligatory mid-paced insertions. This is mild feelgood music which will also bring to mind Tank and Motorhead, even early Bathory on the "evil" touches.

Tales of the Reaper Full-length, 2004
The Dead Shall Rise to Kill Full-length, 2007
Jesus Is Not Here Today Full-length, 2011

Official Site

SOFISMA (ITALY)

Based on the debut demo, this act play rough modern-ish thrash with a very bad sound quality which mars the guitar approach to a large extent. Otherwise the guys try hard pulling out long compositions (6-min) with a thin semi-technical edge ("It's Only Sand"), but the one-dimensional mid-paced delivery (the exception being an isolated passage from the closing "Another World") doesn't make the situation too exciting; neither does the gruff hardcore-ish vocalist.

Before Reality Demo, 1993
Ordinary State of Conflict Demo, 1996

SOFIST (CANADA)

These folks come up with pretty good hectic modern technical thrash where the bass plays a very prominent role. The shreds come in very quick succession providing a very eventful rifforama which isn't very fast (the exception being the up-paced technicaller "Good In The Wrong" at the end), but is generally satisfying also finding the time for a couple of cool melodic licks ("Plus On Est De Fous..."). The singer is an attached semi-shouty semi-cleaner who takes quite a bit of space, but is usually a fitting addition to this fairly complex affair.

Sofist EP, 2015

SOFISTICATOR (ITALY)

The debut: this is a direct stripped-down retro thrash assault the guys moshing out in a simplistic, crossover-shaded, fashion reaching speed metal heights on the frolic headbanger "Total Flatulence War (Beans Attack!)" which is an excellent energetic cut. The remaining material is probably less flashy with a more frank hardcore attitude the band trying to capture the early Celtic Frost steam-roller intensity on "Ivo The Woodman" which splits the album into two, the second half carrying on in the same speedy vein. "Thrash & Clean" could have been faster, though, rather than being a tribute to the squashing style of Cerebral Fix; and the closer "Mantas (The Thrashmaker)" is a short half-min joke sustained in a carefree crossover manner (could be a nod to Mantas from Venom?!). There isn't much Sodom to be heard here in case of the album-title is a reference to the Germans' 1992 effort.
"Death by Zapping" is a much better effort the guys now thrashing with more force nailing a riff after riff with the utmost intensity creating a new sub-genre with the frolic speedster "Rot-Wash & Roll" (now that's what I call a challenge to Carcass!). There's no slowing down anywhere, and "Quiz of Death" is a cool roller-coaster ala early Metallica. "Walter Texas Thrasher" is the definitive hymn for all Texan thrashers, named Walter or otherwise, a brisk fast-paced number which alone will make you spin this album over and over. This formula is applied without fail till the end the sole exception being the dark atmospheric "Dark Side of Luna Park" which is slow and menacing. On the rest one has to have very strong neck muscles in order to survive the mosh...
"At Whores With Satan" contains more serious, more thought-out thrashers which still mosh out with force, but there's this strife for a more elaborate song-writing ("Battle Hymen") that can be easily detected, also bringing nice, not as fast-paced deviations from the dominant formula which also "infect" the shorter material ("Bondage by Blood") and the surprisingly lyrical, but appropriately-titled "Love and Infection". The closing title-track is an over-ambitious 15-min saga which obviously tries to emulate Venom's "At War with Satan" in terms of entangledness, but fails to retain the interest and tension through the entire playing time, losing the inertia with an overlong balladic passage at some point.

Camping the Vein Full-Length, 2012
Death by Zapping Full-length, 2014
At Whores With Satan Full-Length, 2018

Official Site

SOG (USA)

Based on "God Complex", this band play classic thrash led by Doyle Bright (Hallows Eve, Rigor Mortis) who also sings here apart from handling one of the guitars. The music has its intricate moments, like the unpredictable jumping "Dead & Naked", but generally this is right as rain stuff boasting shredding roller-coasters like "Something Awful Happened" and the proto-death laced title-track. "Priests with Torches" is a dramatic, less orthodox headbanger again bordering on death metal; and the final "The End of Everything" is another more aggressive cut flirting with the often-emulated main motif from Destruction's "Curse the Gods". Bright provides husky, semi-clean vocals with a gruffer deathly blend which work well with the dark brooding music.
"Man Demonic" is an intense no-fussy affair, the guys wading through vigorous neck-sprainers ("L'appel Du Vide", "The Centrifuge") and a bunch of more tamed mid-tempo power/thrashers ("My Them", "Insanely Sharper Teeth"), the diverse intriguing "Dead Blood" adroitly supplementing the more melodic histrionics of the equally rowdy "Escaping Earthly Justice".

The Gift of Aggression Full-length, 2015
God Complex Full-length, 2016
Man Demonic Full-length, 2023

Youtube

SOGRAFALTH (FRANCE)

Based on the full-length, this band offers dry proto-modern thrash with synthesized semi-clean vocals mixed with more brutal death metal ones. The music is fast and energetic with technical overtones sometimes descending to more ordinary groovy trends. Still, bombs like the proto-death one "Cannibal Chameau" and the smashing opener "Fare Fois" will make your day as well as, probably, the atmospheric more laid-back closer "La Kette".

Tous Maudits Best of/Compilation, 1998
Super Metal Fight EP, 1999
Blague Metal EP, 2004
So Far, So Good... Sogra! Full-length, 2007

My Space

SOILENT GREEN (USA)

Thrash/crossover, not too far from Nuclear Assault with nice lead guitar work which one wouldn't expect to find on such a release. Some tracks are more melodic with a clear hardcore shade ("Contemporary Look at the Futuristic Past"), others are heavy and stomping ("Fast Forward"), but the best side of the music is the fast-paced, chaotic thrashers ("Gent Range", "Malfunction"). "Processed Humanity" elaborates a bit with some more complex, technical guitars, and is probably the finest track here. The singer has a cool, high-pitched timbre, similar to John Connelly (Nuclear Assault again).

Processed Humanity EP, 1988

Vibrations of Doom

SOKYRA PERUNA (UKRAINE)

Based on "Invictus", this band plays a heavy blend of hardcore, thrash and black/pagan metal. The guitar work is not very sharp, and the guys are not very fond of speed merging most of the tracks into a heavy, somewhat boring, mid-paced melee. The singer is a harsh semi-death metal growler who never changes his pitch making him sound quite misplaced on the numerous more melodic sections.

Eyes Full of Rage Full-length, 1998
European Unity Full-length, 1999
For All We Have and Are Full-length, 2003
I Mertvym I Zhyvym I Ne Narodzhenym Full-length, 2006
Invictus Full-length, 2010

Official Site

SOLANUM (CANADA)

The debut: this young act from Canada specialize in intense bashing thrash with a covert hardcore flavour. The guys stick to the fast parametres more producing admirable headbangers along the way: "Symptoms of Solanum", the 2-song blender "Into the Sinner Circle/Righteous Refusal", the short Slayer-esque "Narcotic Collapse". The vocalist shouts in the most rending possible fashion quarrelling incessantly with the mike to a slightly noisy effect.
"Ruled by the Cruel" is a more controlled offering, and although furious bombs like "In Contempt" and the hardcore basher "Friendly Civil Servant" are vehemently thrown around, the band are generally poised for more tamed exploits like the catchy mid-pacer "Manipulated" and the more leveled thrasher "Reckless Obsession". Watch out for "Homemade Hell", a brutal death-laced headbanger.

Into the Sinners Circle Full-Length, 2015
Judge-Mental EP, 2017
Ruled by the Cruel Full-length, 2021

Official Site

SOLANUM (USA)

This is quite cool retro thrash which is also pleasantly technicalized in a way not too far from early Testament and Forbidden. The headbanging factor is high in the air as well, and one won't remain indifferent to the prime vigour of cuts like "The New Genocide" and "Wretched Deceit". The seductive Orientalism of the more complex "One Foot in the Grave" is another plus, but it's rolling speed/thrashers like "Harbinger of Death" and "A Bond of Flesh" that will keep the fans hooked for longer, the intense shouty singer not sparing his vocal chords too much.

The New Genocide Full-length, 2020

Official Site

SOLACE IN MURDER (USA)

Based on the full-length, this act provide modern thrash by-the-modern-book the guys not looking any further than the works of stalwarts like Dew-Scented and early The Haunted, lashing with passion all the way through, seldom pausing for a break the overshouty death metal vocals creating quite a bit of noise when in actions, stepping aside to an extent on the closing roller-coaster in order to give more room to the only more contrived developments here.

Solace in Murder EP, 2016
Homicidal Full-length, 2018

Official Site

SOLDIER (SPAIN)

The debut: this new formation serve relaxed merry-go-round classic power/speed/thrash which is characterized by attached high-strung vocals which never scream, but provide the necessary dramatic environment. The bad piece of news is that the energetic beginning gets lost almost completely in the middle where the band insert too many mellow balladic sections which badly mar the second half which is only saved by the short speedster "Destroyers" and partially by the semi-galloping diverse closer "Maniac".
"The Great Western Oligarchy" has a clear early Metallica vibe at the beginning and as such at least has a worthy model to follow. Consequently the guys put no foot wrong speed/thrashing with style. "Genital Wert" is a friendly radio-oriented deviation which retouches the dynamics in the second half where the pace becomes too sleepy at some stage reaching balladic/stoner proportions on "Theory of Nothing" and other tracks near the end. The guys mess it up pretty bad regardless of the "excuse" served in the form of the short blitzkrieger "Warbourne" which isn't enough to hide the mediocrity and the lack of thrashy ideas.
"The Sleeping of Reason" is another acceptable speed/thrashing roller-coaster with the shadow of early Metallica still looming over, at least at the beginning, the band taking no prisoners on perennial moshers like "...Exterminate White People" and the galloping delight "Straight to Valhalla". Friendly stoner rockers like "No Child Left Behind" allow a few very speedy skirmishes to sneak through, making the party even more appealing, but the gentle ballad "Invisible Man" has no tricks of the kind hidden ruining the hyper-active atmosphere the guys experiencing problems picking up the requisite dynamic afterwards.

Gas Powered Jesus Full-Length, 2012
The Great Western Oligarchy Full-Length, 2015
The Sleeping of Reason Full-length, 2018

Official Site

SOLDIERY (MEXICO)

A 4-song demo of energetic classic thrash which doesn't hide its fascination with the neighbouring Bay-Area, and some tracks easily reach the primal aggression of "Eternal Nightmare" ("Demons From The Sky", the explosive headbanger "The Thrashing Soldiery"). The singer is an asset with his dramatic semi-clean delivery, also expert at hitting the high registers when necessary (check the final seconds from "Brainwashed Killer"). The guys shred with passion and force and it would be no surprise if they end up being picked by some label very soon.

Demo Demo, 2010

SOLEMN STATEMENT (GERMANY)

God whispers" here in a modern thrashy fashion tinged with hardcore here and there. So expect plenty of energy served here with brisk lashing riffs and a few choppy proto-groovy breaks. The band have a good sense of variety reflected in the cool heavy semi-ballad "Empty Space" although the angry quarrelsome singer whose rendings are quite close to the one of Mr. Al Jurgensen (Ministry), slightly ruins it not making any compromises with his mechanic shouty delivery.

God Whispers EP, 2012

Official Site

SOLICITUDE (GERMANY)

Based on "Beneath", the band's style is heavy dark thrash with brooding gothic atmosphere and slight shades of black metal ("Crystal Lake"). For some reason this EP reminds me of the Brits The Nefilim. The 2nd part of the EP is heavier with longer and more varied tracks, but somehow loses its thrashy appeal.

Burn Full-length, 1997
Regnum Irae Full-length, 1999
Beneath EP, 2002
Alteration Full-length, 2005

Official Site

SOLID CORE (SWEDEN)

Based on the "Inner Noise" demo, this is a decent attempt at mixing classic and modern thrash topped by semi-death metal vocals. The result is more on the modern side and some cool guitar melodies from the Gothenburg school could be heard.

Inner noise Demo, 2004
Shattered Dreams Demo, 2005

SOLID IMPACT (PORTUGAL)

These guys take t in this act to offer us nothing more than the trite modern post-thrash with several metalcore, and even Rage Against the Machine-like, leanings. There's nothing "solid" here, just repetitive annoying riffs and patterns assisted by even more irritating shouty vocals.

