The Thrash Metal Guide

Copyright (c) 2007 THE THRASH METAL GUIDE

0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

T.A.R. (SWEDEN)

Based on the full-length: this act surprises with a crunchy take on the modern/classic power/thrash metal idea with a strong doomy twist. As such the guys provide a slower and more direct alternative to their compatriots Memento Mori, Hexenhaus, and Pathos, and in this vein they come as a doomier, and less interesting, Morgana Lefay. Still, the only major complaint would be the ultra-heaviness of the riffs which at times bring the approach close to Pantera (the more dynamic "Kiss of Death"), or "sail" into doom/semi-balladic waters (the nostalgic "If"). Needless to say, at least half of the other material is openly doom; good stuff as a whole lacking quite a bit in the speed department, but making up with its consistent heavy riffage. The singer is not bad providing an attached hoarse clean tember reminiscent of Charles Rytkönen (Morgana Lefay). The band were previously known under the name Vulture King, when they released two demos in the early-90's, and later continued their career as Point of Existence with one EP and a full-length released recently.

Fear of Life Full-length, 1997
Tar and Feathers For the Millennium EP, 1998

T.A.Z. (POLAND)

These "alcoholics" (T.A.Z. stands for "The Alcoholic Zone") play laid-back modern post-thrash in mid-pace with a couple of alternative moments; soft stuff as a whole also recalling Helmet and Biohazard at times.

Schemata of Decomposition Full-length, 2009

T.B. EIGHTEEN (RUSSIA)

Thrash/crossover mixing wild frenetic numbers, even spiced with grinding breaks, with softer less intense ones, which are the dominant side. Still, there are a lot of sharp riffs to be heard, as well as a couple of catchy punk-ish tunes.

Moi Gorod-Territoria Boia Full-Length, 2009

T.C.F. (HOLLAND)

This band (aka Thrash Core Fanatics) offers very fast blitzkrieg thrash/crossover, highly energetic and enjoyable stuff packed in 5 songs withing the 1-2min range, topped by gruff semi-death metal vocals.

Core '88 Demo, 2008
Speed or Bleed EP, 2009

T.M.A. (CZECH)

Soft uneventful post-thrash, groovy and monotonous, with the best moments being the ballads and the semi-ballads as well as the several more doom-fixated passages.

Kde jsou Full-length, 1995

TxCxAx (BELARUS)

Violent bashing thrashcore with grinding moments; this is the thrashy analogue to early Napalm Death, with more comprehensive vocals, staying in the hardcore, shouty parametres. The guys never slow down, except for a while on the last 2 songs, among which "Detestation" is a cool all-instrumental cut with shades of death metal.

Abhorrence Demo, 2011

TACTICS (USA)

This is a band featuring Steve Gaines: a famous vocal guru who sang for Abattoir and Bloodlust in the 80's, and Dreams Of Damnation and Anger As Art (he is the mainman here) in more recent times. Based on the demo, Tactics are perhaps his least worthy venture: the music has its fast parts, but most of the time it is mid-paced with power metal tendencies, strangely recalling 90's Flotsam & Jetsam.

Playing To Win Demo, 1987
The Master Plan Full-length, 1987

TAETRE (SWEDEN)

Based on "Divine Misanthropic Madness", this band pulls out cool old school thrash/death, recalling No Return's "Machinery" in the way that it mixes Bay-Area riffs with more brutal death metal ones. The tempo is always up, and the several slower sections are meaty, accompanied by more technical riffs (the interesting heavy stomper "No Love"). Seldom does the music take more brutal dimensions ("Destroy the Dreamvoid", "Virus"), but they never stretch into a whole song. "Reclaiming The Spirit" hits the technical department with fast clever riffs and fine melodic hooks.

The Art Full-length, 1997
Out of Emotional Disorder Full-length, 1998
Divine Misanthropic Madness Full-length, 2002

TAF (FRANCE)

Based on the full-length: look no further than mid-90's Sepultura: heavy groovy, industrialized thrash, which doesn't forget to bite with more speed and sharpness involved: "Unseen Enemy", "Never Surrender" (which even blasts out for a while), but such moments are a rarity, and the majority of the songs are in mid-pace, also recalling GZR (the debut) on the more epic-sounding slower moments ("Mother Planer Earth").

Give and Take EP, 2004
Polluted Full-length, 2008

TAI PAN (GERMANY)

This band is the continuation of the early cult thrashers Backwater. The style is still in the classic thrash mould, but is not an exact Backwater-soundalike. It's heavier and is closer to the Bay Area scene- Forbidden, in particular. It even calls to mind Onslaught's "In Search Of Sanity", but in a good way. It looked like a good beginning of a new career, but this formation also fell apart soon after.

Slow Death Full-length, 1995

TAINE (ROMANIA)

This very unknown, but worthy Romanian act plays first-class technical thrash/death metal along the lines of late period Death, but with more melodic guitar lines. The songs are complex, elaborate, but not very long pieces, with fabulous guitar work, mostly mid-tempo, quite jumpy as well, spiced with more aggressive outbursts, which are totally logical without sounding odd. Few are the bands who can make short 4-min compositions sound so compelling and complex ("Pierdut", or the short, less than 2-min technical masterpiece "Avoid The Pain"). There are the obligatory takes on drier, technical thrash ala Coroner and Deathrow ("Ce Esti Tu ?"), although the Romanians' sense of melody comes up again. "Lie" is a fine example of how gothic thrash can sound technical and sharp (but, again, pay attention to the breath-taking melodies). "Invisible Absolute" is a great tribute to the masters of the genre: Cynic, Atheist, Coroner, etc.: an overwhelming opus, with an imposing orchestral outro. Some more straight thrashing as a final touch with "No Personality", which is still quite technical, smelling Death in both the vocal and the guitar department. This is a treasure, consisting of only 7 tracks, a surprisingly small number for a Compilation album.

Decade Of Metal Compilation/Best, 2004

TAINTED (NEW ZEALAND)

Based on "Carved and Created", these guys play atmospheric death/thrash metal with epic touches, at times resembling Amon Amarth, but often is the music more melodic with doomy/gothic overtones. "Entrenched" is the odd outbreak, much faster, an approach repeated on "Bound By My Own" near the end, which is a cool energetic thrasher with black metal hyper-blasts unnecessarily included.

The Awakening Full-length, 2006
Carved and Created Full-length, 2008

TAKING OVER (USA)

These are the same guys who also play in the black/thrashers Witchaven. No shades of black here: this is pure old school thrash attack, fast and intense, reminding of Rigor Mortis and Possessed, among others. "Hellbastard" comes with a more melodic, crossover touch, which is compensated by the much more aggressive, slightly death-tinged follower "Prison Cell". "Street Force" is again a less intense, but a very cool speed/thrasher, sounding like a leftover from Sodom's "Persecution Mania".

Taking Over vs Phantom Witch Split, 2008

TALAMYUS (CANADA)

Based on "Raven's Call to Annihilation", this band offer predictable moderm thrash/death which merits are the subtle sense of melody and the more epic arrangements. The guys' efforts are somewaht frustrated by the bad brutal vocals, which, albeit intelligible, are too harsh on the mellower musical background. The approach is mid-paced to doomy ("The Berserkers"), so cuts like "Warlock", mostyl in the 2nd half, are more than welcome to bang the head. Still, the chosen path is along the lines of mid-period Enslaved and Amon Amarth, so one shouldn't expect the guys to break any sound barriers on their other albums, or any future offerings.

As Long As It Flows... Full-length, 2005
...In These Days of Violence Full-length, 2007
Raven's Call to Annihilation Full-length, 2011

TALES FOR THE UNSPOKEN (PORTUGAL)

The beautiful orchestral intro promised more than just you average 90's post-thrash, but this is the case here: soft mid-paced riffs with numerous balladic sections and cool melodic vocals recalling at times the talented Dax Riggs (Acid Bath, Golgotha), except for the time when he tries really bad high-pitched vocals. The music has both an epic and a gothic flavour as well, and may appeal to fans of later-period Sentenced and Razorback, and even H.I.M.

Tales For The Unspoken Demo, 2008

TALES OF DELIRIA (ITALY)

Pretty decent semi-technical thrash/death metal infused with a lot of melody reminiscent of the Canadians Quo Vadis on the more inspired moments. The band plays in an energetic up-tempo with the Gothenburg school nodded to on the more direct sections ("Towards North"). The 2nd half is less impressive, with more mid-paced passages included leading to the reduction of the technical riffage, turning into ordinary modern melo-thrash/death near the end. Tne vocalist is your staple subdued shouter ala early Anders Fridén (In Flames), seldom interrupted by clean insertions and more effective whispers.

Beyond The Line Full-Length, 2011

TALIAN (FRANCE)

This act rose from the ashes of the symphonic black metallers Taliándörögd. The music now is in the modern thrash vein with stoner and death'n roll leanings touching more recent Entombed at times. The guitar work lacks an edge and speed except for the energetic thrasher "The Plunder", and at times borrows from the alternative landscapes of Tool.

Scraps from the Mire Full-length, 2009

TALIÖN (UK)

Previously this band were known as Lethal, and Tröjan, both formations playing NWOBHM metal, the latter also adding some faster, speed metal elements. Here the guys offer slightly more aggressive stuff: a mixture of power and thrash, staying closer to power metal. When the band keeps it short, they're much more effective, and can produce some really good power/thrashers: "Premonition", "Screamin' for Mercy". On the other hand we have "Laws of Retaliation": an ambitious, 11-min long song, which starts in a fairly cool energetic manner, but it's too long for the band to keep it interesting, and later it degenerates to some less impressive, tedious power metal. "Living on the Edge" is a hard'n heavy number, probably a leftover from the band's early incarnations.

Killing the World Full-length, 1989

Vibrations of Doom

TAMUYA THRASH TRIBE (BRAZIL)

This is your average melodco thrash/death of the new generation reminiscent of Gandalf and mid-period Sentenced. The music is laid-back and mid-paced, the solos are good, but the singer overdoes it a bit with his rending low-tuned shouts.

United EP, 2011

TAMUT AMEN (ISRAEL)

Modern thrash/death with a weird technical edge, which unfortunately doesn't get developer to the fullest "thanks to" the songs' short length (1.5-2.5min). There is also a good sense of melody close to the Swedish patterns, which mixes with surreal stretches towards black metal where also belong the raspy, venomous vocals.

Demo Demo, 2011

TANATOS (UKRAINE)

Brutal raw thrash/death metal with very extreme low-tuned growling vocals; the guys bash with no mercy the whole time messing it up a bit at times perhaps with a somewhat chaotic delivery where all the instruments mesh together with a little distinction from each other; and this is the reason why a close soundalike is not very easy to point out; maybe the early "atrocities" of Massacra and other representatives of the French school (Agressor, Loudblast, etc.).

Rukami Nizshih Bogov Demo, 2007

TANATOSSIS (SPAIN)

Based on "La Cultura de la Muerte", these guys offer cool retro thrash in the Bay-Area tradition with crisp sharp riffs, plus a few melodic breaks which smell a more modern approach, but just a little. "Tras la Mente de un Asesino" is a nice speed/thrasher, and this is what one will hear for most of the time, except on the heavy stomper "Terror Wrestling Underworld", but grab your seat in the middle of "Tortura y Maldición", which will shock you with a sparce blast-beat spasm. The singer could put more emotion, though: his strained semi-shouty tones are too close to the Swedish melo-death school.
"The Darkest Reflections" is another commendable achievement, maybe a bit more modern-sounding, and with less speed involved. The overall sound is stomping and mid to up-tempo, and energetic speedsters like "Ligth of my Darkness" should have been more. "Mountain of Water" in the 2nd half lifts the spirit high wiht another portion of high-speed rhythms which are gracefully continued on the tad more melodic "Acid in my Arteries", and especially on the nice Paradox-worship "Torturers Lulllaby". The closing "Oscura Pasion" loses it all, however, being an overlong semi-epic power/thrasher with a bit boring repetitive riffs. The flaws in the vocal department remain, too, the guy now shouting even more expressively to mixed impressions.

Despierta esto es Real Full-length, 1997
Síndrome Repulsivo EP, 1999
El Néctar del Odio Full-length, 2002
La Cultura de la Muerte Full-length, 2005
The Darkest Reflections Full-length, 2010

TANDJENT (USA)

Two guys are responsible for this exemplary modern progressive thrash, which sounds similar to early Meshuggah, or the Americans Baghead, but excels in the guitar department producing impressive cold technical riffage. The songs are in mid-tempo, containing inevitable groovy sections, but the heavy, stomping riffage saves the day, even producing headbanging moments. The mechanical feel of this album is aggravated by dry, impassionate compositions, like "The Great Machine", which warms up with a fine balladic section, or the choppy, industrialized "Paralyzed". "I Remain" starts in a headbanging manner, but don't expect this to continue through the whole song; the lead guitar is quite stylish here. The other place, where the lead guitarist is given more freedom, is on the "warmer" "Fear Itself". "A Demon's Best Disguise" is the perfect example of modern, abstract technical thrash, seldom achieved before: watch out for the leads again; here they threaten to turn into the highlight. "No One Will Hear Us" is a pure instrumental display of cold, robotic riffage with a great up-tempo ending part. Hopefully the guys will keep the flame of this rare musical breed alive, by releasing something else of the kind soon.

No One Will Hear Us Full-length, 2005

TANK (FRANCE)

Based on the full-length, these guys play very typical modern thrash/death metal staying more on the melodic side seldom thrashing with power moving in a jolly mid-pace ala mid-period In Flames, the main difference coming mostly from the more aggressive lower vocals.

Tank EP, 2007
The Burden Of Will Full-length, 2010

TANKARD (GERMANY)

One of the most consistent bands in the history of metal, Tankard never betrayed their high speed/thrash style, and although short on originality, the band's sound is very long on energy and catchiness. "Zombie Attack" was a high octane debut of blitzkrieg speed/thrash, marked by the high, apocalyptic vocals of Andreas "Gerre" Geremia, which set the tone for most of the following works. "The Beauty and the Beer" is a potent slice of thrash metal which saw the band in a new light, partially abandoning the old formula for the sake of a more stylish technical play, and is by far one of the best albums of 2006.

After the excellent "The Beauty and the Beer" it was interesting to see whether the band would be able to keep the level high for another effort, and the good news is that "Thirst" is a nice companion piece to its predecessor. It is more varied providing really catchy choruses (the opener "Octane Warriors"); intense headbanging moments ("Stay Thirsty!", "Hyperthermia", "Echoes Of Fear") which are the majority; mid-tempo stompers with both a balladic and a faster twist ("When Daddy Comes To Play"); razor-sharp semi-technical pieces ("Myevilfart") with slightly stupid titles; and even great explosive closers with an almost proto-death metal shade ("Sexy Feet Under"). As a whole this is an enjoyable listen which will keep you on the edge of your headbanging possibilitites for most of the time, leaving you a little room for a rest.
The band continues to excel through the new millennium with a third consecutive strong offering, this time unimaginably titled "Vol(l)ume 14", but the music is nothing short of great starting with the vigorous speed/thrasher "Beck's In The City", and "Black Plague" will drown you with its intense galloping rhythms. "Brain Piercing öF Death" is the definitive thrashing roller-coaster, a fast and tight track, with great sharp cutting riffs. "Condemnation" would be a revelation, rather than a "condemnation", providing the desirable more complex and more technical digression, expanding into a really stylish, almost progressive, thrasher still pretty speedy and intense. 5-min of prime blitzkrieg headbanging thrash await you on "Fat Snatchers (The Hippo Effect)", before "Rules For Fools" tones it down a bit staying more in the speed metal camp producing great melodic leads. Thrash metal returns with full force on the invigorating speedster "Somewhere In Nowhere" which leaves room for the more technical Bay-Areasque lasher "The Agency". The nice balladic beginning on "Time Warp" may mislead you that the guys would finally produce a ballad, but... ha ha!, no: this is a superb exercise in fast technical thrash metal, very close to being the highlight here. The more complex decisions stay around for the convincing closer "Weekend Warriors" which blends technical and fast guitars to a very positive impression also finding time for a cool atmospheric balladic exit. This is some awesome thrash played by those veterans which finishes the "holy three of thrash metal" of 2010 (the other two: Helstar ("Glory of Chaos"), and Overkill ("Ironbound")), and can even be viewed as their finest hour, a great entry into the field showing that thrash metal still has a lot to offer to its fans after all these years.

Zombie Attack Full-length, 1986
Chemical Invasion Full-length, 1987
The Morning After Full-length, 1988
Alien EP, 1989
The Meaning of Life Full-length, 1990
Stone Cold Sober Full-length, 1992
Two Faced Full-length, 1994
The Tankard Full-length, 1995
Disco Destroyer Full-length, 1998
Kings of Beer Full-length, 2000
B-Day Full-length, 2002
Beast Of Bourbon Full-length, 2004
The Beauty and the Beer Full-length, 2006
Schwarz-Wei¯ Wie Schnee EP, 2006
Thirst Full-length, 2008
Vol(l)ume 14 Full-length, 2010

TANKWART (GERMANY)

A side project of the Tankard members, so don't expect anything new; the style is a more melodic, probably kind of a punk-ish version of Tankard.

Aufgetankt Full-length, 1994
Himbeergeist zum Fr³hst³ck Full-length, 1996

TANTARA (NORWAY)

3 songs of excellent Bay-Area thrash ala early Forbidden and Testament; this is compelling speedy semi-technical music with sharp vigorous riffs and very good semi-clean vocals reminiscent of Chuck Billy. The title-track is an awesome speed/thrasher with very good melodic leads lashing with force the whole time. "The Debate" is another intense mosher "relieved" by a nice balladic acoustic interlude in the middle later transformed into a fine lead section. "My Occupy" is in the same speedy energetic vein as the previous two, probably more direct, in this aspect also recalling the Exodus debut. The sound quality is very clear, and it seems as though the guys are well-equipped to hit the studio for their eventual full-length which already looks promising based on the quality of the music heard here.

Human Mutation Demo, 2010

TANTROM (CANADA)

Based on the demo, this act pulls out intense old school thrash with a less serious crossover shade ("Holocaust"), but things get nicely serious on the more thought-out opus "Ocean of Fear" which thrashes in a consistent mid-tempo, translating the approach to the following "...Broke Up", which slows down a bit for the introduction of a few doomy moments which are compensated by the faster lead-driven mid-section. The final "Out of Breath" is another laid-back track bringing back the crossover side, which suits better the expressive declamatory, semi-clean vocals.

Ocean of Fear Demo 1992
Sanctuary of Foreboding EP 1994

TAOMENIZOO (FRANCE)

Based on "So Blind", this band plays heavy groovy thrash/death metal with industrial overtones. The music is seldom fast; the guys prefer to play it mid-paced to slow, but still cool more up-tempo thrashers are around (the short opening outburst "So Blind", the galloping "Not Even God", the surprising fresh energetic piece "Southern Cross", which even finds some time for good leads) although they are hardly enough for an album of 13 tracks, and the overall approach is too one-dimensional and monotonous with repetitive riffs and the same dark oppressing atmosphere.

Taomenizoo Full-length, 2003
So Blind Full-length, 2008

TAPERED MIND (USA)

Laid-back alternative post-thrash sounding like the more aggressive brother of the "Tool meets Monster Magnet" blend with a pinch of more traditional groove. The delivery is a bit monotonous, in mid-pace, with several jumpy decisions creating the impression that the album may take at some point towards the progressive fields; but no. The vocalist is pretty suitable, though, with his semi-shouty attached tone.

Breathe Again Full-Length, 2010

TARAMIS (AUSTRALIA)

"Queen Of Thieves" is power metal with progressive touches. The sophomore album is much better putting the band on line with progressive thrash heroes like Watchtower, Realm, etc. The bad thing is that of the 8 songs on it there are only 4 which fit the classification above. Some moments from their power metal past are still present ("Delayed Reaction", "Diceman"), and they kind of spoil the picture since they have very little to do with the other much more interesting material. The longer and more technical tracks are truly a revelation ("Dreaming, "A Maze of Glory"), although they are intercepted by some balladic, semi-acoustic sections from time to time. The singer is another highlight possessing a powerful high-pitched tember similar to Jeoff Tate from Queensryche, but deeper. "Jigaboo Boogie" is a funky instrumental, which could have been a nice touch if it had been half as long, but 5-min of this offbeat stuff... excuse me! The next track" "Lonely Star", which is a semi-ballad of the more melodic variety, puts the second half more on the dull side. Perhaps on the next release the flaws would have been fixed, but this band disappeared shortly after.

Queen of Thieves Full-length, 1988
Stretch of the Imagination Full-length, 1991

TARANIS (BELGIUM)

Based on the "Ancient Will" split, this band offers old school black/thrash ala early Bathory. The music is perhaps more melodic with crossover/punk tunes involved, but when the guys decide to do it the evil way the sound gets quite vicious and frenetically fast: "Possessed", with a touch of Impaled Nazarene. On the other hand we have the typical majestic doomy mid-paced black metal delights in the best tradition of Bathory's "Raise the Dead": "Intro/Feeding the Ravens".

Taranis Full-length, 2007
Ancient Will Split, 2008
Flandriae Full-length, 2008

TARANTIST (IRAN)

Based on "Tarantism", this courageous Iranian act (metal is hardly the most loved music genre in the Middle East), who are now re-located in Los Angeles, USA, pulls out atmospheric semi-progressive modern thrash mostly in mid-pace with a dark heavy guitar work and gruff semi-death metal vocals which are quite intelligible, and try to change the pitch to suit the atmospheric music. Ballads and quitet interludes are thrown-in in the middle and elsewhere, as well as a couple of short hardcore-ish outbursts which are a bad touch breaking the much more serious tone of the rest. The closer "Indefinite Beginning" goes away with all the praises being an intense exercise in semi-industrial thrash ala Die Krupps and Skrew.
"Distorted Brains" is a very uneven affair with an increased number of quiet moments bordering on Killing Joke with a very few ties to metal, let alone thrash. This is minimalistic industrial music with post-rock touches.

Tarantism EP, 2006
Tarantism Full-length, 2008
Distorted Brains Full-length, 2010

TARANTULA (CZECH)

A very obscure, but cool band, playing classic power/thrash metal; their debut is an energetic affair, mixing faster power/thrashers with slower power metal numbers. The music stays in the power metal camp most of the time, but is cool. "Peklo Pro Všechny", recorded a few months later, is pure heavy/power metal with no traces of thrash, except for the cool power/thrashing closer "Charlie". "Chemomarsh" is a much more aggressive work, strictly modern and groovy, but with meaty, crushing riffs, and varied tempos, sometimes even nicely speeding up (the Pantera-sque "Chemomarsh"). The bonus track at the end is a cover of Metallica's "Master of Puppets": quite well, and faithfully done, with all the parts present, with the only complaint coming from the slightly unemotional, gruff vocals.

Mobilis In Mobili Full-length, 1992
Peklo pro všechny Full-length, 1992
Never Say Never Full-length, 1995
Chemomarsh Full-length, 1996

TARDIVE DYSKINESIA (GREECE)

An ambitious stylish mix of choppy technical modern thrash and mellower progressive passages; the music is quite close to early Treponem Pal, and occasionally mid-period Meshuggah, but it may wear out at some point, since there is not a speedy element involved, just twisting meandering riffs, sometimes quite heavy and crushing, quite technical as well, but the formula repeats on almost every song. The guitars are not very dry, actually, and carry a nice sense of melody, especially on the aforementioned softer progressive sections: check out the second half on the nice atmospheric opus "Brains Trust". "Ask E Sea" is a great industrialized instrumental, with robotic steam-rolling riffs which don't change much throughout, but create an ominous wall of passionless sounds. The same effect is effortlessly achieved on the nice closer "Tinge of Irony", which is an interesting take on mechanized doom/thrash.

The Sea Of See Through Skines Full-Length, 2009

TARGET (BELGIUM)

An essential technical thrash metal band, Target pretty much established the rules of the genre on European ground, together with Mekong Delta and Living Death in 1987. "Mission Executed" still relied more on speed and energy rather than technicality, but the stylish guitar work is all over it, slowing down only for the stomping steam roller "The Gathering". "Master Project Genesis" is even stronger, with one of the finest openers in technical metal history: the overwhelming, beautifully chaotic 4-min wonder "The Coming Of Chaos". The screamy, Torsten Bergmann-like vocals (which were not too bad, by the way) are replaced by deeper, cleaner ones, which suit the more technical approach better, and the speed is still here: check out the smashing technical bomb "Dehumanization". This is not an extremely complex work; the progressive virtuosity of Mekong Delta is seldom felt ("Secret of the Dome", and, of course, the opener; and this is not the purpose here), and the straight sections make it one of the more accessible technical efforts of the 80's.

Mission Executed Full-length, 1987
Master Project Genesis Full-length, 1989

Vibrations of Doom

TARRASQUE (UK)

Entertaining heavy thrashy groove this effort offers, heavy and mostly mid-tempo, which has its faster more classic ("Life Sentence", "MD"- this one is vintage Bay-Area thrash) moments, but prefers to crush with pounding steam roller-like riffs and jumpy semi-technical signatures ("Stiched", "Thoughtless", which goes towards abstract robotic thrash, something which Voivod would offer aplenty a few years later). There is a lot of energy involved, as well as non-conventional decisions: the closer "Big Bifton Bjaah Birds", which is a crossover/thrash funk piece and might be considered the joke, and this effort could easily pass for one of the better entries into the 90's fashion from the UK, sounding well more entertaining than, say, Xentrix's "Scourge", or Re-Animator's "That Was Then... This Is Now".

Eggshell Staircase Full-length, 1993

TARTAROS (GERMANY)

This is the band who later made a name on the scene as Exumer. This 4-track demo is an uneven blend of thrash, speed and hardcore, which has a lot of energy, as well as some more unusual moments (acoustic sections on "Werewolf", etc.), but the level of musicianship is on a fairly low level, and Stein's vocals are just awful and barely audible. The guitar sound is just a bit better, but still quite fuzzy at times. "Wings of Death" is a good attempt at a heavy ballad, but again, these vocals ruin everything. "Thrash Bang" doesn't really deserve the "Thrash" part from the title, since it is a laid-back number of the Motorhead type. Less than two years later the guys sounded like an almost new band, with almost nothing to remind of their raw, amateurish, but enthusiastic beginnings.

Tartaros Demo, 1984

TASTE OF INSANITY (HOLLAND)

Based on "The Great Escape", this band are determined to carry the Pantera and Machine Head heritage through the new millennium; groovy thrash marred by clean unsuitable vocals. The music is one-dimensional and monotonous, with semi-alternative sections, sounding like a more aggressive Tool. "Collisions" is better, being very heavy and crushing reaching death metal heights with "Devils Tongue", but the complaints for one-dimensionality and boredom remain: there is just no variety, and all songs are copies of each other, with the Tool-influenced passages only slightly correcting the impression.

Anima Full-length, 2002
The Great Escape Full-length, 2005
Collisions Full-Length, 2009

TAUNT (AUSTRALIA)

This is intense aggressive modern thrash metal with crushing riffs and very angry vocals with a proto-death metal intensity involved as well. The steam-roller mid-tempo approach may tire you a bit, especially on the last 7-min pounder "End Of You All", since the guys very seldom try something faster, but when they do ("Shallow"), things get dynamic and jumpy.
"Oblivion" is heavy thundering thrash/death with certain industrial overtones (the abrasive doomster "Suffocate"; the twisted intenser "Blind Faith" which comes with great leads), but brutal outrages ("Warpath") roam around unwatched, too; including pretty tender acoustic ballads ("Seeing Red"), where the brutal singer (if that's the same one) acquires a nice romantic tember.

End Of You All EP, 2009
Oblivion Full-Length, 2011

TAUNTED (USA)

"Zero" is a power/thrash metal album with a wide variety of influences: some of the songs have a dark, somewhat progressive sound close to Nevermore; others go into energetic thrash in the Imagika-mould (this band's drummer takes part in this album, by the way); some numbers are of the galloping power metal type similar to Attacker; there is also a nice short instrumental "Scent Of Hell", arguably the highlight of the album. Don't get me wrong- this is not a mish-mash; on the contrary: this is a good effort, done with style and professionalism.
"Bleeding Black" is a cool slab of old school power/thrash metal again reminiscent of Imagika giving its fair share to both styles also recalling same year's Meliah Rage's "Masquerade". Some songs are darker and more brooding partly carrying the Nevermore spirit: the excellent "Blood Washed Skin" which also thrashes quite hard throughout in mid to up-tempo. "The Floating Ghost" is a nice semi-doomster reminding of the more dynamic tracks from Candlemass' "Ancient Dreams" ("A Cry from the Crypt", "The Bells of Acheron"). The battle-like spirit of the 80's American scene is brought admirably back on "Lucifer", but after it the sound loses both its edge and the classic tone ending with the good ballad "The Candle Burns Black" where the singer comes up with a very cool Ozzy Osbourne-like delivery.

Taunted Vinyl EP, 2000
Zero Full-length, 2006
Bleeding Black Full-length, 2009

TAURUS (BRAZIL)

Bay Area -influenced thrash from Brazil; competently done, with all the albums being of consistently high quality. "Signo de Taurus" contains the most melodic and fastest material, and could pass for the band's finest hour, if you enjoy speed/thrash mixed with crossover ("Mundo em Alerta" is a very cool example of the latter hybrid); the songs on this one are very catchy, and are not hard to remember; shades of acts outside the Bay Area could also be felt: Destructor, Blessed Death, Sentinel Beast, the Spaniards Fuck Off, etc.
"Trapped in Lies" hardens the course with more hard-hitting guitars, but with a slightly dirtier sound, and the lack of speed ("Death by Booze" is the only more up-tempo number on this one) and the insertion of edgeless heavy metal-based numbers like "Aria" and "Behind the Flags" pull this album towards the not very impressive releases. "More Than You Can See" is an average attempt at heavy mid-paced riffage ala late 80's Metallica, but other bands have done a better job in this vein.
"Pornography" brings back the speed from the debut, but only partially, and the increased presence of the technical play makes this effort quite worthwhile again following the late 80's Metallica trends, but this time coming up with something better. The dirty guitar sound, however, remains, but here it is not that annoying, and headbangers like "Pornography" and "Brainless" put this album on a higher level. The rest is heavier and mostly mid-paced, but is by all means as good.
If one starts counting the old-timers from the thrash metal field who haven't returned to the scene so far, he would find that the fingers on his both hands would be enough to cover them all. No one complains, of course, and here we have one of the earliest "disappearanaces" from Brazil who were already done back in 1989 despite the release of 3 full-lengths before splitting up. "Fissura" sees the guys in fine form with the obligatory for the time updated production qualities, thrashing in a sure-handed retro fashion adding the odd more modern hook. Fast and slower tracks alternate throughout, the latter the decidedly more modern-sounding, and consequently the less striking part of the album. Still, kudos should be paid to the guys for keeping the high-speed thrashing on long, almost epic, pieces like "Lagrimas De Sangue", although the heavy doomy "detour" is just a song away ("Fim Da Linha"). This is a cool, albeit pretty predictable, offering which sounds like quite a few of the more recent comeback albums staying relatively true to the old roots for most of the time in a way not far from Onslaught's "Killing Peace" and their compatriots Korzus' "Discipline of Hate".

Signo de Taurus Full-length, 1986
Trapped in Lies Full-length, 1988
Pornography Full-length, 1989
Fissura Full-length, 2010

TEABAG (USA)

This is another one-album project, which involves Norm Leggio (the other being the great progressive thrash act End Amen): the former member of Psychotic Waltz. Together with another ex-member of that same band: Steve Cox, he does a good job, playing technical/progressive metal, with a more aggressive, thrashy edge than later period Psychotic Waltz, but not as flamboyant and striking as End Amen. The music actually resembles the works of Zero Hour, and the one-album-wonder IllWill: a heavy, dark sound with sharp, technical riffs and complex song-structures. The sound is modern, but the guitar work is quite varied, never stays stale, and offers sudden, but effective speedy passages ("Convicted"). Certainly, exercises in groove are inevitable, but mixed with more interesting riffs, are not that bad: "Mummify", "Shadows". Watch out for the short, technical speedy killer in the middle "Earthbound". Unfortunately afterwards the remaining songs are considerably slower, a situation slightly improved with the stomping, pounding closer "Projections". The singer is a find with his good high, melodic voice, which serves the music just right.

Teabag Full-length, 2001

TEARABYTE (USA)

A not very convincing attempt at classic thrash, with influences from the American side of the spectre- Overkill, Testament, Exodus, etc.; awkward groovy moments are thrown here and there to make things even more confusing. "Doom Generation" is probably the band's best album, including a simplistic, but consistent sound, with references to the heavy/power metal and the modern 90's scene. There are no fast or brutal moments, this is mid-paced pounding thrash. The guys previously had two acts: Storm of Hate with which they only released one demo in 1992, and Decrepit Mind with which they had two demos in the late-80's.

Doom Generation Full-length, 1998
Embrace Oblivion Full-length, 2002
Gloom Factory Full-length, 2004

TEARS OF GLORY (COLOMBIA)

This is a cool release of progressive speed/power metal with thrashy overtones. "Facing The Truth" is an energetic speedy opener with nice more elaborate implements, and the next "A Collapsed Day" is an engaging speed/power/thrasher ala the Danes Manticora with solid galloping riffs galore and a quiet dreamy interlude. "Tears Of Glory" is a more conventional speed metal hymn with a strong keyboard support, and "Cyclical Pleasures" is an edgy instrumental with an overuse of keyboards, followed by the pretty meek tender ballad "Utopian Dream" where the good leads fight for domination over the keyboards to a not very big success. "Overrated Paradox Of Being" comes right on time to bring more aggression with its crushing dark thrashy riffs, and "No Turning Back" is happier once again with more intense sections duelling with the more laid-back keyboard-infused passages. "Lord Of The Sky" is a vigorous speed/thrasher with nice choruses and soaring melodies, before the good cover version of Skid Row's "Wasted Time" hits you as a final touch, although a ballad would hardly be the best possible finish to this otherwise energetic album; still, the singer does a good job impersonating Sebastian Bach pulling out a good attached soulful performance. Despite its mellow moments and the slightly annoying presence of the keyboards, this effort will be interesting to all metal fans with its encompassing approach.

The Innocent Sin Of Existence Full-Length, 2008

TEARSTAINED (USA)

"Homicidal Tendencies": black/thrash which quite often goes for the extremes with black hyper-blasts, but there are several pure thrashers: "Genocide and Misanthropy", which is 7-min of very diverse stuff, covering all possible tempos in thrash, and is quite satisfactory. At the end there are two covers: one is expected- Bathory's immortal "Total Destruction", and the other totally unexpected, to the point of absurdity: Ratt's "Scene of the Crime"; it's made exactly the way Ratt did it, poppy and rock-ish.
"Nightmare Visions" is much more controlled, and the music is all-out thrash, seldom very fast and brutal (the exception being the wild death metal bomb "The Porcelain Doll", which will easily break all the porcelain dolls in your and your neighbours' house), clinging towards the heavy mid-tempo ala early Celtic Frost most of the time, suddenly turning into stylish Bay-Area thrash on "When the Sun and Moon Share the Sky". "Not Quite Awake" will surprise you with another furious slab of thrash/death metal topped by very high-pitched King Diamond-like vocals. At the end the connoisseurs will recognize two good cover versions: of Slayer's "Necrophiliac" and one more Bathory: "Reap of Evil".

Monumental in Its Sorrow Full-length, 1999
There is No Hope Full-length, 2001
Final Thoughts Full-length, 2003
Homicidal Tendencies Full-length, 2006
Nightmare Visions Full-length, 2008

TECHNAKILL (USA)

An excellent demo of heavy, technically-charged thrash, so the band name doesn't mislead, like it often happens; "Black Hills" is an awesome opener, with great technical, intense, up-tempo riffs and equally as effective lead guitar performance. "Intimidator" is slower, but the technical guitars are even more impressive, creating a really compelling, vortex-like picture. "Strange Perspective" brings back some speed again, and is a nice galloping speed/thrashing instrumental. "Technakill" doesn't quite deserve its title, since it's the least technical track here, but is a cool mid-paced thrash number, which partially makes up for the missing technicality with a quick twisted guitar section at the end. The singer is quite good possessing a mid-ranged, semi-clean voice, and his frequent attempts at higher-pitched screaming are quite impressive.

Technakill Demo, 1991

TECHNIKILL (UK)

Don't worry: the technical riffs won't kill you, like the band name suggests. Half of this demo recalls Iron Angel's "Hellish Crossfire" and Warrant"s "First Strike": very cool speed/thrash with good higher-pitched clean vocals. The rest includes the average "Heart of a Viking" which strays from the path into classic heavy metal territory, and the equally as unconvincing semi-ballad "Behind the Gallow Walls".

Taken... Without Warning Demo, 1987

TECHNOCRACY (USA)

Technocracy were formed by Phil Demmel: a former member of the Bay Area thrash masters Vio-Lence. The music has very little to do with the Bay-Area; it is strictly modern groovy thrash with some industrial and even electronic elements. The music is mid-paced, with a few attempts at more speed, and some bland exercises in toothless groove ("Naiad", "Replacements") can seriously pull you back. The guitars are edgeless, having this annoying electronic buzz, typical for many industrial acts. The singer is not a total waste; his effortless switches ala Burton Bell from growly singing to some really cool clean melodic lines are the best thing which happens here, although it doesn't happen very often. The final result is hardly on the positive side, and it's a kind of a relief that the band members have been seen in other projects recently, including Demmel in the reformed Vio-Lence for a while: a clear sign that this was only a one-work spell.