Remastered Underground Prints Demo, 2003

Official Site

SOLIDITY (HUNGARY)

This outfit indulge in modern thrash which blends melody with intensity on almost every composition touching the ballad on the friendlier "My Sickness". "As Dark As You Wish" is a cool dark thrasher, but the real highlight is the jumpy technicaller "Mercy Denied Forever" which also offers a portion of enchanting melodic leads. Unfortunately the last three tracks are slackers without any hard-hitting moments underplaying the good melodic lead sections which on "Clockwork" are a real wonder to listen to.

An Abnormal Collection Full-Length, 2016

Official Site

SOLIPSISM (PUERTO RICO)

This 3-track demo offers cool aggressive thrash metal of the classic school with proto-death passages, and some of the most tortured and agonizing vocals you might have heard in a while. The production quality is bad with a fuzzy guitar sound, but the music packs a punch, also featuring a brutal grinding section on the second song "Only Death Is Real".

Only Death is Real...? Demo, 2004

Official Site

SOLIPSIST (USA)

Based on the "Extinction Protocol" EP, these guys offer modern thrash which is both intense and groovy both sides constantly alternating throughout except on the monumental closer "Ghost of Remembrance" which is 10-min of atmospheric meanderings ala more recent Opeth and an overlong balladic epitaph. The singer is an angry death metal semi-growler.

Medicate the Masses EP, 2007
The Human Equation Full-length, 2010
Extinction Protocol EP, 2012

Official Site

SOLITAIRE (FINLAND)

The best Finnish metal band "born" during the new millennium so far; few are those of the new acts who can fit into the definition "speed metal" better than Solitaire. So what we have is speed, speed and... thrash. The band effortlessly switch from one style to the other, making every album an entertaining listen. With so much speed and energy at display, it's hard to actually point at a soundalike; the neighbours Cranium come closest from the more recent bands; from the veterans Agent Steel, and more particularly their first album, could be a good reference point. There is no technical play or variety in the Solitaire style, but who cares when the music is that good.
"Predatress" is again classic speed metal in its purest form. You have here 11 high-speed antics which at times come in a slower galloping pace ("Predatress"), at times with a pinch of early Metallica ("Leather Scream"), at others with nice epic overtones ("Iron Justice"). "Rat Studded Maniac" is the sole deviation from the formula being a softer hard'n heavy anthem. You know what to expect from Solitaire; this will never be a complex proggressive affair, but fans of the good old school speed/thrash will hardly find more entertaining music to listen to nowadays.
The "Freefall" single is two songs showing the more carefree hardcore-ish side of the band's style; the tracks are pretty fast, of course, but the approach is light-hearted with a crossover/hardcore mood; is this a hint at a future change of direction? (ha ha-don't get scared! But...)

Rising To The Challenge Full-length, 2002
Extremely Flammable Full-length, 2004
Invasion Metropolis Full-length, 2006
Predatress Full-Length, 2008
Freefall Single, 2010

Official Site

SOLITARY (CANADA)

This obscure band specialize in stomping power/thrash which can be both balladic and calm, and edgy and dynamic (the title-track). The style is still more on the power metal side, and the friendly atmosphere is ably aggravated by the melodic leads and good soulful clean vocals.

Blind the Truth Demo, 1992

SOLITARY (UK)

Based on the full-length debut: this band makes a fine bridge (although too late) between the 80's thrash metal movement and the 90's aggro tendencies. At from the classic Bay Area-influenced riffs one can hear heavy groovy sections in the Pantera and Exhorder-mould. The final result is quite good; this is very cool crushing music which will remind you of the Exhorder debut and Sacred Reich's "The American Way" (the latter band are shown respect with a nice steam-roller cover version of "The American Way").
"Requiem" offers the same mixture, but the highlights are a bit more the fine Bay-Area delight "Keep Your Enemies Closer" leading the pack. "15 Years" delves really deep into groovy waters, but rest assured that the guys have taken care to keep the listener entertained, and here comes the excellent cover version of Testament's "Into the Pit" to keep the album flowing. Time for more groove with "Spineless", then the headbangers will rejoice once again, for "Hatred", and this is how classic and modern thrash take turns till the end with more preferences given to the modern side of the genre.
"The Diseased Heart Of Society": the Bay-Area worship carries on with full force the band having no intentions on "waiting" for anyone as "Wait" shows so well with its vigorous uncompromising delivery. "Anthem of Regret" displays more ambition that is additionally consolidated by the headbanging semi-technicaller "Architects of Shame", and the more restrained mid-paced title-track. "Unidentified" thrashes like there's no tomorrow the mosh sustained on the remaining numbers which also show the lead guitar player in a very bright light.
"The Truth Behind the Lies" doesn't break any new ground the delivery quite close to recent Testament, with dark pounders ("The Dark...The Resilient") interlacing with short blitzkriegers ("Abominate"), the two sides taking turns on a nearly track-by-track basis, the furious unbridled title-track going away with all the laurels although the more versatile progressive shredder "DTR (Dishonour True Reality)" is another winner.

The Human Condition EP, 1996
Fear Demo, 1996
Nothing Changes Full-length, 1998
Requiem Full-length, 2008
The Diseased Heart Of Society Full-Length, 2017
XXV EP, 2019
The Truth Behind the Lies Full-length, 2020

Official Site

SOLITARY CONFINEMENT (GERMANY)

Based on the "Die Qual" demo, this act specializes in modern thrash/death which can be both aggressive and technical blending both nuances in wild, not very long structures topped by hoarse death metal vocals. Sparse hardcore moments can be caught, the latter taking a bit away from the intensity which is commendable all the way through, and it would be interesting to see if it has been preserved for the full-length.
The full-length is clearly a disappointment being an awkward blend of short hardcore-ish outbursts and longer, also slower tracks where some technicality ("Selbstkastei") can still be detected. "Red Button" is a cool melodic progressiver with several twists and turns recalling Messiah's "Underground", and "Push Away" follows a similar path thrashing with more panache by retaining the melodic embellishments.

ty Death Demo, 1990
Poluted Earth EP, 1992
Die Qual Demo, 1994
Einzelhaft Full-length, 1996

SOLITUDE (JAPAN)

This act is the continuation of Sacrifice; expect quite a metamorphosis here as the music is much more melodic clinging between the classic heavy/power metal trends and the 90's post-thrash tendencies. There's also alternative, ballads, funk, and what not; no wonder the guys sank without a trace later: this is hardly the best way to continue the career of a once good band.

Virtual Image EP, 2001

Official Site

SOLITUDE (MEXICO)

Based on the debut, this band specialize in a more complex progressive form of modern thrash metal with expressive shouty death metal vocals. The guys shred with competence reminding of both later-period Arch Enemy and the French Lyzanxia. The songs develop in mid to faster galloping paces with loads of memorable melodic hooks before "Dream Inside a Dream" awakens to pour aggression into the album with a portion of faster, more intense passages. Still, this digression doesn't influence the subsequent material the band fonder of the calmer delivery which is again "broken" in a way by the more dynamic closer "Our Soul in Solitude" which is a reminder of the guys' main source of inspiration: the Swedish school. On the follow-up the band harden the course and come up with a stylish brand of technical death metal by preserving the Swedish influence.

The Glorious Shine of Life Full-length, 2001
Introjection Full-length, 2006

Official Site

SOLITUDE (TURKEY)

Although this is a fine band and all, it leaves me worried whether Blaster, a very cool band whose members have founded this band, will record again. Anyway, this is not an exact substitute for Blaster; the music is a bit less technical clinging towards a more aggressive, Slayer-esque mode. There are some nice Oriental touches ("From The East"), too. Good job, but you couldn't possibly expect less having in mind the musicians involved.

Stands for the Void Demo, 2003
Dangerous Force/Solitude Split Split, 2004

SOLITUDE (USA)

Based on the "Fall of Creation" demo, this band pull out heavy thrash with slight technical touches along the lines of Testament's "Practice What You Preach" and Evildead's "The Underworld", but with a very timid lead guitar, and moments which kind of suggest at the coming groovy tendencies in the 90's. This is not bad at all; the tempo is good, never fast ("The Afterlife" is the sole exception), and there are loads of headbanging riffs. The singer has a good powerful voice sounding like a blend of Phil Rind (Sacred Reich) and Chris Astley (Xentrix). Reportedly their full-length debut has fully embraced the 90's modern sound at which this demo only slightly hints.
"From Within" is your average modern groovy post-thrash with a thick heavy guitar sound, but more up-tempo moments aren't completely ignored ("No Future", "Alter the Red", and above all, the intense thrasher "Poisoned Population"), and as a whole this album isn't actually lacking energy. "From Within" is a fine short acoustic instrumental which breaks the album into two parts.

Sickness Demo, 1988
Fall of Creation Demo, 1990
From Within Full-length, 1994

SOLOMONIC DEMONS (USA)

Based on the full-length, this band play modern melodic thrash which manages to sound both epic and fast-paced also blending both sides into one song ("72 Demons"). The playful nature of the music doesn't ruin its more intense moments, but flows nicely into the aggressive melee which is also enhanced by the vicious semi-shouty death metal vocals the latter taking quite a bit of space, particularly on the nice epic closer "Brotherhood Warfare".

The Gate of Goetia EP, 2013
Firestorm Full-length, 2015

Official Site

SOLSTICE (USA)

Based on the self-titled debut, this band play a classic mixture of thrash and death, intense semi-technical stuff accentuated by rough barking death metal vocals. The tempos vary with speedy breezers ("Eternal Waking") alternating with more intricate expletives ("Survival Reaction") and darker, marginally more restrained ("Netherworld") numbers. The Carnivore cover of "S.M.D." is off-context, though, a short hardcore outburst that doesn't add up much to an otherwise deftly executed album.
"Casting the Die" brings the band's delivery back to the more thrash-fixated canons, after two more death metal-oriented opuses, the bashing vigour of the opening "The Altruist" bordering on hardcore. Excellent lead guitar work and frequent technical quirks (the hectic wonder "Transparent") pepper the lofty landscape, the atmospheric thrash/crossover orthodoxy of "Who Bleeds Whom" another interesting addition. The straight-up Slayer-esque "Lifeline" leads the show in the second half, the more death-prone "Outlast" enhancing the aggression. The vocals are the same as before, maybe a tad more shouty and rending, but are totally relevant on the explosive near-deathster "Cast The Die", and on the semi-technical staccato chopper "Eyes Sewn Shut".

Solstice Full-length, 1992
Casting the Die Full-length, 2021

SOLUS (CANADA)

Based on the "Our Frosting Hell" EP, these guys pull out cool semi-technical thrash/death metal which opposes to the trends in their own motherland by concentrating on heavy mid-paced riffs spiced up by genuine abstract moments, quite close to Coroner's "Grin" ("Tainted Slowly"). The vocals are brutal low death metal growls rarely accompanied by clean operatic ones.

"Slave of Mind" offers heavy mid-paced music with a clear modern flavour. There isn't much technicality involved, and the repetitive nature of the guitars will tire the listener, but if he stays with the album until the end, he will experience its finest moments: the hectic technical groover "Strain", and the only temptation at a faster play "Core" which blasts out with the best out there on a few times.

Slave of Mind Full-length, 1996
Our Frosting Hell EP, 1998
Universal Bloodshed Full-length, 1999

SOLUTION OF PANIC (CZECHIA)

This is modern thrash with bashing corey leanings (the title-track) at times, the short ripper “Heil for War” saddling the horses for more full-fledged thrashing. More thumping rhythms on “Blood of Jesus” and the volcanic violator “Re-born”, before ‘Ancient Evil” ravages the battlefield with wild unrestrained riffs, with death metal coming to the fore for a bit. The singer is a shouty deathster who rends his lungs without remorse, still managing to sound comprehensive for most of the time.

Revenge from the Grave Full-length, 2023

Official Site

SOLVO ANIMUS (PUERTO RICO)

Based on "The Ways of Men", this power trio, whose line-up features members from all the distinguished acts from the island (Dantesco, Sacrilegio, Narval, etc.), specialize in very good progressive power/thrash which boasts a dark rich sound which at times may recall the Swedish scene (Memneto Mori, Hexenhaus, Fifth Reason, Memory Garden): the opener "End of This Realm", but at others it branches out into less defined power/thrash in mid-pace maybe recalling mid-period Iced Earth (the title-track); at others it's straight-ahead speed/thrash ("Victory at Zion") without any gimmicks. "Just Us" tries something jumpy and technical for over 3-min, and "Truth or Lies" is a cool nod to the 80's American scene before the galloping "Fountain of Dreams" notches it up the progressive scale. "Free" thrashes really hard with technical implements, and "World of No Tomorrow" is another scary shredder with heavy dramatic riffs and several speedy sections. "Silent Revenge of the Gypsy" is another major ripper with galloping moments aplenty again, and the closing "Seven Days" is a tad milder epitaph with its with loads of virtuous melodic leads flowing from all sides. The vocalist is truly a find with his soaring dramatic pitch reminiscent of Bruce Dickinson, the best possible coverage for this excellent effort.

Solvo Animus Full-length, 2009
The Ways of Men Full-length, 2013

Official Site

SOMBER (SWEDEN)

A hesitation between the classic and the modern sound which is pretty dynamic moving from heavy groovy to fast headbanging sections the whole time both sides equally distributed along the album. The approach inevitably resembles early The Haunted on the better moments, with a surprising shift into laid-back, mellow post-thrash near the end, with a cool semi-ballad ("A Machine Corroded"), something which The Haunted themselves started doing at some later stage; and "Whiskey And Brew", which is a pure doom/stoner joy ala Orange Goblin.

The Black Machine Full-length 2008

Official Site

SOMEDAY I COULD KILL (USA)

A power trio who "someday could kill" someone with these heavy modern doom/sludgy/post-thrash riffs which never develop beyond the mid-pace, but sound convincing, especially on the more balladic moments ("Into Distortion") where they come with a more emotional charge. "Rock The 40" is a frolic rocker livening up the doom-laden situation established by the rest which turns into full-blooded doom near the end on "White Persia" and the more melancholic closer "Lashing Back".

Where the Wolves Rest Full-Length, 2013

Official Site

SOMETHIN AWFUL (USA)

This obscure effort is your average galloping American power/thrash on the more minimalistic side, think Griffin and Aftermath. The longer compositions ("Before And After") contain some cool balladic sections, but there's enough energy to be savoured on more immediate moshers like "The Uprising". The singer shouts in a way no worse than Bobby "Blitz" Ellsworth (Overkill) himself, and some of the more epic tunes will also remind you of early Overkill ("Somethin Awful"; make sure you don't miss the great virtuoso lead passages on this one).

Demo Demo, 1989

SOMNIUM (GERMANY)

Based on the "Alone" demo, this band play pretty decent, well-composed classic power/thrash which has its more intriguing flair on the dramatic meandering "Visual", the consistent mid-tempo chugs of "Of Those..." a close Bay-Area reminder. "A Star..." is a cool atmospheric ballad partly ruined by the not very emotional mid-ranged semi-clean singer, and "Sept. Mediocre Case" is another steady mid-paced march which flows into the excellent doom metal hymn "Think Thoughts", and later into the really cool "I'm Sure", both a more technical and melodic etude with stylish heavy riffs and a few alluring lead sections.

Rehersal Tape Demo, 1993
Alone Demo, 1995

SON OF DOG (USA)

Based on the "Farce" EP, this act deliver groovy thrashcore supported by growling death metal vocals. The impetuous rhythms of "Crucify the Demi-Gorgon" are sure eye-openers, bordering on grind even, whereas the groovy riffage of "Love Song" can easily pass for post-thrash. Earlier the lads were known as Forsaken when the style was a death/grindcore hybrid, and some of the band members were also participants in the death metal outfit Nothing.

Farce EP, 1992
Embrace EP, 1993

SON OF HAPPY (CANADA)

"Happy" uplifting thrash/crossover which is quite simplistic in its execution except for the longer "Sweaty Ears" where the band abandon their stripped-down delivery for the sake of slower more elaborate decisions. Often is the music pure punk topped by gruff mid-ranged semi-clean vocals.

T.A.L.H.S.O.M.A. Demo, 1988

SONIC ANNIHILATION (USA)

Based on the "Obsessed with Torture" demo, this act specialize in heavy sturdy thrash/crossover with a curt pronounced bass bottom. The punky spiteful vocals add up to the frivolous atmosphere which is closer to pure hardcore on "Kill 'em All", before the "Machine Gun/Terminal Death" hybrid presents a frolic speed metal veneer to a heightened rousing effect.

Obsessed with Torture Demo, 1986
Demo Demo, 1987

SONIC ASSAULT (SWEDEN)

Based on the full-length, this band play complex modern thrash/death of the Gothenburg variety, but much more progressively-ornate (the atmospheric "Voices"), although neither infernal velocity ("Everlasting Detainment", "Affliction") nor more technical tricks ("God's Image Dead", the lengthy sprawling opus "Neon-Lit Metropolis") have been spared, the stomping surreal "Sirens" another less ordinary inclusion, the guys hitting the actual jackpot with the exquisite 9.5-min progressive saga "Coercive Augmentations", a multifarious journey with pleasant surprises galore, with orchestral and operatic arrangements helping in the concoction of a true meisterwerk of elaborate, thought-out metal. Expect another larger-than-life composition later, the 12.5-min odyssey "Systematic Decimation", a more monolithic, less exuberant song with bigger doom/balladic accumulations. Some of the band members are also involved with the retro thrash cohort Ominum.

One Inch Monster EP, 2013
Neon-Lit Metropolis Full-length, 2022

Official Site

SONIC FLOWER (PORTUGAL)

Groovy post-thrash with an alternative and also grunge edge; nothing to die for, lacking emotion and dynamics. The band members have another project: The Last of Them, where they play almost the same stuff.

Tripnoziak Demo, 2001

My Space

SONIC PULSE (USA)

The debut: this young outfit play frolic, but also quite intense at times, power/speed/thrash retaining the high energy even on longer, seemingly more thought-out compositions like "Bong Zombies" and "Sonic Pulse" staying firmly on classic ground for most of the time inevitably "winking" at the 90's power/speed metal movement on occasion. "Eye of the Beerholder" is another engaging piece with blistering speedy sections and very cool melodic lead guitar work. The approach smells Manticora and Hellfire on the more soaring moments ("Beyond The Black Hole") and generally the mood is uplifting also helped by the good dramatic vocals which share a hoarse clean blend not dissimilar to Hansi Kursch (Blind Guardian) and Lars F. Larsen (Manticora again). Some of the band members released one more album the same year of classic speed metal under the name of Seax, and also play in the thrash metallers Skull Hammer.
"Vs. the Internet" will edge everyone against the Internet as the guys are intent on making their music count with interesting riff-patterns and spinning virtuous melodies, those bordering on the addictive on "Cold Sorceress", all being nicely combined on the progressive winners "Cheers(to All the Good Things We'll Never Have)" and "Jerkoffagus". The more overt speed metal-ish veneer of "The Breast of Both Worlds" is another highlight as well as the more brutal histrionics on the more immediate lashers "Resinator" and especially on the fierce blitzkrieg cover of Kreator's "Betrayer", a surprising choice having in mind the more entangled character of the material, with the one of the Finns Stone's "Get Stoned" more fitting into the picturesque, multi-textured carnival served here.

Lager Than Life Full-length, 2012
Adventure Metal EP, 2014
Vs. the Internet Full-length, 2018

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SONIC STORM (MALTA)

This act unleash dynamic old school thrash that puts its moshing heart up front with the energizers "No More Lies" and "Enemy of the State", "Web of Corruption" introducing a few calmer raucous passages bordering on stoner/doom. No such films on the explosive "Dance of the Dead" and then more deviant shredder "Into the Pit", the hoarse shouty vocalist sparing himself on the two short quiet instrumentals. Some of the band members are also engaged with the death/thrashers Angelcrypt.

Keys to Your Ruin Full-length, 2023

Official Site

SONIC VIOLENCE (UK)

Based on "Jagd": these guys are one of the pioneers of the industrial sound in England, taking a well-deserved place right beside Godflesh and Pitch Shifter. Unlike them, this band adhere to more intense thrashier riffage, but the music has the same monotonous one-dimensional quality going along with the style. The lack of speed might tire the listener, especially at the time of release, when recordings of this kind were very rare. On the last tracks, where the length increases, the band switch onto pure gloomy doom with industrial overtones. Reportedly on later works the guys have chosen the heavy industrial path to follow.

Sacrifice To Strength EP, 1989
Jagd Full-length, 1990
Casket Case Full-length, 1991
Transfixion Full-length, 1992
The Blastecyst Mixes EP, 1993

SONICK PLAGUE (USA)

This is jolly uplifting thrash metal that we have here. The riffs would remind you of early less technical Megadeth, or Mordred's "In This Life". The band incorporates very cool moments: country, latin, rock'n roll ones (check out "I Don't Wanna Relax") which work great in the overall optimistic sound; this is good "party" thrash all the way.
"Sonick Plague": this is a re-recording of their debut album which engages you from the very opener "Street Wars", an inspired speedster which catchy character gets transmitted on almost every other piece: more officious and stompy on "Aa"; more technical and shreddy on the Megadeth-esque "I Don't Wanna Relax"; more relaxed and speed metal-ish on "View of Death"; with a shade of ballad on "One Swift Kick"; brisk and technical on the last two compositions from which "Misc. Bullshit" is more technical and serious, and the final "Nrg" is more laid-back with an optimistic touch of crossover. The vocals are intact from the past being clean and emotional, the perfect fit to this roller-coaster of vintage old school speed/thrash which sounds as fresh as the first time it hit the speakers some 27 years earlier.

What's The Purpose Full-length, 1988
Sonick Plague Full-Length, 2015

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SONNY RED (FRANCE)

Melodic modern groovy post-thrash with all the gimmicks for the style although the clean side of the vocals here is quite good. Some more energetic numbers actually deliver the goods ("A New Eye").

Extent Of Soul Full-length, 2006

My Space

SONS OF JONATHAS (BELGIUM)

This band is the new band of Xavier Carrion, the guitarist who took part in two of the most celebrated Belgian thrash metal acts Channel Zero and Cyclone. The style here is more aggressive being a mix of thrash and death metal; the music is good offering both slower atmospheric and speedy tracks. There's a shade of groove coming from the later Channel Zero efforts, but the cool cutting riffs stifle them quite a bit. At their best the guys reach even Death ("Final Call"), but another very attractive side of theirs is the pure speed delights ("Listen & Obey"), or the smashing heads-down thrashers ("Sons of Jonathas"). "House of Torment" is an odd ambient atmospheric number placed in the middle, absolutely out of context. The rest, however, is really worth checking out being good professionally executed thrash/death metal.

The Death Dealer Full-length, 2005

My Space

SONS OF SAWYER (USA)

This obscure outfit specialize in bashing wild thrash/death that sounds quite ahead of its time. Proficiency isn't very high, though, although the guys do try to make sense, and "Naked Nuns" is a cool more technical piece, but the desire to pummel with passion is stronger, and the band carry on with the more restrained but still pretty active "Ignored", and the hectic ripper Freshly Severed Head". The singer is a semi-shouty/semi-deathster who leads the show with belligerent authority.

Freshly Severed Head Demo, 1989

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SONS OF THE BEAST (BELGIUM)

This band play modern thrash/post-thrash with touches of hardcore on the shorter material. The longer numbers ("No Justice (But Who Cares)") are strangely laid-back, with atmospheric semi-balladic shades, but watch out for "The Witching Pact" and "Rip And Tear", prime blitzkrieg pieces which will keep the headbangers perennially happy. The vocals are mean semi-shouty and occupy quite a bit of space, rolling alongside the rifforamas without adhering to too much actual singing.

The Void Full-Length, 2018

Youtube

SONS OF WAR (BRAZIL)

Brutal thrash/proto-death fitting just perfectly into the thrash metal picture in Brazil at the time; the sound quality is awful, but this is a live recording, but one would hardly expect a better sound in the studio since the musicianship is very amateurish, and the "singer" tries to rule the show talking to the audience rending his lungs out for some awful semi-death metal grunts which often completely "choke" the timid musical attempts of the other players.