Technocracy Full-length, 2001

TECTONIC (ROMANIA)

Very good, bass-driven aggressive thrash metal, recalling early Celtic Frost in the slower sections (if we exclude the really slow ones which go straight into doom metal territory), and early Protector in the faster ones. This is curious stuff, sounding strangely technical at times, too. The short tracks are nice balls of aggression and energy, stylishly graced by more technical riffage, which forms a fairly appealing symbiosis with the bashing delivery. "Bass Metal" is an obvious nod to the very good bass player, who is the band's main asset. The Celtic Frost-influenced numbers are the longer ones ("Canalul Colector I", "Infestat"), but this is when the guys don't bother to make things more interesting, and they end up sounding quite samey and monotonous. The final part is the highlight, starting with "Komet": a very good short technical thrasher, with melodic sharp riffs, recalling Mike Scaccia (Rigor Mortis), followed by the equally as effective, but more bass-driven "Mars". "Pact" is merciless brutal thrash/death, partially relieved by the more hardcore-based "Pobeda". The closing "Prohibit" is a disappointment, though, offering another portion of slow, pounding, dragging riffs: definitely not the best way to end this otherwise interesting, but very obscure effort.

Anomalia Full-length, 1995

TED HEATH (UK)

This is the band who later changed their name to Xyster, and made a more lasting impression on the scene. The style on this demo is quite similar to the other band: thrash of a more simplistic nature, despite the big length of some of the tracks. The guitar sound is quite buzzy, but the deep bass bottom makes up for this flaw. The music is a mix of fast-paced ("Rapist", "Evil Prayer", the hardcore-ish "Way Of The Dead") and slower, but somewhat dragging and boring tracks ("EternalConflagration", "Death And Destruction", except for the speedy ending), smelling early Venom quite a bit.

30 Minutes of Metal Demo, 1986

TEFILLA (HOLLAND)

Music-wise this is competent modern technical thrash. The sound is quite mechanical, and early Meshuggah, or the Canadians Obliveon are an obvious influence on the band, although these guys are more technical than both. Some tracks are quite long, going over the 10-min limit, and are filled with atmospheric, acoustic breaks. This is not headbanging stuff, as the riffs are quite heavy and not very fast. The leads are surprisingly good, albeit not very long and complex. The only downpoint are the vocals which are all over the place (shouts, growls, etc). If you can ignore them, the music is really rewarding.

Grievous Anguish Full-length, 1998

TELEMACHUS (USA)

This is modern melodic thrash metal with metalcore leanings, screechy hysterical raspy vocals, and repetitive song-structures in mid-pace.

Only on Earth EP, 2008

TELEPATHY (USA)

Very good speed/thrash metal with a classic edge mixing the speedy riffage of the Bay-Area with the sharp mid-paced one of Anthrax. "Legions of Frustration" is a cool up-tempo thrasher, but "Reality" introduces a nice balladic section, which is like an oasis amidst the sharp lashing more mid-tempo guitars. "Orlock" will break your neck thrashing far and wide in the best tradition of the Forbidden debut. "Raging Side" is only a bit more controlled with slower sections scattered around, but "Medieval Times" will throw you into a spontaneous headbanging again, despite another not as fast break, and the more melodic guitar hooks. "Innocence" could be considered the ballad, heavy and less dynamic, but the riffage is good, and the singer gives out a standout performance. He actually sings quite well on the whole album, albeit seldom changing his high clean tember which comes as a nice mix between a higher-pitched Joey Belladonna and Michael "M.A.J.O.R." Knoblich (Scanner, Jester's March).

Legions of Frustration Full-length, 1993

TELEPORT (SLOVENIA)

Atalented young act who specialize in the difficult area of technical thrash, without sacrificing the speedy side. "Galactic Usurper" introduces both aspects, thrashing energetically all over. "Digestive Pit" follows the same pattern going up a notch in the technical department. "Future Existence" is graced by a couple of slower sections, which possess the surreal, twisted quality of Coroner's "No More Colour". "Destructoid" is another fast-paced puzzler with echoes of the above mentioned Swiss, of which a good reminder is also the subdued, semi-declamatory vocalist who doesn't hide his fascination with the mean venomous antics of Ron Royce.

Galactic Usurper Demo, 2011

TEMBLAD (USA)

4 songs of semi-technical modern thrash/death metal which mixes jumpy rhythms with fast, deathy sections, the final result quite intriguing, albeit a bit disjointed at times. The guitars have a curious dry, mechanical sound which brings the band close to Meshuggah and Gojira, but the shred here also has a certain headbanging potential, and the tempo-changes are more frequent. The singer is a synthesized death metal semi-shouter, giving the proceedings an evocative industrial vibe.

Mockery Of The Fanatic EP, 2011

TEMNICH (UKRAINE)

Cool black/thrash metal which gains from the crystal clear production which gives the guitar sound a nice boost in favour of the other instruments and the singer, but the guitarists do a fairly nice job, shredding in quite an aggressive, but also melodic manner. The tempo changes, never adhering to the typical for the genre hyper-blasts, as the guys are more impressive when delivering heavy crushing riffs in mid-pace ("Lyho", "The Demons"). Certainly the speedy side is worthy, too: "Ave Morum", "Deathbringers", but it comes with the obligatory slower passages (which come very well mixed on the closing "Kolomyjky") where apparently the guys' passion lies.
The Promo is 4 songs of energetic melodic thrash metal, sounding more modern this time, spiced with the odd doom-laden blacky break. Death metal sneaks here and there to produce the (un)necessary stressing blast-beat the latter gimmick being quite good on the progressive Bal-Sagothesque "Philosophy of Death".

Iamuih Pustuih Mogil Full-length, 2007
Philosophy of Death Promo, 2010

TEMPERANCE (SWEDEN)

Based on "Krapakalja", this band offers an eclectic, but not a very stylish blend of doom, thrash and a bit of death metal. The approach clearly favours doom before the other genres, and the thrashy breaks come out of the blue, and since one doesn't expect them, there's no way he can enjoy them fully. "Dimension Complete" is probably the only track where the guys manage to put two-and-two together, and combine very heavy doomy riffs with a couple of bursting thrashy ones. "Krapakalja" is a good exercise in death/doom ala Beyond Belief and Asphyx, quite brutal at times, but the rest is not really hard to swallow, especially the moments where the music degenerates to pure funeral doom with very bad clean semi-operatic vocals which can seriously pull you out.

One... Grave EP, 1993
Krapakalja Full-length, 1995
Temperance EP, 1999

TEMPEST (GERMANY)

Based on the full-length debut, this band plays clumsy doomy power/thrash with long uneventful compositions, repetitive riffs, trying unsuccessfully to sound more classic, but apart from a couple of more intense galloping on "The Victim (Part I)" there is hardly anything more dynamic happening. The band's audacity reaches the peak on the ultimately boring progressive closer "The Tempest", which lasts for whole 17-min, and could easily win the award for "worst metal compostion" with its derivative approach, marred by thundering noises, blues and balladic moments, and awful pseudo-technical riffs.

The End of a Dream EP, 1987
Heavy Metal Full-length, 1996
The X-mas Factor EP, 2000

TEMPEST (USA)

This band is the project of one person only: Warren Harris, who performs all the instruments, and sings, too. His music is a blend of power and thrash metal, mid-paced and heavy, with some cool riffs, and a really good bass-bottom which is clearly the man's main instrument, and the last three tracks come as no surprise, being peaceful bass instrumentals.

Annihilation Of The Wicked Demo, 1986

TEMPEST REIGN (USA)

This band was founded by the drummer Brent Smedley, who made fame hitting the drums for the one-album-wonder Oracle and Iced Earth. The music on the full-length resembles both bands (Iced Earth's first two albums), but is not as thrashy, and a tad more modern. Some tracks remind of the complex brilliance of Oracle ("Revelations 911": a great multi-layered number, graced by superb Oriental guitar lines), others are straight smashing thrashers ("Flesh and Bone"), others carry the spirit of the 80's American power metal scene ("Planet Bougadie") with its galloping rhythms, others have a more romantic, semi-balladic shade ("To Each His Own"). This is a really good start, although Smedley's engagements with Iced Earth and the newly reformed Oracle, under the name Odyssey (not reviewed on this site), make the future of Tempest Reign uncertain.

Calm Before The Storm EP, 2003
Catastrophic Full-length, 2007

TEMPESTA (ITALY)

"Rivoglio Il Mio Futuro ": this demo is typical modern power/thrash sounding quite close to the more recent works of the Argentinian acts Hermetica and Horcas. The music is dynamic and the riffs bite being mid to up-tempo accompanied by cool forceful clean vocals.

Tempesta Demo, 1995
The Price Of Glory Full-length, 2000
Virtual Line To Eternity Full-length, 2001
Rebellion Single, 2007
Rivoglio Il Mio Futuro Demo, 2009

TEMPESTA (SPAIN)

1st half: early Germanic thrash metal played in a sincere simplistic manner topped by gruff death metal vocals. 2nd half: the music takes a surprising turn to pure hardcore with thrashy tendencies; there is no change in the singing style, though. A contrasting effort which sees the guys pulling out 2 different kinds of music without messing them up, although the light-hearted guitar tone kind of graces both without changing too much.

Demo-níaca Demo 2011

TEMPESTOR (ARGENTINA)

Based on the demo, these guys pull out nice fast-paced classic thrash, which shares influences from both sides of the ocean, with the German school more frequently paid tribute to. The guitars are sharp and edgy, ably supported by the good pounding bass, and the singer has a higher-pitched semi-clean tember, with a clear drunken shade ("Thrash, Mosh, Beer"!, like one of the song-titles here says).

Thrash Slash Vol. 2 Split, 2009
Aniquilacion Total Demo, 2009

TEMPLE OF BLOOD (USA)

Thrash metal with Candlemas-like vocals; an atractive mix, isn't it? And indeed, once you hear the singer you would think that Messiah Marcolin had decided to move to a thrash metal band for a change. Well, it's not him, but the guy here does a fairly good job. To the music: fairly good power/thrash, with some genuine technical riffing, calling to mind Hexenhaus at times. It starts with a couple of shorter, more immediate tracks, one of which is a smashing aggressive thrasher with a genuine technical edge: "Conviction", the other two being more speed/power metal-oriented. "Spiritual Warfare" is longer, more complex, but also slower, with cool dual guitar tunes in the tradition of Iron Maiden. "Trempling the Serpent" is another fine slab of aggressive, speedy thrash, but the following "Seeking the Truth" is a less hard-hitting, heavy/power metal song. The more intense and more melodic side of the band's music take turns throughout the album, and here come "Legion of the Crypts" and "Realm of Insufferable Burning": very cool technical thrashers, the latter coming with fast-paced, raging riffs: the best song here. A nice finishing touch is the cool cover version of Deadly Blessing's "Deliver Us From Evil".
After the teasing guitars on the introductory "Descent Into Treachery", which may remind you the Wold Hoffman pyrotechnics on "Metal Heart", the guys hit you like a 10-ton hammer with "Behind The Inverted Star": a forceful fast-paced number, highlighted also by the high soaring vocals. "Summon The Accused" is a pause, being slower, with a clear epic/power metal touch. The carnage goes on with the fearsome "Fearsome Warrior", which is another headbanging delight from beginning to end. "Illusion Of Control" is again more laid-back, showing the guys' intention to mix things up. Well, not quite, as "Black Day Of Execution" breaks the formula, offering exactly the opposite to what is expected: doom metal which finally justifies the Messiah Marcolin-like vocal delivery, but hardly serves the album right. No worries, and no complaints, as "Pawn Of The Liar" thrashes through the speakers with full force, giving way to "Harbinger", which again provides some moments for the doom metal fans, and before you decrease the album's mark, give the next number a listen, which is a very cool interpretation of Forbidden's "Forbidden Evil". A raging thrashy track could have been a good follow-up to this one, but the guys' slower, doomy heart calls for more "sacrifices", and it's given in the form of the only real drawback here: the very soft, pointless "Anthem To The Unseen". Fortunately "The Return" is a return to the fast thrashy side of the band's music, and is a worthy closer to this diverse, interesting release, which doesn't beat the stronger debut, but shows the guys paying attention to other metal genres, without running away from their roots.

Prepare For The Judgement Of Mankind Full-length, 2005
Overlord Full-length, 2008

TEMPLE OF BRUTALITY (USA)

This appears to be a side project for all the members of the traditional metal band Killing Machine, except Mr. James Rivera who is apparently not willing to try his hands on thrash metal again, after the flop with the last Helstar offering "Multiples Of Black", including Dave Ellefson (Megadeth). As Killing Machine the guys have done a pretty good job releasing two quality heavy metal albums (and I hope they will continue to do so), but it would be better if they stay away from the thrash metal field for the future. This is banal modern, groovy thrash which sounds like a heavy-handed mixture of recent Overkill (in the better moments) and Biohazard. I really believe this was intended just as a one-album solitary effort for the guys to pass the time when not working on a new Killing Machine material. Rivera was smart enough to not get himself involved in this...

Lethal Agenda Full-length, 2005

TEMPLE OF THE ABSURD (GERMANY)

Holy Moses' Sabina Classen's collaboration with two Warpath members resulted in two albums of crunchy thrash of the modern type; not terribly bad, but compared to the Holy Moses heritage they just don't hold water. The debut is the considerably better effort, still containing some of the classic spirit, thrashing well in a heavy crushing manner on stompers like "The Mirror" and "Cross The Line". The guys insert balladic moments on at least half of the songs, where Classen shows her more melodic, and arguably more appealing vocal side; on the rest she sings in a manner not too different from the one on the Holy Moses albums. Some tracks are probably too slow, like "Another State Of Mind" and "Encroach Your Brain", which are pure doom; or "Beside The Rain" which is a nice ballad with Classen growling in quite a scary fashion the whole time. "Plain Of Existance" is the best track, nicely mixing hich-octane doomy riffs with faster thrash explosives. The closer "Absurd" is another very cool ballad, softer than the previous one, mostly instrumental, with Classen sparcely unleashing a few declamatory semi-growls.
"Mother, Creator, God" is quite listless, concentrating on minimalistic modern post-thrash, slow to mid-paced, with repetitive edgeless riffs with a certain industrial edge ("Alptraumkind", "Requiem For Misanthropy"), recalling a few German practitioners from the industrial fraternity: KMFDM, Ooomph, etc. The Jethro Tull cover of "Locomotive Breath" at the end is not completely bad, though.

Absurd Full-length, 1995
Mother, Creator, God Full-length, 1999

TEMPORARY INSANITY (USA)

Thrash metal with hardcore elements similar to the Evildead debut, but more playful at times, and faster ("Abortive Conditions" picks a Slayer-like aggression).

T.I.D.C. Demo, 1990

TEN FEET FROM MURDER (USA)

Fast, intense thrash of the old school; modern elements are thrown in (the heavy groovy "Fear of Death"), but stomping thrashers ala late 80's Slayer ("Unto Others"), or the mighty speed/thrashing opener "Discordia" will make any thrash metal fan's day.

Murder EP, 2007

TENEBHRA (ITALY)

This very obscure band pulls out quite interesting technical thrash which on its best moments touches Megadeth's early period quite a bit (even "Rust in Peace"). The singer is obviously influenced by Dave Mustaine, giving his vocals a more aggressive, and a higher-pitched blend. The music is not fast, and the concentration is more on cool, intriguing riffs and stylish melodic leads.

Seeking Under Ash Demo, 198?

TENEBRA (GERMANY)

Excellent technical thrash; the music is rooted in the 80's, but the guys are not strangers to more modern passages used very tastefully. This album is a textbook on meaty technical riffing; the guys looked like worthy followers of Coroner, Target, Turbo and the likes. The album opens with fast-paced energetic tracks until "Pellucid Viscera", which slows down only to be followed by the marvellous technical speedster "Among": the finest song here, which closes the first half of the album. The second one offers longer more complex numbers which are not as speed-based, but compensate with awesome technical riffage and cool atmospheric balladic moments. This half also contains the shortest track: the less than 2-min marvellous technical thrasher "Re-Reborn", which brings back the speed for a while. The only downpoint would be the hardcore-ish vocals which will remind you of Daniel Geiger (Erosion).

Tenebra Full-length, 1994

TENEBRIS (POLAND)

Based on "Catafalque - Comet" Best of/Compilation: this is one of the Polish metal scene's best kept secrets. Like with every compilation of this kind, one could find songs belonging to various sub-genres, but the base is solid progressive/technical thrash, not too far from Coroner's highest achievements on the best moments ("Wanderer", "You'd Better Fear Light"). There are parts where the sound acquires more melodic gothic tendencies, but some gems could still be dug out: the marvellous "The Comet", a nice modern take on technical abstract thrash metal ala Coroner's "Grin", or the 7-min progressive thrash wonder "Trial of the Comet", which will impress even the most skeptical fans of acts like Mekong Delta, Zero Hour, or even Dream Theater, if you like. Musicians of such a high calibre make even dark wave, "Sisters of Mercy meets Fields of the Nefilim"-styled tracks ("Nefilim/Annunanki", the title is an obvious nod to the legendary English dark wavers) sound compelling and interesting.
The Best of Compilation only includes songs from the period 1997-2001; songs from their full-length albums are not included. "The Odious Progress" is pure death metal, very well done, technical with numerous progressive passages, close to early Therion and Nocturnus. "Only Fearless Dreams" is standout progressive thrash/death, one of the finest achievements of the whole Polish metal scene. Apart from the keybords and the spacey, cosmic noises, which were so typical for the compilation, there is a much more guitar-driven sound on this one, which will also remind you of 90's Coroner, Aftermath, Scenery from the Czech Republic, Atheist. This is music which turns and twists in many directions, and the tempo changes keep coming, although there is only one brutal moment: the beautifully named "Space Dancer". This stuff requires concentration, because there is a lot happening, and the last couple of songs hit the top (depending on the taste they could be considered the climax of the album), being very technical multi-textured exercises in progressive thrash/death metal with beautiful orchestral melodies and stupendous guitar work.
The "Melting" Promo provides 4 tracks of dreamy, complex progressive extreme metal, which is hard to be defined as thrash or death metal since there is much more involved there, clinging more towards the more modern sound, not far from Coroner's "Grin" mixed with quite a few fusion, abstract elements ala Pestilence's "Spheres". Those of you who have already managed to give the new Cynic ("Traced in Air") a listen, will find more than just passing similarities between the two efforts. Definitely worth checking out, although there is nothing aggressive in terms of guitar work, just twisted elaborate arrangements constantly meandering, seamlessly flowing into one another. Could serve as a base for a new full-length, but the direction taken is away from the intense progressive thrash/death metal approach of the band's older material.
"Leavings of Distortion Soul" is a different "animal" once again, for better or worse, abandoning the technical play completely with occasional "sparkles" of thrash, like on the avantgarde gothic/thrash opener "Sleep and Walk", but later those gothic tendencies take the upper hand making the album sounding like the new/old Fields of the Nefilim with the vocals resembling Carl McCoy quite a bit. The guys have "flirted" with the gothic/dark wave genre through the years, but here I can see a full-blooded relationship taking form with very few "go-betweens" trying to break the "idyll": the dark mid-paced thrasher "Five Arms Made of Black" and the industrial-tinged "OOze". From a thrash metal point of view this effort had better be left alone although it can be viewed as a sure-handed entry into the gothic/dark wave genre.

The Odious Progress Full-length, 1994
Only Fearless Dreams Full-length, 1996
Catafalque + Mesmerized EP, 1998
Catafalque - Comet Best of/Compilation, 2007
Melting Promo, 2007
Leavings of Distortion Soul Full-length, 2009

TENET (CANADA)

This new act is a side-project of Jed Simon, the Strapping Young Lad guitarist who entertains himself here playing intense retro thrash/death metal, "assisted" by quite a constellation: Steve "Zetro" Souza (Exodus, Testament, etc.), the guitar player Glen Alvelais (Forbidden, Testament, etc.), the bassist Byron Stroud (Fear Factory, Devin Townsend, Zimmer's Hole, Strapping Young Lad), and finally the drum magician Gene Hoglan. This super group, whose 1st effort was a demo in the distant 2003, where Rob Urinari (Sacrifice) and the drummer Adrian Erlandsson (Cradle of Filth, Brujeria, At the Gates, The Haunted, etc.) took part, pull out cool fast aggressive stuff, alternating between thrash and death sections, without forgetting about some more clever technical decisions ("Crown Of Thorns"). The initial aggression gets under control on the slower "Unnameable" near the middle, but there is no mercy later, with "bullets" like "Take A Long Line". "Going Down" betrays the fast-paced tone once again, being very heavy and crushing. All is forgiven on the semi-technical diverse "Hail! Hail!" and the more direct thrash killer "Watching You Burn". "Sovereign" gracefully closes the album mixing speedy and slower passages, emphasizing on the former, creating a solid stomping heavy background. Everyone involved gives his best, although from all the aforementioned bands there is only late-90's Testament which comes close as a soundalike, as well as 2 more recent practitioners of the genre: the Germans Ravage and the Swedes Defleshed.

Sovereign Full-length, 2009

TENSIDE (GERMANY)

Based on "Mental Satisfaction", this band mixes modern groovy post-thrash with cool up-tempo sections ("Numb and Broken", "Awake", and especially the good thrasher "Mental Satisfaction") which could have been more, because when they're around the sound comes close to Pantera at their best. "Tear Down Your Fears" is more dragging, clinging towards the post-thrash and even metalcore area, with the more intense sections brought to a minimum.
"Chain Reaction" continues the post-thrash saga now decorated by more elaborate progressive elements which still keep the songs short, but tone down the intensity quite a bit brionging the overall sound close to later-period Misery Loves Co. and mid-period Machine Head. So don't expect any hard-hitting thrash, btu be prepared for quite a few dreamy spacey sections ("Violet World") those even smelling Depeche Mode's "Ultra". "Infected" is a heavy smasher, but its seismic importance is completely cancelled by the surrounding much mellower material. The gruff semi-death metal vocals are now nicely intercepted by better cleaner ones with an alternative edge which suit far better the more relaxed musical approach.

My Personal War Full-length, 2007
Mental Satisfaction Full-length, 2008
Tear Down Your Fears Full-length, 2009
Chain Reaction Full-length 2011

TENSION (USA)

This is Tom Gattis'(Wardog, Ballistic) first band: A good speed/power/thrash release along the lines of Overkill, Metal Church, Agent Steel, etc. It's perhaps a bit premature to talk about thrash here, but the energy and catchiness of the songs will keep you entertained. In the middle the album loses momentum for a while, introducing slower numbers ("Angels from the Past", "Shock Treatment"), but quickly makes up with "The Downfall of Evil": the best and the thrashiest track here.

Breaking point Full-length, 1986

TENT (RUSSIA)

Based on the demo, this band offers groovy post-thrash of the doomy heavy type, so this is not fast music, but mid-tempo to slow with contrasting semi-clean vocals, which try to rap on the more alternative moments ("Urody Mody", which includes a blasting aggressive passage as well).

Urody Mody Demo, 2005
10$ EP, 2006
XXC Full-length, 2007
Vse dorogi vedut v AD Full-length, 2008

TENTH DAN (AUSTRALIA)

"Trapped Under Fire" is explosive old school thrash, seldom spiced with heavier groovy passages, and a couple of furious hardcore outrages ("Feel the Blade"). The guys play fast and tight, with no mercy shown anywhere: a pure headbanging attack from beginning to end, served in the form of short direct numbers and angry semi-hardcore/semi-death metal vocals. Those willing to thrash their souls out should track this effort down without delay.

The Wrath Full-length, 2007
Toe to Toe / Tenth Dan Split album, 2008
Trapped Under Fire Full-length, 2009

TEOFOBIA (CHILE)

Based on the "El Arte de Matar a Dios" demo, this is a somewhat raw and undeveloped blend of thrash and death metal which is not miles away from the early achievements from the Brazilian metal scene: Sarcofago, Vulcano, etc. The music alternates between brutal aggressive and more quiet moments, and the bass work is particularly good, overshadowing the other instruments.

Siempre Enfermo, Nunca Muerto Demo, 1995
El Arte de Matar a Dios Demo, 1996
Metal de la Muerte EP, 2002

TERAKIL (USA)

A demo of a somewhat mixed nature: two of the songs (the shorter ones: 4-5min) are well constructed thrash along the lines of 80's Anthrax and late 80's Overkill, and the other two (the longer ones: 7-9min long) are pure epic power metal, also quite well done, but having almost nothing to do with thrash.

Death by Any Other Name Demo, 1989
Terakil Demo, 1990

TERAMAZE (AUSTRALIA)

Based on "Toxology", this band stands right beside Bezerker as the second best one-album-wonder to come out of Australia. The band's style is state-of-the-art technical speed/thrash, which beats even Bezerker on the best moments. "Divergence" is an awesome aggressive opener, but more power/speed metal-based delights are on the way ("Spirits Arising"), as well as more elaborate slabs of progressive ("Thoughts Of Renewal") metal. "Generation X" is another no-brainer for the technical speed/thrash metal fans, whereas "Dying World" is more laid-back mid-paced power/thrash. "Emanciaptior" offers technical complex rhythms aplenty, and remains in the mid-tempo. "Engraved" is a nice ballad, cancelled by the mighty "Manology": another technical thrash delight. By that time the listener already knows that two consecutive songs of that intensity will not occur, so he is prepared for the more peaceful progressive instrumental "Ever Enhancing". "Speak Of Black" after that thrashes in a more controlled less technical manner, but the speed increases for the final "Positive Mind Control": an exemplary progressive thrash metal composition strating with marvellous flamenco acoustic guitars, later moderately fast and complex, recalling Realm and Toxik. The intro and outro are brilliant lead instrumentals. And a few words about the singer, as a finishing touch: a good clean tember, which fits the music just perfect; he never goes for the higher notes, but adds very effective semi-clean ones accompanying the more intense passages. You will do no wrong tracking this great obscure band down; music of such a quality would be a sure pick for every metal fan.

Doxology Full-length, 1995
Tears To Dust Full-length, 1998
Not The Criminal EP, 2001

TERATOMA (AUSTRALIA)

A more thrashy version of the epic Amon Amarth sound; there are certainly more aggressive songs to be encountered, but the guys (and a girl- the drummer) are happier sticking to heavy slow rhythms also bringing their delivery close to mid-period Amorphis ("Tales of the Thousand Lakes"), strong resemblances with the Finns in the vocal department, too.

All Has Fallen Full-length, 2010

TERMINAL CONFUSION (USA)

The progressive thrashers Realm's bass player Mark Sokoll plays here, to help the others produce these 4 songs of jumpy, but also heavy, retro thrash sounding close to the Acid Reign debut. The guys know how to thrash hard and fast ("From Beyond"), but they also pull out jolly funky/jazzy rhythms in the spirit of Mordred and Re-Animator, where the exit from thrash is guaranteed.

Pursuit of Solutions EP, 1991

TERMINAL DEATH (USA)

This formation boasts the most vicious and brutal vocals at that early stage of the genre's development. To talk about death metal, however, is a bit premature. The singer has definitely been an influence on many of his death metal colleagues, but the music is plain thrash, quite sinister and gloomy at times, and quite fast and intense at others, coming as a cocktail of the music of many extreme acts: Possessed, Slayer, Celtic Frost, Bathory, etc. The only track which perhaps has any significance, music-wise, to the spawning of the death metal genre is the furious less-than-2-min explosion "Brain Tumor".

Faces Of Death Demo, 1985

TERMINAL REIGN (USA)

This band was founded by the guitar maestro Rich Fortuna. This is quite well executed technical thrash, choppy and not very complex; kind of reminds me of the Germans Pyracanda's debut. Two of the songs are fast and energetic, and are the more technical ones, whereas the other two are slower, heavier, and more ordinary.

Terminal Reign Demo, 1993

TERMINAL WAR (COLOMBIA)

Classic Germanic thrash with an abrasive guitar work, sounding more speed metal-based ("Herencia Violenta") in the beginning, but most of the time this is heads-down thrash, sounding quite close to early Deathrow, Destruction and Darkness. So expect direct fast-paced riffs, very sparce lead guitar work, husky quarrelsome but intelligible vocals, and a fine intense cover of the Darkness megahit "Critical Threshold".

Herencia Violenta EP, 2006

TERMINATED RITE (CANADA)

Dark, brooding thrash akin to Infernal Majesty's "None Shall Defy", the Brits Deathwish and even early Coroner; there are quite a few stylish riffs, recalling Infernal Majesty rather than Coroner, and the guys nicely change the tempo: from more aggressive thrash to some up-tempo galloping rhythms, to some technical breaks; there is enough room for all these to develop, since the songs are 5-6min long.

Darkness Weaves Demo, 1988

TERMINATOR (CZECH)

Based on the debut, this is quite good mid-paced to up-tempo 80's thrash with slight technical tendencies resembling the Dutch bands Mandator and Vulture, among others. At times the music slows down introducing atmospheric, lead-dominated sections, giving the sound a slight gothic edge. The singer is a letdown with his unemotional undeveloped voice, despite the attempts at a cleaner more dramatic singing he makes from time to time.
"Plugged" is in a similar vein, and is firmly in the classic mould. The opening speedy instrumental "Vicious Circle" gives the album a big push with its energetic brisk melodies, although the guys do not take the advantage from it later sticking to a slower heavier sound with a late-80's Metallica shade. Then comes "Asses To Ashes" in the middle to bang the head with more vigorous thrash, and the songs which follow till the end are more dynamic except for the tender boring ballad "A Friend". The singer does a better job this time trying higher pitches more often and generally adding more emotion to his performance. Later this band was transformed into the stoner/doom metal outfit Flood.

Probability Of Doom Full-length, 1991
Plugged! Full-length, 1994

TERMINATOR (POLAND)

Typical for the time thrash/death metal hybrid; fast aggressive music close to the Merciless debut and early Sadus. The riffs pack a punch, but are not very clearly heard at times blurred by the very buzzy sound. The leads are pretty screamy, but are too short to make an impact, and the vocals are very low-tuned and grunting. The band later transformed into the death/goregrind outfit Dead Infection in the 90's, and are still active although preferring to record Splits and EP's, with only 3 full-lengths released so far.

Evil of This World Demo, 1990

TEROR (CYPRUS)

This power trio pulls out dark mid-paced thrash metal with a classic vibe coming close to the slower side of Sepultura's "Arise". Well, at least "Thrash Patrol" could have been made faster to justify its title. Still, this is not bad at all if we exclude the rough sound quality; the singer delivers with his mid-levelled semi-clean tember, and a few catchy choruses are thrown in for good measure. Well, it remains to be seen how such material will stand on a full-length, if the guys stick to this approach without any deviations...

Ordered to Destroy Demo, 2010

TERRA CAPUT MUNDI (USA)

This trio, which features the girl Sarah Y. on drums, plays heads-down retro thrash/crossover. The music is jolly and unpretentious, mostly fast-paced with the odd punk deviation ("Rogue Trader"), plus two covers at the end: Manilla Road's "Necropolis" done in a carefree crossover tone, and the Japanese Metalucifer's "Heavy Metal Hunter" done faithfully with the non-serious roller-coaster guitar sound typical for the Japanese.

Warp Speed Warriors Full-length, 2008

TERRA SUR (COLOMBIA)

Based on "Hasta La Victoria/Alza Tu Voz", these guys offer enjoyable speed/power/thrash which mixes the dominant trends of the 90's power/speed metal movement with more expanded formulas in the spirit of Manticora resulting in a both complex and intense listen, although on the longer compositions ("Guerra Inmortal", "Resiliente (En Las Calles Del Dolor)") there should have been more speedy passages. There is an inclusion of keyboards ala the 70's (think Deep Purple), which is an interesting touch, albeit a bit out of place when used. "Corazón De Fuego", the sweeping speedster from the EP, is remade without any changes, but sounds as invigorating and fresh as ever, and remains the highlight here, with the galloping speed/thrasher "Alza Tu Voz" a close second. The singer is cool and convincing with his high-strung clean tember, which straddles along the gamma/octave scale with ease, still sticking to the mid-ranged registers for most of the time.

Horizonte Gris EP, 2004
Raise your Voice Full-length, 2007
Hasta La Victoria/Alza Tu Voz Full-Length, 2011

TERRAHSPHERE (USA)
Tool Edit Raise your Voice Full-length 2007

Another fine piece of technical/progressive thrash forgotten by most; the style is hectic choppy with fast brutal passages which come all of a sudden to replace the more chaotic complex sections. Some of the tracks might sound like total chaos, but after a more careful listen one would find out that this is nothing short of outstanding (but you need to have an ear for it). The guitar work is interesting with numerous technical and fast riffs changing within a short period of time; the leads are also sharp, not melodic, and short. Comparisons to a more aggressive Watchtower, or Sieges Even would not be ungrounded, but these guys forge a really original sound, with the many tempo changes and the intense proto-death moments bringing them closer at times to Atheist and Hellwitch as well.

Third in Order of the Sun Full-length, 1991

TERRAPHOBIA (AUSTRALIA)

Based on the demo, this band pulls out good power/thrash, firmly rooted in the 80's scene, recalling Meliah Rage and Testament's early 90's period. Similar to the latter they come up with a cool thrashy ballad: "Where Angels Fear" where even the vocals take an interesting Chuck Billy-shade. This is good stuff, although the only up-tempo piece here is "Blood and Hatred". The band founder Michael Jelinic later joined the death metallers Mortification, and this band at the moment is just a side project.
Jelinic has found some more time for his side-project, and here comes "Evilution" to rock your world with a typical brand of modern melo-death/thrash which sounds so remote from the style on the debut demo, that one would need some time to adjust to this transformation. Well, it's not going to be very hard since the man (it's only Jelinic who is involved here) does a decent job, adding the odd hyper-blast ala Emperor and early Dimmu Borgir (the opening "Evilution"), plus plenty of catchy melodic hooks (the addictive galloper "False Prophet"; the cool atmospheric ballad "The Unforgotten"). The pace is mostly quite fast, and angry thrashers like "Golgotha", "Meanhouse Effect", or the more intriguing, but intense enough, closer "Phase 6" will make you jump around in no time. Jelinic sings in a gruff, lower-tuned death metal tember recalling Jan-Chris de Koeijer (Gorefest).

Product Of Your Mind Demo, 1993
Natural Born Killer EP, 1996
An Eye For An Eye EP, 1997
Enemy Within Full-length, 2001
Evilution Full-length, 2011

TERRASERIA (MEXICO)

A decent blend of classic and modern thrash clinging more towards the modern side thrashing in an energetic up-tempo where the sound doesn't hide its fascination with the Gothenburg school ("Forever Crucified"). The vocals are of a dual type: the dominant ones are throaty with a semi-hardcore shade, the others are low death metal growls.

War Confessions Full-length, 2009

TERRATHORN (UK)

An energetic vivid, but pretty derivative, take on modern thrash metal; the guys play with gusto alternating heavy pounding rhythms with intense headbanging ones, the former dominating coming with a more optimistic carefree attitude at the end (the merry crossover closer "Autopsy").

Acquire. Dominate. Destroy Full-length, 2009

TERRATOMB (CANADA)

This band boasts the presence of Quinn: the mainman behind the legendary thrashers DBC. The name clearly raises some hopes, but the music doesn't at all. On "At War Within" Quinn's talent is totally wasted: his stylish guitar work sounds almost surreal compared to the otherwise mindless mix of black and thrash metal, topped up by intolerable vocals and misplaced blast-beats. It sounds as though one member of the band tries to put two-and-two together, but the others do their utmost to stop him. Hopefully on their second effort things have improved, because there is definitely some potential "lurking in the shadows" here.

At War Within Full-length, 2001
Rebirth Through Destination Full-length, 2006

TERRIFIC VERDICT (FINLAND)

Based on the 1988 demo, this band plays really good aggressive thrash ala Slayer's "Reign in Blood"; short fast tracks with sharp riffage, and leads which are short and a bit chaotic in the Kerry King vein. The vocals are sinister, death-ish, similar to Vince Vampire (R.I.P.) from Infernal Majesty.

Demo Demo, 1988
Lost Preacher Demo, 1989

TERROR (COLUMBIA)

This Columbian trio pulls out intense retro thrash ala Whiplash and the early German school (Deathrow, Necronomicon, Kreator) with a dirty sound quality. The music is fast and inspired, but the muddy guitar edge and the unpleasant shouty vocals impede the proceedings. Still, the guys lash with passion reaching proto-death extremes at times (" Infierno y Fuego").

War Fire Death Demo, 2010

TERROR (USA, CA)

Terror is the continuation of Evildead with all the members coming from this band, except the drummer, who comes from Agent Steel. The style is not really close to Evildead: it is less impressive, slower, with a clearly more modern sound, and with Spanish lyrics. The full-length is not a bad album at all, and once you adjust to the heavy, groovy approach you will not be disappointed, although the lack of speed might pull you back at first. Some of the songs are actualy not too far from Evildead's "The Underworld", or sacred Reich's "The American Way": the crushing "Dia de los Muertos", but quite a few of the rest are a little more than heavy, one-dimensional pounding, surprisingly graced by some quiet, balladic moments. A stylish deviation is the jumpy technical instrumental "Freedom Town", which paves the way for the very good mid-paced steam rolling classic thrasher "Immortal", and the playful stomping piece with a Bay-Area edge "Humano", which finishes the album in quite a good manner, something which it didn't quite deserve.
The EP sinks even deeper, lacking the classic ornamentations of the full-length, and is full-fledged groovy thrash, if we exclude the very cool melodic power/thrasher "Niño sin Amor", with a great piano section, and the two cover versions at the end, both actually quite well done: Metalica's "Jump in the Fire", and Iron Maiden's "Total Eclipse".