Live at Heavy Rock Festival Demo, 1987

Fan Site

SOON TO BE FORGOTTEN (NORWAY)

Based on the self-titled demo, this band acquit themselves with modern death/thrash which is not miles away from the Swedish school, early Dissection an obvious influence. The guys vary the approach always staying on melodic ground with interesting hooks and tunes making all the three 3-4min compositions pretty eventful listens without stepping onto any technical of progressive territories. The singer is an expressive semi-shouter who assists capably without taking too much space.

Soon to Be Forgotten Demo, 2006
Kill the Band! Demo, 2007

My Space

SOOTHSAYER (CANADA)

An enjoyable band who manage to sound different on almost every song from their debut; the style is firmly thrash, but they spice things up with instrumentals, ballads and jolly punk/hardcore passages. One can not help, but have a good time while listening to this album. "Free Violence" justifies its title with the most virulent barrage on the album, an aggressive basher with echoes of Wehrmacht and Ludichrist, "Dig" an even wilder ride, being that close to tumble into eye-gouging Cryptic Slaughter-esque brutality. "The Game" is a sure game changer, a calm semi-balladic stroll that is buried under a wall of pummeling neck-spraining riffs on "101" and "E.T.", the hype-ractive barrage, naturally, stopped by "The Game II", after which the delivery calms down, although "Change" is another brutal addition to this unrestrained offering. The singer is a punky semi-reciter who is strictly on the singing, not so much shouty, side of the spectre.
"Troops of Hate": another unheralded reunion and it's a good thing that the band have decided to present a similar concoction of merry styles as the majority of the numbers are strictly in the thrash/crossover camp as there are quite a few speedy moments to be savoured the guys shredding in a brisk invigorating tempo nearly the whole time with more striking outbursts of aggression the latter leading to a couple of less restrained punk/hardcore outbreaks ("Enough", "Narrow Minded" and the energetic closer "Anatomy Is Dead Sickness" which are slightly updated versions of old anthems). The vocalist is a hysterical screamer/shouter who doesn't hide his more melodic "soul" the latter going well with the dominant jolly-good optimistic mood of the music.
"Death Radiation" stays more on thrash/crossover ground, but that isn't a bad thing at all, especially with raging roller-coasters like "Cherareeroad" and the longer but equally intense "Failure" timely provided. The mellower friendlier character of cuts like "Pouliot et Pouliot" and "Jesus was a Bastard" balances things out, but little can be done to stop impetuous moshers like "Patience" and "Choo Choo" from thrashing the neighbourhood. The closing "NX2" is a nearly 11-min extravaganza which doesn't contain much thrash, but entertains the listener with a wide array of merry optimistic tunes, those mostly coming from the heavy/power metal camp.

Have A Good Time Full-length, 1989
Troops of Hate Full-Length, 2013
Death Radiation Full-length, 2019

Vibrations of Doom

SORCERER (HOLLAND)

The mainman here is Mike Van Mastrigt who later went onto bigger glories with the death metal acts Sinister and Houwitser. The music here has no shades of death metal whatsoever, but is heads-down speed/thrash reminiscent of Angel Dust and Toxic Shock; "Terror Reigns" is one of the finest examples of the typical German speedy thrash metal: a merciless speed/thrash assault at its best.

Living of Blood Demo, 1987

SORCERER (POLAND)

A promising young Polish band; the style on the EP is mostly speed/power metal not too far from Blind Guardian, but ornate with folk-ish and epic moments. The demo would be of bigger interest to thrash metal fans: a very good speed/power/thrash metal piece recalling another fine Polish act, Hellfire. The epic and folk-ish elements are still present, but the overall sound is more aggressive with more complex song-structures bordering on progressive metal which would find its further realization into the (hopefully) full-length.

Metalowa Husarya (The Last Hussars of Metal) EP, 2004
War Sower Demo

Official Site

SORCERER (USA)

This act indulge in old school thrash/death which pounds its way with belligerent determination, the moshing drama unleashed on "All Eyes Stare Dead" later absorbed by both by the officious epicer "Golden Dust of Knowledge" and the measured mid-paced march "Phantoms in Black". Expect less restrained blast-beats on "213 Powhatan" and the melo-death winner "Where No Life Grows", the death metal fraternity left happier in the long run, also with the presence of the comprehensible intense death metal vocals.

Mirages Of Crystallized Horror Full-Length, 2023

Official Site

SORDID DOCTRINE (USA)

Crossover/thrash metal; the shorter tracks are pure hardcore and are placed in the beginning. Their speed and energy are completely absorbed by the slower stomping "Gasoline Man" which strongly recalls the Carnivore debut. The next two songs are ordinary simplistic thrash/crossovers, but the last "The Walls Have Eyes" slows down again bringing forward heavy smashing riffs.

And Then the Rain Came Demo, 1987

SORE PLEXUS (GERMANY)

Yes, before Spiral Architect there was Sore Plexus... This masterpiece sounds like a distant and harder to swallow echo from the German technical/progressive thrash metal scene which left a memorable trace on the metal field in the early/mid 90's. This is one of the last great outcries from the 90's, a marvellous combination of very complex passages and a couple of straight sections (mostly in the lead department), resulting in a state-of-the-art affair preceding the aforementioned Swedes' release by a year, with the similarities between the two works more than passing. The level is already sky-high on the magnificent opener "Cardriver's Weekend", a progressive thrash brilliance last heard on the last Watchtower album, or on Sieges Even's "Life Cycle". "Gypsy Shred" is another great number mixing stunning technical riffs with more direct aggressive parts. "P.Domain" is a whirlwind of ultra-technical guitars and more controlled slower semi-balladic moments. The vocals add up to the original atmosphere being clean with a semi-alternative blend which on the higher tones come close to Buddy Lackey (Psychotic Waltz), but this guy is more dramatic. Some sparse short acoustic (three altogether) ballads are added as interludes. "Flyger My Chung" is another exercise in exemplary progressive metal, this time more melodic, which tones down the more aggressive riffage from the first couple of tracks: a tendency later continued on "Aloi", before "Die Nasty Qui" steps the pedal again producing great headbanging moments interrupted by vortex-like sections where the guitars switch from one time to another just like that. "6 A.M." is a triumphant number, in the mid-paced sector, for the more level-headed fans with technical sections ala Helstar's "Nosferatu", decreasing the complexity a bit. The best, however, is yet to come with the closing "Choco Frights" which carries on in the same vein, more complex than the predecessor with a cool jazzy section in the middle, and a splendid imposing balladic outro. This is one-of-a kind work which could not possibly be spoiled by a follow-up and logically after that this very obscure act sank without a trace in the underground where the greatest technical metal bands belong.
The EP is much more than just a warm-up for the full-length: this is actually one of the most impressive short works from the technical/progressive music spectre. The opening twisted riffage of "Paperhat" already gives an idea at what is going to happen here: very complex, thought-out multi-layered music which sounds like an echo of the already extinct German progressive/technical thrash metal scene of the early/mid 90's without forgetting about the very roots of the genre as well: Watchtower, that is. The surreal melodic Jello Biafra-like vocals are perfectly fitting to the already very abstract avantgarde picture. "3'n Slow" is one of the finest atmospheric progressive thrashers offering wonderful labyrinthine moments mixed with the quiet semi-balladic ones; a masterpiece worthy of Cynic even. "Shaft!" is more straight-forward to an extent, a short pause, before "Shakkapully" takes you over again with a whirlwind of super-technical guitars and illogical at first listen parts. "Boneless Chicken" is the crown of this little masterpiece: smashing technical thrasher with a brilliant balladic mid-break and some of the most head-spinning riffs around; add a couple of equally as twisted, but also melodic leads, plus a few more direct headbanging hooks and outstanding vocal performance, and you know that you will spend many hours listening to this; oh, the more peaceful balladic ending is just one of the delights. With a very little discography left behind, this band remains one of the most essential acts in the history of technical metal.

Visual Agnosia EP, 1997
Haptephobic Full-Length, 1999

SORE SIGHT (GUATEMALA)

This act would be a "sore sight" (pun intended) with their dark elaborate, but melodic and catchy, brand of classic power/thrash which mainly suffers from the hysterical shouty vocals which starkly contrast to the otherwise proficient guitar work which even "flirts" with the more technical (check out the complex passages on "Nocturna"). The album is divided into two parts: short more immediate songs and complex, sometimes overdone, cuts with a lot of musicianship present, to not always very positive impressions. Still, the melodic hooks are quite attractive and the switches to calmer passages, where nice flamenco guitars can also be heard, are handled with care for most of the time and don't sound awkward. There are quite a few interesting ideas thrown in here, but their ultimate realisation is apparently left for the indefinite future since the band are put on hold at the moment.

La Muerte Llama Full-Length, 1999

SORGSEN (ARGENTINA)

Three tracks of modern thrash metal with a shade of mid-period In Flames with death metal vocals, mostly in mid-tempo with a couple of sharp moments, but also with an overlong quiet section on "Prefiero Las Sombras" which is an otherwise cool dark doom/thrasher.
The full-length is way thrashier the band now moshing in a more classic, more serious, manner the strictly modern production betraying the time of release. The compositions are much longer with frank progressive pretensions although the riff-patterns seldom shift from the direct path. Interesting melodies with an Oriental twist grace "Hatesource", but the not very melodic shredding on the other material kind of wears thin after a while. Things go over the sense of good taste on the overlong (both lasting over 10-min) "The Last Time" and "Into the Oblivion" which contain a few intricate sections, but overall are just modern tedious crunchers without many highlights, the latter a bit more attractive with its ambient bass insertions. The singer shouts in a more attached death metal manner still playing a second fiddle to the superior music.

Arguing With Death Demo, 2006
Human Behaviour Full-Length, 2010

Official Site

SORROGATE (GERMANY)

Heavy/power metal reminiscent of Tank and Raven, but with a more modern attitude and touches of thrash, plus a cover version of AC/DC's "Whole Lotta Rosie".

Spinalonga Full-length, 2005

Official Site

SORROW (POLAND)

These Poles pull out crunchy choppy retro thrash which either lashes with little remorse ("Black Spring") or stomps in a semi-angry but agreeable manner ("Black Spring"), the gruff semi-rehearsed/semi-declamatory vocals trying not to ruin the musical setting too much the latter hitting the carefree crossover parametres on the short frolic "Evokiller".

Three Skulls Demo, 1991

SORROW (USA)

Based on "Death of Sorrow", this band, who were earlier known as Apparition, play a pretty decent moody dark doom/thrash combination the latter still exuding enough energy ("Judicial Falsity") to pass a sturdier thrash test, the intimidating deathly vocals serving their purpose in a more subdued unobtrusive manner. Watch out for "Scar" an effective solemn doom at its most academic; and for the 9-min odyssey "Hidden Fear", a nice eventful amalgam of doom, thrash and death, followed by an atmospheric minimalistic rendition of "The Funeral March".

Forgotten Sunrise EP, 1991
Hatred and Disgust Full-length, 1992
Death of Sorrow Full-length, 2023

Official Site

SORROWED (FINLAND)

This outfit acquit themselves with a modern brand of thrash and death metal which is both aggressive ("I Am Pain") and melancholic and playful ("Hateregret") with a strong shade of mid-period Sentenced. Still, for the most part the riffs cut with power despite the several radio-friendly rhythms encountered. The singer is a forceful death metal semi-shouter who is ably assisted by the catchy melodic hooks which are at times interrupted by spasmodic blasts ("Ending"). The band members also play a more pure brand of death metal with Snowgarden, and more laid-back gothic metal with Fragile Hollow.

At The Ruins Full-length, 2012

Official Site

SORROWFALL (FINLAND)

This is melodic modern thrash/death metal not far from Dark Tranquillity's The Mind's I" and the early works of the Danes Withering Surfaces. So expect generally moderate music with up and mid-tempos taking turns on a romantic melodic base which gets rudely "awoken" at times (the intense piece "The Sleeper Awakens......The Curse of Our Kind"; the more classic-sounding speed/thrasher "A Shadow Gathers"). In terms of melody this effort probably scores higher even than the aforementioned Dark Tranquillity album, but in terms of sharpness it has to catch up with most of the similar stuff out there.

Prayers of the Faithless Full-length, 2007

Official Site

SORROWED (FINLAND)

Based on the "The Dreams of Children" demo, this band offers long atmospheric exercises in melodic thrash/death metal of the modern school. This is peaceful mid-paced stuff with brutal low-tuned vocals and nice melodic "ornaments". The tracks are all lengthy within the 7-8min range, but the deviations are in the form of slower doom/gothic-laden passages ala mid-period Cemetary and Lake of Tears where the influence of the guys' other project Fragile Hollow is more than clear.

Dreams of a Better Tomorrow Demo, 1999
The Dreams of Children Demo, 2002
Ending Demo, 2003
Dead in Flesh Demo, 2003

Official Site

SORS IMMANIS (GERMANY)

Based on the "Instant Termination" demo, these obscure technicallers are one of the German progressive/technical thrash metal wave's better kept secrets. This little gem begins with an excellent intense instrumental of the technical, but also fast, variety recalling at times Destruction's "Thrash Attack" on the more linear strokes, before the vocals hit on "Art Of Brutality" which is a creepy doom piece without too many more stylish decisions; those same vocals are of the vicious semi-death metal type distantly recalling Mille Petrozza, but are expressive and forceful enough. "Insanity Rules" is another more complex speedster followed by the similar, but wilder shredder "Instant Temptation". As a whole the overall delivery comes quite close to Kreator's more technical period ("Coma of Souls", above all) and may easily pass for the most aggressive output from the aforementioned wave.

Last Tribunal Demo, 1987
Hidden Truth Demo, 1992
The Fragility of Beauty Demo, 1993
Haunted Demo, 1994
Instant Termination Demo, 1995
Beyond the Red Demo, 2000

My Space

SORTS (ESTONIA)

Based on the self-titled EP, this band plays atmospheric old school black/thrash metal sounding like a slower more dreamy early Burzum with a pinch of Celtic Frost-esque heaviness. The vocals are subdued semi-death metal ones well suiting the brooding minimalistic tone of the music. The guys are occupied with numerous other black metal projects: Loits, Manatark, the black/thrashers Must Missa, etc.

Made in Nightonia EP, 2010
Sorts EP, 2011

My Space

SOSRA (USA)

Based on the full-length, this duo serve modern-ish power/thrash which contains some epic flavour, but the harsh abrasive guitars don't give it too many chances to shine. "Empty Shell" is an interesting combination of balladic lyricism and hard-hitting thrashing the leads making a fine appearance with a breath-taking melodic pirouette. The rest isn't as striking staying within the mid-paced confines although "Battle Scars" is a cool battle rouser, and "Iron Horses" is an infectious speedster the hoarse clean singer shouting more attachedly, pitching it higher to fit the more dynamic musical background.

DEMOlition EP, 2015
In Distress Full-Length, 2017

Official Site

SOSTERIK (USA)

This is steady monolithic mid-paced retro thrash aggravated by rough semi-death vocals ala Tom G. Warrior (Celtic Frost). This is heavy steam-roller stuff which spits venom and bile with tank-like pieces like "Macabre Cadaver" and more doom-oriented "Divine Destruction", the overall delivery quite reminiscent of another US formation, Angelkill and, consequently, the Germans Warhammer.

Trendkill Full-Length, 2020

Official Site

SOTER (HONDURAS)

This is edgy modern power/thrash which bites more "painfully" here and there, but overall develops in a calm mid-pace with references to hard'n heavy. The sound quality is quite good giving the guitars an expressive edge which is the reason why the weaker clean mid-ranged vocals can't be heard very well at times.

Eterno Silencio Full-Length, 2011

SOTHIS (ITALY)

This young Italian band pull out (based on "Fusion") an energetic thrash/death metal hybrid of the modern type, well done, with nice melodic hooks and sharp riffs, quite fast and brutal at times, but nothing really extraordinary. Some clean vocals can be heard, as opposed to the shouty death-ish ones. A few tracks carry the classic touch ("R.I.P."), and with some more of them for the future this band could stick out to the horde of The Haunted and Carnal Forge followers.

Fusion Full-length, 2006
Egod Full-length, 2010

Official Site

SOUL-X (FRANCE)

This act, who were previously known as Bloodshed, operate within the 90's groovy post-thrash spectre, moshing more energetically ("Son of a Bitch", "Violence") on occasion watch out also for the tasteful lead guitar work which contrasts with the simplistic riffage the latter bordering on Pro-Pain-esque thrashcore ("Disciple") here and there. There's some more serious, dry mechanical vibe ("Speech for the Dumb") seeping at times, including on the cool balladic "April Grin", the harsh shouty quarrelsome vocals taking a marginally more lyrical turn on that one.

The Killing Machine Full-Length, 2019

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SOUL ASSASSINS (BRAZIL)

Besed on the demo; these Brazilians play retro thrash with a slightly abrasive guitar sound and gruff death metal vocals. The music packs a punch being dynamic without being very fast, and the bass work is really good assisting the sharp, but fuzzy, riffs well. The leads are also worth mentioning being melodic, but short, and without the buzz they would have sounded better.

The full-length debut only partly deserves its ambitious title (the guys don't bother changing titles sticking to the "thrash attack" one) being old school thrash metal of the dark moody type not far from the Brits Deathwish; this is still pretty cool music of the minimalistic less flashy type. The delivery is moderately fast, but the sound quality is quite muddy giving a strong boost to the bass which plays an important role. The guitars are not very sharp, but deliver with their brooding tone and the short, but effective, leads. The singer is the same death metal gruffer, but this time he is kind of more suitable having in mind the pessimistic musical approach which moves from more direct headbangers in the beginning to more epic-sounding gallopers towards the end.

Thrash Metal Attack Demo, 2006
Thrash Attack Full-length, 2007
Get Thrashed Split, 2009

Official Site

SOUL CYCLE (USA)

Modern all-instrumental thrash/death metal of the Gothenburg type, early In Flames a particularly obvious influence; the music isn't very varied staying in mid-pace for most of the time although the guys leave enough room for the riffs to develop without overdoing it in the lead department, and a couple of more melodic balladic sections can easily be caught stretching into whole pieces ("Landscapes to Infinity") in the middle. This is an easy smoothly-flowing listen, despite the few more ambitious semi-progressive passages which could have benefited from more intense riffage here and there.

Soul Cycle Full-Length, 2010

SOUL DEALER (SPAIN)

The debut: these Spaniards specialize in calm modern power/post-thrash which is on the soaring side at times (the optimistic opener "Lullaby to the Gods"), but oftentimes does it cling towards the groovy formulas which produce the very cool ballad "Wearing Thin", among other calmer moments the latter mostly gathered in the second half which pulls the album down, a situation partly saved by the very good emotional singer who leads the show with panache and is the best performer here.
"Holy in Your Head" starts very promisingly with the highly energetic title-track, but it doesn't have a match later as the band return to their more moderate power/post-thrash roots which produce pleasing, but highly derivative numbers among which a sure highlights are the short speedster "Wargasm" and the more complex shredder "Liar Lies"; and to some extent the very cool emotional ballad "Jezebel's Room" near the end.

A Price to Pay Full-Length, 2014
Holy in Your Head Full-Length, 2016

Official Site

SOUL DRAGGER (ITALY)

Pretty cool classic power/thrash which takes no prisoners (the relatively raging "Damnatio Memoriae", the melodic exploder "Angel") on occasion, but more often it's built around milder atmospheric undercurrents (the semi-balladic "Maid And The Beast", the playful sing-alonger "Everyday"), the adequate semi-clean vocalist trying to fit into any stylistic stream, also attempting a couple of scarier deathly growls on the more aggressive moments.

Soul Dragger Full-Length, 2020

Official Site

SOUL EATER (MEXICO)

Cool speedy thrash metal of the old school with gruff death metal vocals; the overall approach is quite close to Rigor Mortis and early Whiplash, and tracks like "I Will Rot For Food", "Thrash Metal Dogs" and "Angel Rapist" are major headbangers as well as almost every other one. "Soul Eater" is less controlled blasting out in a furious death metal manner near the end. The lead guitarist is close to being the star of the show with his proficient both melodic and technical, albeit not very long, leads which hit the roof on "A.C.S.", which is the only slower song; that same guy is not too far from Mike Scaccia (Rigor Mortis again, Ministry) although in the riff-department nothing too technical comes up. "Blasphemy" is more laid-back speed metal, but the closing "Satanic Discharge" thrashes its soul out also touching the early German speed/thrash metal scene, adding the odd blast-beating section. This young outfit really know their craft showing a surprising level of maturity at this very early stage of their career.
The promo is four songs of aggressive thrash/death seeing the guys going up the aggression scale towards Merciless Death and Gammacide. The singer is omnipresent, but in a good way, and his scary brutal growls add up nicely to the music's brutality. There is no mercy shown anywhere: this is devastating speedy stuff with a very clear sound quality.
"In the Land of the Blind" contains all the songs from the promo, and the rest shows no compromise with the band's staple delivery a bullet after bullet shot with the utmost intensity: "Sea Of Corpses", "Red Alert", "Toy Box. etc, all graced by a death metal flavour including in the vocal department where the guy can really scare the unprepared with his hellish semi-whispered antics. The music develops on a super-speed level for most of the time not leaving much room for any more experimental sections which timidly show up on the more stylish shredder "Ungoliant", and on the furious Cryptopsy-esque "Crown Of Wisdom". The guys' infatuation with death metal is clearly displayed at the end, on the cover of God Dethroned's "Villa Vampiria", is delivered in a more moderate thrashy manner which in this case is the right decision.

Satanic Discharge Full-length, 2009
Hymns Of Possession Promo, 2011
In the Land of the Blind Full-Length, 2013

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SOUL FACTOR (BRAZIL)

This Brazilian trio specializes in angry post-thrash crossing later-period Sepultura with more industrial cyber tones, without leaving a very positive impression. The singer is suitably angry, the music suitably heavy... it's just that this all sounds too painfully familiar.

Timeline Full-length 2003

Official Site

SOUL GRINDER (USA)

Based on the full-length debut, this trio specialize in belligerent classic power/thrash not far from early Chastain. The singer is also a girl, the name April Dimmick, and her manly battle-like croons are quite comparable to the ones emitted by Leather Leone. Music-wise this is dark atmospheric stuff the band seldom breaking the mid-paced barrier, but the hypnotic not very exuberant approach works just fine on minimalistic creepers like "Kill Maim Burn" and the academic doom "Beats of Chaos". The balladic veneer of "Lost and Damned" introduces a more lyrical vibe, but the more energetic rhythms of "Blighted Land" and "Thrall" nearly bring full-blooded thrash at your door.
“Filth Encrusted” is an overall rowdier affair, the guys unleashing the fervent “Melting Spree” and the tank-like stroller “Siege Breaker” initially, the doom sentiments of “Your World is Ours” well acknowledged as well, before “Overload” overloads the setting with speedy fever-ish rhythms. Although this flamboyant song remains the highlight here, one would do no wrong to check out mild but effective power metal on “Chosen” and the effervescent doom hymn “A Foul River” which wraps on the album with gloom and sombreness to spare.

Terraflesh EP, 2017
The Prophecy of Blight Full-length, 2019
Queen Corrosia EP, 2022
Filth Encrusted Full-length, 2023

Official Site

SOUL IN HATE (COLOMBIA)

Based on the full-length, this band play intense ripping retro thrash, the guys also epitomizing heavier steam-roller riffs to make their approach more appealing, with bigger musical proficiency exhibited on the stylish nod to Death "Alma en Odio". "Perros de Guerra" is another more technical occurrence, the guys moving things around, the more linear speedy rhythms on "Dominio Mental" raising the headbanging bars higher. "Ilusion de Poder" is a marginally milder more relaxed composition, the intimidating shouty death metal singer trying to sound a tad more comprehensible on that one. Some of the band members also play in the thrash/death hybriders Mortirium.