Hijos de los Cometas Full-length, 1997
Terror EP, 1998

TERROR (USA, OH)

3 songs of clever technical thrash in the best tradition of mid-period Coroner; this is expertly done with both speed and complexity, suffering a lot, though, from the muddy sound quality. "Carving Techniques" is a superb technical speedster with stylish twisted passages. "Unable To Live" concentrates on vortex-like dramatism abandoning the more direct, fast-paced side. "Verbal Abuse" is another more intense track, again full of technical riffs and screaming leads on a swirling speedy base, distantly recalling Coroner's "Totentanz" from "R.I.P.". The singer is a dead ringer for Coroner's Ron Royce, but the problem is that the muddy sound takes away a lot of his efficiency. This is a great obscure effort which is not totally devoid of logic, having been released during the most technical year for US metal.
After a more rpofound research, it became clear that behind this nice piece of music stand veterans from the US underground scene, some of whom have been part of the spwaning stages of the death metal pioneers Nunslaughter, and to their resume we can also add the black/death metallers Decrepit; the melodic death/thrash outfit Dead of Night; the black metal purveyors Funeral Pyre; among others. The "Distributing Pain" demo is a more aggressive offering now with clear claims at death metal greatness, which comes expectedly technically-decorated, but not to the extent of amazement. The guys here prefer to bash in a more direct manner, reaching the intensity of Merciless' debut and early Massacra. "Carving Techniques" from the previous demo has been thrown in in the middle, as though to justify the technical pretensions, after which the more stylish spirits seem to wake up for the making of the puzzling masterpiece "Live To Tell", which finishes this demo in a high note, something which it didn't really deserve.
The "Burn Bethlehem" demo shows the band having moved closer to the death metal field, and as such producing decent music mixing the more frenetic approach of brutality with the more officiant battle-like one of Bolt Thrower and Benediction. The blend works, but is marred by the messy production qualities and the not very expressive low-tuned growling vocals.
The "Up from the Grave" demo is a re-recording of the "Terror Entombed in Terror" one, and as such sees the band fonder of death metal, bashing wild in a stylish, pretty technical at times, fashion adding both doominess and a higher twisted technicality (check "Cathedral Of Lies" for both) on occasion. This is good music which doesn't quite reach the heights of the material presented on "Carving Techniques", but is still a worthy slab of technical thrash/death which sees the band in a transitional period, slowly but surely shifting from one style to the other.
The "Pain and Suffering" demo is a surprisingly straifgt-forward affair compared to the released several months later. The bash has been served with style, though, so don't expect any amateurish musice here; it's just that the ingenious technical elements have been presented in a pretty raw form with an aggressive proto-death "colouring". "Prophets" is a more stylish technicaller at the end, as though hinting at the coming future metamorphosis.

Pain and Suffering Demo, 1989
Carving Techniques Demo, 1989
Distributing Pain Demo, 1990
Terror Entombed in Terror Demo, 1990
Burn Bethlehem Demo, 1992
Up from the Grave Demo, 1995

TERROR 2000 (SWEDEN)

With members of Soilwork and Darkane in the band, you know what to expect. Well, you would be misled, because this is not technical death/thrash along the lines of Darkane; it's still death/thrash, but of a more ordinary nature, close to The Crown and Corporation 187.

Slaughterhouse Supremacy Full-length, 2000
Faster Disaster Full-length, 2002
Terror For Sale Full-length, 2005

TERROR CULT (BRAZIL)

Based on the "Bonebreaker" demo, this band tries to bring back the glorious days of the early Brazilian scene; their style is aggressive thrash metal bordering on death, recalling the early works of Holocausto and MX. "Terror Cult" is a nice heavy thrasher showing that the band are not strangers to some more ambitious, technical play. The guys feel more comfortable releasing "Best Of"-compilations instead of investing some creative energy to produce something new.

Bonebreaker Demo, 2002
Power Blade Collection Best of/Compilation, 2004
Brutal Fest Collection Best of/Compilation, 2005
Profane Force Underground Coletânia Best of/Compilation, 2007

TERROR FECTOR (JAPAN)

Slayer and Sepultura worship done in the mid 90's; very good stuff, capturing the essence of those two bands' style in their prime. The Japanese tend to write longer compositions, but do not insert any more technical decorations, although the stylish leads make up for that. Surprisingly, even the very long, 10.5-min song "Everlasting Hell Damnation" has no dull moment, frequently changing tempos. "Sacrifice" is a cool number: an aggressive, death-tinged thrasher. The other highlight is probably "Demonic Torture", which again excels in length (8.5-min), but is a stylish fusion of crushing doomy riffs and speedy sections, where the only really technical licks on the album can clearly be heard. The closer "In My Load" is an awesome track, again increasing the aggression to death metal at times, sounding quite close to mid-period Death. Along with the same year's Narcotic Greed debut ("Fatal") these guys tried to wake up the sleeping classic spirit of thrash in Japan, and have done a very good job.

Everlasting Hell Damnation Full-length, 1994

TERROR INCOGNITA (CZECH)

This is rough modern thrash metal which tries to balance between prto-groovy clumsers and faster more energetic numbers the later coming with a clear hardcore edge ("Deadman Walking"). Thumbs up for the good traditional doom metal anthem "To Die Asleep", which is vintage Saint Vitus, except for the vocals which are of the hoarse semi-shouty type.

Every Time You Cry, God Masturbates Full-length, 2011

TERROR OF THE TREES (USA)

This is a one-man project, going under the pseudonim His Eminence The Wicked. This same Eminence has also taken part in other acts: Mem Von Stein's (Exumer) Sun Descends and the black metallers Hemlock. The music here is closer to Hemlock, and actually comes as a more thrashy version of this band's style. This is quite intense old school stuff, and will also remind you of early Bathory and early Darkthrone, graced by surprisingly stylish melodic leads, the highlight here. "Gallows to the Grave" is the only slower number, quite sinister and doomy, something which Norwegian acts like Khold or Thorns could have been proud.

Devil Worship EP, 2002

TERROR SCUM (FRANCE)

Based on the live demo, this is brutal thrash/death obviously imitating the created a few years earlier efforts of their compatriots Massacra and Messiah, but this is way more amateurish and unlistenable. It comes as one hardly intelligible wall of sound with simplistic, mostly mid to up-tempo guitars, and very scary low-tuned death vocals. There are gothic overtones here and there added, again in the vein of early Messiah.

Demo I Demo, 1990
Live Demo Demo, 1991

TERROR SPELLS (CANADA)

Noisy groovy thrashcore which keeps a good dynamics, but the approach is too repetitive, and the vocalist shouts hysterically the whole time. The guitars come with a strong industrial shade, and on more serious stuff could have been a suitable decision. Here they only add up to the artificial noise created, which tries to defend its cause by appropriate song-titles ("Real Thrash Unreal") and several faster cuts towards the end (the "The Great Destroyer" duo (I & II).

Terror Spells Full-Length, 2011

TERROR STRIKE (CHILE)

Based on the "Fantomania" split, these guys take no prisoners with their relentless old school thrash attack, not too far from another Chilean act: Thrash Attack (the guitarist Gonzalo Fuentealba actually takes part in both bands). The music here is a tad more aggressive, but not as good, with a buzzy guitar and drum sounds. All tracks flow in the same vein: fast-paced thrashing, without any insertions from other syles; the last song is a cover version of the Hungarians Fantom's "Lidérces Alom" to whom this split is dedicated.

Donde Esta el Rehearsal Demo, 2006
El Golpe del Terror Demo, 2006
Rehearsing for thrash Demo, 2006
Fantomania Split, 2007
Executioner Thrash Metal EP, 2008

TERROR TACTICS (CHILE)

Decent old school thrash with brutal guttural death metal vocals; the band thrash with passion even on longer, more thought-out numbers like "Effigies of the Elder Ones", which acquires cool technical deathy tendencies ala Death and Pestilence at some point. The production is a bit dirty, depriving the guitars of the bite here and there.

Thermonuclear Deathrash Attack Demo, 2011

TERRORAIN (UK)

These guys can be viewed as one of the "leftovers" from the British punk movement offering noisy punky thrashcore ala early Cerebral Fix and Hellbastard. The music becomes dangerously brutal on outbursts like "Vain Hope" and "Nazi Die", and generally the approach seldom goes below the up-tempo with crusty distorted guitars which will also remind you another UK veteran from the punk/hardcore scene: Heresy.

Terminal Crazy Demo, 1988

TERRORAMA (SWEDEN)

Very good old school black/thrash with black metal vocals; the music is fast and aggressive, recalling Necrodeath and another Italian band: Vexed. There are no quiet or slower breaks here, this is pure thrashing madness. In the middle there is a cool cover of the American thrash legends Holy Terror's "Black Plague".

Horrid Efface Full-length, 2004

TERRORDOME (POLAND)

Nice intense old school thrash metal spiced with short brutal grinding passages, sounding close to the Germans Ravage minus, of course, the very short half-min bursts like "Fuckbody" which will make you run for cover. This is good headbanging fun featuring really forceful thrashing pieces: "Madcap Terror", the hardcore-tinged "Occupation Son" and "Goddamn Asskicking Well"; a lot of aggression packed in no more than 2-min at the longest.
"We'll Show You Mosh, Bitch!" is another pretty brutal affair offering merciless super-fast downpour which never stops, and at the end one may be happy with the relatively short song-length (1-2min) which would still shatter you in a way no worse than the works of more recent acts like Evil Shepherd, Merciless Death and Suicidal Angels.

Shit Fuck Kill EP, 2007
Split It Out Split, 2008
We'll Show You Mosh, Bitch! Full-Length, 2011

TERROREIGN (USA)

This is a not very successful attempt at mixing thrash/crossover with more aggressive proto-death parts. The tempo is actually not fast all the time; there are heavy guitars ala Hellhammer as well as tasteless grindcore passages ("Leatherface") which make things even worse.

Terminal Crazy Demo, 1988

TERRORGOD (GERMANY)

Based on "Coming Home": these Germans prefer to stay away from the flood of retro thrash metal resurrectors from their country, and stay truer to the modern patterns, playing melodic speed/thrash with alternative & gothic overtones. Short bombastic thrashers like "In Vain" and the more death metal-laced "Enslave the Light" should have been more, because they can really make your head bang. "The Burning Cross" is also worth mentioning, offering nice mid-paced heavy epic thrash, and probably "Betrayer", which is a bit overlong (9-min), but contains a couple of hard-hitting moments, amid the balladic & doomy/gothic stretches. The singer does a good job, singing in a clean mid-ranged manner, moving from gruffer to cleaner tones the whole time, creating the necessary dramatism.

Suicide of Mankind Full-length, 2007
Coming Home Full-length, 2009

TERRORIST (USA)

A 2-song demo: both songs here are fine examples of technical thrash; their length (6-7min) allows the guys to show all they are capable of: there are many time changes, superb riffs, and great leads. The pace also changes a lot, but never ventures into very fast or aggressive waters. The music is quite complex with acoustic and atmospheric breaks, and the ever-changing rhythms, which might at times find you begging for a more straight-forward section to put you back on track, might stop you from grasping these songs at first listen, but for fans of the more unusual side of thrash metal this short effort will be a grand-scale entertainment.

Demo Demo, 1990

TERRORIST (USA, Texas)

Based on the "Hellthrashing Warriors" split, this unholy trio unleashes vicious fast black/thrash along the lines of Absu and the Canadians Megiddo; constantly speedy riffs topped by very brutal black metal-ish rasps.

Satanic Propaganda Demo, 2006
Satanic Propaganda/Blessed By The Beast Demo, 2008
Blessed By The Beast Full-length, 2008
Graveyard / Terrorist Split, 2009
Hellthrashing Warriors Split, 2009

TERRORIST KOMMANDO (MEXICO)

Fast, aggressive thrash/death of the old school; there is a cover of Sodom's "Sodomy And Lust" made in a more brutal manner with an overt grinding edge, but not really impressive.

Demo Demo, 2005

TERRORISTAS (SPAIN)

Prototypical modern groovy thrash, occasionally spiced with the misplaced brutal death-ish, even grinding section; boooring stuff, with a wide gamut of vocals: angry, clean, female, you name it.

Made in Hell Ful-Length, 2007

TERRORSTORM (BRAZIL)

Based on "Neurotic World": this band mixes early Kreator with the more controlled aggression of mid-period Sepultura ("Arise"), and as such manage to come up with energetic tight retro thrash, which will definitely find its fans, despite the thin guitar sound and the screechy raspy high-pitched vocals, which may appear a serious detraction to some. The guys prefer to play quite fast, crossing the border towards proto-death metal (remember "Pleasure to Kill"): "Fuck Lack Of Understand". The second half is a bit more varied, featuring the melodic, much slower track with a black metal vibe "Hidden Fear" and the heavy metal anthem "Nightmare Despair". Still, the merciless fast-paced thrashers dominate, and one can not help but bang his head spontaneously on aggressive killers like "Into The Violence" and "Panic Sindrome" (this one is heads-down death metal at some point). At the end there is one remastered version of "Fuck Lack", which is hardly an improvement over the original.

"Euthanasia" delves deeper into black metal territories although the music is still classic thrash metal mixed with black the relation with the latter style also coming from the raspy raven-like vocals. "Africa Agonizes" is a cool black-tinged intense opener, and "Euthanasia" hardens the course with a proto-death shade also adding brutal low-tuned growls to disturb the "raven". "Infected by Evil" is a brisk old school thrasher with a Megadeth-flavour, but "Hidden Enemy" is again a more aggressive death metal-laced piece. Speedy Germanic thrash can be heard on the following "As if Absolved of Your Cruelties", and this trend comes to stay until the closer "The Illusion" which is a melodic power/speed metal instrumental with melodc hooks and leads, and is indeed an "illusion" from a thrash metal point of view finishing this cool diverse effort in a softer unexpected tone.

Neurotic World Full-length, 2003
Euthanasia Full-length, 2007

TERRORTORY (SWEDEN)

Your average modern Swedish thrash with more ambitious Opeth-esque leanings; the compositions are lengthy, and contain the obligatory tempo and time-changes, but generally this is peaceful, mid-tempo stuff with balladic overtones and melodic riffs, also owing something to mid-period Dark Tranquillity ("Damage Done", "Haven"). The vicious, early Anders Fridén (In Flames)-like vocals are often interrupted by also good clean ones, again in the manner of Opeth.

The Seed Left Behind Full-length, 2011

TERRORWHEEL (FINLAND)

Based on the full-length: these guys pull out a mix of modern power/thrash and hardcore. Not bad, but often does the music go straight into power/heavy metal territory, and despite the presence of cool speedy pieces ("Say No to Religion", "Tear This Nation Down") the final result is not firmly on the thrash metal side.

Tear This Nation Down EP, 2001
Rhythm 'n' Murder Full-length, 2003

TESTAMENT (USA)

One of the "gods" of thrash; "The Legacy" brought them splashing on the scene with its blistering, fabulous technical guitar work. Neither of the band's releases which followed suit could equal this masterpiece although the next two were not that far. The 90's were a not very successful period for the band (like many others), with their style stretching from the bland power metal on "The Ritual" to the modern experimentations on the much better "Low", to the modern thrash-meets-death sound on "Demonic". All these wanderings through the metal "jungle" apparently helped; they closed the decade with flying colours with the "The Gathering": a glorious epitaph of the troublesome 90's. Although the original line-up has been together again for quite a few years, they are really taking their time preparing for a worthy follow-up...
"The Formation of Damnation" finally saw the light of day, after its release has been postponed indefinitely several times. The joy that your favourites have a new album will probably overshadow your initial judgement of this album, although this is a pretty cool comeback release for the thrash legends. The aggressive, proto-death leanings from "The Gathering" are nowhere to be heard, and the sound hesitates between the classic and the modern sound, sitting comfortably between both. "More Than Meets The Eye" is a nice opener, with energetic riffs, followed by the similar, but more modern sounding "The Evil Has Landed". At this point one might find how much from what he has heard so far recalls Testament's "Souls of Black" (with an updated, modern production). But "The Formation Of Damnation" comes thrashing down with sharp, smashing riffs, and a faster tempo, and the listener can safely pack up his troubles; Chuck Billy adds more vicious death-styled vocals on this one. Whether this was just a solitary explosion, remains to be seen, since the following is a very ordinary modern power/thrasher ("Dangers Of The Faithless"), although Skolnick does his best to make it sound more appealing (he does a marvellous job on the whole album, and he is the main reason why this work can not possibly suck). "Henchman Ride" is the other place where you can see yourselves moshing around: a good up-tempo number, very close to being the highlight. Another couple of slower, but this time better songs follow suit, before the intense thrashing "F.E.A.R" shoots you at close range. If you were wondering whether the guys have abandoned the habit of adding the odd ballad to their works, here comes the closing "Leave Me Alone", which is a slower, but quite cool semi-ballad with a sharper middle break, again supported by more aggressive death-ish vocals. 10 years is indeed a long time to wait, and it's debatable whether this effort was really worth such a long wait. Still, it is far from a failure, and although it doesn't really capture the spirit of the vintage Testament sound, fits well into the overall picture of classic comeback albums, served with a modern production and some modern "updates", and doesn't betray the tendency towards a more modern sound, started by the band in the mid-90's.

The Legacy Full-length, 1987
Trial by Fire EP, 1988
The New Order Full-length, 1988
Practice What You Preach Full-length, 1989
Souls of Black Full-length, 1990
The Ritual Full-length, 1992
Return to the Apocalyptic City EP, 1993
Low Full-length, 1994
Demonic Full-length, 1997
The Gathering Full-length, 1999
The Formation of Damnation Full-length, 2008

TESTIMONIA (ITALY)

An obscure act who plays state-of-the-art progressive thrash, still classic-sounding, which begins in an ambitious high-scale fashion with the 10-min opus "Tomorrow To Die" which is a superb cross between the heavy style of 80's Metallica and the more immediate sophisticated one of early Testament also finding the perfect balance between the fast and slow sections. Then comes "Master Of Myself" which is a more direct speed/thrasher with slight technical hooks, followed by the more aggressive instrumental thrashfest "Black Mirror" which also jumps higher in the technical sector producing great sharp vortex riffs. Another larger-than-life composition awaits you after that: the 12.5-min "Blind Inside" which slightly suffers from the relative lack of speed, although in terms of steel technical guitars and sudden time changes this track is a no-brainer, especially with the brilliant galloping exit added. Those galloping riffs seamlessly flow into the great "R.T.P.N.G.": a masterpiece of headbanging technical thrash, a seldom achieved mixture of very fast intense and very complex riffage. "Victim Of The Rules" is a marvellous nod to Coroner's "Mental Vortex": a fairly original take on the proto-modern style of that album with jumps and turns the whole time on a solid mid-paced base. "Fire In The Sky" will throw you into spontaneous headbanging from the very start, and later on heads will fall on this exemplary blend of speed and technicality which also boasts a very cool balladic break. The closing instrumental "Dramma In Re-" elaborates on the balladic break which this time is placed in the beginning, later followed by standout progressive/technical thrash surrounded by a dark atmosphere within which puzzling hooks fall on top of each other to a head-spinning effect not far from early Mekong Delta. Arguably the finest achievement on the whole Italian thrash metal scene, this gem could have easily overshadowed the majority of the works from the German progressive/technical thrash metal scene which was in full blossom at the same time; a sheer "testimonia" of genius at work which only the deep underground can produce (please note that the sound quality is crystal clear)...

Testimonia Full-length, 1993

TESTIMONY (SLOVAKIA)

Based on the debut, Testimony play thrash/death metal; the style is close to Death's "Spiritual Healing", and 90's Protector, mixed with more thrash. There is a certain modern, 90's element in the sound: the semi-groovy, but also quite technical "War Desire". The brutality goes beyond Death at times: "Spiritual World", which is closer to Morbid Angel, and is served with great bass performance. "Disdusting Look" and "Kapos Sarkom" go into the other extreme, slowing down, with very heavy doomy riffage. "Degenerate" is a cool attempt at a more elaborate progressive song-writing, but the guys are better off when they rely on shorter more direct compositions, although some of them are filled with technical twisting guitars: "Testimony About Yourself". Near the end the songs become shorter, much more melodic, with a clear groovy/hardcore edge, and could have been left out.
"Of Life And Death" is a strange "animal", an eccentric concoction of retro thrash (not much), modern post-thrash, and hardcore, with borrowings from funk and alternative. This is a pretty jumpy affair which develops in mid-tempo, the latter killing the more interesting technical decisions, with several outbursts of classic thrash/crossover happiness ("You're To Blame", "Let's Go"). Towards the end the sound becomes heavier with a proto-death metal shade and a more intense vocal delivery, recalling later-period Massacra, and sounds as though taken from an earlier period from the band's career.

Satisfaction Warranted Full-length, 1993
Of Life And Death Full-length, 1997

TESTIMONY (USA)

This band was previoulsy known as Quietus, under which name they released a solitary 2-song demo in 2010. Te style presented here is modern progressive thrash with quite a few clever riffs, which meander in lengthy song-structures to the point of losing the point on a few occasions. The guys excel in variety in the guitar work, but seem to think less about the songs as autonomous entities, resulting in technical show-offs which sometimes lack focus and aegnda. That;s why the shorter and more accessible tracks (the excellent galloping instrumental "Test of Sanity") are the more preferred listen, rather than much harder-to-swallow labyrinthine compositions like "Society's End", to give just one example. The final "Transcending Reality" should be mentioned, though: a consummate progressive thrasher where the band have toned it down in terms of complexity, clearing the song from any unnecessary technical "decorations", also adding very cool melodic leads, the quiet semi-balladic, lead-driven outro another big plus.

Transcending Reality EP, 2012

TESTOR (POLAND)

Based on "Ruiny", the band play modern, slightly technical thrash resembling Annihilator, with a few poppy non-thrash melodies roaming around; below average. "Next Stop Insanity" abandons the technical elements, and concentrates on more aggressive riffage, which results in some cool headbangers ("Morality Is Over", "Here Comes the Electric"), which this time come with a big amount of groove, and the obligatory "exits" from thrash: "United Unworthy", "In Blood".

Ruiny Full-length, 1996
50% - Garage 2000/2001 Full-length, 2001
Next Stop Insanity Full-length, 2007

TETRAGON (FINLAND)

Based on the debut demo: quite aggressive thrash/death metal coming from this very obscure band; the tempo is fast, and even brutal, including frequent blast-beats, with only "Silent One" slowing down with heavy, crushing riffs.
The "Vermilion" demo will enchant you with its pompous orchestral intro, which stretches into whole 3.5-min, followed by more complex thrash, no traces of death metal here (except for a few isolated short blasting sections), making it hard to believe that that is the same act who recorded such an aggressive effort less than a year ago. The music is heavy with technical leanings, recalling Forced Entry and Defiance. "Vermilion" is an ambitious opus lasting for nearly 10-min which mixes quite balladic passages with furious proto-death onesin a slightly clumsy manner. The singer is good, his clean attached tember providing the necessary amount of dramatism.

The Shrouds of Falstaff Demo, 1989
Vermilion Demo, 1989
...the water had rounded the stones Demo, 1991
Promo 1992 Demo, 1992
Camaraderie Demo, 1995
Brothers In Blood Compilation, 2008

TEXAS METAL ALLIANCE (USA)

Yes, these guys are from Texas, and only that, but they have done service in several renowned acts from the same state, more or less: the thrash legends Gammacide, where most of the musicians had played in the good old days; the new thrash purveyors Warbeast; the industrial steam-rollers Puncture; the underground one-demo-wonder Malignancy; etc. This stellar cast stirs a modern thrash/death metal "cocktail" here, which is both heavy and groovy, and ripping and fast, but is hardly anything too original or ground-breaking. It can not possibly hold a candle to Gammacide's seismic "Victims of Science", but is an acceptable fare with energetic riffs and a very clear sound quality.

Texas Metal Alliance Demo, 2008

THALIDOMIDE (FRANCE)

Technical, dark death/thrash with death metal, Kelly Schaefer (Atheist)-like vocals; exquisitely performed; The band is pretty much in a league of their own: if you can imagine a thrashy version of Atheist's "Unquestionable Presence"... "Les Maitres De Lillusion" begins as a doom metal track, but later the faster technical riffs tell a different story, and when the singer enters the scene with his tormented unholy sharls, one knows that this will be a much less ordinary trip; that same song twists and turns without leaving the slow-ish tempo introducing a handful of complex guitars relieving the listener with a more conventional, melodic outro. "Les Clones Programmes" starts in the same way, but before you get a headache switches onto faster straight thrash/death metal; a tendency further carried by the superb speedy technical death/thrasher "Le Regne De Linnommable" which might scare you with the two sudden short blast-beat sections. And finally one pure exercise in doom metal, with a twist: "Les Fleaux De Lobscurantisme", followed by the slightly faster "Last Breath". The technical exuberance reaches its culmination on the fine aggressive "Atheist-meets Morbid Angel" number "Survivre Par Le Sang", and the vortex-like technical thrash number "Laboratories Of Death". The closing track "Le Paradis Du Mal" is only a bit more relaxed, more melodic, progressive opus, with a cool speedy middle part, and a very sudden twisted super-technical ending. Unfortunately, this great album will not have a follow-up since the band are no more.

Le Paradis Du Mal Full-length, 2003

THANATOPSIS (USA)

A 4-song demo of brutal thrash/death metal; the music will remind you of Hellwitch, although Thanatopsis are not as technical, but in terms of aggression and speed they could equal almost any other band from those times. All tracks, except one, are long, in the 8-min range, but there aren't too many time changes or technical structures within them; this is sheer thrash/death aggression.

A View Of Death Demo, 1990

THANATOS (HOLLAND)

One of the oldest Dutch metal bands; the band's debut is fairly good aggressive thrash metal with cool technical touches; the music is quite fast and intense, and very seldom takes a break from the merciless, but stylish bashing (the exception is the heavy technical closer which precedes Death's future more complex style, although it's only 2-min long (the expert musicians don't need too much to impress).
"Realm Of Ecstacy" moves more into the death metal realm, rather than the ecstasy one (pun intended). The guitar work is even more technical and faster, bringing to mind masters like Death, Invocator, Massacra; the end again is preserved for the slowest tracks: the short technical "Reincarnation", and the doom metal hymn "Terminal Breath".
"Angelic Encounters" elaborates on both the aggression and technicality, and especially the latter is quite striking with a cool backward play in the vein of Morbid Angel, which seem to be the main influence on this album, although thrash hasn't disappeared completely, and some good tracks are exactly that- pure headbanging thrash: "The Devil's Concubine", "Speed Kills".
"Undead, Unholy, Divine" brings back the more thrashy patterns of the debut, and is arguably the band's finest hour. This album is full of great thrashing: from the sheer headbanging delights ("Undead, Inholy, Divine") to heavy late 80's Slayer-esque ones (Eraser"), to brutal thrash/death metal mixtures ("Servants of Hatred"). Again the guys pay tribute to the large doom/death scene in their homeland with "The Sign of Sadako".
Thanatos are back after a long 5-year break, and "Justified Genocide" doesn't disappoint: it's quite aggressive death/thrash, not a distant departure from the band's previous output. The guys play fast and tight, adding the casual blast-beat wherever needed, and the music kind of sticks to the death metal patterns more this time. No complaints at all, since there is energy and power aplenty here, especially with bombs like "The Netherworld" and "Dawn of Eternity" exploding around, reminding you so much of the early late 80's/early 90's death metal scene. "Apostles of Damnation" is the obligatory for the band doomy "interlude", heavy as hell, this time coming at the very end, but you will all wake up on the short ultra-brutal grinding "Upwards Spiritual Evolution", which is the band's most outrageous "creation" so far, and a very shocking ending to this otherwise cool album.

Emerging From The Netherworlds Full-length, 1990
Realm Of Ecstacy Full-length, 1992
Angelic Encounters Full-length, 2000
Beyond Terror EP, 2002
Undead, Unholy, Divine Full-length, 2004
The Burning Of Sodom / ...And Jesus Wept EP, 2006
Justified Genocide Full-Length, 2009

THANATOS (POLAND)

Based on the "Out of Sanity" demo, this band specializes in brutal very fast thrash/death metal bordering on grindcore. Considering the ferocity of this recording and other similar ones coming from Poland (Smirnoff, etc.), it looks as though the Polish metal scene was the first in Europe to answer to the demands for more aggressive than thrash metal music.

Deo Optimo Maximo Demo, 1989
Out of Sanity Demo, 1989

THANATOS INC (GREECE)

The guitarist Nigel Foxxe formed this band right after he left Flames. The style here is less frantic, sounding more like a mixture of power and thrash, clinging towards the other side of the Atlantic ocean; quite well done: fans of Attacker, early Hexx, early Laaz Rockit, beware. To avoid disputes with the Dutch band Thanatos, Nigel Foxxe changed the band's name to Nigel Foxxe Inc. some time later.

Life Ltd. Full-length, 1987

THARGOS (GERMANY)

Very good old school thrash metal with a few black-ish passages, similar to Sodom and Destruction; fans of the classic period of thrash will rejoice. The debut is the more aggressive work, staying closer to black metal, but "Salem City" is a fine piece of cool 80's thrash metal. The lead work is excellent, maybe a bit more melodic for the style, but gives the songs a certain distinctive edge. The jumpy energetic opener "The Kill" is a great beginning, followed by a calmer slower track: "Processing Unit". "Silent Service" is a blasting speed/thrasher which strangely reminds me of the Headhunter debut and, of course, early Destruction. "Nachtfaller" is an awesome intense thrasher with great melodic hooks and leads. "Hellraiser" is a kind of a break: slower, with a touch of power metal. "Worship Me" is one of the most furious black/thrashers of recent times: a 2.5-min ball of fury, which will leave you exhausted, as well as "Luzifer", another vicious speedy number. The album closer is a softer thrash/crossover track, bringing to mind the calmer mid 90's Sodom, finished with a lengthy, but quite fascinating, dreamy acoustic passage. The singer does a good job with his horrifying Schmier-like delivery.

Killfukk Full-length, 2003
Salem City Full-length, 2006

THARSIS THEY (USA)

This is melodic modern thrash with jumpy, mathy tendencies. There is a certain hardcore aesthetics present, as well several chaotic arrangements, where apparently something more complex has beens stirred, but the mish-mash gets even bigger later on with metalcore and djent thrown in, and the listener may give up following the threads at some stage. Concoctions of the kind have become quite popular nowadays, but here the transitions from one time-change to another are too abrupt for one to fully grasp this effort after just one listen. Needless to say, the vocalist is the staple for the genre high-strung shouter with quarrelsome qualities.

Ominous Silence Full-Length, 2011

THE A.G.'S (USA)

Melodic thrash/crossover, with strong punk overtones; this is too soft, and may not be very attractive to the hard-boiled thrashers.

Cirkus Berzerkus Full-Length, 1991

THE ABIOTX (USA)

The EP: this power trio specializes in retro thrash/crossover with simplistic riffs, short tracks, fast tempos, rending shouty vocals, all this performed with a lot of energy, but with very little imagination. The full-length is another pretty energetic offering full of ripping crossover rhythms, which serve a generally merry mood, branching out in a more intense speed/thrashing direction ("Breaking Point") on occasion. "Hierarchy Of The Demons" is an ambitious, albeit flawed, all-instrumental attempt at mixing their staple direct approach with more serious riffs ala late-80's Metallica, which major defect is the noisy guitar background. "Horror Begets Horror" is another more serious thrashterpiece, a sure-handed headbanger well supported by the forceful semi-death metal vocals which don't carry a lot of melody, but support well the intense musical approach.

Humanity EP, 2003
Straight To Hell Full-length 2011

THE ABSENCE (USA)

These Americans could easily put to shame the majority of the contemporary Swedish death/thrash metal bands who desperately try to be the new In Flames or Dark Tranquillity. This is a blend of Gothenburg death metal and thrash done in a very impressive way. This band actually comes closer than any other band to the sound of At The Gates' "Slaughter Of The Soul", but with a more thrashy edge. "Riders Of The Plague" is even better than their debut with a more complex, darker and heavier sound, plus an increased amount of thrash, cemented with a nice cover version of Testament's early hit "Into The Pit". With the presence of The Absence (no pun intended) on the modern metal scene, the Scandinavian bands will have a very strong competition, and why not even an example to follow?

The Absence EP, 2004
From Your Grave Full-length, 2005
Riders Of The Plague Full-length, 2007

THE ACCÜSED (USA)

One of the first thrash/crossover bands, and one of the most uncompromising ones, characterized by unique squealing vocals and fast, intense delivery. All their albums come recommended (except, perhaps, their debut where the music is raw and kind of undeveloped); a cult band.
The band returned in 2005, continuing the story about their favourite Martha Splatterhead, first with "Oh Martha!", which is more laid-back and prone to compromises, and with "The Curse of Martha Splatterhead", which is heads-down aggressive thrash/crossover, surpassing their earlier efforts on quite a few times in terms of intensity. The songs expectedly develop in a fast pace, with loads of jumpy hectic riffs, chaotic screaming leads, and the odd doom-laden heavy section. Some explosive brutal "surprises" are not spared, either: the very fast "Scotty Came Back", the straight retro thrasher "By The Hook", the heavy steam-roller "Martha’s Disciples". The traditional more melodic track comes at the end: "Splatter Rock I", which is really long (3.5-min!), and clings more towards doom, rather than rock.

Martha Splatterhead EP, 1985
The Return of... Martha Splatterhead Full-length, 1986
More Fun Than An Open Casket Funeral Full-length, 1987
Hymns for the Deranged EP, 1988
Martha Splatterhead's Maddest Stories Ever Told Full-length, 1988
Grinning Like An Undertaker Full-length, 1990
Straight Razor EP, 1991
Splatter Rock Full-length, 1992
Oh Martha! Full-length, 2005
Why Even Try? EP, 2007
The Curse of Martha Splatterhead Full-length, 2009

THE AFFECTED (CANADA)

A cool 4-track demo which bears resemblances to a few 80's acts: Overkill, Anthrax, Mordred, Blind Illusion (in the more off-beat moments), etc. The tempo is mid-paced, but the style is quite choppy, and there are really interesting jazz/funky passages emphasized by great bass work and original technical riffs.

The Affected Demo, 1989

THE ANSWER (USA)

This is the same band a year earlier known as Eldritch Rite. This demo contains all the songs from the excellent Eldritch Rite demo, plus 4 new live tracks where the sound quality, mostly the very thin screamy guitar sound, is so bad that nothing can be distinguished, which is a pity since the guys were really good at what they were doind. Two live cover versions are added as well: Metallica's "Escape" and Metal Church's "Metal Church", but the awful sound takes away considerably from the joy.

Demo Demo, 1987

THE APOCRYPHAL ORDER (FAROE ISLANDS)

4 songs of decent modern progressive speed/thrash metal which sits somewhere between Manticora and Vektor if we exclude a couple of more intense death metal inclusions. "Beyond The Depraved Scope Of Salvation" opens this small effort in an ambitious multi-layered way with fast rhythms and complex, almost surreal, passages. "Deteriorate To Gain" is more laid-back sticking to less elaborate mid-paced sections, but "Blood Shall Be Raining" comes with energetic arrangements of the more operatic kind not far from Bal-Sagoth on the most flamboyant moments. "Through My Eyes" is another more peaceful composition of the semi-jumpy type seeing the guys still testing the soil as though keeping the more interesting material for the eventual full-length without pulling all the stops technicality-wise at this early stage.

The Apocryphal Order EP, 2010

THE ARKITECHT (MEXICO)

Not so bad progressive metal with elements of power and thrash which starts in an ultimate calm sleepy fashion with the tender, but very cool, ballad "Blackout". Don't leave, folks, stay with the band, although at least the beginning of the next "The 20th Century Feast And The Millennium Hangover" will not fascinate you with its quiet balladic rhythm, but soon things get more interesting with the addition of more complex structures and jumpy thrashy rhythms. Well, the continuation is below par: "Through Broken Glass" is your average ballad, and "Elation" is a total waste of time being a bland pop-metal oddity. "Children Of The Gods" and "Hyperstructure" follow suit to provide the necessary more aggressive edge, along with twisting meandering passages, but the guys get really carried away on the closing "Face Thief", which lasts for more than half hour, beating "feats" in the genre in terms of length by much more renowned names; not really engaging, abandoning the more intense patterns, and losing the plot several times, but one shoudln't wonder why...

Hyperstructue Full-Length, 2008

THE ARRS (FRANCE)

Based on "Trinite", this band plays modern thrash metal, not too far from another French act, Lyzanxia (their later period), with nods to the Swedish school: The Haunted, Terror 2000, etc. "Heros Assassin" is a faithful companion piece to its predecessor, thrashing both with melody and sharpness, but this is too common nowadays to make many heads turn.

Et la douleur est la même Full-length, 2005
Trinite Full-length, 2007
Heros Assassin Full-Length, 2009

THE ART OF THE LEGENDARY TISHVAISINGS (GERMANY)

After the intro (which is dedicated to the cult Italian film director Dario Argento, and is actually a reworked guitar version of the main theme from his best film "Suspiria" written by the eclectic progressive rock act Goblin), we are hit with a nice slab of thrash. "Gotta Bad Taste" starts the album in a heavy, stomping manner ala early Celtic Frost, but later the music picks up more speed, as well as technicality, and the style comes really close to Destruction's more technical period (1987-1990): check out the fine "Gore- Shriek of a Hunch back". The leads are of the melodic type, and nicely contrast to the sharp riffage. The tempo slows down for the last song "Outburst" which, despite its sinister title, is the softest track, being an atmospheric doomy power/thrasher, finished with the same opening tune from the intro; a good album, which never enjoyed a follow-up. The guys later chose the industrial path to follow, with their new formation Think About Mutation, and became one of the leaders of the European industrial scene with frequent nods to this genre's metallic side.
The "Trief" EP is another pretty capable offering the guys already thrashing with conviction on the sharp "razor" "Headless" producing the odd more intense, and much shorter, hardcore-ish break ("Hellraiser"). "Twenty Problems" is an excellent twisted thrasher which will make your day with both direct and more puzzling riffs packed into a bit more than 2.5-min, before the final "Dirty Deal" elaborates on the darker doomy side of the band's approach which found a fuller realisation on the full-length.