Dominio mental EP, 2015
1525 Full-length, 2022

Official Site

SOUL RELEASE (USA)

This project is the brainchild of Art Caveretta from the death metallers Igzordium who is the sole performer here. Based on the full-length, this is all-instrumental power/thrash with a classic "sting" and not very overt technical edge. The music packs a punch with steady meaty riffs and sudden lead sweeps the latter never dominating leaving plenty of space for the riffs to be heard. The tempo is mid, but it has its headbanging potential ("Blood In The Moonlight") with the consistent hammering riffage and the dynamic setting which slackens a bit on the more power metal-based dreamer "Dimensional Dust". "Freudian Slip" is a creepy crawler with macabre doom rhythms, but the final trio softens down a bit with a more accentuated guitar virtuoso edge: the man just wants to show his talents to the full.
The EP is four tracks in the same vein mixing power and thrash metal staying more on a power metal ground also introducing keyboards which were missing from the previous effort plus an increased presence of lead sections again with a virtuoso flavour.

Beyond the Light Full-length, 2011
Blood of the Dragon EP, 2013

Official Site

SOUL SYPHON (USA)

This is modern-ish thrash with post-thrash undercurrents and shades of epic power metal. The diversity borders on early Faith No More with fast crossover cuts ("Gop") also thrown in right alongside much more engaging progressive pieces ("Sloth"; the modern progressive thrashterpiece "Heretic's Fork"). "Pavor Nocturnus" serves some virtuous technical riffs which become softer on the semi-balladic stomper "Door To Nothingness", and nicely galloping on "Umbra". The closing "Retrograde (Apocalypse)" is a 10-min curiosity wasting quite a bit of time with quiet, balladic sections degrading to an extent this otherwise interesting, fairly varied album.

Codex CCCXXXIII Full-Length, 2016

SOUL VOMIT (PAKISTAN)

Based on the debut demo, this guy (under the alias Dark Soul) produces three tracks of simplistic underground black/thrash which follows early Bathory quite faithfully if we exclude the Swede (R.I.P.)'s faster infatuations since this is dark mid-paced stuff which suffers from a very muddy sound quality and slightly distorted guitars which may have been done like that intentionally since they give the music a very raw, primal shade. The singer is a brutal black/deathly growler who can't be heard very clearly.

Silence of the Unreal Demo, 2004
New World Holocaust Single, 2009
Inquilaab Zindabad Single, 2009

Official Site

SOULBREACH (SWEDEN)

Look no further than the usual Gothenburg-influenced thrash/death metal so typical for the metal scene of the past few years. The guys have a nice sense of melody reflected in the excellent lead guitar work, and the music is competently done, but there are quite a few bands out there who offer pretty much the same.

My Dividing Line Full-length, 2007

Official Site

SOULDECEIVER (ITALY)

It's "mankind's mistake" to not have discovered this talented young outfit who specializes in pretty decent semi-progressive/technical thrash/death metal which begins with the creepy dark technicaller "Memories of Centuries", before it rips you at with the massive speedy complexity of "Cold Eternity", a hectic dramatic number with sparse clean vocals as opposed to the typical main semi-shouty death metal ones. "The Other Side" is an aggressive fast shredder ala At the Gates and later-period Death, and "Automa X" is a twisted up-tempo track with a slower epic passage. "Awakening in Reality" is a more moderate song with sudden faster breaks and very good leads. "Alchemical" is a fine 3-min instrumental with sharp technical riffs intercepting quiet balladic lead-driven sections. "Predominant" is a slower, almost doomy, composition, but "Doomed" is ironically much faster followed by two stomping numbers with more ordinary guitar work. The technicality gets lost in the 2nd half which may leave the listener a bit disappointed after the fairly intriguing beginning leaving the more complex arrangements kind of hanging in the air waiting for the next effort to come to be elaborated on...
"The Curious Tricks of Mind" is sustained in a cold, more mechanical vein with slight industrial adherences which kill the attempts at speed almost completely. As a result the whole album develops in sterile manner the melodic relief coming from the leads (the excellent dreamy "Phase C"). There's not much to relate this effort to the debut, this new one sounding like a less experimental warm-up before entering the Meshuggah-esque realms on full scale.

Mankind's Mistakes Full-length, 2009
The Curious Tricks of Mind Full-length 2011

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SOULFADE (GREECE)

The Rehearsal, which contains the same track list as the debut demo, is well-executed dark power/thrash with early Iced Earth a close reference point as well as Sanctuary's "Into the Mirror Black" on the heavier doomier moments ("Soulfade"). The songs nicely mix slower and faster sections, some of them turned into progressive opuses ("The Dark Side of My Soul") with balladic interludes and quite a few rhythm changes. "Crystal Tear" is a cool instrumental with a nice "duel" between the guitars and the bass which is standout even deafening the guitars at times. Two good covers are included at the end: Sepultura's "Inner Self", and Kreator's "People of the Lie".
The "Sculpture of Human Innocence" demo is with a better sound quality containing four songs, the first of which ("Dreams") is a nice lead-driven short instrumental followed by the excellent progressive thrasher "Sculpture of Human Innocence", a heavy crusher with dark overtones akin to Nevermore. "More Than an Illusion" is brooding doom thrash, and the doom stays for the last "The Path" which is 9-min of creepy technical music recalling late-80's Metallica a bit ("To Live is to Die", "One"). The singer isn't bad, but his mid-ranged semi-clean, not very emotional, tone is not on with the better music.

Marked Angels Demo, 1999
Rehearsal Demo, 1999
Sculpture of Human Innocence Demo, 2000

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SOULFIRE (MEXICO)

Two guys are behind this roughly produced, but energetic, mix of thrash and death metal of the modern type with slightly fuzzy guitars and a generally fast tempo topped by hoarse unintelligible death metal vocals.

Dying Path of Perdition Demo, 2008

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SOULFRACTURE (UK)

Very goog thrash/death metal with a certain Gothenburg-influence, not too far from Corporation 187 or Dew-Scented, but these guys are a tad more aggressive, and their riffs are more hard-hitting.

Ashes Of Existence Full-length, 2007

Official Site

SOULGATE (GERMANY)

The debut EP: this band play intricate progressive death/thrash metal with power metal elements added, and a few more aggressive, faster sections. The whole has its moments, especially when the guys pull out awesome riffs ala Death and Pestilence, but their ambition is to beat those bands in terms of complexity, and the elaborate song-structures sometimes go beyond the normal thrash metal fan's level of comprehension, bringing the complexity not too far from Zero Hour, for example. The musicianship is undeniable, and the songs never lose coherence; it's just that one listen might not be enough for one to fully appreciate this multi-layered music.
"Sore" would be a huge disappointment for the band's fans the band now shifting towards much more conventional sterile modern thrash with insipid rock-ish tendencies ("Passion Is A Burden") and other unpleasantries (the distorted ballad "Derangement"). "On Your Knees Again" is an admirable headbanger, but the rest is just toothless and painfully boring for the thrash metal fan's ears.
"Slaves" hardens the course with more aggressive death metal elements, but the real winner is the permeating Oriental atmosphere although the guitar sound retains its abrasive, mechanical edge. The delivery meanders between milder progressive arrangements ("Synic") and brutal deathly excursions ("Anomie"), the finest moments being those that combine both sides into one ("Die To Survive").

Soulgate EP, 2002
Scorn EP, 2003
Sore Full-Length, 2015
Slaves Full-Length, 2017

Official Site

SOULHAVOC (FINLAND)

Typical melodic thrash/death metal obviously influenced by the dominant style in their neighbours Sweden; these Finns don't stick to speed, but vary things with mid-tempo melodies, heavy slow gothic-laced tracks, melodic leads, and enchanting acoustic passages ("Ending. Prelude To Chaos").

Obituary Full-length, 2009

Official Site

SOULINPAIN (CHILE)

The debut: intense thrash/death metal bordering on Swedish melodicisms; the guys play at high speed for most of the time, not varying things too much, the harsh semi-shouty vocalist tearing the aether with his aggressive tirades. "Disharmony System" is a more relaxed speed/thrasher slightly influencing the second half where other similarly-constructed numbers appear (the laid-back mid-pacer "Nacion Salvaje").
"Evil" carries on in the same manner, the intense pummeling aura around the title-track and the aptly-titled "Hate" alleviated to an extent by the more officious march on "Chosen March", but the speedy urgency of "Real Predator" and the neck-spraining chops of "Falsa Realidad" preserve the aggression which here smells less of the Gothenburg canons.

Adversary Full-length, 2018
Evil Full-length, 2021

Official Site

SOULITARY (TURKEY)

Modern thrash, not bad at all, with energetic brisk riffs which sometimes come out of the blue (Each Time", "La Resistance"), but are appropriately inserted for most of the time. The sound gets quite aggressive occasionally ("Hellish Torture"), but the moments when the guys concentrate on melody more ("Serenade of War"), seem to work better.

MorteLies Demo, 2004

Official Site

SOULLESS (USA)

Based on "Agony's Lament", this band offer quite good modern thrash/death metal rubbing shoulders with Invocator's last offering and modern day-Kreator with the obligatory presence of the Gothenburg sound. Without being too fast or brutal the music flows nicely featuring cool technical riffage and melodic lead guitars. There are also very good vocals sounding like a meaner and angrier Schmier.
"Forever Defiant" is another strong effort which tones down the technical riffage a bit, but keeps the energetic tempo on the same high level. The "carnage" in the beginning is quite similar to the one witnessed on the previous two albums, but later on the music acquires more intelligent flourishes with strong echoes of mid/later-period Death despite the songs' relative short length (3-4min). The calmer moments this time are longer (the creepy doom atmospherics on "As Darkness Dawns"), and generally the Swedish influence is not so strongly felt the band thrashing in their own niche including in the individual speedy interpretation of Rainbow's "Kill the King" at the end the gruff singer leading the pack in a sure-handed way and his attached raven-like semi-shouts stand well as Dio's (R.I.P.) replacement.
The debut is a decent release mixing slower with more aggressive compositions, and the two styles mentioned above by leaving more room for death metal. The singer at this point is still a hoarse hysterical shrieker still trying to find his most suitable vocal delivery. Somewhere towards the middle the band manage to come up with a couple of intense cool tracks: "Down Hell's Path", "Lost" (a very good song reminiscent of mid-period Carcass), and the closing "The Darkening of Days" is another quite well done intense Carcass worshipper.
"In Death's Grip" is a masterful achievement, the band's magnum opus. The band start with the short blitzkrieg "The Crippler" to set the tone for this roller-coaster of a retro thrashterpiece with the shadow of mid-period Carcass still looming gracefully over it which immediately becomes more technical on "Serpent Reaper" never losing the technicality even on the shorter numbers later on ("It Ends Tonight", "Bury the Cross", etc.). Creepy drama settles in on "Death's Icy Grip", and great melodic leads spring up on "Burnt Earth" before the slower "Sinner Without a Soul" buries you under a wall of heavy seismic riffs. The band pay tribute to the US speed/thrash metal veterans Destructor with a cool intense cover of "Take Command" from their debut "Maximum Destruction". And finally the encompassing technical speedster "World of Ruin" at the end wraps it up nicely showing a talented, undeservedly unknown, act on the top of their game.

The Darkening Of Days Full-length, 1999
Blissfully Damned EP, 2000
Agony's Lament Full-length, 2002
Betray The Light EP, 2005
Forever Defiant Full-length, 2007
In Death's Grip Full-Length, 2013

Official Site

SOULMINE (USA)

Alternative groovy post-thrash which is pretty much one-dimensional chug from beginning to end the proceedings spiced with the livelier thrasher "Spine Deep". The rest is still tolerable monotony which acquires hypnotic doom dimensions towards the end.

Salvation Through Adrenaline Full-length, 2002

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SOULNERVE (HOLLAND)

This album is done by just one musician, the name Stephan Brus, who acquits himself with modern Swedish thrash/death which hardly bears any surprises for the seasoned fanbase. The music is professionally executed, but it very faithfully follows the path carved by acts like In Flames and Dark Tranquillity that it leaves nothing to the listener's imagination. Melodic energetic stuff with a lot of melody the latter contrasted by the very harsh shouty death metal vocals which in their turn are interrupted by not much better clean ones.

The Dying Light Full-Length, 2014

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SOULQUAKE SYSTEM (SWEDEN)

Based on "Angry by Nature, Ugly by Choice": typical representative of the 90's groovy post-thrash scene stretching towards hardcore, grunge, alternative, and what not; classic thrash maniacs, stay away as far as possible. Pantera fans: if you like to dance a bit for relaxation after an exhausting moshing session on "Vulgar Display of Power", this is the stuff for you...