Trief… EP, 1990
Catharsis Full-Length, 1991

THE ATMOSFEAR (GERMANY)

Based on "Millenium Of Thorns", this band offer modern death/thrash, which is mid to up-tempo, with a sudden adherence to aggressive blasting sections. The guitar work is cool and melodic, and nice acoustic passages are scattered throughout, but this has been done on many other works of recent times.

Shadow In Your Dreams Full-length, 1998
Feelings - Urgency Of Dark Emotions EP, 1999
Millenium Of Thorns Full-length, 2000
Lose The Pain Full-length, 2004
Lost Pain Full-length, 2005

THE AUTUMN OFFERING (USA)

Based on "Fear Will Cast No Shadow", this is typical modern thrash, despite the hopes raised by the presence of two members of the progressive death metallers Cadaveryne. The music is energetic and professionally done, but the duels between the melodic and the gruff vocals, the atmospheric breaks, the melodic guitar lines, the obligatory semi-ballad ("Silence And Goodbye"), the more aggressive death metal implements ("Your Time Is Mine"), have been used thousands of times by many other acts.

Summer EP, 2002
Demo Demo, 2003
Revelations of the Unsung Full-length, 2004
Embrace The Gutter Full-length, 2006
Fear Will Cast No Shadow Full-length, 2007

THE BATALLION (NORWAY)

Cool old school black/thrash metal of the mid-paced variety, similar to the Swedes Bewitched plus dark heavy riffage reminiscent of Celtic Frost ("Hate"). "Stronghold of Men" is an elaboration on the EP providing virtually the same style. The Celtic Frost influence is more strongly felt, but on the other hand some songs are faster ("Detonate"; the explosive "Victims", which still finds time to "court" the great Swiss with a slower section in the middle; the smashing riff-fest "March Of The Veterans", which doomy middle break is simply brilliant, graced by sparce, but very cool leads), with nice catchy riffs. The guitars often aim at more melodic hooks which work very well ("Hate at last Sight", "Tension in the Stronghold"). Black metal here is almost nowhere to be heard, except on the closing "Last Dawn", which is lighter, early Venom-influenced.
"Head Up High" is in a similar vein, but the speed has gone one more level up, at least in the beginning, now early Bathory coming to mind more than now and then, with black metal brought back well on the twisted hammer "Within the Frame of the Graveyard", although some may mourn the disappearance of the heavy stomping Celtic Frost-like passages. "Thick Skinned and Weatherbitten" is a somewhat unnecessary filler settling for soft heavy metal, but "Each Man For Himself" will make you forget about it nailing you down big time with the fastest riffs on the album. More heavy/power metal of the epic type arrives with "Undertakers" reminicscent of Falconer, and the alternation between fast and slow numbers goes on until the end to leave a certain aftertaste after the promising beginning. Some of the guys play more intense death metal in Deathcon.

The Batallion EP, 2007
Stronghold of Men Full-length, 2008
Head Up High Full-length, 2010

THE BEAST (USA)

This obscure act have done a job no worse than much more famous colleagues of theirs from the American scene, playing speed/thrash of the more melodic type, along the lines of the Liege Lord debut, Destructor, Exciter, and Gord Kirchin's project after Piledriver Dogs With Jobs . Their debut is the rawer effort, with a crossover shade, with all the songs being up-tempo and kind of samey, with the only exception the strange, but cool semi-instrumental doomy "World in Flames".
"Carnival of Souls", named after the cult horror film, is a bit more intense and thrashy, but the approach is the same: fast-paced one-dimensional guitars, this time also recalling Motorhead, with another slower song offered, but much less impressive than the previous one: "Sex Club", containing boring dragging hard'n heavy metal.

The Beast...Has Arrived Full-length, 1985
Carnival of Souls Full-length, 1988

Vibrations of Doom

THE BEDLAM (HUNGARY)

The band played serious, technical thrash with long elaborate songs on the demos, and although at times the music took a more experimental, off-beat approach, straying into other metal fields, and the singer has a kind of impassionate, and slightly melodic for the genre voice, it packed a punch with quite a few interesting, original riffs. Sounded very promising, but the guys were full of surprises, and four years later they showed their middle finger to the thrash metal scene, and produced an insipid, modern progressive metal album.

Reality of Present Demo, 1988
General Rejection Demo, 1989
Dreamland in Misery Demo, 1990
Inside Ash Full-length, 1994

THE BENDAL INTERLUDE (UK)

This is mostly stoner/doom with the odd more intense post-thrashy break; mid-paced to slowish stuff with shouty semi-death metal vocals and a heavy rhythm section.

The Bendal Interlude EP 2010

THE BLACK NASTY (USA)

Light-hearted thrash/crossover, featuring one of The Accused members; the music here is more melodic, less frantic, with shades of stoner/doom, and sincere punk moments ("C'Mon C'Mon").

The Black Nasty Full-Length, 1995

THE BLACK STYMPHALIAN (USA)

A cool mix of modern and classic thrash metal with technical pretensions the latter coming close to the flamboyance of "Alice in Hell": check out the jupmy hectic riffs on the opening "Deadlock (The Fall of Angels)". "Falling Into Darkness" goes well beyond that being an ambitious progressive 9-min opus, a really good take on an elaborate sophisticated diverse technical play. The coming of the much more immediate speed/thrasher "Embrace The Decay" is more than welcome, but "Where The Strong Become Weak" is another exercise in more thoughtful music relying this time more on atmosphere rather than sharp technical riffage clinging towars doom/gothic at times. The final "The Watcher" may be a pullback, though: a balladic dreamy track which gains from the shift in vocals: the brutal death metal ones are replaced by very good deep clean chants; a fast choppy break comes in the 2nd half partially saving the day.

Digression EP, 2010

THE BLAME (TURKEY)

This is modern thrash with power metal and post-thrash leanings. It's both energetic and laid-back at different times relying on melodic hooks to pull it through. Hard thrashing is a rarity, but still can be caught: the intense opener "Another Stolen Life", the short ripper "Sacred Souls", the excellent speed/thrashing closer "Made of Stone". The singer does a good job with his attached clean voice, which has a shade of Bruce Dickinson at times.

Born Full-length, 2011

THE BONELESS ONES (USA)

An early entry into the thrash/crossover genre with a noisy guitar sound and mid-ranged indifferent semi-clean vocals. Fast and slow antics alternate throughout to an amusing carefree effect with both hardcore and traditional metal elements roaming around, so don't expect too much pure thrash here, but a decent jolly moshing party is guaranteed.

Skate for the Devil Full-length 1986

THE BRAINDEAD (USA)

This band started as a pure punk band, but the thrash metal vogue of the 80's swept them away, and they joined "the army". Their style is similar to The Accused and Ludichrist: thrash/crossover which introduced more aggressive guitars during the 90's, influenced by the "powers of the day": Pantera, Machine Head, etc.

Lost Somewhere In The Horizon EP, 1989
God's Greatest Gift To Mankind EP, 1994
Red Full-length, 1999
Born Defiant Full-length, 2003

THE BROOD (USA)

A melodic blend of thrash/crossover and classic heavy metal; has its similarities to Suicidal Tendencies, but is far inferior. Later the guys changed their name to Uncle Slam, and started playing some really cool thrash/crossover with a much sharper edge.

The Brood Full-length, 1986

THE BURDEN REMAINS (SWITZERLAND)

With all the good acts from the old days gone (Celtic Frost, Coroner, Messiah, Apocalypse, Calhoun Conquer, Lunacy), the Swiss scene seems the only one which doesn't take any part in the resurrection movement of recent years. Not many new bands, either, and that's why this one here should be given a chance. These newcomers, who were previously known as Cideraid, try to find the balance between the classic and modern sound, but at the same time they try something more complex, the latter attempts leaning more towards the modern side (the slightly dragging 9-min opus "Out of the Fire/Into the Flames"; the atmospheric operatic closer "The Burden of Truth"). The retro sound reigns supreme on the shorter material ("Ashes from the Skies"), but the dominant tone is mid-paced. The vocalist is not bad with a clean voice, which attains certain gruffer tones at times. The guys have a long way to go before they reach the high standards set by their aforementioned peers, but at least they seem to have the skills to at least try.

Downfall of Man Full-length, 2011

THE BURNING (DENMARK)

Run-of-the-mill modern thrash metal which contains cool guitar work, and the tempo changes nicely, featuring more aggressive thrashers ("Kill the Swine"), but otherwise this is quite generic with a considerable doze of groove involved as well. "Rewakening" adds more groove, and is decidedly slower, but in this case this blend of intense modern thrash metal and heavy stoner/groove is not completely without merits, although the band doesn't venture too boldly into faster territories; still numbers like "Live The Goat" and "Cloven Hoof" stir the water, both graced by a couple of brutal proto-death metal riffage.
"Hail The Horde" treads the same waters, but is well less impressive since from beginning to end what one will hear is repetitive groovy patterns with heavy pounding guitars with a couple of more intriguing doomy passages ("Baptized in Bong Water") which should have been more.

Storm The Walls Full-length, 2007
Rewakening Full-Length, 2009
Hail The Horde Full-length, 2010

THE C.O.A.S.T. (USA)

Energetic modern thrash, with the Swedish school being an obvious influence, with aggression and melody coming together onto almost every song. Despite some interesting riffs springing up here and there, this is not something extraordinary, and the more brutal, immediate side of the music is the one which delivers the goods in a better way: "Tortured Eternity", the intense, death-laced "Never Again". The thing which may annoy you is the used for the thousandth time duel between the rough death metal and the clean vocals. The lead guitar work is the highlight here, sometimes to the point of completely overshadowing the rest.

The C.O.A.S.T. Full-length, 2007

THE CATALYST (USA)

This act indulges in ordinary (according to their native province's standards) modern thrash/death which doesn't lack intensity, but is pretty derivative, sticking to the Dew-Scented and Maze of Torment formulas the whole time. "Anthem For The Fallen" shows a more serious attempt at thrashing with more elaborate arrangements and slower sections. The ehadbangers will be happy all over with crisp pieces like "Collapse Of Reason" and "Call From Within", despite the fact that they have heard those rhythms hundreds of times before.

Origins Full-length, 2011

THE CLAW (USA)

Based on the split, where the guys present themselves with three songs, this is retro thrash/death metal in the spirit of early Pestilence and No Return's "Contamination Rises". The guitars are fast and sharp, adding the odd technical hook, and the singer is scary with his gruff shouty death-metal tember.

The Claw EP, 2007
Tooth / The Claw Split, 2009

THE COMPANY (GERMANY)

Based on "Frozen By Heat": this band play a mixture of Bay Area and modern 90's thrash, similar to what Testament tried to do with "Low". "Impostor" raises the hopes that this would be one of those rare works from the mid 90's which have preserved some of the classic flame burning, but the groovy numbers come up pretty soon ("Citizen Streetkid") for those hopes to reach very high. Later on both styles alternate, sometimes being mixed within one song only ("Frozen By Heat"). In the second half the heavy groovy sound takes over almost completely, leaving room for just one more classic headbanger near the end: "Hate In Cold Eyes". The last song "Leave'Em Alone", is a nice heavy semi-ballad.

The Company Full-length, 1995
Frozen By Heat Full-length, 1997
Awaking Under Dogs Full-length, 2002

THE CROWN (SWEDEN)

This band really made a name for themselves despite their short career. Their original name was Crown Of Thorns, but they had to give it up after legal claims made by a Christian metal band of the same name. The style is very fast/aggressive death/thrash metal of the modern type with occasional punk-ish tones and death'n roll elements, not too far from the music Entombed started to play on "Wolverine Blues": a very good, but a short-lived band. Their singer Johan Lindstrand after the split-up formed the band One Man Army And The Undead Quartet.
"Doomsday King" is a reunion album seeing the guys alive and well hungry for more damage done mostly in the classic thrash/death metal department; the "missing link" (to some this may be quite a pullback) is Johan Lindstrand himself who couldn't abandon his duties in his other projects, and has been replaced by Jonas Stålhammar (also Macabre End, God Macabre, Utumno, etc.). The guys waste no time, and the title track hits on full-throttle moshing out in a cool semi-classic manner spiced with cool Oriental hooks. The speed goes up a bit on the next two numbers, especially on the nice melo-speedster "Age Of Iron". Time for retrospection and relaxation on "The Tempter And The Bible Black" which is a laid-back doomy piece, before "Soul Slasher" continues the carnage on full-throttle. "Blood O.D." is a "bloody" violent proto-deathster, and "Through Eyes Of Oblivion" is intense aggressive thrash. The band leave the more complex longer compositions for the end; those songs mix fast and slow sections, the closer "He Who Rises In Might- From Darkness to Light" overdoing it a bit including furious blasting sections bordering on black metal. Still, this is not enough to spoil the good impression from this comeback effort which sees the guys concentrating more on the retro side of the genre in contrast to their older more modern-sounding works.

Hell is Here Full-length, 1999
Deathrace King Full-length, 2000
Crowned In Terror Full-length, 2002
Possessed 13 Full-length, 2003
Doomsday King Full-length, 2010

THE CRUCIFIED (USA)

This band tried to keep crossover alive for a while during the 90's. Their guitarist Greg Minier had two side projects, one under his own name. The debut is a very good beginning for the band's career, thrashing quite intensely most of the time, leaving little room for the crossover side of the music to show up: check out the raging opener "The Pit". "Die Hard" preserves the speed and intensity, but the guitars have a jollier, crossover edge. "Your Image" is a furious short hardcore outbreak, after which the guys never let the aggression loose, and here comes another couple of thrashing delights: "Hellcorn", "Rise", "One Demon to Another", which reach almost a Slayer-like intensity. "Back to the Cross" is a pure Slayer worship, after which comes a time for some more laid-back crossover: "Confidence", but only for a while, since the guys are eager to thrash their hearts out, which is what exactly happens on the raging "The Insult Circus" and "Threat". The closing "Crucial Moment" retains the speed, but gives way to more melodic riffs. This excellent work was another testimony that back in 1989 thrash was alive and well, with no signs of wearing out, or falling from grace.
"The Pillars of Humanity" is a worthy follow-up, offering the same uncompromising attitude, with fast-paced fierce thrashers. "Mindbender" slows down after the first three intense tracks, even offering a slight groovy twist, well conformed with the tastes of the time. "Path To Sorrow" is a surprising turn to a semi-balladic song-writing, but the guys haven't forgotten about their thrashy side, and "Fellowship Of Thieves" takes no prisoners. "Focus" is a lighter thrash/crossover piece, followed by "The Strength" which, in order to justify its title, thrashes more aggressively once again. "The Pillars Of Humanity" closes the album with heavier, slower, and more melodic riffs, which are quite welcome after the non-stop headbanging material provided earlier.

The Crucified Full-length, 1989
The Pillars of Humanity Full-length, 1991
Nailed/Take Up Your Cross Full-length, 1994

THE CRUDE BASTARD (CHILE)

A promising young act who offer good classic thrash which, despite the live performance, comes with a fairly clear sound quality, nodding to both Slayer and the Bay-Area. The singer has a good clean declamatory tember, adding the gruffer deathy shout at times, both sides well mixed on the vigorous "Diabolic Eyes". "The Crude Bastard" is a dramatic galloper. "Dead Alive" starts as a death metal arge, only to calm down later to more moderate Bay-Area patterns. "Brutal Violation" is not the most brutal, but is the most technical, composition here, being a longer thought-out cut with very good guitar work, also quite melodic, changing tempos at will, with echoes of Heathen's "Victim of Deception" and Forbbiden's "Twisted into Form".

The Dead Will Rise live EP, 2011

THE CURSE (CANADA)

This is a side project for the Slaughter members, who apparently at some stage wanted to play slow, twisted thrash along the lines of Hellhammer. And this is exactly what this badly produced demo delivers: crushing, amateurish thrash, sounding quite close to the legendary Swiss, but spiced with faster sections and decidedly more brutal, low-tuned death metal, vocals. High level of musicianship is, certainly, nowhere to be found, but even such a raw recording could have its charm, especially if you give it a listen nowadays.

Demo Demo, 1986

THE DAMNATION (GERMANY)

Based on "Evilution", this act plays a classic mix of thrash and death metal, which is mostly of the heavy mid-paced type, but when the guys feel like thrashing, they take no prisoners: "Death Head", the proto-death lasher "Evilution", etc. On the other side we have the fine steam-roller "Immortally Entombed" which comes decorated by great melodic hooks ala Bolt Thrower which are the closest target for worship (check also the brilliant doomy riffs on the closing "The Crucifix"); the twisted death/doomster "Lunacy" with a pinch of Morbid Angel-esque technicality. This is a good effort which follows a well trodden path faithfully, but delivers also helped by the confident low-tuned death metal vocals.

Into the Pits of Hell Full-length, 2006
Evilution Full-length, 2009

THE DAY OF THE BEAST (USA)

Quite cool energetic speed/thrash, "ornated" by several hyper-blast black metal passages; still, when the guys thrash, they leave their hearts there: "Beyond Choronzon", "Upon the Throne". The middle is occupied by a couple of slower, mid-tempo compositions, which work almost as good: "The Crawling Chaos", and especially the aggressive, but not fast, death-like intense "Awakening of the Morningstar".

The Day of the Beast Full-length, 2008

THE DEAD NORMALITY (NORWAY)

An act which strictly follows the patterns established in Sweden pulling out dynamic modern fast-paced death/thrash metal. This is also melodic stuff with plenty of catchy melodic hooks topped by gruff death metal vocals. This band is actually the continuation of the split-up Dead by Dawn where the guys played similar music having released one EP and one full-length a few years earlier.

Killing Reality EP, 2009

THE DESECRATORS

Fast, but melodic, thrash/crossover; feelgood stuff coming close to early Broken Bones and Lawnmower Deth. Still, the music lacks no speed, although the approach is a bit one-dimensional featuring interesting short screaming leads. Worth of note is the 6-min thrashing opus "The Beyond Within" which is an achievement for this kind of music, a constantly energetic and fast composition boasting a nice melodic hook which is quite popular, but these ears have problems recalling the source. "Wedding Bells" is 2-min of pure thrashing madness ala Slayer and Vio-lence with the speed from it preserved for the exiting string of intense hardcore pieces. The singer is a bit punk-ish, but his clean indifferent delivery is just perfect for the music.

Speed up the Death Process Full-Length, 2009

THE DESTRO (USA)

Based on "Harmony of Discord", this act pulls out groovy thrash of the more dynamic variety, mid-paced to even up-tempo at times, accompanied by angry forceful death metal vocals. This is cool headbanging stuff with crushing energetic riffs, nicely switching from slower to faster moments the whole time, and despite the use of all the familiar "tools of the trade", leaves a positive impression in the end.

The Day of the Beast Full-length, 2008
As The Coil Unwinds Full-length, 2007
Harmony of Discord Full-length, 2009

THE DEVASTATOR (USA)

Modern thrash/death metal, wild fast stuff with several blasting sections and aspirations for more technical performance ala Suffocation ("The Anticipation Of Death"). Still, the obsession with speed remains dominant although the more stylish breaks grace almost every song as the overall approach "courts" death metal more, including in the vocal department.

The Devastator EP, 2011

THE DISSENSION (USA)

4 songs of modern thrascore with better shades of death metal; the guys pull out a few more intriguing riffs reflected in hectic, jumpy arrangements ("Downfall"), or more sprawling progressive structures ("Tyrant (Words Mean Nothing); the mehcanical shredder at the end "Scourge of the Earth"). The vocalist is a scary death metal growler with a thin hardcore flavour, seldom interrupted by hysterical black-ish shrieks.

Imperium EP, 2011

THE DYING (BELGIUM)

Quite good, energetic modern thrash/death, occasionally spiced with classic riffs; the guys play fast and tight, without forgetting about the more melodic side of the genre, and cool melodic hooks could be heard on quite a few of the songs (check out the one on the excellent "Gotham"). "Serpent" is a heavy semi-balladic number with good crushing riffs, and another nice melodic tune; it speeds up later on for a while, showing the guys losing their patience with the slower pace. This is cool headbanging stuff, which reaches heights like the mighty fast shredding monster "The Sadist Virus" and the smashing mid-paced steam roller "Jesus the Judas". The closer "Slaves of Tomorrow" is a peaceful melodic track, a bit underwhelming compared to the preceding raging ones.

Triumph of Tragedy Full-length, 2008

THE DYING LIGHT (USA)

Based on "The Killing Plan", this band manage to combine Floridian death metal with thrash in quite an impressive way. The music is technical, recalling Morbid Angel and even Atheist at times, with heavy stomping parts alternating with furious blast-beats. The guitar work is quite stylish, and although most of the time the sound is more death metal-based, the level of musicianship displayed here makes this band recommended to many metal fans.
"Survival Guide To The Apocalypse" is a good debut, again courting death metal more, but the guitar work is good all over. The music is constantly fast, and the songs are much shorter, not accentuating on the technical peformance that much. "Warstrike" is a nice piece with slight progressive overtones, thrashing more than the rest, but offering slower doomy moments as well. "Seven" is a nice short technical death/thrasher, after which the technical charge increases for the atmospheric mid-paced "The Idol Usurped". "Megalomania" is an all-out thrash attack, where the singer tries some unholy shrieks ala Tom Araya ("Black Magic"), but quickly the guys show that they can manage much more aggressively than that, with the following brutal death metal fury "In The Land Of The Dead". The closing "The First Waters" beats all, however, with the ultra-fast black metal sections, and is actually a full-blooded black metal number, showing a band still in a stage of honing their "weapons".

Survival Guide To The Apocalypse Full-length, 2002
The Killing Plan Full-length, 2005

THE DYING SEED (FRANCE)

Modern post-thrash with stoner/doom metal implements; heavy brooding stuff clinging more towards the doom metal side, but "Lapidation Of The Weak" may make you jump around with its more vivid dynamic (also more melodic) riffs.

The Dying Seed EP, 2009

THE EAR SPLIT (INDIA)

This is modern death/thrash ala the Finns Gandalf and mid-period In Flames; well executed with crisp biting guitars and a very good sense of melody all over, which takes over on quite a few times to mixed results, since it retouches the sharp riffage and reduces the speed. Anyway, it's not completely without merits, and the guys definitely have the skills to show more in the future, if they manage to keep away those bad clean vocals which stand on the way on the brutal death metal growls from time to time.

Contemporary Noise Pollution Demo, 2011

THE ELITE (USA)

Intense modern thrash with jumpy guitars and crushing riffs; when the music gets mellower ("New religion"), it sounds way more appealing with cool expressive tunes and clever semi-technical arrangements. Still, for most of the time the band just bash with ultra-heaviness bringing an abrasive industrial edge to both the music and the angry shouty vocals.

World War III EP, 2009

THE EMBODIED (SWEDEN)

These Swedes indulge in typical melodic modern thrash/death metal with which their homeland has been so famous. No attempts at any originality, except for the presence of cool clean vocals which substitute for the gruff deathy ones typically associated with this style. The rhythms alternate, with quite a few of them clinging towards the balladic, so expect laid-back stuff as a whole, sitting somewhere between Dark Tranquillity's Haven" and Gandalf's "Deadly Fairytales".

The Embodied Full-length, 2011

THE EMBODIMENT (HOLLAND)

Based on the full-length, these guys provide your average Gothenburg-styled thrash/death metal, which mixes fast with slow numbers, both sides presented equally, with the overall approach recalling Dark Tranquillity and early In Flames. Some of the musicians also take part in the brutal death metal formation Enraged.

Razor Cut Reality EP, 2002
Legeon Full-length, 2006

THE ENCHANTED (UK)

Based on the "For Those Who Fall..." EP, this is death/thrash metal with a classic sound and nice technical touches ala Death ("Human"); the pace is mid to up-tempo with competent typical death metal growling vocals interrupted at times by weak cleaner ones.

Trust In Death And Rebirth Full-length, 2002
For Those Who Fall... EP, 2004

THE END (SWEDEN)

Modern thrash/death metal, probably one of the earliest attempts from the Scandinavia to add some groove into this mix, but the show is completely "stolen" by the vigorous headbanger "With Pain" and the diverse black/death/thrash amalgam "Picture" which are quite aggressive even overshadowing the several attempts at a more stylish technical play on the closing "Legend". References to both Entombed and The Haunted could be made, and this act could have played a bigger role if the band members hadn't been involved in numerous other acts around the same time: the death metal outfit Eucharist and Armageddon (with whom they switched onto power metal more recently), the thrash metal act Croam, among others.

The End EP, 1996

THE END 666 (FRANCE)

A very wild mixture of thrash, black and hardcore; the music is very fast and aggressive with a strong industrial edge including the horrible synthesized vocals. Impaled Nazarene could be a close call, but these guys are more thrashy, although the approach is the same: relentless violent stuff with frequent blast-beats thrown in the most unexpected places. The guitar sound is very thin, and creates the impression that everything has been done hurriedly on a computer.
The "666 Verses" demo is a strange "animal" seeing the guys slowing down considerably, retaining the industrial edge, and now the screechy hysterical vocals simply miss the point, since there is only one blasting track on which they can scream their lungs out. There is even ambient involved, as well as depressive black/doom ala Beherit, even industrial landscapes ala Red Harvest and the Dissection frontman Jon Nödtveidt's (R.I.P.) side project De Infernali; thrash is nowhere to be found, but the black metal fans will definitely be delighted.

Shudder Demo, 2001
Speedcore Metal Hell Demo, 2002
The Ultra Violence Full-length, 2003
Terror Inside Full-length, 2005
Hate Corp. Split, 2006
Demo 2007 Demo, 2007
666 Verses Demo, 2007
Hellchrist Demo, 2009

THE END OF 6000 YEARS (ITALY)

A prototypical modern thrash/death metal blend with shouty hoarse vocals and more brutal blast-beating sections added as well as sections where the band slow down, and the music starts smelling metalcore.

Isolation Full-length, 2008

THE ENGINES OF ARMAGEDDON (UK)

Based on the "Obelisk" demo, this band plays heavy doomy thrash metal with epic overtones; "The Mysterious Case of Wardenclyffe Tower" features certain headbanging moments, but the other two compositions are much longer clinging towards the slower and the heavier eased by the deep semi-clean singer whose clean performance on the balladic passages is quite worth of note.

Demo Demo, 2005
The Engines Of Armageddon Full-length, 2009
Obelisk Demo, 2010

THE EVIL DEAD (ARGENTINA)

Under this entertaining title hide 5 jolly laid-back power/proto-thrashers with a strong Motorhead and Tank shade. The songs are marred by the bad low-tuned death metal vocals which are surely the worst possible choice for this kind of jolly music. The riffage is uplifting and pretty soft, but the guys play with energy slowing down for the casual heavy metal break.

Ex Nun on the Run EP, 2008

THE EXALTED PILEDRIVER (CANADA)

The band name tells a lot: yes, this is the continuation of the great Piledriver with the omnipresent Gord Kirchin (also Dogs With Jobs) being the only member left from the old formation. Was the name change really necessary is not known- Kirchin himself is not willing to answer this question. The music is not exactly a direct follow-up to Piledriver's excellent "Stay Ugly"; it is slower and more melodic reminiscent more of the Dogs With Jobs' two albums, with the obligatory modern "updates". "Road Pigs" is a nice thrasher, though, which shows that Kirchin hasn't lost his knack of making headbanging music, and the best from his new act would probably come at some later stage.
The full-length is finally out, based around the 4 tracks from the demo/promo, so expect more moderate power/thrash metal speeding up on occasions ("Last Day Of The Weak"; the excellent speed metal killer "Volatile"; the energetic thrasher "Unsuck My Cock"). Gord Kirchin knows what he's doing, but this is hardly his best achievement: although the texts circle around sex, more balls should also be added to the music for the future to match them.

Metal Manifesto/Promo Demo, 2005
Metal Manifesto Full-Length, 2008

THE EXPERIENCE (GERMANY)

The demo is a melodic mixture of power/thrash and gothic metal with keyboards and slow dreamy moments aplenty; might irritate the thrash metal fans a bit with its Crematory-influenced sound whose patience would probably be pushed to the limits with the 7-min acoustic ballad "Mental Solitude". "Insight" is an interesting take on thrash metal with the gothic atmosphere from the demo still present. The guys concentrate on atmosphere and emotions again, and despite the presence of very cool lead guitars, the music is not very sharp, and slows down to a balladic tempo quite often. The overall sound will remind you of a more aggressive version of the Finns Sentenced (their later period after "Amok") and To Die For. At least this time the ballad "Resign" is shorter (3.5min), although the 11-min epic closer compensates with its "Opeth-meets-Pink Floyd" sprawling non-metal melodies.
The full-length debut has no ties to thrash metal being a very mellow gothic/doom metal affair with a couple of faster power metal passages, but also too many balladic sections.

Mental Solitude Demo, 1995
Realusion Full-length, 1996
Insight Full-length, 1999
Cid: Reflections of a blue mind Full-length, 2001

THE FADING (ISRAEL)

Modern thrash/death with a slight technical twist; the music is energetic and brisk, and the band play with gusto and competence, but is nothing sticking out of the contemporary thrash/death metal pack.

Chaos in Flesh EP, 2007

THE FALLEN (USA)

Based on "Front Toward Enemy": this is modern post-thrash metal reminding of Prong's mid-period ("Beg To Differ", "Prove You Wrong") with touches of hardcore, but with a more aggressive attitude, moving into Pantera-territory quite a few times.

The Tones In Which We Speak Full-length, 2000
Front Toward Enemy Full-length, 2002

THE FALLEN SONS (GERMANY)

Doomy heavy thrash with crossover tendencies; the music at times sounds like a thrashy version of the German depressive doomsters End of Green.

Aggrieving Feeling Demo, 2006

THE FIERCE

A 3-song EP of groovy industrialized post-thrash, a bland and uninspired affair with elements of alternative and metalcore.

Project Seibzehn EP, 2010

THE FINAL DEMISE

Diverse thrash/crossover ranging from fast furious numbers to jolly punk-ish ones; so one can hear shades of early Prong, Lawnmower Deth, Rumble Militia, S.O.D., as well as a few grinding outbreaks. At least half of the songs are not very short, and develop beyond the casual burst even graced by cool leads and pure thrashy breaks ala Anthrax ("World's Anti-Hero"). The singer is suitably semi-clean with shouty habits, but delivers well recalling Pete Lee (Lawnmower Deth).

Power of Suggestion Full-Length, 2009

THE FINAL HARVEST (FINLAND)

This band is another one where the modern drum guru of Finland Tuomas Saukkonen (also Dawn of Solace, Before the Dawn, Sinamore, etc.) displays his talents. He has a lot of work here, since the music is quite fast thrash/death metal, not bad, albeit ordinary with metalcore tendencies present here and there. Otherwise the guys try to keep the tempo fast most of the time except on the closing atmospheric mid-paced "The End" (it must have been "the final harvest"...).

The End Full-length, 2008

THE FORCE (PARAGUAY)

This act rose from the ashes of the thrash metal formation Overlord, which managed to record two demos earlier. The demo: 4 tracks of energetic old school speed/thrash, already heard on the Overlord demos, with cool sharp, melodic riffs, not too far from early Whiplash; the South Americans care more about melody, and their music has shades of power metal as well ("Evil World"). On the other hand we have "Heathen's Attack", which is an explosive thrasher in the beginning before the more melodic hooks take over, alternating with the fast aggressive riffs.
"Possessed by Metal" uses the songs from the debut demo as a backbone adding another couple of energetic speed/thrashers ably supported by gruff, but intelligible, semi-clean vocals sounding like a mix between Schmier and Reinhard Kruse (S.D.I.). "Evil World" is a laid-back mid-tempo power/thrasher, a tendency slightly covered on the 7.5-min instrumental "Long Live the Metal Gods", which is a multi-layered composition mostly sustained in a solid galloping rhythm; but the rest is direct speedy music with sharp crispy riffs which also carry a nice shade of melody.
"Nations Under Attack" is an old school delight all the way, and will make you jump with joy from the very first notes on the opening "The Barracks" which is a glorious speed/thrasher with optimistic tones, with the following "Nations Under Attack" being another no-brainer for the headbangers with its solid sharp riffs. "Doomsday" carries on with the attack in a more sweeping speed metal fashion, and this is what one will encounter later on: fast uncompromsing "neckbreaking" metal, like the song of the same title sums it up so well. "Nightlords" is the definitve speed metal hymn of the new millennium with great melodic leads. The closing "Stamped Of A Thousand Stallions" is a true revelation: a 9-min instrumental of immaculate speed/thrash metal moshing out the whole time with fabulous riffs and leads, an encylopaedia of high quality metal for which alone this album is a must-buy. Well, after such a climactic effort the question is: "and now what?", and only time can tell how much further these guys can reach...

Old School Metal Onslaught Demo, 2007
Possessed by Metal Full-length, 2008
Thirsty of Metal Split, 2010
Nations Under Attack Full-length 2011

THE FORSAKEN (SWEDEN)

A cool band who play mostly melodic death metal of the Gothenburg school mixed with thrash and old school American death. The guys are proficient musicians, and occasionally manage to pull out great riffs, but as a whole the music is not that striking to classify them as anything more than just another modern thrash/death metal band.

Manifest Of Hate Full-length, 2001
Arts Of Desolation Full-length, 2002
Traces Of The Past Full-length, 2003

THE FUCKING WRATH (USA)

Based on the EP, this band plays a heavy mix of thrash metal and stoner/doom which doesn't always shy away from the odd hardcore outbreak ("Don't Look Back"). Still, the thrash metal fan may get annoyed by the sprawling, and somewhat clumsy, stoner passages.
"Valley of the Serpent's Soul" is a more dynamic offering, although doom/stoner is again covered well, but generally the sound is more lively, even comprising a cool energetic speed/thrasher ("Altar Of Lies"), and the rougher hardcore cuts "Goddess Of Pain" and "The Neurodyssey". The voclas are in the angry, shouty department, but suit well both the more energetic and the slower, stoney feeling of the album.

Season of Evil Full-length, 2007
Terra Fire EP, 2010
Valley of the Serpent's Soul Full-length, 2011

THE FURY (USA)

Based on the EP, this outfit offers a mix of power, speed and thrash metal on a noisy fuzzy background. The music favours power and speed metal more until the arrival of the intense mosher "Mannequin Boys" at the end which will shatter you with fast hardcore-tinged guitars.

A Dozen Thorns EP, 1990
Sex Full-length, 1992

THE FURY I HIDE (MEXICO)

Based on the full-length, this act pulls out predictable modern death/thrash metal hybrid based around the painfully familiar patterns of the Gothenburg school. So expect melody, brutality, a few touches of technicality, and the staple hoarse screamy vocals. Ironically, the best moments are the ones where the guys reduce the speed to a minimum ("Sucubo"), and produce enchanting Oriental tunes hooked up wuth very good leads. This trend later produces another winner: the technical razor-sharper "T4V (Time for Vengeance)", and the line should be developed further instead of this indulgence in generic music with a slight twist.

Awaken The Fury EP 2006
Innerkiller Full-length 2011

THE GASH (GERMANY)

Rough intense thrash of the old school with agonizing synthesized vocals which are hard to categorize. The guitar sound is quite thin, and takes away from the riffs' sharpness. Otherwise the music is not bad and packs a punch, although at some point towards the middle it turns into less serious hardcore which is far from the high standard of the excellent opening semi-technical, both "mysteriously" and "sexy" titled, instrumental "Mysterious Teenage Metal Bitch Sex".
"Saga Of The Fistship" is less serious thrash/crossover with an openly punky attitude, rough direct stuff with bad shouty vocals which often border on the hysterical. It's only "In The Shadows Of Gunfire" (and partly, the Motorhead-influenced "Prophecy of Shit") which carries the more aggressive thrashy spirit, being an entertaining speedy roller-cpaster, marred by the slightly buzzy guitars. "Thrashmetal Sexmashine & Rust", despite the title, is nothing more than a fierce 1.5-min hardcore outburst, with not many ties to sex, either.

Nailed To The Eggz Demo, 2010
Saga Of The Fistship Demo, 2011

THE GLOOMINOUS DOOM (CANADA)

The debut reveals a diverse sound based around dark thrash/death metal ala later-period Desaster, but the music is quite labyrinthine at times with clear pretensions at progressive ornated by quite a few eclectic avantgarde sections and tunes. The tempo is mostly mid, though, and despite the numerous gimmicks, at some point may tire a bit, although another variety is offered in the vocal department: a vocal "duel" between brutal low-tuned growls and higher-pitched rasps. The closing "The White Mist of Summer Mountain Road" is a revelation with its blasting implements, but comes too late to liven up the situation.

Doomed If You Do, Doomed If You Don't Full-length, 2007
Schwippn' and a Schwappn' EP, 2010
The Feature Full-length, 2010

THE GOLDEN AGE (MEXICO)

Based on the debut demo, this act offers very badly-sounding (quality-wise) aggressive fast old school thrash metal with elements of death similar to Agressor, typical for the "golden age" of the genre, the main difference coming from the extremely brutal low-tuned death metal vocals which spice things up with high-pitched screams to a very hilarious effect. The end is in the form of a cover of Kreator's "Tormentor".