Angry by Nature, Ugly by Choice Full-length, 1996
A Firm Statement Full-length, 1998

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SOULS AT ZERO (USA)

Wrathchild America changed their name after the avantgarde thrash/proto-thrash they offered on "3D", and with the name change also came a radical change in style. The debut of this new enterprise is a much more modern affair with groove and post-thrash settling in, with laid-back alternative elements ("Never") thrown in for not such good measure, with ultimately dragging boring groovers ("Hardline") peppering the landscape, with only the original melodic progressiver "Lost" brightening the thick groovy wall the latter receiving a truckload of cement with the closing balladic doomster "Mind's Eye". The abrasive semi-shouty vocals fit the uneventful music, and may even pass for the highlight on this very generic banal effort.
"For the Perverse" follows the same deplorable trajectory, and contains absolutely nothing that would remind of the Wrathchild America's much more original sound. This is most boring rehashed groove with no merits whatsoever... not even for 90's completists provided that acts like Pantera and Machine Head have done this style with so much more panache and vigour.

Souls At Zero Full-length, 1993
Six-T-Six EP, 1994
A Taste For the Perverse Full-length, 1995

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SOULS FOR SALE (USA)

Typical modern thrash metal, the main difference from the pack coming from the very low-tuned brutal death metal vocals. The guys play fast and tight, keeping the music's headbanging potential pretty high leaving this effort high on energy and dynamics, but ultimately short on ideas and originality.

Beyond the Walls Full-Length, 2010

Official Site

SOULS MIGRATOR (MEXICO)

This act specialize in melodic modern thrash with brutal death metal vocals which scream and screech to an apocalyptic effect marring the atmosphere created by the minimalistic, but effective, musical approach. So this is mostly mid-paced laid-back music which becomes a bit more energetic ("Punishment") at times, but would hardly bang anyone's head due to the mellow nature of the style which acquires strong balladic and gothic tendencies on the melancholic closer "Taken Life" which introduces very good female vocals for a while.

Voices Inside of Me Full-Length, 2011

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SOULS OF JACK KETCH (UK)

These Brits, who are named after a notorious executioner who brought a reign of terror during King Charles II's rule, specialize in intense modern thrash which alternates the pace, but prefers the heavy mid-paced one the more dynamic pieces left for the end where "A Stark Truth" will make quite a few heads bang in agreement. The singer is a deathly shouter but leaves a positive impression with his commanding performance. The guys started their musical career way back in 1990 when they released a solitary demo under the name Vox Populi.

Souls of Jack Ketch Full-Length, 2014

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SOULSCAR (CANADA)

This band mix melodic death with thrash metal and two vocal styles from which the clean ones are a bit annoying with their alternative blend. There are similarities to Annihilator in some of the riffs, and to Arch Enemy in the guitar harmonies. The songs are catchy and vary from slower atmospheric ones to fast thrashing headbangers.

'Character Assassination Full-length, 2002
Victim Impact Statement Full-length, 2004
Endgame Full-length, 2006

Official Site

SOULSCARRED (NORWAY)

Based on the "Personal Holocaust" demo, this band offers crunchy modern/classic thrash which clings between the mid and the up-tempo, with a few attempts at a more technical play ("Left in Misery") which will bring to mind the Bay-Area and Paradox's "Heresy". The thing which may annoy is the gruff shouty hardcore-ish vocals which are very thin and lose their range at quite a few times.
The "Morbid Ody" is just two tracks which develop in a more laid-back modern thrash fashion with nice lead guitar work and energetic, but laid-back, riffage which carries quite a bit of melody, also supported by the better at this stage vocals which semi-shout in a comprehensive, semi-clean manner.

Morbid ody Demo, 2002
Personal Holocaust Demo, 2003
Face Your Fears Demo, 2007

Official Site

SOULSCREAM (BRAZIL)

This act pull out jumpy unpretentious modern thrash with hardcore tendencies and quite a few interesting melodic hooks which are a desirable contrast to the brutal growling vocals. Still, it's the melody which matters more here and from a more intense aspect this effort would not strike a cord the guys never sustaining one song in a fast relentless tempo till the end the final "Possession" going out with all the "laurels" containing both the most aggressive and the most melodic (leads) moments on the album.

When Darkness Falls EP, 2011

SOULSIDE (FRANCE)

Pretty decent choppy modern post-thrash the band trudging along with heavy abrasive riffs and a few more technical arrangements ("Lost"), "Insane Reality" coming close to the old school thrash patterns for an inspiring razor-sharp performance, "Herd Escape" another intriguing occurrence, a crunchy semi-technicaller which sees the very shouty intense vocalist rending his lungs out not very pleasantly.

Cotes d'Armor Demo, 1997

SOULSIDES (BELARUS)

This is epic power/thrash metal with melodic guitars, semi-progressive arrangements, and somewhat inexpressive mid-ranged clean vocals. The guys were previously known under the name Orion. Don't except the music to develop beyond the casual galloping rhythm ("Head over Heels"), so the headbangers should stay away, although those who like the more melodic side of the genre, as well as the folk/epic metallers Falconer, and even early Skyclad, will find quite a bit to enjoy here.

Pershi Krok Full-Length, 2009

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SOULSTORM (GERMANY)

Melodic power/speed/thrash, very close to their compatriots Liar sounding like the album Liar never recorded, but with a better guitar performance: check out the leads on "Undignified". "Bad Boy", "Your Dream" and "My Freedom" are cool more intense speed/thrashers, but the rest of the material is a hit-and-miss affair mixing more aggressive sections with very melodic ones, including ballads, etc. The singer isn't a winner with his leveled indifferent singing reminiscent of Killing Joke.

Soulstorm Full-length, 1991

SOULTRAP (USA)

Based on the full-length, this band play 90's post-thrash with melodic clean vocals crossing cords with angrier deathly shouts. On the music front we have both frolic playful stuff ("Overdrive") and more ambitious complex rides ("Parasitic", "Seven"), the doom pageant "Kinslayer" another relatively positive occurrence. "Give Reason" is an idyllic balladic proposition, but generally the approach is bouncy and not that tender.

Soultrap EP, 2016
Seven EP, 2017
Feed the Fire Full-length, 2020

Official Site

SOULWOUND (FINLAND)

Although the band name has been taken from a Fear Factory song, the style is very good old school thrash metal similar to Slayer's more restrained period (1988-1990).
"No Peace" begins with a smashing technical instrumental intro, but its spontaneous brilliance is only very slightly glimpsed at as the band prefer to thrash out in a direct, stripped-down fashion for most of the time still giving at least a semi-technical decoration on the varied "Hurt Me Plenty". Elsewhere fast and slow paces take turns the former at times going beyond the good taste ("Alone Against All") with brutal uncontrolled blast-beats springing up. "Misery Index" is another more stylish offering with cool jumpy rhythms and nice melodic leads, and "Hate Speech" is far from a disappointment with its twisted arrangements. The final "Damned" is another less ordinary cut its quite accumulation in the second half increasing the drama to a pretty positive effect. The vocal performance is more pedestrian than the music with deathly semi-shouts reminiscent of Max Cavalera.
"Seeing Red" is a more ordinary effort the band not straying too far from the modern thrash formula practiced by acts like Dew-Scened and Lyzanxia. There are a few more intriguing moments on display ("Skin Machine"), but overall this album sounds more like a dress rehearsal for the upcoming opus.
"The Suffering" comes with a very abrasive sound, but the guys try to overcome this intentional impediment with fast ripping cuts ("Ritual Cleansing", "Enter the Hivemind"), the progressive gravity of "Pleasures" by all means a positive occurrence. Run for cover on the angry "Meat Puppets", and generally in the second half there are a few stopovers from the high-speed train, the final "Death of the Sun" throwing a couple of more entangled arrangements.

The Severance Demo, 2006
Wasteland Demo, 2007
Seeing Red Full-length, 2011
No Peace Full-length, 2016
The Suffering Full-length, 2020

Official Site

SOUND CANCER (USA)

Quite cool old school power/thrash with good expressive dramatic clean vocals; the sound quality varies from one song to another as the shorter material is more amateurish contrasting to the epic lengthy compositions where thrash "crosses swords" with power and even doom metal to pretty positive results. Still, the approach is kind of unfocused with too many things happening within one song which would inevitably lead the listener to disorientation by the time of the closing "Negativity (Version I)".

The Plague of the Century Full-Length, 2015

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SOUND MIND (CANADA)

Based on the debut demo, this act indulge in sharp hard-hitting power/thrash with dark reverberations reminiscent of Sanctuary and Aftermath. The music can seldom pass for full-fledged thrash, but the guys have fun unleashing those heavy ship-sinking riffs with a cutting edge which gets dulled on the longer tracks ("The Battle Has Been Joined") where the guys' epic infatuations bring them close to acts like Fates Warning and Slauter Xtroys. The singer is by all means a merit with his dramatic high-strung voice with which he covers quite a few octaves.

We Never Heard of You Either Demo, 1991
Sound Mind Demo, 1993

SOUNDBRINGER (CROATIA)

After the last Drinking Skull offering showed the band switching to gothic-tinged thrash, the Croatian metal scene needed some fresh thrash metal power to replace them. Soundbringer need a little more to be fit for the job. Their style is power/thrash of the old school, more frequently clinging towards the power metal side with nice dual guitar work ala Iron Maiden and good vocals, if we exclude the pronunciation and the accent which might cause difficulties for the listener to recognize the English lyrics. This is by all means a talented band, but more emphasis on thrash metal on future works would be desirable.

Only Kings And Horses Demo, 2005
Najgori Hrvatski Knez Demo, 2007

Official Site

SOUNDCRUSH (SPAIN)

This formation specialize in quarrelsome aggro post-thrash which has its more energetic "threads" ("Threads"), even some headbanging aesthetics comes forward on the lively "Only Dust"; it's just that the mood is more on the gloomy heavy side established by ten-toners like "Among Humans And Their Balance" and nearly doom-experiences like "Sudden Evil".

Screams Of The Voiceless Full-Length, 2018

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SOUNDER (BRAZIL)

These guys provide ten "hell hymns" of aggressive Slayer-esque thrash "courting" the Americans' magnum opus "Reign in Blood" above all. This is a really good reminder of the heydays of the genre although at from extreme aggression all the way one will seldom hear anything else; maybe the casual heavy stomping rhythm, and another casual, this time a whole half number: the mid-paced steam-roller "Sounder (Crucial Battle)"; the second half is merciless speed/thrash with very screaming, but more intelligible than the ones of Kerry King, leads. "Soldiers from Hell" near the end calms down a bit, showing respect towards the speed metal scene and a bigger sense of melody. "Thrash metal lives", however, on the closing "hymn" "The Thrash Metal Lives", albeit of the slower mid-paced variety in the 1st half, and as a finishing touch the guys certainly let all hell break loose in the second one, thrashing with force. The two Andre's in the band (Evaristo & Melhado) also entertain themselves in Magister where they play a more melodic brand of progressive metal with no traces of thrash.
"Praise be to Death" is another intense offering, full of hard-hitting riffs and vitriolic leads. "Praise be to Death" is the staple aggressive Slayer-esque opener, and the following "Madness" is another "mad hatter". "Fuck, Kill and Smile" pauses for a rest, providing the obligatory heavy riffage in a more relaxed mid-pace, and "A Friend to Lucifer" is vintage early Celtic Frost (think the Swiss' faster side). "Who Needs Radio?" speeds up nicely, with "I Serve Satan" lashing brutal riffs left and right bringing the sound back to Slayer territory. "The End (of Your Life)" is 2-min of pure unbridled aggression, but you will have no choice, but sit down for a break, on the doom-laden macabre piece "Motherfucker Church". "Extinguish the Humans" is another splash of fury, with a proto-death colouring, that same colouring remaining for the closing "Drag You to Hell" which turns to pure death metal at some point. The vocalist has a clear semi-death/semi-hardcore timbre which is a fitting "companion" to the no-bars-held musical approach. There's no betrayal of the band's staple delivery here, and as a result the fans will get their expected portion of full-on retro thrash with a slight deathly twist near the end.

Hell Hymns Full-length, 2008
Evil Sides EP 2010
Praise be to Death Full-length 2010

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SOUNDKRASH (GREECE)

This outfit pulls out heavy deathly post-thrash which possesses some of the playful qualities of early Six Feet Under (allusions also made (probably) with the EP title), but is less dynamic the exception being the title-track which is a more energetic mover with a few groovy breaks. The singer is a brutal low-tuned death metaller, not exactly Chris Barnes, but surely scary and authoritative.

Warfare EP, 2011

SOUNDS OF POLARITY (USA)

This band, whose line-up is completely unknown, pull out quite intriguing, competent progressive thrash which begins with the ambitious 8-min title-track which also offers plenty of dynamic fast moments. The complexity diminishes for the next two compositions which are stylish speedsters in the spirit of Vektor and Flaming Anger before another larger-than-life opus, "Alias Government", hits with its whirlwind of furious technical riffs and vitriolic time-changes; the quiet interlude on this one is also worth of note as well as the formidable galloper "March of the Political Swordsman" and the raging headbanger "Potleoz". The elaborate arrangements are here to stay at the end on the closing duo from which the closer "Proselytes of the Dehumanized Cult" is a standout progressive thrasher with imposing speedy crescendos. The singer is quite good with a dramatic clean timbre able to high-pitch with passion whenever necessary; and the production is crystal clear making the guitars resound like clocks in a gothic cathedral.

Plan B...Annihilation Full-Length, 2013

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SOUNDSTEM (CANADA)

This Canadian trio pulls out decent power/thrash metal with a modern vibe trying to come close to the mid-90's Megadeth patterns, and succeeds at times when it doesn't slow down to doom metal, like it happens on a few tracks. Expect no headbanging moments, the music is mid-paced at best, with one very cool ballad offered: "Another Night", plus a cover of the Foreigner hit "Jukebox Hero" at the end, not very well done, adding a considerable amount of groove and grunge which takes away quite a bit from the original's dynamics.

Soundstem Full-length, 2008

Official Site

SOUNDSURGERY (AUSTRALIA)

Based on the debut, this outfit plays pretty intense industrial thrash/post-thrash, heavy crushing music which owes a lot to Ministry and Swamp Terrorists with an added doze of samples and noises which kind of dissipate the otherwise cool music. The guitars cut with force whenever they can be heard clearly assisted by rough deathly vocals which acquire a cleaner hardcore-ish timbre at times. This is a trendy recording well coordinated with the tastes of the time and may be interesting to hear what the guy have concocted on the follow-up.
"Free Moving Radical" again contains heavy industrial modern thrash/post-thrash which isn't very plagued by the groovy contaminants; in fact, there's quite a bit of dynamics on display here "Cease to Exist" recalling Fear Factory, and although the industrial gimmicks ("Test Site", "Post Event Horizon") take over at some stage, there aren't too many complaints to be filed against this slab, the harsh sharp "Criminal" giving the vocalist more chances to exhibit his shouty confrontational baritone.

Syndustry Full-length, 1995
Free Moving Radical Full-length, 1997

SOUR (USA)

Based on the full-length, this power trio provide abrasive hardcore-ish thrash/proto-death which is still more on the classic side, the lengthy compositions moving things towards early Hellbastard. Run for cover on the maddening ripper "Deceit", with "Man" diversifying the palette with both gallops and morose doom configurations. "Pyromaniac" raises the brutality level to near-death proportions, with "Eve of Your End" serving a couple of more laid-back seismic rhythms, the intense aggressive deathly vocals aggravating the atmosphere to a near-boiling point.

Push Through EP, 2019
Sour Full-length, 2020

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SOURBLOOD (USA)

Based on the full-length, this band play modern death-tinged thrash/post-thrash spearheaded by intense shouty death metal vocals. There's some energy eliciting from cuts like "The Masquerade" and the atmospheric operatic opus "Behind Enemy Lines", but generally this is mid-paced stuff with several metalcore breakdowns also embedded.

Dead like Me EP, 2006
A Goodbye Written in Blood EP, 2007
Behind Enemy Lines Full-length, 2020

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SOURCE OF RAGE (GERMANY)

Based on the full-length, this act deliver bouncy modern thrash which develops within the dynamic parametres without breaking any sound barriers. There's some quasi-progressiveness sneaking on the more elaborate material ("Modern Age Attention Seeker", the lyrical semi-balladic winner "Drown in Your Own Mind") where cleaner vocals appear to disrupt the hegemony of the main hoarse semi-death metal throat.

Antagonize EP, 2015
Realise the Scope Full-length, 2017

Official Site

SOUTH KITSAP INFIDELS (USA)

Based on "Methead", this act offer an intense mixture of groovy thrash and death metal which covers all tempos the main pullback the very noisy guitars and the frequent jumpy rhythms which aren't as half as good as the doomy sections which work quite well combined with the sinister hoarse semi-clean vocals.

House of Killers Full-length, 2010
Methead Full-length, 2015

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SOUTHERN BRUTALITY (USA)

Based on the full-length, this act specialize in heavy squashing modern post-thrash which can be semi-lyrical and balladic ("LaLaurie") on occasion, but don't expect such mellow gestures too often although both "One Big Eye" and "Lord of Lies" are more on the friendly early Pro-Painesque side. "Death Opera" is a more vigorous shredder with clear thrashy pretensions, but the prevalent numetal fiesta seldom gets disrupted, the quarrelsome shouty vocals generating more noise with their unquestionable presence.

Southern Brutality EP, 2018
Watch Them Burn Full-length, 2020

Official Site

SOUTHERN CROSS (CHILE)

This is classic thrash/death which has both epic belligerence (the stomping "Brotherhood of the Serpent") and overt vigorous pretensions ("Death's Shadow"). The tenebrous doom "Blue Blood" is a nice slow-motion respite, influencing a string of cuts in the second half, the varied instrumental "Sarcastic Existence" a nice attempt at a more flexible song-writing. The low-tuned death metal singer is a not very tangible presence, not very clearly heard for at least half the time.

Enigmatic Creation Demo, 2020

Official Site

SOUTHERN DEATH THREAT (CANADA)

A heavy groovy mixture of modern thrash and stoner/doom ala Down; the music is heavier than the one offered by Down, and some 10-ton hammers can seriously injure you: "Wanted Sevenfold", the 2-min stomper "Frontline"; add the odd tender country ballad ("Beyond Forever", "Rusty"), and you know that this will only be the next one-time, just for the record, listen.

Southern Death Threat Full-length, 2007

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SOUTHERN DOSE OF REBELLION (CANADA)

Based on the full-length, this act plays intense dynamic post-thrash with expressive steam-roller riffs which march forward providing the odd more technical time-signature (the intriguing pounder "Slaying The Lamb"). The guys relax a bit in the second half with more radio-friendly rhythms ("Dethroned") where the approach even shares some bluesy overtones. "The Art of Confession" lifts up the energy big time with its dramatic arrangements influencing a couple of numbers after it which gives a worthy more dignified finish to this heavy roller-coaster which also benefits from the forceful aggressive semi-death metal vocals. Oh... don't forget to check out the brilliant lead section on the closing "Retaliation Before Submission".

SDR EP, 2012
Retaliation Full-length, 2013

Official Site

SOUTHERN DRINKSTRUCTION (ITALY)

Modern thrash with references to hardcore and southern doom/stoner; the music is quite energetic often fast and intense with the heavier inclusions being quite appropriate never slowing down too much. "Super Strong Fast Glue" is the odd brutal almost grinding 1-min joke, and "From North to South" is the only exercise in pure stoner/doom. Watch out also for "Love Story": jolly rock'n roll with a faster crossover twist where the brutal death metal singer doesn't quite fit.

Drink With Us Full-length, 2009

Official Site

SOUTHERN FRONT (USA)

The debut: the "southern front" seems pretty solid with acts like this one: these guys specialize in intense modern thrash with certain classic support which gets nicely technical on occasion ("System Erased"), even semi-progressive ("Amnesia"; this one also thrashes hard at times), or fast and intense ("Join or Die") in the spirit of Slayer even. This is a varied entertaining effort which loses a bit from the brutal low-tuned death metal vocals, not really suitable for the music.
"Death Throes" is another quite cool album the band notching it up in the technical department with the interesting shredder "Butchering the Bloodlines", and generally there's a lot of variety coming in the form of mid-paced creepers ("Go Blank"), hard-hitting headbangers ("Obstacle of Forgiveness"), and twisting, not very predictable technicallers ("Burned Awake"). The closing "Dead Horse" is another hectic composition which marches forward with heavy riffage and nice screamy leads. The band have a taste for the original, but so far they refer to exhibit it bit by bit by serving just a shade of what they might be capable of.

Join Or Die Full-length, 2010
Seasons of Hate EP, 2012
Death Throes Full-length, 2014

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SOVEREIGN DARKNESS (USA)

This is the brainchild of just one musician, the name Devon McClain, who moves things around in an energetic old school death/thrash fashion, aggrandizing the situation to proto-death proportions ("Oversouls of Darkness") at times, but rest assured that there's no thrash lost on intense pulverizers like "Wings of Peril" and the excellent atmospheric progressiver "Return to Ash" on which McClain fully reveals his six-string talents. "Never too Late" is a nice dramatic mid-pacer with echoes of Death, and "Right to Kill" is a more dynamic composition by retaining the references to the mighty Chuck Schuldiner (R.I.P.).

Eternal Nightmare Full-length, 2021

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SOVEREIGN STEEL (USA)

Power metal with some thrashy tendencies, similar to other American bands like Tyrant and Meliah Rage; "Dark Hour" is the demo's highlight, reminding of Attacker with its galloping rhythm.

Demo Demo, 1988

SOVRAG (SLOVENIA)

Based on the full-length, this act indulge in typical modern thrash/death which has its more pensive, also progressive side ("Into the Fire", the introspective doom-laden "Shadows"), the speedy extrapolations not following in such a quick succession, "Draining Life" passing for one of them, obediently following the shorter "Tyrannicide" down the path to headbanging glory. Some of the band members are also occupied with the groovy post-thrashers Septic Order.

Tribute to Death EP, 2021
Perfect Form from Chaos Born Full-length, 2023

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SOZIEDAD ALKOHOLIKA (SPAIN)

A cult thrash/crossover band, but not very known outside their homeland; their debut is good aggressive, hardcore-tinged thrash metal, not too far from the best works in this field from the 80's, with a nice joke, blues-ish track at the end ("Rockamblus"). The modern tendencies of the new decade have affected their sound which becomes decidedly groovy later on, but the intensity of their delivery pretty much remains intact. Their last two efforts are kind of disappointing, less heavy with certain shades of metalcore.
"Sesion#2" is a potent blend of more recent Pro-Pain (just a few tracks in the beginning) and more intense speed/thrash/core akin to their compatriots Storbais. The music is full of energy and vigour, and the speed in the middle reaches Wehrmacht-like heights, but played with a jollier attitude. "Civilizacion Degeneracion" is a brutal slab of proto-death which would put to shame even acts like Merciless and Loudblast. The metalcore elements are completely gone and this effort could be viewed as one of their best ones seeing the guys going back to their roots.
"Cadenas De Odio" is another thrash/crossover opus, this time sounding more modern-ish, the band moshing with passion in the beginning, seldom breaking the speedy tone which is at times pure merry crossover ("Contra Las Cuerdas") played just for the fun of it. There are times when the guys display their more aggressive thrashier side ("Cadenas", "Apestf1~is") and generally the band try to mix things up more in the second half where several purely mid-paced numbers ("Presunto Culpable", "Hipocres'a1a Santa") with a more modern tone, spring up. As a whole this effort is by no means superior to its predecessor, the guys again spreading their wings wider to mixed results.

Soziedad Alkoholika Full-length, 1991
Feliz Falsedad EP, 1992
Y Ese Que Tanto Habla... Full-length, 1993
Ratas Full-length, 1995
Diversiones...? Full-length, 1996
No intente hacer esto en su casa Full-length, 1997
Polvo En Los Ojos Full-length, 2000
Tiempos Oscuros Full-length, 2003
Mala Sangre Full-length, 2008
Sesion#2 Full-length, 2009
Cadenas De Odio Full-length, 2011

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