The Golden Age 1 Demo, 2005
The Golden Age 2 Demo, 2005

THE GREAT COLLAPSE (CANADA)

A stylish entry into the progressive metal genre; this act practices complex technical/progressive thrash/death metal which in relatively short song-structures (4-6min) manages to insert numerous tempo and time changes, puzzling twisted riffs and brutal direct passages. This compelling mix is introduced on the opening "The Constant" which is indeed a "constant" challenge for the listener with the sudden moves from one pace to another all this on a very technical complex guitar background. The music takes a more controlled, but a weirder and a more abstract approach on the next "Devote", which is a quirky but a very satisfying progressive composition. "Morning Mass Suicide" hits the top in both terms of complexity and aggression being a hectic frantic thrash/deathster of the very elaborate surreal type touching early Atheist quite a bit. "Bloodline Memory" is another highlight, thrashing with force and speed reducing the technicality a bit concentrating more on intense headbanging riffs. "The Eternal Pull" is on the opposite pole: very technical "busy" progressive thrash/death without any extremes speed-wise which come aplenty on the brutal remorseless "A Big Bright Tommorrow" which is technical death metal at its absolute best reaching "pedestals" in the genre like Necrophagist and Nile with ease. The massacre continues unabated on the next "Wreckage" where the guys shred like demented to an apocalyptic effect, still finding time for slow balladic passages. No mercy is shown later on "Pawns of Genocide", another exhausting display of brutal technicality, but the real revelation comes at the end, first with "Sick, Cornered Animal": a great avantgarde take on progressive/technical thrash, mid-tempo for most of the time overflowing with superb spiral-like riffs ala Coroner and Mekong Delta ("Kaleidoscope") in the second half; and second with the closer "The Torture of Creation" which is a surreal mix of alternative progressive and extreme technical thrash/death metal both sides alternating till the end in an impressive way creating a very contrasting but really compelling listen. The "laurels" for both the brutal throaty death metal and the angelic clean female vocals should go to the same person: the beautiful Angela Wheeler, who "quarrels" with herself the whole time changing the two vocal styles creating nice escalating dramatism.
No, the band is not from Quebec, like most of you may think, but come from Canada's largest city Toronto rising from the ashes of the progressive death metallers Archaeon who only released one demo in 2002. Just when one is sure to have heard all the good metal for the year, and is ready to begin "building" the year polls, comes The Great Collapse to "collapse" it all. Well, it never hurts to begin those polls again from scratch especially when a really valuable addition would be featured on them.

The Great Collapse Full-length, 2009

THE GREAT KAT (USA)

A classically trained guitarist (she is also a very skillful violinist), this woman (or girl) takes the infatuation with classical music in a way radically different from the one of Mekong Delta, and turns it into ferocious thrash outbursts played with a lot of skill and confidence. The tracks are mostly instrumentals (except for the debut): short, but quite effective, and the speed might be a problem for you to distinguish the classical pieces on which they are based; her original works are on the two full-lengths, although "Beethoven on Speed" features quite a few classical variations as well, whereas later she started paying tribute to her favourite composers (the EP titles give you a clue).
"Worship Me or Die" is a shocking debut, which at this point sees Kat making some attempts at singing with a very gruff low-tuned voice, not too far from Sabine Classen (Holy Moses), for example, but kind of more intelligible. "Metal Messiah" starts the album in a heavy mid-paced manner with only timid guitar variations, which doesn't betray what would follow later. "Kat Possessed" begins in the same way, but later on the raging ultra-fast play begins, and the final result is very close to total chaos. "Death To You" is a strange stomping piece, followed by a string of very chaotic illogical compositions, ranging from the semi-groovy slow "Satan Goes to Church" to the violent bashing on "Metal Massacre" and "Demons", which could easily pass for one of the first attempts at death metal of the most aggressive variety. "Speed Death" is equally as brutal (it's "speed death", after all), but the music there at least makes more sense, even adhering to technical sections. "Kill The Mothers" is another chaotic unlistenable piece, but the closing "Ashes to Dust" is a true revelation: a fine piece of speedy thrash metal with heavy meaty riffs and very fast parts, plus a slightly annoying overlong introductory narrative. This is a very unusual hectic/frantic, but also original take on metal, which may completely startle the unprepared, but has its raw charm despite the violent intensity of most of the tracks, and is surely a grower requiring several listens to be fully appreciated.
"Beethoven on Speed" starts with the super-fast title piece which "rapes" Beethoven big time, but is quite enjoyable, especially since noone has attempted this before, and here The Kat shows her real talents shredding like demented. "Ultra-Dead" is a nice sinister slab of heavy semi-technical thrash, with the Kat singing again. Another moment which may be familiar to you, is the cover of "Flight Of The Bumble-Bee", which had also fascinated Joey De Maio two years earlier, who did it on bass for "Kings of Metal". And, of course, the excellent read of the "Funeral March", here turned into a fabulous varied instrumental, with great guitar performance all over. What follows is short classical instrumentals, with both the riffs and the shredding on a very high level: especially striking is "Beethoven Mosh", which is not as fast, but the riffs are addictive; not too far behind are the intense, frenetic technical thrashers "Gripping Obsession" and "Worshipping Bodies", or the exquisite Paganini cover "Paganini's 24th Caprice", which would make most of the Shrapnel heroes foam at the mouth. There is no a single dull moment on this very good album, provided that you're fans of the guitar shredding, otherwise this may come as too much for you; oh, and make sure not to miss the short, half-min outro "Bach To The Future: For Geniuses Only!" (the title says it all!).
Having proved herself as one of the better guitar peformers of her time, The Kat has concentrated entirely on her favourite composers after the second full-length, and it's a pity since all those EP's are barely longer than 7-8 min, with all the instrumentals very short, and kind of underwhelming, as they contain pure shredding, without too many riffs. The Kat is alive and well, and the recent re-release of her two full-lengths is hopefully a sign that she is ready to strike again with a new material.

Worship Me or Die Full-length, 1987
Beethoven on Speed Full-length, 1990
Digital Beethoven on Cyberspeed EP, 1996
Guitar Goddess EP, 1997
Bloody Vivaldi EP, 1998
Rossini's Rape EP, 2000
Wagner's War EP, 2002

THE GUFF (USA)

This band was formed by two of the future members of the death metallers Brutality. Based on the "The Art of Deception" demo, these guys offer very good thrash with nods to Slayer, Anthrax, Exodus, Death Angel, etc. There are two songs which are about 5-5.5min long, and are slightly technical, as opposed to the other two, shorter ones, which are great fast-paced thrashers.

The Art of Deception Demo, 1989
Refuse to Crawl Demo, 1991
Jackass Live Demo, 1992

THE HARROWED (AUSTRALIA)

This band are factually all the members of Fury. The Bay Area riffs which used to take a considerable part of the band's previous style, have been partially replaced by more aggressive Slayer-esque ones, but still catchy and great, accompanied by excellent lead guitar which was missing from the works of Fury. Overall this is better music with more technical, choppy at times, guitars, faster tempos, helped by some death metal rhythms as well with a sparce use of blast-beats. "The Voyage" is a superb instrumental, which abandons the aggression, but boasts the most stylish lead guitar work on the album.

The Harrowed Full-length, 2007

THE HASTUR CYCLE (USA)

Retro thrash/death, heavy and crushing, with a "duel" between very low-tuned brutal vocals ala Chris Barnes and mean-ish Jeff Walker-like ones. Surprisingly, the music is not aggressive and fast, but relies mostly on mid-paced riffs, with only "Legion" trying to justify the brutal singer by pulling more speedy twisted tunes ala mid-period Carcass. The leads are good, albeit short, and the guitar work overall is not bad adhering to clever semi-technical elements at times.

Mike, Shut the Fuck Up EP, 2009

THE HAUNTED (SWEDEN)

This band literally invented the moden thrash/death hybrid on their first two albums. The band's cross between classic thrash and the Gothenburg sound had a huge influence on many bands. On "Revolver" the band started expanding their horizons outside the metal spectre which took a full-fledged realization on "The Dead Eye": an album which has very little to do with their basic thrash/death metal sound, pulling back the majority of their fanbase.
"Versus" sounds more aggressive, and is a much better effort, with some tracks well worth the time: the heavy steam-roller "Pieces", the energetic thrasher in the best tradition of their first albums "Little Cage", but the softer material in the vein of the more recent output dominates, and would leave their hard-core fans cold for at least half of the time.
"Unseen" would be a total waste of time for their hard-core fans who may have kindled a sparkle of hope with "Versus", but all will be lost on this alternative offering which has very few ties to thrash metal, coming with a pinch of grunge, desert rock ala Monster Magnet, among other "pleasantries".

The Haunted Full-length, 1998
The Haunted Made Me Do It Full-length, 2000
One Kill Wonder Full-length, 2003
rEVOLVEr Full-length, 2004
The Dead Eye Full-length, 2006
Versus Full-Length, 2008
Unseen Full-Length, 2011

THE HIGH COUNCIL (USA)

This is the same band who operated during the late 80's/early 90's under the name Drop Dead. As Drop Dead they helped Pantera and Exhorder establish the laws of the 90's groovy thrash; now they follow this trend very closely: heavy pounding groovy thrash the way it used to be done in the good old 90's.

The High Council EP, 2005

THE HIRVI (FINLAND)

On their only demo this band pull out first-rate thrash ala Kreator's "Extreme Aggression". The references to the Germans are strengthened by the very good Mille Petrozza-like vocals, but the music of the Finns is more technical and not as fast, with some very stylish guitar work. "Welcome to the Wonderland" is a brilliant 7-min technical opus which "suggests" the style Kreator adopted for "Coma of Souls", plus some very original decisions ala Anacrusis.

Demo Demo, 1989

THE HOLLOWMEN (SPAIN)

Modern thrashcore of the heavier thrashier type; still the approach is up-tempo with the obligatory groovy breaks and the staple shouty vocals.

Three Betrayals Toward Modern Man EP, 2011

THE HOPE NAMED DESPAIR

Modern thrash with metalcore leanings, maybe too melodic for some tastes, but the pace is fast except for those annoying metalcore breaks, and the good, but utterly out-of-context, piano ballad "Compound".

Consciousness Full-Length, 2009

THE HORDE (USA)

Based on the full-length, this act produces a simplistic, but cool, mix of old school and modern speed/thrash. There is quite a diversity offered here: the epic touches on "Odin's Blood"; the melodic melo-death "ornaments" on "Super Tusk"; the officiant battlelike approach on "War God"; the infectious melodic hooks on "Vengeance for a King". The singer is a gruff semi-death metaller who plays a secondary role to the music, without staying too much on its way.

From Empire to Ashes EP, 2008
Thy Blackened Reign Full-length, 2011

THE HOWL (FINLAND)

This Finnish trio offers dark modern thrash with a strong crossover vibe. The songs flow in an energetic manner with the traditional heavier breaks inserted, some of which are genuine doom metal winners ("Pressure Points"). The vocalist is a rough death metaller, but his growls are fairly intelligible, and don't annoy placed on the lighter musical background.

Skins of Our Backs Full-length, 2010

THE HOWLING (PORTUGAL)

Death/thrash metal with a dark, gothic atmosphere of the mid-tempo variety, with beautiful Oriental melodies and borrowed moments from Moonspell. "Scent of Desire" is a proof that the guys can pull out cool headbanging riffs, still graced by a dark, gothic feel and keyboards in the background. Another more intense dark thrasher is "Howl of Centuries", but it comes with an overuse of keyboards, and with another great acoustic Oriental middle break. "A Drop of Cruelty" with its marvellous battle-like, pounding rhythm will remind you of Bolt Thrower. The closer "In Her I Tasted God" is a beautiful acousitc instrumental.

Howl Of Centuries Full-length, 2004

THE JASSER ARAFATS (FINLAND)

These Finninsh "middle easters" pull out a dynamic mix of classic and modern thrash spiced with sparce borrowings from death metal (blast-beats, etc.). The guys play fast and tight using the odd groovy break here and there, but the music easily reaches Slayer-like intensity on the most aggressive material. The singer is a vicious death growler, but complements the music well.

Promo 2009 EP, 2009
Condemnation Full-length, 2010

THE JOKE? (BRAZIL)

Based on the debut, this band serves a weird mix of the 90's post-thrash and thrash/crossover which can be both fast and hard ("Believe Or Do Not Believe"), merrily hardcore-ish ("Good Beliefs"), or heavy and groovy ("Measure"). The faster side is well covered, some of the shorter tracks being straight hardcore.

The Death of the Brittle Biscuit Full-length 1995
Beware of the Dog Full-length 2001
Cockroach Full-length 2005

THE JUDAS SYNDROME (USA)

Modern thrash/death metal with metalcore overtones; nothing to lose your sleep over, providing the expected mix of fast Gothenburg and slower groovy riffs the deviation coming in the form of sparce blasting sections and a couple of short acoustic/industrial instrumentals.

Underneath Blood Skies Full-Length, 2010

THE KANDIDATE (DENMARK)

Pretty pedestrian modern post-thrash with touches of hardcore; repetitive riffs and shouty vocals ruin the intentions leaving the more interesting intense passages hanging awkwardly amid the clumsy groovy rest.

Until We Are Outnumbered Full-Length, 2010

THE KILL (USA)

Based on the "Kill Or Be Killed" demo, this band are obviously influenced by early Exciter; this is a melodic mix of speed and thrash (more speed than thrash) also resembling Destructor and the Whiplash debut in the more aggressive parts. The singer has a good mid-ranged voice, and the songs have memorable choruses sticking in your mind.

Force Of Habit Demo, 1985
Kill Or Be Killed Demo, 1986

THE KONSORTIUM (NORWAY)

The bands from the motherland of Black Metal, who started adding sharp thrashy riffs to their music, have increased in recent years, and this act are another addition to this group. These guys mix black and thrash metal on this 4-song demo, one of which is a really good intense thrasher ("Onwards Onwards"), another one is creepy and sinister ("Under the Black Flag"); the other two "court" black metal more, but are fairly good as well ("Decomposers" boasts a fine lead section, and is rich in atmosphere, which is perhaps the key word to describe the band's approach).
On the self-titled sophomore effort Teloch, the only constant member of the band, also famous for his involvement with quite a few other black metal acts (Ov Hell, Mayhem, 1349, etc.), continues the thrash/blacky saga by mixing slower atmospheric ("Gasmask Prince") with fast brutal ("Lik Ulven") compositions, but the show is completely stolen by the couple of avantgarde post-blackish rhythms ("Under the Black Flag", "Decomposers") in the best tradition of more recent Satyricon and Thorns. There is quite a diversity displayed here, and its capable mix together would ensure the satisfaction of fans of several walks of metal.

Preproduction Demo, 2008
The Konsortium Full-length 2011

THE KRIXHJALTERS (SWEDEN)

Based on "Evilution", this is cool crossover/thrash; the tempo is energetic, without being very fast. Some tracks are pure intense speed/thrashers- "Mulling Over Anaesthesia", others are jolly crossover hymns- "Beria, Show Him the Door". Both the bass and guitar work are strong, giving the sound some technical decorations- "To Whom Can You Turn": a very cool diverse instrumental. The guys are specialists in catchy, infectious choruses- check out the nice "Kill Each Other". They later decided to change their name to Omnitron, with which came the change of style into not very convincing technical/progressive semi-thrash. The band's guitarists later formed the death metal outfit Comecon, whereas the bass player and the drummer went underground during the 90's, to return to the music scene with the progressive metal act Enter the Hunt in 2005.

Guineapig Assasinator EP, 1983
Evilution Full-length, 1989
A Krixmas Carol EP, 1990

THE KRUSHERS (ITALY)

Based on the EP, this band pull out a very wild mixture of thrash, death, hardcore, and grindcore; these are 11 short outbursts of violence and aggression which will remind you of Wehrmacht, The Accused, Napalm Death, and their compatriots from Schizo, at the same time.

The Godz of the Atom's Starz Demo, 2001
Rehearsal Tape Demo, 2001
1985 Demo, 2002
Megaloi Theoi Demo, 2002
Megaloi Theoi (Extended Version) Best of/Compilation, 2004
Unholy Underground Ritual Split, 2004
Kaos at CSOA Excarcere Demo, 2005
Baruch Ashem EP, 2005
Memorie di Un Anticristo Demo, 2007
Merciless Onslaught/The Krushers Split, 2007

THE KVLT OV OUROBOROS (USA)

A slightly uneven mix of thrash, doom and black metal with horrible synthesized black-ish vocals; the music is mostly mid-paced to slow-ish with sparce faster thrashy breaks; the overall sound clings towards Lair Of The Minotaur, or Barathrum. At the end there is an interesting cover of Blue Oyster Cult's hit "Godzilla"; this legendary band are another soundalike, actually; this is probably how they would have sounded if they had translated their music for the metal fans... I guess...

BLVD EP, 2006

THE LAST ALLIANCE(USA)

The 80's American scene is given a cool nod here, with thrash metal not very well covered, at least in the 1st half. This is a more epic form of the good old power/speed metal with more extreme hints which come with heavy pounding riffs, at times recalling the doom metal movement (the sinister 10-tonner "King of Thieves"). Things get nicely progressive on the longer "March of Darkness" which is a dynamic multi-layered composition akin to Manticora, with the ripping speed/thrash shredder "Out of the Ashes" another highlight. The excellent "Necropolis" comes with plenty of galloping rhythms and haunting Oriental melodies, plus a brutal proto-blasing section near the end, to put the 2nd half on a higher level with more thoughtout musicianship and a more aggressive thrashier sound. The inertia gets lost later with the tender ballad "The Dawn", which makes up at the end with a faster exit, and the overlong progressive power metal closer "The Name of Vengeance", but overall this is a sure-handed debut which will bring pleasant memories of veterans like Omen, Savage Grace, Liege Lord, etc. The singer is not bad with his attached mid-ranged clean tone, although a bit more emotion could have made his antics more suitable to the more engaging music material.

Out of the Ashes Full-length 2011

THE LAST OF THEM (PORTUGAL)

Groovy thrash which was much more typical for the 90's, but still works not bad. The riffs are crunchy, and the guys don't forget to speed up wherever necessary, but some alternative numbers like "Kronik Impulse" and the use of awful industrialized vocals, shake the confidence in the band's delivery. On top of that there is a certain nod to the modern gothic/death metal scene: "Stone Immaculated", which is good, but totally inappropriate on such an effort. When the guys stick to the groove, they can do a job not much worse than Pantera and Machine Head. Although the 90's groovy sound is a gradually vanishing species these days, this band are definitely not "The Last Of Them" ...

Slow Motion Chaos EP, 2008

THE LAST THINGS (USA)

This act is the continuation of Blackkout, who released one quite good album in 1989 before disappearing. The music here is decidedly more complex, with clear aspirations towards the progressive genre, and, indeed, the opener "Inside The Circle (The Scorpion And The Capricorn)" will throw you into the direction of the Psychotic Waltz debut, early Paralysis (Holland), even Sieges Even's "Life Cycle" and Deathrow's "Deception Ignored"; this one is a sheer winner with its sharp technical riffs, although the sprawling quiet balladic passage near the end may pull you back a bit. "Blackhours" is an odd jazzy progressive metal track, a style well epitomized on the later Sieges Even efforts, and is kind of less satisfying. "Circle of Wills" returns to the thrashy patterns, lashing steel technical riffs in a dynamic headbanging tempo, before a twisted passage in the middle reminds you of Coroner. This monster would be hard to top, and the band don't bother, going into the other extreme with the mellow acoustic ballad "The Vow". But when "After ...Birth" follows exactly the same patterns, sounding even softer and slower, one may start getting nervous a little bit, and "The Circle Ends" arrives just on time to save the situation, being an exemplary intense technical thrash instrumental with crushing ultra-sharp riffs, the stylish quiet passage in the middle a really cool touch.

Still, one may wish the band to carry on thrashing instead of alternating things, and "Ghost From The Past" is the "answer" to his "prayers": labyrinthine meandering progressive thrash with standout guitar performance, an immaculate combination of straight riffs and very complex, at times abstract-sounding, ones. Don't expect three of the kind in a row, though, and "The Missing Piece" is a really tender funky take on progressive. "Morgan's Song" is a nod to the Celtic heritage in the beginning, later evolving into a calm orchestral ballad. The end ("The Spirit Lives"), however, doesn't disappoint, being a bit more conventional mid to up-tempo technical thrash with an unnerving overlong peaceful interlude (which here is more of an overlude, if you ask me). This unique effort was the American answer to the progressive/technical thrash wave in Germany which was thriving at the same time, quite one-of-its-kind at the time in the States (Psychotic Waltz have already moved on, acquiring a harder-to-swallow, but also much more melodic, sound, and Nevermore were still on a demo stage), and would leave one literally "shattered" for being just 5 songs (I do not consider the ones non-related to thrash). The guitarist Matt Laporte later hooked up with the Savatage guys, taking part in both the Jon Oliva and Zak Stevens' side projects (respectively Jon Oliva's Pain & Circle II Circle), whereas the bass player Darren McFarland had a short spell with Atheist.

Circles and Butterflies Full-length, 1993

THE LAW (SWEDEN)

The acts from Sweden who are bringing back the old school thrash metal sound of the past, are increasing fast. The Law play nice Bay Area influenced thrash (based on the 1st demo)- think Exodus, Vio-lence, etc., but it comes "served" with a certain presence of elements from the 90's scene: you know I mean this "sweet" groovy sound, established by Pantera and Exhorder. This mix here works well, resulting in cool and catchy headbangers.
"Dudes of Darkness" is the better achievement, with a much better sound, and some really great headbangers: "Can U Not Talk", "Dude Of Darkness". The slower groovy side is also covered with two longer, but cool tracks, one of which comes up with some bluesy tunes: "Distort", whereas the other one is a blend of classic and groovy rhythms: "Lawman & The Law - Anthem", the way 90's acts like Dearly Beheaded and Cyclone Temple used to do them.
The full-length debut is finally a fact, and delivers on all counts: all-out headbanging classic thrash, built around the strongest numbers from the last demo: "Distort", "Dude of Darkness", "Can U Not Talk", ably supported by the equally as good new material: the explosive thrash bombs "Anthem" and "Beerblooded", the speed metal monster "Suburban Satan", and last but not least: the very cool interpretation of Overkill's "Elimination" from "The Years of Decay".

Lawman & The Law/Anthem Demo, 2004
Dudes of Darkness Demo, 2006
Distorted Anthems From The Suburbs Full-Length, 2008

THE LEAD (USA)

Thrash/crossover mixed with death metal; quite unique at the time, and very seldom tried after; yes, it's true that Wehrmacht were pretty close to reach this intensity, but didn't, and here come The Lead to provide you with one of the most brutal slabs from this genre along, of course, Cryptic Slaughter. Most of the songs are very fast and violent, but in the middle of most of them one can hear great proficient leads as well as quite stylish riffs. The singer has a very melodic punk-ish voice which totally contrasts to the aggressive music, but works very well. Near the middle the guys take a break with the heavy mid-paced track "Infernal Pain". Some songs are pure death metal assaults: "To The Ends Of The World", but work as good with their great melodic speedy hooks. "Skate Or Die", on the other hand, is pure crossover delight, catchy and high-spirited. This is a really interesting and original blend of two contrasting genres, done with style.

Burn This record Full-Length, 1989

THE LIGHT (VIETNAM)

Power/thrash metal mixing modern and classic elements; the music is edgy and energetic, if we ignore the mellow opener "Mong doi mat troi (Waiting For The Sun)" which is a misleading heavy metal track. The guys start thrashing with force later, although the melodic lines remain transcending into a few semi-ballads and one whole one. Still, the guys pull it out with vigorous headbangers like "Believe in Yourselves" and "Let's Boycott Social Evil". The singer does a decent job with his mid-levelled clean delivery.

Giac Mo Hoang Tan Full-length, 2003

THE LURKING CORPSES (USA)

Based on "23 Tales of Terror", this band plays laid-back punky thrashcore which borrows from hard'n heavy, stoner/doom, but also death metal ("Zombies Across The Hill") with a pinch of the groovy aesthetics of early Six Feet Under ("Into The Slaughterhouse"). This is merry party music without any big musical merits.

23 Tales of Terror Full-length, 2003
Lust for Blood Full-length, 2006
Smells Like the Dead Full-length, 2008

THE MACHETE (FINLAND)

This is a side project of three members from Mokoma; based on "Regression", the music is not miles away from recent Mokoma, but is faster, with some aggressive death metal sections, plus the unnecessary presence of some clean vocals.

Regression Full-length, 2005
Untrue Full-length, 2007

THE MANTORS (USA)

A parody band mixing speed, power, heavy and thrash metal; their sense of humour seldom goes beyong the limit (“Die Faggot Die”, which “flirts” for a while with the opening drum thythm of Twisted Sister’s “We’re Not Gonna Take It”), and one could find harder thrashy numbers in this wild amalgam: the mid-paced steam roller “Incest Parade”, the speedy “Kick You In Your Belly”, the heavy Carnivore-esque “Hetro-Chopper”. But, as one can easily realize, this album would be of a much bigger interest to power/heavy metal fans.

Lust Muscle Full-length, 2008

THE MASS (USA)

An eclectic trio specializing (based on the self-titled EP) in parodic post-thrash with jazzy/funky tendencies. This is clearly an acquired taste with the distorted guitars, the sudden switches between influences, the frequent exits from metal, and the hysterical synthesized vocals. "Mostly Michael Schenker" has nothing to do with the style of the renowned German guitar player, but is another off-beat composition with concentration on balladic jazz.

The Mass EP 2002
City of Dis Full-length 2003
Perfect Picture of Wisdom and Boldness Full-length 2005
Holocene #6 EP 2007

THE METAPHOR (CHINA)

The self-titled full-length displays competent well-executed retro thrash. The Chinese duo (two people play in the band) waste no time proving their worth with the opening mosher "Winter Dead". Then they turn for inspiration towards The Black Sea for the next number which is a very good dark thrasher, still sustained in a brisk energetic pace. Then comes the tribute to the Bay-Area with "Bay Area Beast" which fulfills all the promises made with the title representing the scene quite well with sharp lashing riffs. "War Fuck Peace" starts in a way very contrasting to its obscene title with mild tender balladic guitars, but soon switches onto full-throttle thrash again with strong Bay-Area overtones topped by nice screaming leads. Nice technical "fibres" sneak in "Metaphor" which is another major more refined piece, before "Bloody Cult" buries you with its intense speedy riffs- thrash till death! "Rising After Execution" may remind you of Dark Angel's "Merciless Death", but the closer "Beyond The Gates Of Hell" will definitely sound familiar, being a nice cover of the Morbid Saint song of the same title, done faithfully including the proficient screaming leads. The only flaw on this entertaining effort is the hardly intelligble low-tuned death metal vocals which most of the time plainly grunt; it's good that they are not boosted playing a secondary role to the good guitar work.
The EP offers 4 songs of evil, misanthropic black/thrash, which is quite remote from the much more polished style heard on the full-length. This is fast, frequently blasting, stuff crossing The Berserker with Impaled Nazarene to an ultimately crushing, but still pretty listenable, effect. "Black Thrash" is a cool, much slower, cut recalling the early German scene, and is the only slight hint at the very near future metamorphosis.

Evil Rulz EP, 2009
Metaphor Full-length, 2009

THE MIDAS TOUCH (USA)

Modern post-thrash, mid-paced and melodic, with cool attached semi-clean vocals; the riffs crush at times (check out the proto-doomy "The Wanderer"), and the odd fast tempo springs up here and there ("Touch Of Gold", the vigorous speedster "Criminal Record"), but generally the surprises are not that many, at least to those who are well familiar with the works of Squealer, Perzonal War, Am I Blood, and the likes. The sense of melody is big both in the riff and lead department, also reflected in the very nice atmospheric violin-driven outro "Alone In The Light".

Alone In The Light Full-length, 2006

THE MIST (BRAZIL)

Another one of the Brazilian bands with a touch of originality (Acid Storm, Leviaethan, MX, mid-period Holocausto) from the older days; the band's music on the first two releases (where the Chakal's singer, Vladimir Korg, sings) is quite impressive; "Phantasmagoria" features energetic headbanging thrash spiced with slower dark gothic-tinged numbers ("A Step Into The Dark"). Still, the concentration is on the faster side of the music, and as such this album is a fairly satisfying listen.

"The Hangman Tree" is the band's finest hour; the first two compositions are complex affairs mixing the more speedy immediate riffs with those dark gloomy ones which were only slightly hinted at on the debut. But later the guys start thrashing with passion, and are almost unreachable ("Peter Pan Against the World", "The Hangman Tree- Act One", and others), alternating these thrashing gems with equally as effective slower atmospheric numbers.
"Ashes To Ashes,..." shows a shift in direction to a modernized quasi-industrial 90's Ministry-like sound, and is still a strong effort (for fans of industrial and other modern trends). Their swan song is not worthy, and has nothing to do with their previous works, opting for an awful brand of modern metal.

Phantasmagoria Full-length, 1989
The Hangman Tree Full-length, 1991
Ashes to Ashes, Dust to Dust Full-length, 1993
Gottverlassen Full-length, 1997

THE MORBID (USA)

A 4-song demo of aggressive thrash, resembling Rigor Mortis and Slayer; this is actually the band Morbid Scream who, for some reason decided to change their name, but not the style which is pretty much the same, maybe not as fast, sharing some of the aggro-sound of Exhorder ("A World Away").

The Morbider the Merrier Demo, 1990

THE MORE I SEE (UK)

Based on "Tread The Darker Path", this act, which line-up comprises of ex-members of old "dogs" like English Dogs, Sabbat, and Sacrilege, offers pretty decent modern power/thrash which is dynamic and jumpy, and doesn't lack an edge. It alternates between more laid-back mid-paced songs and more vigorous faster ones which take the upper hand in the middle occupied by major headbangers ("The Unholy Feast", "Decadence Within") which will stir your blood quite a bit. Even the mellower tracks are not bad at all "biting" with lashing riffs and stomping breaks. Near the end the listener will come across a nice cover version of Iron Maiden's "Wicker Man", the singer particularly doing a very good job impersonating Bruce Dickinson quite well; he is an asset all over with his not very emotional, but consistent, semi-clean mid-levelled tember.

Don\'t Look Now...I\'m Living EP, 2003
The Wolves Are Hungry Full-length, 2004
The Unholy Feast Full-length, 2008
Tread The Darker Path Full-length, 2010

THE MOSHKETEERS (USA)

Well-constructed heavy thrash metal with hardcore moments having no influences from the 90's trends; the sound quality is not very good, and the guitars are a bit fuzzy, but there is a lot of energy put in the recording. The music recalls the D.R.I.'s more thrashy days, as well as Hallows' Eve. To these ears the slower heavier tracks deliver better: "The Myth", since the guys put more effort there, coming up with very good stomping riffs, not far from early Celtic Frost even, which are very well combined with the fast semi-technical theme at the end; the highly-charged doom monsters "Self Extinction" and "Epicurus". The end will pump your adrenalin including the two most intense speed/thrashing numbers: the longer dark "Nightmares" and the very fast speed killer "The Life Of Emptiness".

The Downward Spiral Full-length, 1992

THE NAIL (SPAIN)

The music presented here is neither perfect nor "imperfect", but is acceptable modern power/thrash metal ala modern Overkill, with one pleasant exception: the straight-ahead headbanger "Imperfection" which slightly influences the more laid-back "Rise Of A Restless Man". The rest is edgy and dynamic picking more speed again at the end with the galloping closer "Within The Night". The vocalist shouts temperately with a light melodic pitch.

Imperfection EP, 2011

THE NATIONAL CEMETERY ORCHESTRA (USA)

This is an ambitious project run by just one man, Karl Nix, who specializes in instrumental thrash metal. The debut is plain thrash in most cases, heavy and well done, with a certain technical edge. "Beyond The Shadows" is quite a good achievement, despite the buzzy guitar sound. It boasts a thick, heavy sound and sharp crushing riffs, mid-tempo in the first half, where the overall approach is not too far from Metallica's "The Call of Chtullu", or "Orion", and much more dynamic in the second one, with a clear nod to black metal. There are balladic passages where the bass can be heard clearly which nicely contrast to the riffy wall of sound. "Oblivion" comes with black metal-styled sections, and "Quake" livens up with energetic, headbanging guitars, and is a cool short piece of up-tempo thrash with short, screaming leads. "Red Skies" is the other moment of fury: straight ultra-fast black metal rivalling even Cradle of Filth and Dimmu Borgir, along with the closing "Utopia".

"Prince of Rosh" and "Monument" see a return to the thrash roots of the debut, but the riffs are sharper, and the overall result is more intense and better. The guitars have a less technical edge, but this time the leads are longer and more proficient. Borrowings from other genres (black metal, that is) are scattered throughout, but not much. The pace changes, but the heavy mid-tempo riffage predominates.

As Twilight Fades Into Night Full-length, 2001
Beyond The Shadows Full-length, 2002
Prince of Rosh Full-length, 2004
Monument Full-length, 2007

THE NEW DOMINION (HOLLAND)

Energetic modern thrash metal with brisk sharp riffs, fast tempos, and all else; it seldom leaves the Swedish formula which means that traces of death metal can be found as well, mostly of the furious blasting variety, but as a whole this is good headbanging fun also offering a few slower stomping numbers ala mid-period In Flames.

... And Kindling Deadly Slumber Full-length, 2009

THE NOSEBLEED CONNECTION (ITALY)

Based on the debut, these guys pull out ultra-heavy abrasive aggro-thrash with a strong industrial vibe. The delivery is mostly mid-paced with stomping, jumpy guitars recalling the Canadians Soulstorm and Puncture. The singer is an angry death metal shouter, intercepted by sparce cleaner inclusions, the latter going into sincere rap at times.

Hate for Free Full-Length, 2004
God, The Loser. The World Is Yours Full-length 2008
Nosebleeders Full-length 2011

THE NOTHING (UK)

A cool debut of modern thrash along the lines of the Finns Maple Cross, and Municipal Waste, so it's far from nothing (pun intended); there are some groovy parts, but most of the time the music is energetic and has a good headbanging potential.

How to Avoid Heaven Full-length, 2006

THE NO-MADS (POLAND)

Based on "No Hush Till Thrash", this is a cross between modern and classic thrash, featuring a very interesting cover of The Beatles' "Yesterday". The 1st part is the more immediate, with faster songs. In the 2nd half the tracks suddenly become longer and less catchy.
"The Age of Demise" is based on the same cross, but is a much better effort, with the classic elements increased as well as the speed. The album wastes no time to win the fan with a duo of fast blitzkrieg thrashers, before "The Age of Demise" nicely surprises with its more technical, but equally as intense approach, a nice technical thrasher. "Children of the Reich" is a full-on retro thrash attack, recalling Kreator's "Coma of Souls". "Point Blank Fire" is smashing aggressive thrash at its best, with a great lead guitar work. "Nanoman" is a cool cover of the Voivod track from "Negatron", but this is the only more modern-sounding song; "Last Lift Down" is merciless brutal thrash, and those who survive will hear the other technical, this time purely instrumental, piece: "A Moment of Sobriety", which is a whirlwind of riffs and fast mind-blowing leads, alternating fast with slower parts to a startling effect. And one more speedy retro thrash bomb after it: "Vamos!", which puts an end to this great effort, showing a band "flirting" successfully with both the straight and the very technical side of the genre, blending them in a fairly interesting way. Still, despite the high quality of the music here there remains the feeling that the best from these talented guys is yet to come...

No Hush Till Thrash Full-length, 2003
Deranged Full-length, 2006
The Age of Demise Full-length, 2009

THE OLD FOUR (CZECH)

The groovy post-thrash patterns have settled here, and seems as though they would never leave; well, not quite since just when one adjusts to the repetitive, peaceful formula, comes a melo-thrash/death section ("02 1949") to wake him/her up with a solid portion of headbanging mosh. Moments of the kind are a rarity, so there won't be many fallings off the chair. The guys also take part in the metalcorers Sedative, and the meldic death metal outfit Bone Orchard.

Jump into the Grave EP, 2009

THE PIT (MEXICO)

While the world is waiting for a follow-up to the excellent "Libido Clerico", the Profanator guys are entertaining themselves with inferior old school thrash under this name. The music is fast, and is quite close to the approach of the Swedes The Crown: speedy, simplistic, with sparce adherence to blast-beats, and kind of one-dimensional. The aggression reaches death metal dimensions at times ("Inner Flux Of Rage", "Killing Messiah", the brutal closer "Night Of Knives"), with a Swedish taste. This is not completely bad, but there is hardly a hook or a riff to suggest at the guys' much bigger potential, which should soon find a fuller realisation in the form of another Profanator effort.

Mechanical Jaws Invasion Split, 2006
Disrupted Human Symmetry Full-length, 2008

THE PLAGUE (USA)

Based on the "For The Faith Of Man" demo, these guys offer very good technically-minded thrash, with a frequent change of tempos which create a somewhat frantic feeling including faster, aggressive parts. There are definitely touches of Forbidden and Deus Vult in the guitar department, but this band pull out sharper, albeit less technical riffs. "World Apart" is not a very successful attempt at the "ballad-meets-thrash" variation which tones down the intensity a bit, but the rest is quite a worthy slab of a less ordinary take on thrash.
"Games For The Insane" is a much more straight-forward stuff, and more diverse. You can hear pure crossover pieces ("I Quit"), heavy/power metal numbers ("Scapegoat"); the rest is energetic thrash with a hardcore edge quite close to Nuclear Assault.

Games For The Insane Demo, 1990
For The Faith Of Man Demo, 1991

THE POSEURS (RUSSIA)

3 songs of merry roller-coaster thrash/crossover; this is uplifting stuff also sharing some of the alternative vibe of acts like The Offspring and Green Day, with only the hoarse drunken vocals a slight pull back.

Promo Promo, 2010

THE PROPHECY

Intense modern thrash metal crossing early Pantera with faster proto-death sections (the brutal blasting closer "Honor.Torture.War" goes a bit beyond that); not bad, with very heavy riffage and even classic-sounding at times ("Mind Your Own Shit", the excellent speedster "Struggle To Survive"). Although the word "thrash" features on a few times in the song-titles ("23 Thrash BC", "Brutal Thrash Maniacs"), music-wise there are not many references to the old school, including in the vocal department where the singer is a typical angry semi-death metal shouter.

...To the Pit Full-Length, 2010

THE RAVEN (TURKEY)

This act offers dark, gothic-tinged thrash with certain doomy shades and raspy black metal vocals. The guitars are melodic, staying more on the classic side, and the pace never leaves the mid-parametres, so this approach on a longer release may tire a bit.

Armageddon Demo 2004

THE RECKONING (USA)

Based on the "Absence of Mind" demo: fairly good technical thrash metal along the lines of Forbidden's "Twisted into Form" and Wargasm's "Why Play Around". "Immortal Majority" contains the more aggressive and faster material with the sound frequently rubbing shoulders with Vio-lence's "Eternal Nightmare" and Viking's "Man of Straw".

Immoral Majority Demo, 1989
Absence of Mind Demo, 1990
This Side of Tomorrow Demo, 1991

THE REDFLUX (PUERTO RICO)

A power trio from Puerto Rico who offers good progressive power/thrash metal with heavy meaty riffage of the more modern type, well expressed on the excellent opener "Blood Was It's Avatar" which crushes with 10-ton hammering riffs. "Pridian" is more relaxed and faster, aiming at the power/speed metal crowd, but "Snake In The Grass" goes up a level, retaining the speed, adding a more aggressive proto-death edge to the proceedings, ending up being a nice energetic thrasher. "Natural Selection" returns to the heavy steam-rolling riffs from the opener, with a bigger sense of melody. "Impeding Doom" is a cool galloping technical number with a faster melodic speed metal ending. The closing "Release" is nice progressive melodic thrash which, despite the few borrowings from the Swedish scene, wraps it up nicely with intense mid to up-tempo riffage. The singer is a kind of a drawback with his gruff semi-death metal tember, and the sparce clean indifferent vocals are hardly the best possible assistance to them.

An Inminent Decline Full-length, 2008

THE REGIME (USA)

Based on the debut EP, this band plays "dead serious", but also quite typical for the time, American power metal with touches of thrash. The music flows in milder speed/power metal proportions until it reaches "Into a Trance" which is a cool semi-technical galloper, followed by the short energetic thrashy instrumental "The Reign" and another, leads-only, but pretty cool "Etude #1" which shows the guitarist in a very bright light. After that the delivery slides towards the darker power metal mould with the final "The End" being a really good atmospheric creeper. The singer is an asset with his mid-ranged tember singing in an attached clean manner, but even he pales before the guitar pyrotechnics which are truly impressive reaching Yngwie Malmsteen-like virtuosity marred a bit by the thin sound production.

Dead Serious EP, 1987
Knucklesandwich Full-length, 1989
U.G.L.Y. Full-length, 1991

THE REIGN (USA)

Although 3 of the songs on this 4-track demo are over 8-min long, this is not technical stuff; this is heavy, mid-paced, even doomy at times power/thrash metal. The guitar work is interesting and keeps the tempo alive; rest assured that you won't fall asleep. Each of the long songs starts with slow, pounding riffs as pure doom metal, and livens up later on. The only short track: "The Last Laugh", is actually an instrumental which speeds up a bit, but the guitars there are more melodic. The vocals are gruff and low-tuned, with a slight death metal shade.

Act of Penance Demo, 1991

THE RETALIATION PROCESS (GERMANY)

Dry mechanical riffs hit you from the get-go to produce a cold robotic atmosphere on these 4 songs of dynamic modern semi-technical thrash metal which provides the necessary doze of intense speedy riffage which comes intercepted by mellower alternative/progressive sections the latter holding quite a bit of potential which should be elaborated on future works.

Death Is A Gift EP, 2011

THE RETURN (USA)

This US duo unleashes raw chaotic black/thrash metal of the old school, on the slower moments sounding very close to the early "atrocities" of Hellhammer, whereas on the faster ones the sound moves towards early Bathory and Slaughter. This is really primal and compulsive, and as such should be respected recreating the era just perfect. The singer is very suitable with his gruff sinister semi-whispered delivery very close to the one of Killjoy on the Necrophagia debut.

Hell EP, 2009

THE ROCKING DILDOS (USA)

Based on the debut, this is merry but intense thrash/crossover, the guys lashing fast and wild almost the whole time through the 18 tracks the majority of which seldom hit the 2-min mark, accompanied by appropriate harsh semi-death metal vocals.

On Speed Full-length, 1997
Horny Hit Parade Full-length, 1997

THE SCOURGER (FINLAND)

A band who walk the line between the modern and the classic sound: while their debut is more on the modern side, and doesn't sound too different from hundreds of similar efforts. With "Dark Invitation to Armageddon" the guys aim at the classic school, and do a much better job. This is encompassing music, which stays much closer to thrash metal with very few traces of death metal, and has something in common with the Bay-Area scene, Slayer, but also Destruction and Kreator. There is a very good balance between fast-paced pieces ("Never Bury the Hatchet") and heavier and slower ones ("To Tame a Life"), having a strong late 80's Slayer influence; some are cool combinations of the two: "Beyond Judas". The guitarists have a good sense of melody, and some lines are very catchy and memorable: check out the brilliant "Dark Invitation to Armageddon", among others. A sparce use of keybords in the background can be heard on some songs ("Last Nail to the Coffin") which gives them a cool dark atmospheric edge. If the debut was of a more ordinary nature, with this album the band make a major step towards the front row; well, it takes more to reach it, but if they go on in the same vein, it wouldn't be hard...

To the Slayground EP, 2005
Blind Date With Violence Full-length, 2006
Dark Invitation to Armageddon Full-length, 2008

THE SEED (SPAIN)

Heavy abrasive modern thrash with sparce classic tendencies; there are angry parts ala Pantera, there are a couple of doom/stoner leanings ("The Yellow Path"), but there are several very energetic headbanging moments (those with the more classic riffs), as well as stylish balladic insertions here and there. The singer is the prototypical semi-death metal shouter.

From Nowhere to No One Full-length, 2010

THE SEQUENCE OF PRIME (SPAIN)

Based on "Virion", this one-man show performs heavily-industrialized thrash of the modern school, of course, with very fuzzy guitars and harsh amateurish synthesized vocals crossing The Strapping Young Lad with late-period Skrew to a mixed effect. The guy keeps the dynamics high, but the annoying buzz of the guitars doesn't help the listener a lot who may find it hard to distinguish the riffs on some tracks. The closing instrumental "Compression" seems to work the best being an intriguing exercise in guitar-oriented industrial with dramatic escalating arrangements.

The Sequence of Prime Full-length, 2007
Virion Full-length, 2010

THE SHOWDOWN (USA)

Based on "Blood in the Gears", this act plays a more agrressive thrashy version of the southern stoner/doom which spasmodiacally falls into brutal blasting "traps" which are fortunately not that many to break the monolithic doomy patterns followed for most of the time. Those patterns provide mid-paced heavy, but vivid, music ably assisted by throaty angry semi-death metal vocals. The hidden track at the end is great high-octane doom ala Crowbar.

A Chorus of Obliteration Full-length, 2004
Temptation Come My Way Full-length, 2007
Feel Like Hell EP EP, 2007
Back Breaker Full-length, 2008
Blood in the Gears Full-length, 2010

THE SOULS UNREST (USA)

A death/thrash/sludge band; the music is very heavy, and references to EyeHateGod could be heard on quite a few times. If I have to choose a soundalike from the thrash metal field, that would be Lair Of The Minotaur, but this band here are more technical with nice twisted riffs involved at times (check out "Though I Fall").

The Souls Unrest Full-length, 2006

THE SOURCE (GREECE)

This band is the continuation of Negative Creeps, but the style here is nothing like the pounding groovy post-thrash of that band. The opening "X-Enemy" tells a different tale, being quite a dynamic headbanger, with the next "CoreShot" just a little slower offering plenty of galloping delights. The sound takes more aggressive Fear Factory-like dimensions with "Throw Out The Pigs", but "Bringing Out The Dead" is a milder 90's thrasher with a slight abstract shade ala mid 90's Voivod. "Five Steps" is a short frenetic piece followed by the excellent atmospheric "Serpents Rising" which still thrashes hard in the beginning. "ShellShocked" is pure classic thrash pleasure, but the extremity takes a brutal death metal shade on the closer "A Vision Of Rejects" with a wonderful surreal progressive interlude thrown in the middle. This effort is much superior to the Negative Creeps output, and fans of the faster more dynamic side of modern industrialized thrash (Darkane, Biomechanical, even Altered Aeon) will find their new favourites here. You'll make no mistake drinking from "the source"...

The Source Full-length, 2009

THE SPUDMONSTERS (USA)

Two of the band members later joined Pro-Pain, and this band's style bears quite a few resemblances to the more enjoyable early period of the more renowned act. This is mostly hardcore with occasional thrashy riffs, not very aggressive, but catchy and energetic. The debut is the band's most thrashy offering, containing the fastest material the guys ever recorded ("Death Sucks", "Repo Man"); check also the crushing mid-paced "Self Proclaimed Expert".
Those "monsters" are back, to take part in the resurrection of the genre, and they sound as crossover and hardcore as ever. The music now resembles Madball quite a bit, and the catchy, more melodic antics of the old days are kind of forgotten, the band sticking to simplistic, core-ish numbers which alternate between fast and slow moments. As a result we have an enjoyable, albeit hardly exceptional, offering, which also has echoes of the more officiant, S.D.O>-esque stompiness (the closing "Nothing Remains"). Some of the band members are doind something similar, but groovier, with their other act Bloodclot!.

Stop the Madness Full-length, 1993
No Guarantees Full-length, 1995
Moment of Truth Full-length, 1996
Stand Up For What You Believe Full-length, 2011

THE STEAMROLLERS (FRANCE)

This is groovy modern thrashcore with more lyricaL leanings; don't expect any hard-hitting moments, there are attempts at a more energetic delivery ("New Hope", which also contains a nice stoner/doomy passage), but the dominant tone is heavy and mid-paced at best. The singer has a friendly semi-clean voice reminiscent of Ricky Warwick (The Almighty).

Get Ready To Roll EP, 2011

THE STEEL EMPIRE (USA)

A very good mix of speed and thrash metal; of all the three tracks here one is a great thrashy Bay Area-influenced headbanger: "NYC Streets", one is a pure speed metal piece with a German flavour (Scanner, Helloween): "Quetzalcoatl (Aztec Messiah)", and one is a fine combination of the two styles: "Knight of the Bat".

Demo Demo, 1988

THE TARDS (USA)

Based on "Guillotine", this act pulls out modern thrash metal hesitating between heavy stomping riffs and straight thrash/melo-death sections. Still, the best monets are the ones which don't belong to either approach: the merry crossover piece "Give Me the Guillotine", and the early Metallica worship "All the Way to the Grave". The singer is a forceful throaty semi-death metal shouter sounding quite close to the early Pyogenesis singer Tim "Asmodeus" Eiermann.

Damn Nation Full-length, 2008
Guillotine Full-length, 2010

THE THINKING PRINCIPLE (UK)

This formation is the continuation of Inner Sanctum, an obscure technical/progressive thrash metal act, arguably the finest representative of this sub-genre from the British Isles. Both demos are an almost direct take on the previous band's sound; in other words, we have standout vortex-like music with many twists and turns, razor-sharp riffs, staying mostly in mid-tempo with frequent slower more laid-back parts, and a couple of aggressive straight thrashy sections. The sound here is more jumpy than the one of Inner Sanctum meaning that here one can hear sharp aggressive riffage suddenly replaced by a dreamy peaceful section, and vice versa. The best tracks are nods to their predecessors Cynic and Atheist ("Sadness Summons Me", "Recording Into Memory"), meandering through the progressive metal spectre, creating a nice contrast between biting guitars and more quiet moments. Hopefully this formation will last long enough this time to be able to come up with a full-length.

Dangerous Thoughts Demo, 2005
Slowly Forming Sanity Demo, 2006

THE TRASTEN TRASTE (SPAIN)

Modern power/post-thrash of the more laid-back playful variety; at times their music reminds of their compatriots Heroes del Silencio, only more aggressive. The tempo is mostly mid with shifts into semi-ballads, the exception being the dynamic speedster "Volar Otra Vez". The Spanish heavy metal legends Baron Rojo are honoured near the end with a good vigorous cover of "Resistiré".

Homenaje a la Mentira Full-length, 1998

THE UNAVOWED (CANADA)

Based on the self-titled debut EP, these guys offer modern post-thrash with a heavy doze of groove which kills the inertia (if there is any at all) completely, and is starkingly contrasting to the stylish melodic leads. The singer is another obstacle singing in a hysterical screechy manner the whole time.

The Unavowed EP, 2007
War EP, 2010

THE UNCHALLENGED (GERMANY)

Excellent retro thrash is offered by this trio, mixing the more technical Kreator period (late-80's/early-90's) with later-period Death. The fast frantic technical opener "Masquerade" within the span of 2-min will tell you the story of both aggressive and more complex thrash metal before things take a more elaborate direction on the longer "Empire Of Insanity", which is progressive thrash opus frequently changing pace and signatures, sounding quite intense at times as well. "Paranoia" is shorter, but the technicality is quite big, and this one is a stunning whirlwind of moods and riffs ala The Polish Sceptic and again Death. "Share Of Innocence" admirably speeds up, thrashing with both force and melody, being more direct compared to the preceding material. Great melodic leads can be heard on the speedster "Causal Reasons", which remains on the technical side of things. "Mindless Fools" is slower and brooding, crushing in mid-pace, before "Reversal" stirs the blood with another portion of technical speedy thrash which will take your soul with its magnificent melodic lead guitar work. "Unconscious Tyrants" carries on in the same vein, even going for a few blast-beats (the latter can also be heard on "Reversal" for a short bit). "Bringers Of Sadness" is the closer, toning down the speed considerably, relying on calm mid-tempo riffage with not much technicality on offer, but is a graceful epitaph giving more space to the very talented lead guitarist at the end. Yes, indeed, these guys were "unchallenged" back in those days when the sad news of Chuck Cshuldiner's death had just been released, and there was hardly an act to offer anything similar music-wise. Even nowadays when the Death followers are quite a healthy bunch, this album will easily put most to shame. The guys are still active, and hopefully something new will be "cooked" in their "kitchen". This album, by the way, can be downloaded from the link provided below.

Sceneries Full-length, 2001

THE UNCROWNED (GERMANY)

3 songs of dynamic modern thrash with a few metalcore implements; this is energetic up-tempo music with melodic restrained guitars and brutal low death metal vocals.

The Uncrowned EP, 2010

THE UNINVITED (USA)

Thrash/crossover, quite diverse, offering both quite fast and quite melodic numbers, but as a whole the music is not very aggressive with the punk movement more than just slightly hinted at. The guys often start a song in a speed/thrashy early Metallica fashion, but never manage to sustain it in the same vein, switching onto less hard-hitting punkish riffs with the sole exception being the good headbanger "Thanatos", well supported by the brutal 1-min joke "I Hate The Bitch".

Systemwreck Full-length, 1986

THE UNIVERSE DIVIDE (USA)

Another talented outfit concentrating on all-instrumental compositions producing engaging, serious technical music with strong thrashy shades sitting somewhere between the more restrained intelligent shred of Canvas Solaris and the frantic, manic pyrotechnics of Electro Quarterstaff. So expect loads or time and tempo changes on both a dry/mechanical and spacey/abstract guitar background which co-exist quite well, also ably supported by very cool melodic leads and a pretty complex bass-bottom which at times even deafens the guitars. The guys speed up on occasion where the nods to later-period Death ("Cyclical Procession") and early Atheist are quite clear; but most of the time the delivery is pretty elaborate with slow and mid-tempo passages taking turns touching Coroner ("Of Optimism - The Glass Vein") on the more twisted moments with spiral labyrinthine signatures coming, and also disappearing, out of nowhere. This is all beautifully done without any overdone sections always brought to a logical conclusion after each load of stylish technical shreds.

Dust Settles On The Odontophobes EP, 2011

THE UNJUST (USA)

A very good speed/thrash metal album, calling to mind Agent Steel's debut and Attacker; there is an interesting vocal duel between clean high-pitched tones and some very low proto-death growling (guess who wins!). The songs are kind of samey with a fast tempo, and merge into one another, that's why you might not be able to distinguish one song from another in the long run, but this is energetic music, and fans of the speedier side of thrash will find a lot to like here.

Hammerhead Full-length, 1987

Vibrations of Doom

THE UNSANE (USA)

The band's EP was an inauspicious beginning featuring some raw, fast thrash without any interesting moments. The full-length is an improvement in every aspect, and contains very well played intense thrash (actually, music-wise both works are not too far from each other, but with better production qualities the full-length is way ahead), sounding like a nice companion piece to Slayer's "Reign in Blood". The guys play without compromises, blasting through the songs in a fairly intelligible way, with a slightly abrasive, but very sharp guitar sound. "Next Left Eternal Rest" introduces some slower, pounding riffs, but after it the aggression continues until the end.

Inverted Crosses EP, 1988
Slap of Reality Full-length, 1991

THE WAKE (USA)

Based on the debut demo, these guys offer cool melodic classic power/thrash in a solid mid-pace, with very good clean emotional vocals. The actual songs are split by short 1/1.5-min instrumentals, which are not lyrical, but carry a certain thrashy charge, too, and are graced by really good leads.

Tales and Tears Demo 1991
Dark Is Better Demo 1993

THE WANTED (GERMANY)

The full-length sees a band playing ordinary modern thrash metal in mid to up-pace, with vocal duels, melodic hooks, gothic mid-period Sentenced-like overtones, and a few classic touches (the nice headbanger "My Red"). The closing "The Falling" is a cool tribute to the doom metal scene. Some of the musicians involved here have also released another album under the name Encyclia which is pretty much in the same vein.

There Is No God EP, 2007
The Scarcollector Full-length, 2009

THE WARSLAIN (FINLAND)

Heavy groovy post-thrash with several faster Floridian death metal passages.

One Bullet Left Demo, 2006

THE WATCH (USA)

This very little known trio plays doom-influenced power/thrash metal with deep clean vocals, which are quite good and often capture the dramatism of Messiah Marcolin (Candlemass), albeit being lower-pitched. For this reason the more doom-oriented compositions are the more compelling ("Father of Time", the heavy riff monster "Second Thoughts", the cool doomy ballad "Yet"), but rest assured that you won't fall asleep with more dynamic (read mid to up-tempo at best) power/thrashers like "DOA" roaming around. "Through Old Eyes" is an excellent progressive doom/thrash metal opus with haunting balladic sections, and the closing "Traxx" is a sudden, but a very welcome, switch to sharp technical thrash, a really stylish finish to this quite obscure, but fairly interesting, effort.

Damn the Games Full-length, 1993

THE WEAKENING (SWEDEN)

3 songs of typical 90's groovy post-thrash; heavy repetitive riffs topped by brutal death metal vocals.

Demo Demo, 2008

THE WRETCHED (JAPAN)

An obscure, but worthy band who pull out good classic thrash metal, neither too aggressive nor melodic, but keeping a nice balance between both, with occasional nods to heavy metal, and good clean vocals which will remind you of "Toto" Bergmann from Living Death.

Too Fast To Die Demo, 1990

THE WRETCHED END (NORWAY)

Three black metal legends: Samoth (Emperor, Burzum, Arcturus, Gorgoroth, Satyricon, Zyklon, etc.), Cosmo (Windir, Scum, etc.), and Nils Fjellström (dark Funeral, In Battle, etc.) have joined efforts for the production of this atmospheric less ordinary take on the thrash/death/black metal idea which ranges from cosmic larger-than-life arrangements ("The Armageddonist") ala Bal-Sagoth, to straight-ahead retro thrashers ("Of Men and Wolves"), to bombastic gothic/black/doomy pieces ("The Juggernaut Theory") in the vein of Dimmu Borgir and early Arcturus. There will be few to get bored here, although for the thrash metal fans the entertainment will hardly be all the way unless they can cope with the frequent interferences from the other genres.

Ominous Full-length, 2010

THE ZEPHYR (MEXICO)

The line-up includes members of other acts from the Mexican thrash metal field: Lust, Raped God, etc. Based on "Fake Measured Smile", this is first-class technical thrash, easily beating the aforementioned bands, as well as many others worldwide. The guitar work is very diverse, covering a wide spectre of tempos and hooks. The songs never indulge in a technical show-off, and are short, with a lot to offer. The pace is quite fast for most of the time, slowing down for more complex passages. Every track is a highlight some of them being truly outstanding: the energetic instrumental "Love Turn To Hate": a technical riff-fest at its finest; the short frantic "Stormy Day", the superb lead-driven "Yell With The Wind" which will startle you with its brutal death-laced ending; the speed metal delight "...Its Pay Time". "Just To Rise Again" steals riffs from Black Sabbath's "Heaven & Hell" at the end, but they are a nice touch to the frantic thrashing which precedes them. Probably the finest Mexican metal act of the new millennium, these guys will hopefully find time outside their other engagements to record something new soon.
"Impure & Divine" is a mix of black, thrash and death metal. The guitar work is not as technical, but the speed remains, often reaching out for aggressive ultra-fast passages. The music probably favours death metal most, but the thrash metal fan will be pleased on fast-paced death/thrashers, like the excellent "State of Mind" and "The God Who KIlls". "Lunar Sea" is a very good example of the other extreme: a gothic doomy/black metal number with nice melodic hooks, slow and very atmospheric. A nice touch are the two short acoustic insrumentals where the guitar performance is just brilliant.

Celestial Evil God EP, 1996
Impure & Divine Full-length, 1998
Fake Measured Smile Full-length, 2003

THE ZIGGURAT (USA)

Based on "The Plague of the Pallid Mask", this outfit pulls out modern industrialized thrash, which is dynamic and vivid, despite the sinister deep death metal vocals. The muic acquires more laid-back heavy/power metal tones at times ("Ghost Of Yibishnagarib"), which make the singer even less suitable. There are quite a few lyrical/melodic passages to be heard (check out the excellent doomy, melancholic closer "Silent Hill"), which give credit to the guitar players, but take away from the intensity quite a bit.

Hymns of the Cthulhu Mythos Full-length 2004
Confrontation with the Disciples of the Shadow Walker EP 2007
The Plague of the Pallid Mask Full-length 2008

THEM (CHILE)

Based on the "Journey Into the Unknown" demo, this band mix black, thrash and death metal, and although the musicianship is not on a very high level, and the vocals are especially annoying, having this hysterical black metal rasp, one could catch elements from Bathory, Messiah, Sarcofago, Protector, etc. The guys try to keep the speed high, and they manage to do that for most of the time.

Journey Into the Unknown Demo, 1992
Hidden Journey Demo, 2006

THEORIZED (INDIA)

Classic thrash metal reminiscent of Kreator's late 80's/early-90's period with brutal death metal vocals; the guitar work is good with frequent stretches towards both a melodic and technical play including a haunting balladic outro on "Blackout" (which is not a Scorpions cover). There are speedy moments ("Dark Incarnation", "Raise the Dead", which is a nice Oriental-tinged composition), but the concentration is on mood and more proficient, less intense, delivery.

False Hope of Tyranny EP, 2009

THERAPSIDA (HOLLAND)

Modern thrash metal with heavy guitar work and a couple of metalcore breaks; the music is very jumpy and not very predictable containing several intense headbanging passages, but as a whole it is not terribly different from the hordes of acts following on the steps of Trivium, Suidakra, Lamb of God, etc.

Left to Rust Full-Length, 2010

THERIAC (HOLLAND)

This band was formed by ex-members of Pestilence. Based on the "Staccato Thrashio" 3-song demo, these guys have done a good job, playing excellent fast-paced thrash, not as aggressive as the one on the Pestilence debut, but more along the lines of Torture's "Storm Alert" and Viking's "Man of Straw". This is a short, but memorable thrash assault, with mighty speedy guitars, and gruff, low-tuned vocals.

Staccato Thrashio Demo, 1988
Claustrophobia Demo, 1990
Thoughts Demo, 1991

THERION (UK)

Good aggressive retro thrash metal akin to Devastation's "Idolatry" and Atomica's "Disturbing the Noise".

Created In Hate Demo, 1989

THESIS (AUSTRIA)

3 songs of doomy gothic metal very close to Paradise Lost's "Shades of God" with more aggressive modern thrashy breaks; the singer is a dead ringer for early Nick Holmes, and delivers with his forceful comprehensible deathy tone. Don't expect anything headbanging: this is peaceful mid-tempo stuff with numerous melodic hooks.

Futility Of Mankind Demo, 2010

THESYRE (CANADA)

Black/thrash metal with an 80's vibe, and with more modern "updates" in the form of industrial sounds, slightly recalling the extremists Dodheimsgard. Fans of the Japanese movement in the black/thrash genre: Sabbat, Abigail, Barbatos, etc. will love this band. "Résistance" changes the pattern moving towards a more groovy sound reminiscent of more recent Satyricon and Khold, slower but still interesting, picking up a good thrashy pace ("De Réalisme Et De Nihilisme Ac") at times, but also providing the odd hard'n heavy epic ("L’égalitarisme Freine L’excell") piece. The industrial elements are not that many replaced by a few quiet balladic intros and the pure noise/ambient closer "Résistance". The band members are also involved in other projects: the black metal formation Aufkrema, and the death/thrashers Decayed Remains.

Thesyre Full-length, 2003
Duality Full-length, 2005
Contre-Courant EP, 2005
Exist Full-length, 2006
Résistance Full-length, 2009

THICK LIQUID (USA)

This obscure act offer pretty pedestrian modern power/post-thrash which comes as a more technical version of GZR (the 2nd album, in particular). There are shades of industrial, the obligatory groovy sections, and at times the music acquires the pleasant dance-like dimensions, so typical for acts like KMFDM and Rammstein ("Warchild"; I can see you all heading for the nearest disco after the dance floor sweeper "For Real Wasted": a well-chosen title, by the way; this is how you're going to feel after listening to this... a total waste of time).

Stress Full-Length, 1997

THINE EYES BLEED (CANADA)

The band's self-titled 2nd album offers quite good classic thrash metal with more aggressive death metal sections. The guitar work takes a nice technical edge here and there, and could have been more emphasized on, but the straight headbanging riffs by all means deliver the goods. In the middle the music takes off with great twisted technical performance, not too far from Morbid Angel ("Dark White"), a tendency continued by the brutal, but also technical "Shallow Skin". "Moja Diablo" nicely calms the ball down being a cool acoustic instrumental. "Truth in Evil" is a mid-paced unimaginative filler, fortunately one of its kind. "Mouth of Hell" and "In Mortal Sin" come as an excuse, thrashing with no mercy, later giving way to the closing "Revert to Stone", which slows down, but remains within the confines of thrash, despite the inclusion of dark gothic passages.

The debut is the more satisfying achievement technicality-wise as the riffs are more complex and twisted, sometimes going beyond the level of perception, but this makes the sound even more compelling ("Regret Your Fear"); on top of that we have black metal added to the death/thrash blend. Certainly there are more direct sections ("Innocent Mind"), as well as dragging more modern moments ("Corpse You Up"). "Silver" is a magnificent haunting technical thrashterpiece, which never speeds up, but the stunning creepy technical riffs will sweep you away. "Consequence Unknown" moves towards more aggressive black metal territories, with nice Oriental leads. The final part includes straight thrashing headbangers, but all of a sudden comes "And Since Forgotten", which brings forward brilliant technical guitars that will make your jaw drop; these moments should have been more frequent... The closing "Live to Die" is not too far behind, paying nod to the mighty Carcass (think "Necrotism", "Heartwork") with touches of black metal again; the clean vocals at the end could have been skipped, though, since they bring with them laid-back slow sections.
"The Embers Rise" is decent, albeit hardly exceptional, follow-up to the excellent sophomore effort, sticking this time to less impressive thrash/deathy formulas, seldom pulling out more interesting technicality-wise: "Comorbid" comes to mind with its clever, twisted arrangements, but that's about all; and perhaps the more stylish, hectic closer "End With The Night". The album begins in an intense fast tempo with short direct cuts, but little by little decreases the speed, adhering to less aggressive patterns, and although the technical passages increase in the 2nd half, this belated tendency still doesn't compensate for the lost energy and the generally more clever delivery on the previous work.

In the Wake of Separation Full-length, 2005
Thine Eyes Bleed Full-length, 2008
The Embers Rise Full-length, 2011

THINK OF MISERY (GERMANY)

An obscure gem from the German metal scene: the more aggressive parts recall early Protector, even to the point of proto-death ("Caesium 137"), whereas the slower sections have the spirit of the Coroner debut; a unique mixture which works just great, especially on the excellent 9-min opus "Think of Misery", which is an encyclopaedia of classic thrash metal with nods to all things good from the 80's scene, followed by a more relaxed power/speed metal number: "Conversion by Violence".

Poverty Is No Disgrace Full-length, 1989

THIRD ARM (FRANCE)

Modern thrashcore which comes with a very good sound quality and several cool dynamic moments finished with a combination of songs of Pantera and The Haunted put together as a tribute to those two acts.

A Call to Arms Demo, 2006

THIRVEGOL (BELGIUM)

Dark mid-paced thrash/death metal with gothic overtones, quite close to early Crematory; "Revolution" comes at the end to bring more energy, and is a cool more intense death/thrasher, still carrying the gothic decorations.

Demo Demo, 2007

THIS IS MENACE

Modern groovy post-thrash with a slight alternative edge ("The Nameless", etc.), sounding quite close to the works of Anthrax from the 90's, minus "The Sound Of White Noise", but with a bigger doze of groove and a bit of hardcore ("Displacement"). Tracks like the intense thrashing "Incite" should have been more, since the dominating pace is not really energetic, and all the other tracks tend to merge together.

No End in Sight Full-Length, 2005

THIS NIGHT DRAWS THE END (CZECH)

Modern thrash metal with metalcore "borrowings"; nothing unusual and pretty derivative, not even fast or aggressive meandering between slow sleepy and more dynamic mid-tempo passages the whole time with jumpy non-consistent riffs which never quite reach the technical field they are aiming at.

Victims EP, 2010

THIS SOLEMN VOW (USA)

This band offer nothing more than modern thrash/death metal with a shade of metalcore. The music is quite jumpy with pretensions to be semi-technical; mixtures of this kind are quite energetic, but this one isn't, and all the songs merge into one another being of the choppy mid-paced variety.

Behind The Second Curtain Full-length, 2005

THORAZINE RUSH (USA)

The 1993 demo offers 4 songs of unimpressive heavy proto-doomy thrash metal which clings between the classic and modern trends. Repetitive guitar work, a clumsy never-changing pace, flat unemotional vocals, and a muddy sound quality make these obscures not really worth your attention.

Demo Demo, 1993
Force Feed Demo, 1995
Lost EP, 1998

THORNADO (PORTUGAL)

The debut demo sees a band playing classic thrash metal in a fast tempo with a very bad fuzzy sound and even worse unrehearsed semi-clean vocals. Later two of the guys moved to Afterdeath to take part in the recording of a much better, more modern-sounding, full-length.

Edge Of Sound Demo, 1990
Keep The Faith Demo, 1991

THORNCLAD (SWEDEN)

Thornclad offer a nice variation from the sea of modern thrash/death hybrids which have flooded the Swedish music scene in the late 90's. This is a nice look back at the 80's thrash days, with a more modern production: a nice fast headbanging stuff with sharp riffs and quite intense delivery. There are pauses where the guys slow down, and come up with cool melodies with slight gothic/melodic death metal overtones which, fortunately, are not too long, except, probably, on the slower atmospheric "The End of Sanity". A commendable debut, which unfortunately remained the band's only effort, as the two guitar players later joined the modern thrashers Corporation 187.

Coronation of the Wicked Full-length, 1999

THORNSICK (MEXICO)

Two guys from Mexico pull out retro thrash with high-strung screamy vocals which don't sound like anyone out there being quite quarrelsome at times as well. The music is energetic and brisk courting the Bay-Area above all with shades of Overkill and Anthrax. The tempo is up with a couple of more clever technical hooks added ("Games for Annihilation"). The sound quality is not very clear, but there is a lot of enthusiasm put behind the recordings, and it shouldn't be a problem for this young act to find a wider exposure later.

Games for Annihilation EP, 2010

THORON (SWEDEN)

A good thrash/death metal debut with a technical fast-paced style recalling Hellwitch and Massacra on the most inspired moments; the guys offer nice up-tempo thrashers with a German speed/thrashing flavour, too ("Hallowed Ground"). Unlike the majority of the contemporary Swedish thrash metal acts, Thoron's sound is clearly rooted in the classic period of the genre with occasional modern influences. If the band manage to keep this quality for a few more releases, the Swedish metal scene may soon have new leaders.

Return To Dust Full-length, 2006

THOUGHT INDUSTRY (USA)

Although this album could easily be described as progressive thrash, there are numerous other styles shaking hands here; I don't even want to start to enumerate them (the Rush influences are pretty well embedded, though). This is a unique sound and everyone should hear this album for himself. Despite its weird nature and the time to grow on you, this is a really striking debut. The opening "Third Eye" is probably the most straight-forward song: a cool mid-paced thrasher. "Songs For Insects" is a progressive thrash opus which will engage you in a more concentrated listen since there are quite a few things happening inside, but never leaves the thrash metal realm, and is a quite an achievement, recalling Rush. "Cornerstone" is creepy industrial thrash followed by the Voivod-ish "Daughter Mobius" which sounds like a leftover from "Dimension Hatross", and is the first sheer eclectic piece here. "Alexander vs. the Puzzle" is a very cool acoustic ballad. "Ballerina" is a 2.5-min thrash/crossover delight with a twist. "The Chalice Vermillion" is the other really complex exercise in progressive thrash, and again hits the top with the high level of musicianship displayed, although the very elaborate last part might give you a headache with the "bass-versus-leads" duel. After such a climactic effort, the remaining songs logically take a break from the progressive approach, and are more direct, featuring one more ballad ("Blistered Text And Bleeding") and the pop-ish, but entertaining "Bearing An Hourglass". The band's later works leave the thrash metal spectre completely, but retain most of the other genres.

Songs For Insects Full-length, 1992

THOUGHTS OF RUIN (IRELAND)

This young Irish outfit offers a modern mix of thrash, death and groove. By all means the all-out thrash attacks work best ("Relic", "God Complex"), but don't expect the moshing to go through the whole song since the guys are pretty eager to pack the other influences inside, too. The vicious semi-death metal vocals are at times interrupted by much better clean ones, very similar to the ones used by Burton Bell (Fear Factory, GZR). There is some alternative involved as well which "kills" the accumulated inertia previously, although most of the time the guys have no problems claiming it back ("Nothing is Sacred").

Reclaim the Throne Full-length, 2008

THOUSAND POINTS OF HATE (UK)

A cool power/thrash metal band, featuring the former Xentrix singer Simon Gordon; the style is along the lines back ("back (" of the last Xentrix offering (the one where Simon Gordon took part in) "Scourge", but more up-tempo and less groovy.

Scar To Mark The Day EP, 2004

THRACIAN (USA)

This is modern melodic thrash metal sounding quite close to Dark Tranquillity's "Damage Done" and "Haven". The guys never bother to speed things up, and the dominant approach is mid-paced with melodic stretches and balladic shades, professionally done, but kind of uneventful and one-dimensional.

Blight EP, 2010

THRAM (BRAZIL)

Modern groovy post-thrash meets more traditional metal; the vocals here are particularly worth mentioning sounding like a higher-pitched Mike Viscera (Loudness). This is not bad at all with their sophomore album clearly the better work with a more aggressive attitude and really cool crunchy riffs.

Lost Mind Full-length, 2004
Pictures of Reality Full-length, 2006

THRASH ATTACK (CHILE)

This is really a "thrash attack", and very well done at that. As with most bands coming from South America these days, the orientation is towards the German school, and these Chileans are no exception to the rule. Aggressive, intense, sometimes very fast riffs attack you from all sides, unfortunately for a very short time as the number of the tracks on this demo is only six. Chile may have its new thrash metal leaders soon...

Only the Forces of Metal Will Live Demo, 2005

THRASH BRIGADE (ITALY)

A raw, noisy brutal mix of hardcore, thrash and grind; short tracks with screechy, rusty vocals, and simplistic, distorted guitars.

Split Split, 2007

THRASH COMMANDERS (MEXICO)

This music is not for "posers", folks: this is intense retro thrash/crossover with not very suitable deathy, shouty vocals. The guys bash with passion, but the drummer tries to impede their efforts by giving the drums a very noisy, hollow sound, coming straight from his grandmother's saucepan. Otherwise the delivery is energetic, despite the noisy background, also reflected in the buzzy guitar sound. This is hardly the most "brutal thrash", like one of the song-titles suggests, but could certainly create a sizeable moshpit anywhere.

No Posers Demo, 2011

THRASH FORWARD (USA)

The band name won't keep you guessing what the name of the game is; well, it's a bit misleading, since this is not aggressive thrash, but more laid-back thrash/crossover with short 2-min tracks. The tempo is quite fast, and the guys come up with cool melodic guitar lines and leads. Although this is not heavy intense music, it is quite enjoyable and catchy.

Demo Demo, 1990

THRASH M (POLAND)

3 songs of energetic, sharp thrash, offering both speedy thrashers ("Hated To Death") and heavy mid-paced ("Life Is A Lie") ones; the singer is kind of annoying, with his unemotional, impassionate, mid-range delivery; a higher-pitched shouter would be a better choice.
The EP is slower, with a much more melodic guitar work, and there's no much thrash here, just 4 boring power/crossover/thrash mixtures, among which we have one called "Thrash the City", which is the softest song, and would hardly thrash a room, let alone a whole city...

Demo Demo, 2008
Thrash the City EP, 2009

THRASH OR DIE (USA)

Well, the guys don't give you a very big choice: you'll have to either thrash or... die. Judging by the music, it would be wiser to choose the 1st option, since the guys acquit themselves with brisk energetic retro thrash with forceful mean-ish vocals ala Steve Souza (Exodus). The music is pretty speedy, boasting major headbangers, like the ultra-speedster "Zombie Assaalt", which shares quite a bit of the uncompromising, venomous style of 80's Hirax. "The Return Of The Thrash Lord" and "Doppelganger are clever, more technical exercises in spinning Germanic speed/thrash, but direct raging, proto-death pieces ("Fistfucking Metal") work almost as well; check out the piercing Tom Araya-sque scream on this one. "Ripped To Pieces" turns to pure death metal for inspiration at some stage, and the closing "Wake Up And Smell The Trash" is a more relaxed thrash/crossover number. The band aptly covers all that was good from the scene back in the 80's, without having any pretensions at originality. Som eof the musicians can also be seen in the death metal acts Caligvla and Hibernus Mortis.

Poser Holocaust Full-Length, 2011

THRASH QUEEN (USA)

An all female band; the most thrashy thing here is probably the band name. While acts like Meanstreak, Original Sin and Volkana have managed to pull out some decent melodic thrash at least, these girls here haven't done it even half as good as those others. This is some very melodic, toothless heavy/thrash which I have fears recommending to hard-core thrash metal fans simply because at times you might find yourself wondering why this band have ever been classified as thrash.

Manslayer Full-length, 1985
Ashes to ashes Full-length, 1992

THRASHED (AUSTRALIA)

This band offer thrash/crossover of the unimpressive melodic variety. The songs lack the necessary sharp riffs and the energy which comes with the style, and the singer is too bad with his unrehearsed hoarse delivery. On top of that the guys insert insipid groovy moments here and there, starting to sound like minor Biohazard, or even Rage Against the Machine. They by all means deserve their deep underground status, and should better think of a name change: this one is not deserved at all, and is very deceiving.

Got Metal? EP, 2007

THRASHER DEATH (POLAND)

An underground cult Polish band who deserved to make it big back in the old days, simply because their music was really good: speedy thrash metal akin to Rigor Mortis or the Germans Toxic Shock although at times the sound acquires a more brutal proto-death character.

You Must Kill Demo, 1987
Women Die Demo, 1988

THRASHER QUARTETO (CHILE)

Based on the Live Promo, these guys unleash vicious aggressive thrash in the first half often clinging towards death metal, which could be compared to early Kreator ("PLeasure to Kill", above all). In the 2nd half the variety is bigger with one song going towards Slayer: "Penetration In The Shadows", one covering Testament's "Over the Wall", and one covering D.R.I.'s "Suit And Tie Guy", both very faithfully done. The singer should be fired, though: his rending hysterical shouts would be hard to match even by the most psychotic asylum patients.
"The Promo/Rehearsal/EP is a more controlled tribute to the classic school, fortunately all-instrumental (this vocalist, guys, is really bad) offering fast intense stuff close to Rigor Mortis and the early Devastation efforts (think "Signs of Life") suffering this time from the bad buzzy guitar sound.

Promo Rehearsal EP, 2007
Thrash 'Till Death II (Live Promo) EP, 2008

THRASHETA (CROATIA)

These modern groovers hardly deserve their promising name offering pretty blang groovy post-thrash which comes with a very abrasive guitar sound and awful semi-shouty vocals. The music is pedestrian and uninspired often branching out into stoner/doom, hardcore, and more.

Dark Enemies Demo, 2010

THRASHFIRE (TURKEY)

This 3-song demo offers excellent speedy retro thrash in the vein of Kreator, Destruction and the Canadians Sacrifice. This is fast intense music with meaty sharp riffage and good screamy vicious vocals coming as a mix between Schmier and Rob Urinari (Sacrifice).
The full-length debut contains the 3 songs from the demo, adding another 9 for the creation of an enjoyable retro thrash roller-coaster, with the word "thrash" featured quite a few times in the song-titles (see the album-title, too), so it shouldn't come as a surprise the pretty high speed of the proceedings, the overall approach reminding of the Japanese Fastkill more than just passingly; and Kreator's "Pleasure to Kill", from the old "dogs". "Hell Performance Hall" is more relaxing with its more moderate semi-galloping rhythms, with "Dead Collector" coming close in this sense, with its pleasant Oriental hooks and semi-technical leanings. The rest races with the speed of light at times, creating numerous headbanging moments for the thrash metal fans. There is "no mercy" shown, but there is "no pain" felt here, either, like one of the song-titles suggests...

Promo Demo, 2007
World Domination Promo EP 2010
Thrash Burned The Hell Full-length 2011

THRASHFUSION (SPAIN)

A fairly interesting piece of technical thrash which despite occasional modern elements manages to still sound quite classic. The music is mostly mid-paced with heavy technical riffs which sound slightly mechanical, and will remind you of the Swedes' Rosicrucian's debut album, the Americans Punisher, and Coroner's 90's period. "Victim of Your Own" is an intermission: a quiet peaceful instrumental with a cool acoustic guitar, among other instruments, which is probably a bit too long for its function (6.5min). After it the music kind of loses its appeal a bit, and starts sounding more groovy, but all is forgiven on the last track: "Shadows", which jumps on the thrash/death metal wagon producing great technical riffage last heard on Pestilence's "Testimony of the Ancients".

Experiencia Suicida Full-length, 1994

THRASHGRINDER (FINLAND)

Based on the full-length, this band plays energetic retro thrash with several more aggressive blasting passages; the overall approach recalls the Swedes F.K.U. quite a bit also sharing some of the crossover aesthetics of Municipal Waste. The pace is pretty fast even reaching Slayer extremes ("Invisible War") at times, and overall the guys thrash with force with sharp direct riffs and the casual melodic hook. There are a couple of heavy stomping breaks as well ("Failed Future"), plus the odd short hardcore bomb ("We Don't Get It"); an unpretentious jolly take on the good old sound. Some of the band members play more aggressive music with the death metal act Goresoaked and the black/death metallers Mensura.

Unjustifiable Dice of Violence EP, 2009
Seeds of Revolution Full-length, 2010

THRASHIN' IN THE STREETS (USA)

This album will hardly make you "thrashin' in the streets" as most of the time this is hardcore/crossover ala D.R.I. with short light-hearted songs and hoarse vocals. The music is more on the melodic side, and although it doesn't lack energy, does little to justify the band's very promising name.

Season of Evil Full-Length, 2006

THRASHLINE (INDONESIA)

This is a softer version of the good old thrash/crossover, the more aggressive shade provided by the throaty, hysterical black-ish vocals. The bass support is admirable, standing head-and-shoulders above the simplistic, uninspired guitar approach. "Monoton" is a worthy stomper, but the rest would hardly help the band carve a sure-handed "thrashline" in the Indonesian underground; and not only because that same line has already been carved by the legends Betrayer, where two of this band members used to play earlier, and who have whole 5 albums released so far.

Kontrol Sosial EP, 2004

THRASHMOGILA (RUSSIA)

These Russians play retro speed/thrash with an abrasive guitar sound and irritating synthesized vocals. The guys "court" stoner/doom, ballad, crossover along the way keeping it simple and straight-to-the-point.

Karat Demonicheskoi Kirkoi Full-Length, 2009

THRASHOCK (MEXICO)

An act who walk in the shoes of the retro movement with borrowings from crossover/hardcore to produce a diverse effort with a lot of headbanging moments which mostly suffer from the dirty fuzzy guitar sound, but wins points from the vocal department where the guys delivers with forceful semi-clean vocals.

Demo-lition Demo, 2010

THRASHOLD (USA)

The band name doesn't lie: this is speedy thrash with a hardcore touch, resembling Tankard, but these guys slow down more frequently, and the singer has the detrimental tendency to scream, which is not the most suitable way to fit this kind of music.

Hold Til'Death Demo, 1990

THRASHOMATIC (CANADA)

Old school power/speed/thrash metal with an early Metallica flavour mixed with a more laid-back heavy/power metal approach ala early Laaz Rockit and Grave Digger. The middle is kind of underwhelming, though: 4-min of constant drumming titled "In For The Kill", which splits the EP into two parts.

Unexpected EP, 2008

THRASHSTEEL (MEXICO)

"Thrash steel" from Mexico; semi-jumpy mid-tempo stuff with echoes of mid-period Overkill which shreds with mote might ("The False Witness") on occasion, and even with technicality ("Thoughtcrime"; the cleverly executed puzzler "Deus Ex Machina") on the longer numbers. "Big Brother" is a stylish exploration of the bass role in a band, accompanied by cool leads and cutting riffs; and the closing "Stained With Blood" is a sharp speed/thrasher with a good chorus, with Overkill again a pretty close soundalike. The singer is a forceful semi-cleaner, whose antics are a nice companion to the edgy musical approach. The album is only 6 songs, though, and doesn't quite reveal the band's full potential, since both in the technical and speedy department there are just hints here and there.

Thoughtcrime Full-Length, 2011

THRASHTANICA (GERMANY)

Thrashy rock'n roll similar to the Tom Angelripper projects Desperados and the one under his own name, and, of course, Motorhead. The music is very simplistic without any high musical aspirations. This is jolly-good stuff which has its edgy headbanging moments ("Satan", "Thrash"), and it would be a good background for some drinking thrash party.

'till the Bottle is empty Demo, 2007

THRASHTORNO (PERU)

Based on the "Comando Thrasher" demo, this act plays well-constructed retro speed/thrash metal in various tempos ranging from all-out thrashers ("Dethrash de Ti", the lashing title-track "Comando Thrasher") to more melodic melancholic pieces ("Immortal"), to pure speed metal delights ("Invasion"). The 80's German scene is well covered including in the vocal department where the singer comes as a more screamy higher-pitched version of Schmier.

Thrashtorno Mental Demo, 2007
Terrible Death Demo, 2008
Comando Thrasher Demo, 2010

THRAW (SLOVENIA)

Based on the "Encephalic Oppressions" demo, these guys resurrect the hectic technical style of the early Flaming Anger demos to a really impressive effect. "Pandemic Reflection" is a brilliant speed/thrasher constantly alternating between fast direct and swirling technical moments. "Condemnation" is another headbanging smasher, and "Mage's Rage" is even more fierce moshing out in a more controlled technicality-wise fashion. Then "Obscene Anatomist" finally shows mercy slowing down, but just in the beginning; the second half is fast frantic speed/thrash again a bit more straight. "A Piece Of Madness" is truly "a piece of madness" mixing the two tendencies as a finishing touch with the obligatory twisted breaks in the middle, and the more intense up-tempo passages circling it around. Flaming Anger kind of failed to extract the best out of their early efforts on their full-length, and hopefully the Slovenians will not repeat the same "mistake".

Thraw Demo, 2007
Injecting Hate Demo, 2008
Encephalic Oppressions Demo, 2009

THREAD WORM (JAPAN)

Looking at the guys' photos, one would hardly be very encouraged to give their only effort a listen: their outlook is no different from the one of the hundreds of glam acts swarming the metal scene in the 80's. And he will make a mistake, as traditionally the looks deceive: these guys (could be girls?!) unleash very good intense retro thrash. Their album was produced by Hisayoshi Hiraga- the ultimate vocal guru in Japan, having sung for Rosenfeld, Aion, and Manipulated Slaves, among other non-thrash metal acts. The band starts thrashing with full force from the get-go, with "Play Only" and "D.I.E.", before "Beyond The Future" tones down the speed adding both heaviness and a certain amount of technicality, recalling their compatriots Outrage and Metallica. This 9-min pounding monster is a nice slab of more thought-out metal, but after the following "Inferno" thrashes its soul out one knows that those short blitzkrieg numbers are the more preferred side, and fortunately "Parasite" is another direct bombastic thrashterpiece. "Limited Life" is a satisfying aggressive proto-death track, before "Low Brow" slows down a bit with meaty smashing riffage. The closing "Beauty And The Beast" is brutal super-fast thrash ala early Sadus, putting an end to this very obscure, but valuable, addition to the Japanese scene of the 90's, which only drawback would be the unemotional synthesized shouty vocals.

Parasitism Full-length, 1995

THREAT (BRAZIL)

Based on the full-length debut: this band offer quite generic groovy power/post-thrash which borrows heavily from the 90's scene, and more particularly Machine Head's unimpressive period (1999-2004). The music loses its edge quite often, and will also remind you of Anthrax's alternative period. There's hardly anything here which you haven't heard before.

Threat Demo, 2002
Special Edition EP EP, 2003
Headswitchcraft EP, 2005
Heaven To Overthrow Full-Length, 2007

THREAT (COLOMBIA)

The heavy stomping opener "Darkness Of The Death" doesn't promise a very big fun for the classic thrash metal lover, but soon after the band show their teeth with the energetic speedster "World Destroyed", but it sadly remains the only one of its kind, the rest returning to the heavy doomy sound, with only the closing "Instrumental" livening up in the middle with a fast brutal melo-deathy portion of riffs which come accompanied by very good screaming leads. The singer hesitates between a subdued black metal-styled delivery and a more vicious lower-pitched one akin to Mille.

World Destroyed EP 2010

THREAT (USA)

Based on the 1988 demo, these guys offer quite cool thrash reminiscent of Anthrax, with meaty sharp headbanging riffs, and good clean vocals ala Joey Belladonna. The difference is that, unlike Anthrax at times, this band are not fond of any fast sections, and keep things in the mid-range department, but this is hardly a compaint at all since the music is good, and some technical licks could be heard here and there ("Brain Dead"). The sound quality is crystal clear, and with the musical proficiency displayed here it's a mystery how this band passed unknown.

Demo Demo, 1988
Demo Demo, 1990
Threat Demo, 1991

THREAT LEVEL (USA)

Based on the debut, these folks pull out groovy post-thrash of the more energetic variety which indulges in meaty hammering riffs the latter acquiring some interesting semi-technical tendencies on occasion ("Jawbreaker"), and generally few will be those dissatisfied with this jumpy invigorating take on the 90's trends which starts thrashing with passion at some point ("This Hateful Eye", the excellent closing speed/thrasher "On The Rise"), supported by the predictable shouty vocals which may be the only unmitigated downpoint here.

A World Beyond Devastation Full-length, 2008
Leading The Vicious Full-length, 2010

THREAT SIGNAL (CANADA)

An intriguing debut of dry, mechanical, technical modern thrash reminiscent of the more comprehensible, earlier Meshuggah period, and later period Obliveon. The music has a strong industrial edge, and the singer is not a very pleasant hardcore shouter, but fans of the aforementined bands, as well as those who enjoy the harsher side of industrial metal (think the Canadians Soulstorm, Fear Factory, Puncture) will find a lot to like here.

Under Reprisal Full-Length, 2006

THRESHER (USA)

A Christian power/thrash metal band; the style is in the vein of early Deliverance. Songs like "Final Frontier" also bring them closer to classic Christian heavy metal bands like Bloodgood and Barren Cross.
These veterans are back on the scene, and this time they manage to release a full-length, which sounds pretty old school, with early Deliverance again being the main influence, plus the more thought-out side of the Bay-Area (Metallica, Testament). The songs are longer mixing crushing mid-tempo sections with intense speedy ones. The opener "Sanctuary" combines both sides in a cool way, thrashing hard, but "Faith Awaken" concentrates on the stomping heavier side, sounding quite close to late-80's Metallica. "Amazin Grace" could be viewed as the filler, a clumsy proto-stoner number, fully cancelled by the furious, but complex, thrashing on "Here I Am". "Altar of Sacrifice" is not a Slayer cover, but is the other unmitigated failure, being slower power/thrash metal, recalling the milder half of the demo. No more setbacks of the kind, as the 3 remaining numbers mosh out in an intense fashion, adding this effort to the better comeback albums of recent times, also strengthening 2009's reputation as "the year of the comebacks".

Totally Possessed Demo, 1989
Here I Am Full-Length, 2009

THRESHOLD (FRANCE)

A solid take on progressive thrash metal; the guys vary things from more aggressive parts to haunting atmospheric passages. The style is not too far from the works of the bands from the progressive/technical thrash metal wave which started in Germany at around the same time, but the guitars here are heavier and more aggressive, and the music is maybe a bit less adventurous, and at quite a few places the guitars thrash quite intensely: check out the smashing "Heady Steams", or the fast technical thrasher "Mother Country". The songs are "ornated" with acoustic passages and more quiet moments of a varied nature, which are accompanied by eerie chants the latter nicely contrasting to the sharp aggressive guitars. This is a really engaging listen which will also make you headbang on quite a few moments, a perfect combination of though-out and intense music. The singer is the disappointment here with his low-tuned, gruff, muddy vocal delivery.

Within The Expanse Full-length, 1991

THRESHOLD THREAT (RUSSIA)

Melodic alternative post-thrash with progressive pretensions, but the balladic leanings (there is one pure ballad in the end) and the soft riffs may not delight the regular thrash metal fan. Funky and industrial overtones have also been added here and there, and "At Deadlock" may remind you of Mordred's "In this Life".

Demo Demo, 2007

THRINA (GERMANY)

Modern thrash/death with plenty of melodic hooks, and rough shouty death metal vocals; there are sparce more aggressive blasting sections, but generally the laid-back tone of the album is seldom broken, and the guys' sense of melody should be acknowledged (check out the melodic hooker "Kamerad" and the more engaging, longer "Fruhlingswandern"). Not very desirable metalcore breaks sneak on "An Hutten" and elsewhere, but overall this is a not such a trite listen, having its more ineresting moments here and there.

Vertonte Zeilen Full-Length, 2011

THROAT VIOLENCE (USA)

This 2-song EP sees a band mixing thrash and death metal offering both fast aggressive and slower heavier moments; the sound quality is poor, but the guitars can still clearly be heard as well as the gruff forceful vocals ala L.G.Petrov (Entombed).

Throat Violence EP, 2007

THROES OF PAIN (SPAIN)

These Spaniards pull out pedestrian modern thrash with very brutal death metal vocals, which surprisingly sound intelligible. The tempo is too cleepy for such a release, though, and the really bad clean vocals should be removed for the future. The guitars chug in a derivative mid-pace, producing little excitement, but a lot of boredom.

Insanity EP, 2011

THRONE (SERBIA)

Primal raw black/thrash metal mixing the energetic barrage of early Bathory with the cold misanthropic doomi-ness of Khold. Both sides are put together on almost every track, with only "Nocturnal Ritual" raging on until the end also bringing Burzum to mind. The singer is a scary rasper whose delivery is pretty comprehensive despite the noisy background.

Into the Grimness Demo 2009

THRONE OF SERPENTS (USA)

Cool classic power/thrash metal with stylish lead guitar work which overshadows the simplistic riffage. The music ranges from all-out thrashers ("Breath of Pestilence", "The Last Nail") to power/speed metal numbers in the tradition of the 80's American scene ("Beneath the Surface"), to cool balladic moments ("In the Throes of Mourning...Sorrow Envelops Me", "Of Obsession And Pain"). The singer is not an asset with his indifferent unrehearsed voice who sometimes completely loses his blend.

Baptized in Blood Full-length, 2007

THROUGH THE FLESH (USA)

Based on the 2nd demo, this trio plays a surprisingly modern-sounding for those early times groovy mix of power and post-thrash, with a healthy portion of doom. The compositions are long, a bit boring, with a slight alternative edge as well, livened up by the good clean vocals ala Joey Belladonna.

Nails Demo, 1990
Wounds Demo, 1991

THROWDOWN (USA)

Based on "Deathless", this band offers a melodic brand of the so popular 90's aggro-thrash, although the riffs crush well, by being quite catchy at the same time, but the approach is pretty derivative recalling Machine Head (their various periods) quite a bit with a few stoner nods towards Down. Still, some headbanging surprises "roam" around ("Headed South"), and the vocals are suitably angry with a cool melodic blend as well, not far from Phil Anselmo, although the clean tember, which interferes from time to time, could have been spared, despite its similarities with the more recent James Hetfield singing style.
"You Don't Have to Be Blood to Be Family" is more relaxed music-wise, sounding less angry, with elements of metalcore settling in. The groove is not as eventful, and often drags with heavy repetitive riffage.

Throwdown EP, 1999
Beyond Repair Full-length, 1999
Drive Me Dead EP, 2000
You Don't Have to Be Blood to Be Family Full-length, 2001
Face The Mirror EP, 2002
Haymaker Full-length, 2003
Vendetta Full-length, 2005
Venom & Tears Full-length, 2007
Deathless Full-length, 2009

THROWER HATE (POLAND)

The thrash/death metal crosso had been ruling supreme at that time, so one shouldn't be surprised hearing an intense, but also atmospheric, blend of the two genres ala Benediction and the Swedes Unleashed with gruff low-tuned vocals. The guys lose it near the end, with a few vicious blasting sections on the otherwise not bad complex "Kolorowe Zycie" (watch out also for the merry tunes finishing it), but overall this is not bad if we exclude the raw sound quality which makes the guitars noisy at times, deafening the other instruments.

Mosaic of Death Demo 1992

THRUSTOR (USA)

This is the new band of the Sardo brothers (Phil & Tony) who released a solitary demo in the distant 1983 under the name Spectre, one of the ealiest speed metal-fixated efforts from the American scene, which remained in the anals as the place from where John Cyriis (Agent Steel) started his career, and where one can hear the demo versions of two of the best songs from the Agent Steel catalogue: "Taken by Force" & "144,000 Gone". This album is not so deeply immersen in speed, if at all, but offers decent power/thrash clinging between the modern and classic trends. The more vivid moments are the re-mastered version of their first composition "Sceptre", also featured on the Sceptre demo, and the 80's American speed/thrasher "Night of Fire"; "Fire at Will" also "fires at will" more aggressive faster riffs on occasion, but most of the time the music is mid-paced and heavy. The bonus material at the end is in the form of the original "Sceptre", where one can again appreciate this primal spontaneous slab of early speed metal, and the nice galloping power/thrash instrumental "Baptized in Blood", also composed in 1983, and quite a pioneering piece for that period, but not released anywhere until this time.

Night of Fire Full-length, 1999

THUNDER LORD (CHILE)

Based on the "Thunder Attack" demo, this band play good classic speed/thrash metal ala Warrant, Tyrant (Ger) (similarities in the vocal department with this band as well) and the first Paradox album. The music is not very fast, and sometimes recalls the 90's speed/power metal scene, but there are enough cool thrashy guitars to keep the thrash metal fan concentrated.

Thunder Attack Demo, 2004
Thunder Strike Back Full-length, 2005

THUNDERBLAST (COLOMBIA)

These guys were formerly known as Sidereal, under which name they released two demos fo classic power/heavy metal in 2001. Based on "Invaders from Another World", the style has shifted a bit towards a more hard-hitting delivery with touches of speed/thrash, but there is at the same time a certain amount of cheesiness sneaking here and there, an obvious nod to the 90's power/speed metal movement which infuses the album with plenty of catchy melodies, for better or worse. "Invaders From Another World" provides heavy shattering riffs, and "When Zombies Rise" is a sharp cutting mid-pacer, but the real thrashy highlight here would be the short blitzkrieg "bullet" "Mutate". there are a few speed metal joys to be heard, and as a whole this is not a bad effort on the softer side of the genre, also supported by very good clean dramatic vocals.

Warzone Full-length 2004
Invaders from Another World Full-length 2011

THUNDERHELL (VENEZUELA)

A capable cross between modern and classic thrash with playful speedy rhythms, becoming heavily groovy ("Murderer") on occasion, with "Southern Whorehouse" being a nice tribute to the rock'n roll boogie of Motorhead, suatained in a good Southern vibe, with an appropriate half-sober vocal support.

Hate EP 2010

THY GATE BEYOND (ITALY)

The album title won't keep you guessing what the name of the game is here. With their two releases, this band established themselves on the front row of Italian thrash metal, showing that they really possess the power to thrash, and in quite a good way at that: vintage Bay Area sound, with early Testament being the prime influence. Straight head-banging thrashers ("Art Terrorrist") are mixed with some impressive technical pieces ("Our Lady of Lunacy").

The Power To Thrash Full-length, 2003
Survive at Last And You'll Be the First Full-length, 2006

THY WILL BE DONE (USA)

"Was And Is to Come": typical modern thrash/death metal; despite more intense death metal parts, the music is not very aggressive, and the guitar work is quite melodic and catchy. "In Ancient of Days" is in the same vein, maybe a tad more melodic and groovier, with a more frequent adherence to straight thrashy sections ("Ex Morte Vita", "A Solemn Oath"), and with fewer death metal leanings.

Was And Is to Come Full-Length, 2007
In Ancient of Days Full-length, 2009

THYABHORRENT (NORWAY)

This band, previously known as just Abhorrent, was formed by Stian ``Occultus`` Johansen, who had a short spell with the black metal legends Mayhem, replacing the committed suicide Dead (R.I.P.). This 3-song EP offers an evil mix of black and thrash, which recalls early Mayhem at times, but is closer to bands like Bulldozer and Bathory. "Condemnation" is a good mid-paced thrasher, with sharp riffs, whereas the other two songs are more chaotic, jumping from one extreme to the other. Two vocal styles cross paths: one a low death metal grunt, the other a vicious black-ish rasp.

Death Rides At Dawn EP, 1991

TIANANMEN (AUSTRIA)

Based on "The Irony Of Fate": we have whole 16 tracks here, but this is not thrash/crossover; the songs are long-ish, and have been "infected" by the modern sound of the time. With so many compositions at hand it's hard, of course, to talk about a homogenous style, so different parts from this album will take you diferent directions: Metallica's Black Album, mid 90's Overkill, 90's Prong, 90's Accuser, alternative, Pantera of course, even touches of grunge; quite a mixed bag. The classic thrash metal fan would not be able to enjoy this stuff very much, but there is a lot which could appeal to the metal fan in general.

Tiananmen Full-length, 1995
The Irony Of Fate Full-length, 1996

TIBERIUM (UK)

A 3-song demo of heavy thrash sounding like a mix of early Celtic Frost, Onslaught and Venom's more recent period, after the reformation in the late 90's. The music is not very fast, but the riffs pack a punch, although being of the simplistic type, ably supported by vocals which offer another blend of the aforementioned bands (Tom G. Warrior and Cronos).

Demo Demo, 2007

TIBERIUS (POLAND)

Typical modern post-thrash of the laid-back melodic variety, in mid-pace, with cool clean vocals awkwardly intercepted at times by brutal death metal ones. If you manage to adjust your senses to the peaceful tone of this effort, you will actually enjoy these catchy tunes which produce a couple of memorable melodic passages and choruses.

Born Hope EP, 2010

TICKET TO HELL (MEXICO)

A thrash/death hybrid, with a more classic edge; the music mixes furious blast-beats with cutting thrashy riffs. The tempo is predominantly fast, leaving a little room for heavy, stomping numbers, like "Eyes Of Fire".
"Operation: Crash Course" is an intense affair blending thrash and death metal, both of the direct and more technical type. To these ears the slower numbers deliver in a better way ("Bluescreen Circus") carrying a curious epic shade with them ruined by the thin guitar sound which is particularly annoying on the leads which scream sky-high starkly contrasting to the brutal low death metal vocals. Some of the band members are also involved in the much slower doom/death metal outfit Majestic Downfall.

Man Made Paradise Full-length, 2008
Operation: Crash Course Full-length, 2010

TICKLE (USA)

This obscure act is a typical product of the 90's, providing the next in line portion of all the 90's styles: groove, industrial, alternative, grunge, rap-metal, and everything in-between. There are times when the music thrashes quite sharply, but be sure that the next eclectic deviation is not too far. Still, there is no other band from their contemporaries to sound exactly like them; if you can imagine a blend of Faith No More, Clawfinger, Mordred, Biohazard, Pro-Pain, Prong... do I have to go on?

Tickle Full-Length, 1997

TIDAL WAVE (UKRAINE)

These guys aim at the more technical/progressive side of the genre, and waste no time, raising the complexity to a considerably high level, with the 11-min opener "Home of Death", which despite somhe intriguing moments ala early Testament, loses momentum with an overlong softer interlude and a couple of sudden more aggressive outbreaks. This opus is followed by much less complex and immediate material, which lacks any more technical moments, and is nothing really special. "Crazy Scientist" comes in the middle to increase both the complexity and the intensity, but the awkward bluesy/jazzy tunes inside ruin the intentions. The ballad "Don't Regret" is cool, though, but make sure to skip the other one: the overlong closer "Say NO Yourself", which is a total waste of 12-min, and does nothing to add up to the metal mood of the album, except for an even more embarrassing speedy part at the end. As a whole we have a very uneven effort which more inspired moments are hopelesly buried in the average unfocused rest.

Poison Of Sorrow Full-length, 1997

TIEFLADER (GERMANY)

Based on the full-length, this band offers a mix of groove, hardcore, and post-thrash. The guys, however, fail to come up with the best from the hardcore side never speeding up feeling comfortable enough to stay in boring mid-paced waters with rare borrowings from stoner/doom.

Hält nicht an für Dich EP, 1999
Ganz aus Metall EP, 2001
Schneller als du Denkst EP, 2003
Steht unter Strom EP, 2003
Geht Durch Die Wand Full-length, 2009

TIGER JUNKIES (JAPAN)

This band is a joint effort of Joel Grind (Toxic Holocaust) and Yasuyuki Suzuki (Abigail), so expect nothing too different from the black-ish thrash of those two bands. This is energetic melodic stuff exiting the thrash metal field at times ("It's Fucking Happy Time"), and finished with a cover version of Abigail's "Satanik Metal Fucking Hell". Oh, and let's not forget another, better one: The Exploited's "Porno Slut", which is the most aggressive track on the album.

D-beat Street Rock N Rollers Full-length, 2008

TIMEBOMB (ITALY)

Based on "The Full Wrath of the Slave", this band plays decent hardcore-ish thrash with both modern and classic overtones entwined on almost every track topped by brutal death metal vocals of the inteligible shouty kind. The guitars deliver with a nice cutting edge aptly avoiding any dragging groovy moments opting instead for a smashing steam-rolling sound on the slower passages.

Fury EP 1994
Hymns for a Decaying Empire Full-length 1996
The Beat Is Here, Fellas Full-length 2001
The Full Wrath of the Slave Full-length 2003

TIMELORD (USA)

Based on the full-length, this band come with a potent mix of the basic metal genres: power, speed and thrash. The cheesy moments from the power/speed metal scene are all over the album, and although the musicianship is on a high level, the speed/power metal fans will probably be happier with this one; actually the overall sound is not too far from the Germans Scanner, only edgier. "Sparks of Rebellion" is a nice "spark" of a more thrashy song-writing, being a nice speedy killer, and "The Alchemist" is another good more technical speed/thrasher, but the guys have a long way to go before they reach the best models offered by acts playing similar mixtures (Hellfire, Manticora, Eidolon, etc.).

Dawn of Dissent EP, 2005
Dawn of Dissent Demo, 2005
Regeneration Full-length, 2007

TINIEBLAS (VENEZUELA)

Both albums offer good classic thrash metal, at times quite fast and aggressive akin to Destruction and Paradox, at times more melodic, recalling Hermetica and Horcas. Don't get misled by the epic length of some of the songs: this is straight-forward stuff, without any technical pretensions; simplistic and enjoyable.

Consagracion Full-length, 2002
Hijos Malditos Full-length, 2003

TINNITUS (FINLAND)

Based on the "Hadopelagic Zone" 3-track demo, this act offers a complex blend of thrash, death and black metal which has its moments when the guys don't blast like demented ("To Deflect The Asteroid"), but come with clever technical decisions. The latter are featured on the slower numbers ("Hadopelagic Zone", which is a cool creepy atmospheric number), and are kind of undeveloped since a more energetic approach could have made them stick out more. Well, the band have been on an 8-year long hiatus; it doesn't hurt to test the soil first before embarking on another longer journey...

Iron Will Demo, 1998
Veritas Single, 1999
2000 Years Single, 2000
Human Creation Single, 2002
Hadopelagic Zone Demo, 2010

TIPPER GORE (USA)

Based on the "Driven By Terror" demo, this act, who rose from the ashes of the thrash/crossover heroes Axite, provides a pretty decent blend of power, speed and thrash metal which rips with sharp edgy riffs and varied tempos among which the up galloping one is very well incorporated ("Infernal Inferno", "Puppet Regime"), and applied frequenlty to a positive effect. "Untold Truth" is a raging speedster with early Kreator an obvious influence, and "Death Watch" is a cool nod to the Bay-Area. The vocals are forceful semi-declamatory ones which get the message through without much actual singing.

. Demo, 1989
Driven By Terror Demo, 1989
Demo Demo, 1990

TIRAN (RUSSIA)

The full-length debut: old school speed/thrash metal with hysterical semi-black metal vocals mixed with very low-tuned death metal ones; not a very convincing mixture, and as such fails to deliver the whole time. In the music sector there is also a hesitation between death and thrash metal the battle being won by thrash metal to which belong the better songs: the atmospheric, but also fast "Provokator"; the intense Germanic speed/thrashers "S.O.D.O.M." and "Panzer, Vorwarts!"; the chaotic frantic "Panika". The end is preserved for a cover version of their compatriots Korrozia Metalla's biggest hit "Russian Vodka". Cheers!

"Reborn Chaos" is a more capable follow-up thrashing intensely with cool melodic insertions, now the vocals turning into vicious raven-like ones, but fitting well into the speed/thrashy picture which slows down for the stylish progressive "Travlia" in the middle, a mid-tempo number with very good bass support. "Forever Unerground" after it is 2-min of fast agressive thrash mixed with heavy stomping moments which transforms into the faithfully done cover of S.O.D.'s "United Forces". Time for more thought-out technical thrash with "Reborn Chaos", a mostly instrumental piece, again with fine melodies, gracefully finished with the peaceful flute-driven outro "When Dawn Comes...". The musicians also have another project, the epic heavy metal act Chernye Serdca.

Proklyatie EP, 2007
Demonia Full-length, 2009
Reborn Chaos Full-length, 2011

TIRANT SIN (USA)

Based on the "Mutant Supremacy": this is the band which later evolved into one of the greatest death metal bands of all times, under the name of Cannibal Corpse. It's interesting to hear the early attempts at singing of Chris Barnes, who here takes it easy content enough to let loose some sinister semi-whispers, which actually work quite well with the fast aggressive thrash/proto-death metal riffs. "Mutant Supremacy" offers nice melodic lyrical deviations, among the furious riffage; "Exhausted" slows down, mixing dark guitars in the early Celtic Frost vein with more intense up-tempo thrashing; "Crucified in Blood" is a great mid-paced crusher, ornated by cool female vocals, again in a Celtic Frost ("Into the Pandemonium") tradition; the hidden track is more of a power/thrash blend, and is the softest song here. This was quite a worthy effort, showing a band aptly testing the soil before entering the death metal arena on a full-time basis, but one could have hardly expected how far this bunch would reach...

Chaotic Destruction Demo, 1987
Desecration of the Graves Demo, 1987
Mutant Supremacy Demo, 1989

TITAN (GERMANY)

From the band's 4 demos, this is the one which relates them to the thrash metal genre. The guys try hard to sound technical and complex, compared to their straight-forward speed metal approach on the earlier efforts, which are quite good, by the way, but their musicianship doesn't suit the style, resulting in some messy tracks ("History of Terror"). The band do a much better job on the more direct thrashing pieces, like "Holy War"and "The Last Nation", which tries for some time to imitate the hectic patterns of Living Death's "Protected from Reality", but gives up just when it's about to come close. As a matter of fact, they achieve something more coherent in the technical sector with "Burning Ground", which despite its clumsy moments (some slow very complex ones, some quite sudden fast outbreaks, etc.), is an intriguing piece of more technically-minded thrash. "Crusaders of Death" is not too far behind, but there the guys fail to develop the technical moments completely abruptly switching onto direct up-tempo intense riffage. "With the Devil" is a frantic aggressive piece which, again suddenly, (these guys like to change things without any warning; maybe they are not even aware of that themsleves- ha ha!) turns to a very elaborate chaotic mid-section with a meandering lead which sounds intriguing, but leaves a certain aftertaste, as though it could have been better. Whether a work of a genius, or a hit-and-miss affair, with separate moments working better than the whole, would be to anyone's judgement; but there are definitely parts which will make you go back to it now and again, just to make sure that you haven't missed something greater on the previous listen.

Crusaders of Death Demo, 1989

TITANIUM (VIETNAM)

Thrash metal from Vietnam: not a very common phenomenon on the scene, but in this case this is hardly worth hearing. This is pedestrian boring modern post-thrash with repetitive rehashed riffs which make all songs sound very close to each other. The tempo is mid of the monotonous sleepy type, and the only good thing would be the nice melodic leads. There is one headbanging track near the end, as well as one overlong balladic closer which at least shows the musicians (and partially the singer who is hardly impressive with his mid-levelled impotent tember) in a much brighter light.

Nhìn Full-length, 2010

TITANS EVE (CANADA)

Based on the full-length: these Canadians provide modern melodic power/thrash metal with a clear sound quality and cool expressive guitars. The approach hesitates between optimistic epic numbers ("Serpent Rising") and vigorous speed/thrashers ("Tides of Doom"). The balance between the two sides is achieved to an extent although the guys feel more comfortable with the slower material which has echoes of the 80's American metal scene (Jag Panzer, Omen, etc.) on the more classic-based moments. The singer is not bad, albeit not emotional enough for this kind of music, singing in a hoarse semi-clean tone.

Into The Fire EP, 2009
The Divine Equal Full-length, 2010

TIWANAKU (USA)

This band with a very interesting exotic name (which actually has a meaning: this is a very old site in the Andes in South America, where the first extraterrestrial visitations are supposed to have been held), which at one stage included Wade Black: the singer who sang for Crimson Glory, Seven Witches, and Leatherwolf, play outstanding technical thrash/death. "Illusion" is a fabulous explosive opener boasting some of the finest technical, but also quite aggressive, riffage around plus a very interesting duel between gruff death metal vocals, and screamy Rob Halford-like ones. "Magnacore" is a more peaceful number staying within the mid-range, but in terms of technicality it goes even further, also coming with cool keyboard implements. "Shockwaves" is a great progressive thrasher with stupendous intense technical guitars seamlessly jumping from fast-paced sections to slower atmosphetic ones in no time. "What If" begins as a ballad, but later rages on in a mighty thrash metal fashion, offering the most conventional, but still quite stylish riffs. This demo serves fine as a teaser, but hopefully the guys are still around; there is a lot more to show...

Tiwanaku Demo, 2003

TME (SWEDEN)

The guys from Vintersorg, without Vintersorg, entertain themselves here playing a more classic blend of thrash and death metal, and as such offer energetic, frequently brutal sound, with blast-beats ornating almost every song, providing on the way epic deviations (“Mankind's Last Cleansing”), Swedish school nods (“Away From Decay”), heads-down thrash numbers (“Hell Incarnated”), and even pure black metal ala Dimmu Borgir (“Superiour”) with a more death/thrashy twist.

Worlds Collide Full-length, 2007

TOAST (USA)

A violent blend of thrash and hardcore, manic shreds of the less serious, punky type topped by screamy hysterical vocals. This is mostly fast, uncompromising stuff sitting somewhere between The Accused and Attitude Adjustment.

Spazz/Toast Split, 1996

TOBY KNAPP (USA)

Is it not a coincidence that two guitar wizards decide to release instrumental thrash solo albums at exactly the same year? One of them has already made a name for himself after his participation in a full-time band (Tony Fredianelli), whereas the other one was just starting his career. And what a start it is: grandiose instrumental thrash, with elements of death and a bit of power metal, with a constant interchange between fast and slower sections. Toby Knapp's style is more furious and aggressive than the one of the Apocrypha mainman, with more frequent time changes and very wild guitar shredding; it has to be heard to be believed.
Knapp toned it down considerably on "Infinite Opposition" which was much softer heavy metal shred with very little from the raging flamboyance of the debut present. Less than a year later he came up with a band: Darken under which name he released one demo and one EP of pretty good technical death metal. This project was very short-lived replaced by the man's new act Onward with whom he moved onto much more melodic stuff paying tribute to the 90's power/speed metal scene with 3 albums released so far. In the meantime, to keep himself busy, he plays in two other bands: the death metal-based Godless Rising, an excelent guitar virtuoso-inclined act, and Seeking Obscure, and also founded the black metal outfit Waxen which is virtually one man: Toby Knapp himself playing all the instruments. He never forgot about his solo career, though, and kept on releasing works under his own name: "Polarizing Lines", an almost purely instrumental effort of laid-back progressive metal shred with two more intense speed metal pieces; and "Misanthropy Divine" which is close to the Onward style, just heavier and more complex with nods to thrash (check out the awesome bonus track "Misanthropy's Reprise": technical instrumental thrashfest at its best), also featuring vocals courtesy of Dean Sternberg from Into Eternity.
The year is 2010, and Knapp is ready with another solo effort which sees him returning to a more aggressive thrash territory, but don't expect the wild brutal shred from the debut; still this work delivers on all counts. The opener "The Campaign" is a great way to start the album being instrumental power/thrash in mid to up-tempo with excellent leads. "Conspire" is vintage galloping speed metal also introducing the good clean mid-ranged vocals which are featured on half of the tracks. "Towards Power Unimagined" is another all-instrumental track, very cool technical power/thrash with hard-hitting and mellow parts alternating the whole time. "We Are Legions" is a more brutal affair starting with vicious death metal vocals later developing in a good technical thrash/death metal fashion staying in a heavy mid-tempo. "Telekinesis" is brilliant technical thrash, all-instrumental again, with plenty of hooks both technical and melodic. "Wicked" will make you grit your teeth being a very bland pop-metal piece which doesn't have place even on a Cinderella album (I can not stop wondering why so many bands keep ruining it all by including the very odd totally misplaced number in an otherwise excellent release; the examples are too many...). After you skip this non-sense, you'll come across "Reanimation", a furious black metal-laced composition with technical thrash implements and suitable husky black metal vocals. "Plutonium Race" is another all-instrumental tribute to the 90's power/speed metal scene, a very enjoyable diverse piece. The final "Lack of Inspiration" is heads-down headbanging thrash of a more ordinary nature, with vocals again, a nice mosher with Bay-Area overtones. With Onward no more Knapp may focus more on his solo career now which should be only beneficial to the fans judging by the high diverse quality of the material on offer here.

"Polarizing Lines" is another very good effort with more concentration on power and speed metal, purely instrumental, with Knapp delivering in a way no worse than Yngwie Malmsteen and Marty Friedman (although to these ears his style is the closest to Steve Vai, only faster and heavier) providing loads of brilliant melodies and hooks. There are also quite a few riffs to enjoy apart from the guitar lead-based wizardry, especially on the speed metal delights "Polarizing Lines" and "Wizard Archer"; watch out for the awesome speed/thrash shred "Stormraising", which will "raise" more than just a "storm" around you. Still, the highlight remains "Into the Quantum", one of the best compositions Knapp ever produced; it starts in a peaceful balladic fashion with great tunes, before turning into stupendous technical thrash, only to accelerate near the end in a controlled speed metal manner with the calmer beginning wrapping it up nicely as a final touch; gorgeous.

Guitar Distortion Full-length, 1993
Infinite Opposition EP, 1996
Polarizing Lines Full-length, 2005
Misanthropy Divine Full-length, 2008
The Campaign Full-length, 2010

TOE TAG (USA)

The The Accused members entertain themselves here in way quite similar to the music of their main band; it turned out they were actually warming up for the The Accused comeback release "The Curse of Martha Splatterhead" with this band, although as of present this act is still active. This stuff here is more melodic with more aspirations towards crossover/hardcore, but the same tongue-in-cheek attitude is introduced. Some more sharpness could have been added to the proceedings, though: now the sound "cries out" punk as well at times, in a manner not far from The Offspring.

Machete Killah Single, 2007
C.S.M.F.D. EP, 2008
Piss Boner and a Handful of Dirty Words Split, 2009

TOKKATA (GERMANY)

Great progressive thrash, which sounds like a little companion piece to the 80's works of Mekong Delta, or even Deathrow's "Deception Ignored", or Skeptic Sense's "Presence of Mind". Three of the four tracks are elaborate, but logical pieces with mind-blowing time changes, stylish riffs and great leads (they are within the 6-7min range). There are slower atmospheric moments, immediately followed by more intense technical passages, which all of a sudden turn into a more straight headbanging moment. There are some surreal melodies which could startle you on first listen because of their very unconventional nature, but this demo is a grower, and later you will find yourself liking them more and more. The shortest song: "Silent Born", which is the demo opener, is the only immediate one here being a very potent speed/thrasher in the early Angel Dust vein. These guys were perfectly in unison with the tastes of the time, and could have been one of the leaders of the progressive/technical thrash metal scene in Germany which appeared at around the same time.

David and Goliath Demo, 1991

TOKSOSTOMA (POLAND)

3 songs of cool black/thrash, quite speedy and brutal, but offering nice mixtures between raging speedy riffs and calmer less intense ones: the very nice diverse "The Emptiness Within Us", where the ultra-fast passages will bring you straight to Hellwitch and Necrodeath (the main influence on the band) territory. "The Dogs Of War" is another delight, blending the dominant furious thrashy riffs with cool melodic jolly crossover ones, producing a cool listenable contrast.

When The World Turned Grey EP, 2008

TOM ANGELRIPPER (GERMANY)

Hats down to Tom Angelripper that he finds time to play some music outside his main band, with whom he kept himself quite busy during the 90's. Here he entertains himself in a pattern similar to what the Tankard guys did with Tankwart: this is jolly, sung entirely in German, rock'n roll thrash not too far from Motorhead or the Sodom albums from the mid-90's. It's not heavy or brutal, but is enjoyable uplifting music, which could serve perfectly as a background on many parties. At about the same time Angelripper put up another formation with a similar sound: Desperados.
"Nunc Est Bibendum": Mr. Angelripper finds some more time to record under his own name, and the fans of his side projects (Desperados) will be happy to hear this frolic thrash'n roll which gets nicely speed metal-lish ("In Junkers Kneipe", "Wie das Glas in Meiner Hand") on occasion, but stoner/doom has been touched ("Bier") has been touched more than just now and then. The drinking party goes on unabated, spiced with nice rockish tributes to rock/metal legends ("Lemmy Macht Mir Mut"; "Bon Scott Hab Ich Noch Live Gesehen"), famous metal festivals ("Auf nach Wacken"), popular German tunes ("Ein Heller und ein Batzen": remember Accept's "Fast as a Shark"), and, above all, drinking (the sing-along 90's power/speed metal hymn "Drink Doch Ene Met")!

Ein Sch÷ner Tag Full-length, 1995
Ein Tr÷pfchen voller Gl³ck Full-length, 1998
Ein Strau¯ bunter Melodien Full-length, 1999
Mr. Angelripper finds some more time to record unfder his own anme, Ich glaub' Nicht An Den Weihnachtsmann Full-length, 2000
Bon Scott Hab' Ich Noch Live Gesehen EP, 2004
Nunc Est Bibendum Full-length 2011

TOMAHAWK (CHINA)

Bland tepid post-thrash; a clumsy inexpressive affair suddenly livening up in the middle with the brutal unbridled blasting outbreaks on "In Broad Daylight" to make things even more embarrassing for the listener who may have not lasted till this moment.

Dead City Full-length, 2001

TOMBSTALKER (FRANCE)

Based on the split with Glass Coffin, this act plays old school thrash/death metal close to the Swedish field (Unleashed, Entombed, Merciless) with the odd black-ish blast-beat added. The sound quality is not very clean making the gruff death metal vocals not very audible at times.
The other split, with the black metallers Dawn of Wolves, shows no changes in style the guys producing the same death/thrashy mixture "courting" both styles sustaining a steady fast pace throughout, loosening it up a bit on the final more relaxed Motorhead-ish "Bleak".
The self-titled EP is another short (4 songs) thrash/deathy roller-coaster producing the same energetic music, this time coming closer to the more modern currents of the Swedish movement (more recent Dark Tranquillity).

Demo Demo, 2009
Glass Coffin / Tombstalker Split, 2009
Cemetery Wolven Ritual Split, 2010
Tombstalker EP, 2011

TOMBSTONES (USA)

This supergroup (members coming from Church of Misery, Impetigo, Dethroned, Loathsome, etc.) indulges in classic death/thrash metal which is both heavy proto-doomy and quite fast bordering on grind. Both sides alternate not evenly, but create a positive effect, including the short hardcore-ish bursts which are the more dynamic and more light-hearted side of the album. Stevo Dobbins (Church of Misery, Impetigo, etc.) provides the vocals which are down-tuned, but are strangely comprehensible, at times coming with an intriguing semi-clean pitch ala Bobby Gustafson (Overkill) which is especially evident on the short declamatory breaks.

Not for the Squeamish Full-length, 2010

TOMMYKNOCKERS (FRANCE)

Based on the debut, this is mostly doom metal with elements of thrash; heavy, slow music interrupted with up-tempo thrashy passages ("Attitude").

Masses in the Rhythm Full-length, 1992
From Zero... Demo, 1995
Songs of Nothing Full-length, 2004
3 Full-length, 2006

TONDRA (NORWAY)

Based on the split, this is pure Hellhammer/ old Celtic Frost worship; slow doomy riffs topped by brutal mid-ranged death metal vocals. At the end, naturally, comes the Hellhammer cover: "Reaper".

Frost and Freezing Sun EP, 1999
Cracking the Hoarfrost / Into the Psyche Delve Split, 2006

TONKA (NORWAY)

What can you expect from a band with such a strange name (this is actually a Bulgarian female name, but I doubt if the band are aware of that)? Never mind the name, otherwise you might be missing on some good stuff; Tonka play fairly cool, stylish, dark semi-technical thrash, with heavy mostly mid-tempo compositions, which hasn't an exact analoque on the overcrowded metal scene. The song structures are a bit strange sounding and complex for a thrash metal outfit, but they would surely grow on you. This is not a stuff for headbangers, although the guys sometimes spice things with more energetic tempos: "Pornochild", and their slower, almost balladic side is the more attractive one: the gothic, atmospheric "The Last Abduction", "N.N.S.B.T.". Some songs are interesting takes on technical, progressive thrash with a late-period Coroner flair: "Behemoth & Leviathan", "One". For fans of less ordinary, unconventional thrash this album is a must.

...This Present Darkness... Full-length, 1999

TONY FREDIANELLI (USA)

After the demise of Apocrypha, Tony Fredianelli was still eager to play more quality speed/power/thrash metal, and the result of this is this solo album: quite cool instrumental thrash which is much faster and frenetic than the heavier pounding style of Apocrypha, and way more technical. If Fredianelli had failed to convince you with his performance on the Apocrypha albums that he was one of the best guitarists on the planet at the time, with this effort he would win even the most sceptical metal fans; simply put, an instrumental thrash masterpiece.

Breakneck Speed Full-length, 1993

TONY HERNANDO (SPAIN)

All instrumental music, made by this Spanish guitar virtuoso, which on "Actual Events" comes served with a pinch of thrash. Yngwie Malmsteen and Impellitteri are obvious influences on the guy's style, but Hernando never aims at speed for its own sake, and gives quite a space for the riffs to develop. The thrashy riffage is mostly of the heavy mid-paced type ("Totem", "State of Mind"), but on "Land With No Sun" at the end the instrumental transforms into a marvellous faster thrash shred for a while. Actually every composition starts with an agressive thrash riff, except for the two short melodic instrumentals, which later flow into the lead guitar performance, which is indeed worthy of Malmsteen himself on the best moments.

High Full-length, 2000
The Shades of Truth Full-length, 2002
III Full-length, 2004
Actual Events Full-length, 2009

TORA (FINLAND)

These are 3 songs of modern post-thrash with angry death-ish vocals. The guitars are a bit buzzy, and the attitude is less serious with a hardcore nuance, except for the laid-back ballad "Maxim", which has a strangely captivating, psychedelic vibe ala mid-period Amorphis.

New Anatomy EP, 2011

TORANAGA (UK)

One of the finest UK metal bands, Toranaga offer a very interesting, occasionally technical, fusion of power, thrash and even doom metal. The songs are mostly mid-paced and heavy with clever semi-technical riffs calling to mind Satan/Pariah. It would require more concentration on the side of the listener, as this is not a very catchy stuff, but is definitely worth checking out. "Bastard Ballads" is a really good debut providing 6 songs of mid-paced to up-tempo intriguing power/thrash metal which hits the top on the more intense thrasher "Soldiers Be Brave" and the superb 9-min technical piece "Time To Burn", which thrashes with force for most of the time.
"God's Gift" is pretty much in the same vein, but is slower, with some of the compositions being interesting crosses between doom and thrash ("The Shrine", "Psychotic") starting in a slow doomy manner, and speeding up admirably later; quite a cool touch, by the way, recalling the Americans Dementia. "Hammer To The Skull" abandons this formula paying tribute to the American power metal scene. The real thrashing begins with the awesome "Food Of The Gods", one of the band's finest achievements. And finally two pure doom metal delights as a finishing touch: "Disciples" and "Black Is The Mask"; great numbers, with faster-paced endings. "Execution" is the last song: fine speed/power/thrash metal with good smashing riffs.
Their farewell work, the "Eden- Beauty And The Beast" EP, abandons the thrash metal idea, and opts for heavy/power metal with progressive tendencies which definitely has its moments, but would probably be of little interest to thrash metal fans.

Bastard Ballads Full-length, 1988
God's Gift Full-length, 1990
Eden- Beauty And The Beast EP, 1991

TORCHBEARER (SWEDEN)

This band's music contains moments from all main extreme styles: black, thrash and death metal. The music is a mixture of the three, with death and thrash metal slightly predominant (some nice attempts at technical play could be heard, especially on the debut), whereas the vocals are strictly in the death metal-camp with occasional "interferences" from screechy black-ish rasps.

Yersinia Pestis Full-length, 2004
Warnaments Full-length, 2006

TORK RAN (FRANCE)

This ultimately obscure trio should find a much wider exposure since the music featured on this compilation (which contains every single track the guys had composed, including the early stages of their career when they were known first as Fracture, and then as Pendragon) is pretty decent classic thrash which, throughout their career, ranges from more aggressive bash ala Rigor Mortis and Devastation, to dark haunting tunes in the spirit of Deathwish (those sides, very unfortunately, presented as live performances with an awful sound quality), to quite stylish, abstract technical stuff, which is simply a wonder to listen to (check out "Scourge of God", "Iron Wars", as well as every other track from the 1990 "Tales of Death" demo), to which belong more than half of the material. Lyrical moments are inevitable (the compilation is whole 38 (!) songs long): "Romeo & Juliet" is a nice romantic cut with very cool lead guitars. The aforementioned demo is a real keeper, whereas the rest is not as shiny, the band having apparently made the wrong choice presenting most of the tracks as live versions. The singer is good, though, with a forceful semi-clean tone quite close to Jon Van Doorn (Deathwish).

Tales of Death Compilation, 2011

TORMENT (GERMANY)

Based on "Tormentation": playful roller-coaster thrash metal with a punk-ish attitude; think Motorhead and Venom. "Tormentation" is an enjoyable, light-hearted work, providing cool energetic tracks, full with simplistic, catchy speedy riffs. The title track is a fine slab of more intense speed/thrash, but rest assured that you'll come across pure punk numbers with no traces of thrash whatsoever: "P.C. (Porn Casting)". "Laws Of The Street" is a total nod to Motorhead, but "In The Name" increases the intensity again, thrashing without mercy, creating a cool headbanging atmosphere, which goes on on the very good follower "Traitor's Fate": an all-out thrashing delight, the best track here. In terms of originality this release will never score high, but it's always refreshing to hear catchy old school riffs to make us jump around for a while.

"Tormentizer" (these guys like to "torment" people, even only with their names and titles... I hope) is relatively faithful to the band's staple melodic merry-go-round speed/thrash, although more aggressive surprises are nowhere to be heard this time, and the music often goes towards the crossover side, with barely signs of thrash. The sole exception is the edgier and a bit faster "I Hate The System", and probably the speed metal killer "Wind Of Change". The last couple of tracks are pure punk, with the closing "Tribute" speeding up for some more crossover happiness.

Bestial Sex EP, 1987
Experience A New Dimension Of Fear... Full-length, 1991
Spermatized EP, 1997
Not Dead Yet Full-length, 1998
Tormentation Full-length, 2005
Tormentizer Full-length, 2009

TORMENT (USA)

Very good power/speed/thrash metal on both demos, reminiscent of Helstar, Agent Steel, Liege Lord and Laaz Rockit (the early days, before "Annihilation Principle"); the guitar work is brilliant with great leads and sharp riffs. There are times when the music loses its thrashy edge, but remains enjoyable and energetic, and one can't help but notice how much the 90's power/speed metal scene owes to bands like that. The vocals are another highlight here, being a nice blend of John Cyriis and Warrel Dane (his higher vocals, used on the Sanctuary albums). Later the band changed their name to Ritual, and managed to come up with a very cool full-length release, pretty much in the same style.

Demo Demo, 1988
The Gathering Demo, 1989

TORMENT DEFINED (USA)

This is brutal death/thrash metal with semi-technical inclinations (think Carcass' "Necrotism...") and atmospheric keyboard-infused sections the latter bringing the approach close to Cradle of Filth-esque gothic/black metal. The tempo is quite fast with frequent technical chops and compulsive blasts filling in the picture. The raven-like vocals are typical black, but kind of suit the intense hectic delivery which stays much closer to death metal.

Sigils of the Ancient Ones Full-length, 2000

TORMENT TOOL (GERMANY)

This is a slightly uneven mix of retro and modern thrash metal which has quite a few classic "sparkles" (the moshers "Fuel of Hate" and "MAD", and especially the brisk explosive "Silent Death"), but for most of the time doesn't really offer anything too exciting or new moving in a predictable mid-pace with semi-sharp/semi-melodic riffs with rough proto-death metal vocals. "Thrash Attack" should have been done in a more vigorous intense manner: this is just ordinary modern semi-thrash, compensated by the jolly crossover piece "BGW" and the cool speed/thrashing closer "Dark Reckoning".

Dawn of War Full-Length, 2010

TORMENTA (BRAZIL, Ribeirão Preto)

Classic thrash which mixes both speedy aggressive thrashers ("Juizo Final") and more melodic power/thrash metal concoctions ("Obsesso"). The vocals are weak, in the semi-death/semi-hardcore field, and don't have the height which would have been well fit to the music.

Tormenta EP, 2006

TORMENTA (BRAZIL, Sao Paolo)

Based on the "Deathless Strength" demo, this is aggressive thrash/proto-death, but much better than the messy efforts of many of their contemporaries. There are surprisingly good guitar melodies which fit perfectly into the very fast pace of the music, which is not too far from early Destruction and Kreator, but with a more aggressive attitude. The vocals are close to Mille Petrozza.

War Sons Demo, 1987
Deathless Strength Demo, 1988

TORMENTED (CANADA)

Although their EP dates back from 1992, it's 11 years later when the guys were back with a new release, this time a full-length. Based on "Combustible", the band wander through the metal spectre borrowing elements from thrash, speed, power and even classic heavy metal. Most of the time this mixture works well, and this is one of the reasons why Tormented don't sound like anyone else in particular. The only album I can think of, is After All's "Mercury Rising" which is another release of a very mixed, but also cool, nature. Towards the end the music loses its thrash appeal moving towards the heavy/power metal field.
The debut EP is pure speed/thrash, and quite intense at that. The guys don't rely on speed the whole time, but mix things up in a way similar to Destructor and Hallows Eve, although the better moments are the ones where the band thrash with no remorse: "Psycho Circus Clown", "Two Door Enclosure", where the approach will also recall Nasty Savage's "Indulgence". The singer sings in an authoritative, semi-clean fashion, and is the perfect match to the intense music coming close to Nasty Ronnie's antics on the more declamatory notes.

Tormented EP, 1992
No Resurrection Full-length, 2003
Combustible Full-length, 2004

TORMENTED SOUL (AUSTRALIA)

This Australian trio provides us with very heavy crushing thrash which sounds computerized and industrialized, mostly because of the drum machine used for the recordings, but has a genuine classic vibe. This is dark sinister music which seldom speeds up, but when it does, it takes no prisoners: "Eyes of Fire" is a great example of the latter. "Web of Illusion", on the other hand, is pure crushing doom, very well done. "A Lament for the Dead" is a brilliant orchestral instrumental accompanied by a fine lead guitar. Two vocal styles can be heard on almost every song: one from the low-tuned death metal type, the other clean, but synthesized. This is really good stuff, if you manage to overcome your prejudice towards the computerized sound (if you have any, of course); will also appeal to fans of Skrew and Die Krupps, apart from all classic power/thrash metal fans.

Tormented Soul Full-length, 2004

TORMENTER (USA)

The debut EP: competent Bay-Area thrash in a good energetic tempo with nice lead guitars, sharp speedy riffage, and rough semi-clean vocals. The guys thrash on with no remorse ("Remorse Is For The Weak": like the song-title says very well; it boasts a great melodic lead which will make you hum around), settling for speed metal for a while with the more melodic, but cool "Hammerhead", which also sounds more modern. After that the attack continues with the excellent "Assault From Beyond The Grave" which could be even on the Testament debut; again fine lead performance ala Alex Scholnick on this one. Furious straight thrash follows suit on "Pay The Price", before "Massacre On The Frontlines" offers again a more melodic speed metal twist; did I mention to check the supreme leads on this one as well? The end is preserved for a cover of their main influence: Testament's "Over the Wall".
"Hunger for Violence" features 3 tracks already heard on the previous EP (?!); the new material consists of 3 other songs, which are softer, with a speedy Exciter ("Hunger for Violence") feeling, or with a touch of the 80's American power metal scene ("Dead Man's Walk").
"Pulse of Terror" contains the aforementioned new material from the 2nd EP, but the rest of the songs are in a more intense thrashy manner: "No Anesthesia", the brutal deathy shredder "Pulse of Terror", the nice Bay-Areasque semi-technicaller "Messiah On Trial". Another maddening thrasher awaits you in the middle: "A Season in the Plague" (count your fillings after that!), before "Severe Enforcement" adds more complex, but not much slower, performance ala Paradox's "Heresy". "Assault from Beyond the Grave" is a great Testament-worship, a sure leftover from "The Legacy", followed by two more tracks of the more technical type: "Dismantle the World", which is a diverse slower, and "Pantheon of Lunacy" which is more dynamic and direct, despite the peaceful balladic beginning. The band have done a good job here providing music well conformed with the ongoing classic trends without sounding trite and derivative.

Assault from Beyond the Grave EP, 2008
Hunger for Violence EP, 2009
Pulse of Terror Full-length, 2010

TORMENTOR (CZECH)

Based on the "Revenge Of Death" demo: this band play aggressive thrash metal bordering on proto-death with very raw bad undeveloped vocals. The overall sound comes as "a poor man's" Rigor Mortis; the guys play with intensity and enthusiasm, but the simplistic riffs are not very nicely contrasting to the more stylish leads, and the bass is put so much upfront that it stifles the guitars to a big extent. Still, it is not a complete waste, and "Co Je ?!" is a nice little speed/thrasher.

Revenge Of Death Demo, 1988
Process Of Deformity Demo, 1989
Resurrection Demo, 1990
Resurrection / Stillborn Best of/Compilation, 2002
Revenge of Death / Process of Deformity Best of/Compilation, 2002

TORMENTOR (HOLLAND)

From the very beginning the band have "married" the aggressive thrash/death metal hybrid, and this is what you will hear on all their demos. The musicianship is good, the pace is fast, and technical licks pop up here and there. The overall style is similar to early Pestilence with passages bringing to mind the Floridian scene, too.

Coming Out Of the Ice Demo, 1989
The Iron Gibbet Demo, 1990
Rise in Arms Demo, 1991
Return To Nemeton Demo, 1992

TORMENTOR (HUNGARY)

Tormentor literally started the more extreme side of the Hungarian metal scene with the excellent "Anno Domini"- black/thrash similar to Venom, Bathory with some slower, even epic moments ("Elizabeth Bathory"- the black metal acts love her!), something which Quorthon (R.I.P.) would start doing on his later works. The comeback album is a big disappointment, having nothing to do with black metal, opting for some experimental pop-metal sound with numerous nods to the Hungarian folklore heritage; could be listenable if one doesn't know that it had come out of the hands of the legendary Attila Csihar and Co.

Anno Domini Full-length, 1988
Recipe Ferrum! 777 Full-length, 2001

TORMENTOR (MEXICO)

Based on the "Visions of Darkness" demo, these guys come up with aggressive thrash/proto-death metal which follows the Brazilian patterns too closely: early Sepultura, Volcano, Sarcofago, etc. The influences are very clearly displayed with the Sepultura cover of "Morbid Visions". The sound quality is awful, and is a serious obstacle for the listener to get a good idea about the music.
The self-titled demo is a more atmospheric offering, which still retains the speed, but this time the overall approach is closer to early Celtic Frost and Hellhammer, with only "Tortura" thrashing out with force recalling the unbridled energy of the preceding material. The singer is a scary death growler, seldom assisted by a more vicious raven-like rasp.

Rehearsal Demo, 1989
Visions of Darkness Demo, 1989
Visions of Darkness Best of/Compilation, 2004
Hybrid Race Split, 2007
Tormentor Demo, 2011

TORMENTOR SQUAD (FINLAND)

Quite good Germanic thrash along the lines of early Destruction and Kreator; fast, intense stuff, with rough, but effective semi-death metal vocals, which strangely remind me of the Killjoy's eforts to sing on the Necrophagia albums.

Fight, Kill, Die Demo, 2007

TORMENTRESS (SINGAPORE)

Four girls from Singapore have gotten together with the intention to shatter your senses with energetic old school speed/thrash in the tradition of Exorcist and Znowhite. There is a slight crossover aesthetics in the sound ("State Of Fear"), but the guitars lash with power all the same. The girl behind the mike performs in a vicious manly manner, sounding somewhere between Sabina Classen (Holy Moses) and Dawn Crosby (R.I.P.)(Detente, Fear of God): not as extreme as the former, but definitely more aggressive than the latter.

Thrashing Disorder EP, 2009

TORMENTULA (USA)

Two girls and a man/boy are responsible for this evil hellish black/thrash metal which brings together the two extremes of the style: the monotonous doomy music of Thorns and Khold, and the speedy antics of Bathory and Darkthrone. Both approaches alternate throughout the album, with the slower tracks kind of delivering in a better way, with their better musicianship, whereas the faster material is just mindless lashing of very simplistic raw riffs. "Pustule-Lined Crevices (Of Voluminous Anal Discharge)" is an effective doomy/black sleeper ala early Barathrum. The star of the show is Miss/Mrs. Alice Bludgeon: the singer whose very vicious husky voice, coming as a very drunk and angry Dawn Crosby (R.I.P.), will scare you on quite a few times.

Submit Your Unworthy Soul Full-length, 1999

TORN FLESH (USA)

Simplistic thrash/crossover, quite catchy and melodic, losing its edge quite often, like on the heavy metal number "World Pollution", but makes up with more energetic ones, like "Kill the Dead". In other words, if you can imagine a mix between thrash/crossover and Motorhead...

Crux Of The Mosh Full-length, 1989

TORN WITHIN (CANADA)

A side project of members of the technical death metallers Neuraxis; the style here is not as technical, and is more thrash-based, with a certain amount of Swedish death metal present.

Allied with Bitterness Full-length, 2004

TORNADO (GREECE)

This is a side-project for members of Released Anger. The music is not radically different from the one of the father band being pretty decent classic speed/thrash starting with two cool energetic headbanging instrumentals which reveal the guys' infatuation with the Bay-Area and early Megadeth. Then comes "Sent to the Land" which shows the band's more technical clever side. The initial impression goes high after this potent trio, but "Where I Dream" is a mild heavy/power metal rocker. "Human Race" has no choice but bring the thrashing back, and this is exactly what happens served with nice melodic leads. "Republic Terror...The Big Chess" is another major energetic all-instrumental piece (the guys shy away from their, otherwise not bad, singer too much), again a bit more technical with a Megadeth flavour, followed by another singerless number: the brooding doomy thrashiness "Countdown To Demise". The vocalist eventually comes back for the closing "Fire at Will!", which is a nice exit with its stylish up-tempo riffs and technical breaks recalling Megadeth's "Holy Wars". This is really cool stuff, and hopefully the guys will not be content with just this release unless, of course, they are afraid that this act may overshadow their main one, which is totally possible, by the way, listening to the quality material offered here.

Fire at Will Full-length, 2009

TORQUE (USA)

The first Phil Demmel's (ex-Vio-Lence) project, before Technocracy; the style is a capable mix of the Bay Area thrash, not far from later period Vio-Lence, of the late 80's/early 90's and the modern 90's thrash ala Pantera and Machine Head. Apparently Machine Head have been impressed so much with Demmel's performance on this effort and the other project that they invited him to join their crew (actually Demmel and Robb Flynn have been long-time friends).

Torque Full-length, 1996

TORQUEMADA (ITALY)

A band obviously enamorated by the modern sound of mid-90's Sepultura, sticking pretty closely to those mid-paced heavy riffage, so well introduced on "Chaos AD". The Italians adhere to groove more frequently, but do this with taste, and manage to come up with cool atmospheric sections. Faster more energetic passages are also present, those reminding of late period Massacra ("Sick, "Humanize Human"). Still, this effort can hardly make many heads turn, as for most of the time the music flows one-dimensionally providing an output too similar to the one offered by hundreds of acts at the time. "Come the Morning" is a cool ballad, placed at the end, seemingly not to break the monotonous feeling established before it.

Sevenfold Full-length, 1996

TORRENT (BELGIUM)

Based on the "Beyond the Waves" demo, these guys play simplistic speed/thrash along the lines of the Germans Vectom. The music is energetic and up-tempo, but sometimes slides down to pure power/speed, especially in the lead sections ("Condemned to Life") and during the choruses. The last track: "Fortune of Lies", which is a cool instrumental, makes up for some flaws encountered earlier, featuring good, Destruction-like riffs.

Poltergeist Demo, 1987
Beyond The Waves Demo, 1988
Rehearsal Demo, 1988
Triumph Of Death Demo, 1989
Rehearsal Demo, 1989

TORRENTIAL DOWNPOUR (USA)

This is quite unconventional stuff, based on the full-length debut: a weird mix of raging modern thrash, quite twisted at times, and ambient peaceful piano-driven passages, which last for too long, and would definitely kill the thrasher's desire to headbang, since the guys take it easy, and do not bother to thrash their souls out very often, although when that happens, there will be a lot of moshing around. There is a bit of industrialized thrash ala Meshuggah and 90's Voivod, as well as fast post-blackish passages, accompanied by keyboards ala Bal-Sagoth.

Torrential Downpour EP, 2008
Torrential Downpour Full-length, 2009

TORRID FLESH (USA)

Based on "Ravaged Lands", these guys offer straight-ahead classic thrash/death, quite well played, fast and energetic, with very brutal death metal growls. To these ears the slower steam-rollers seem to deliver the goods in a better way: "Asylum of the Damned", "F.F.P.O.S.", which come with loads of heavy riffs to crush your skull. The pure furious blasting death metal numbers are hard to be ignored, either: "Hieroglyphic Corpse"- a nice technical piece, which also adds vicious snarls to the picture; or the 2.5-min of Suffocation-like technical brilliance "Void of Light". "One Hundred Million Cries" is a nice try to adapt their aggressive style to a more progressive song-writing, which loses a lot of the heaviness, but makes up with cool more melodic hooks. The remaining 4 tracks are much shorter, but the sharp technical riffage returns, and we have another 11-min of fast-paced technical madness, spiced with the casual pounding break, and finished with the short peaceful lead-driven instrumental "Beyond".
"Chain of Command" is even better: fabulous technical thrash/death metal which catapults the album straight to the top with the very first song: "Lycanthrope", which is a non-stop smashing technical aggressive riff-fest. Then comes "Gutless", which continues the assault started with the opener, and sounds quite close to it, both in terms of brutality and technicality. "Sinners Fate" is all-out merciless thrash/death metal, still quite technical, after which the music takes turn towards pure death metal, on "Chain Of Command": a marvelous 7.5-min opus, which brings the best from the works of acts like Morbid Angel, Pestilence, and Atheist. "The End" is pretty much in the same vein, more straight-forward maybe, followed by "Chemi Kill": a steam-roller ala Bolt Thrower with fast-paced moments. "Murder 13" is the only number which slows down, and turns into a smashing mid-tempo thrasher. The closer "March Towards The Fire" is furious death metal madness, still finding room for more intriguing guitars.

Torrid Flesh Full-length, 2006
Chain of Command Full-length, 2007
Ravaged Lands Full-length, 2008

TORRID REIGN (USA)

A good mixture of American power metal and thrash, similar to Attacker's "Second Coming" and Liege Lord's "Master's Control"; the music is mid to up-tempo, doesn't speed up a lot, and meaty, really heavy, riffs could be heard here and there ("Deadly Trance", "No Questions Asked").

Trial of Madness Demo, 1986

TORTOISE CORPSE (UK)

Based on "World's Got A Problem": this is melodic speed/thrash metal which sounds like a mix of Destructor, or Blood Money ("Atomic Attack", "Psychotaff") on the faster parts, and Venom and Motorhead for most of the time, spiced with pure classic hard'n heavy tunes. There is an American band, who resemble these guys' music a lot: Beowulf. As a result this work would find wider audience, which is good, as the thrash metal fan might find it too soft for his/her taste.
"Standard Of Misery" is a much better effort, so much better that you might want to listen to the first album once again in order to check whether you haven't missed the most of it the first time. The music is decidely more thrashy, with much heavier, but also slower, guitar work, and some tracks are openly aggressive thrashers ("Tyranny of Heaven", but please, ignore the fucky... sorry, funky ending), and they clearly outnumber the "remnants" from the debut ("Haemophilia"). The songs are longer, but the technicality hasn't increased a lot. Some 90's modern elements have been introduced, but most of the time the music stays on classic ground, sounding quite close to Abomination's early period.

World´s Got A Problem Full-length, 1991
Standard Of Misery Full-length, 1996

TORTURA (MEXICO)

This trio from Mexico come up with brutal vicious thrash metal following closely the raw models from the early Brazilian metal scene: Volcano, Holocausto, Sextrash, etc, if we exclude the more stylish, short, screaming leads. The vocalist will stun you with his hysterical, high-pitched shriek, quite similar to the early Whiplash Tony delivery. Mentioning the Americans, the music on the best moments actualy recalls them ("Power and Pain"), too, although the aim here is at thrash, rather than speed metal.
The full-length debut is another concoction of raw, primitive thrash this time spiced with numerous crossover tricks, and consequently the approach is not as aggressive anymore. The guitars are more clearly heard this time, and the singer doesn't shout/scream as annoyingly. The delivery is pretty stripped-down bordering on hardcore accompanied by chaotic leads coming out of nowhere and noisy drums which deafen the simplistic, but sincerely energetic, riffage.

Souls of the Hole EP, 2008
Race Against Hangover Full-length, 2011

TORTURA (SPAIN)

Based on "Vesania", this act indulges in modern thrash/death which gets oddly complex at times, without holding onto those moments for too long, ending up sounding pretty ordinary in the long run, with sudden unexpected shreds of technicality (the bombastic deathster "La Gran Mentira") thrown in here and there. Still, the guys thrash admirably ("Yin-Yang") creating a lot of dynamics, even adding the odd more classic riff (the Bay-Areasque "Tortura") on occasion. The vocalist is a rough death metal gruffer, who takes quite a lot of space, trying to sound authoritative and intelligible to mixed results.

Vesania Full-length, 2000
Ego Full-length, 2003

TORTURE (GREECE)

A power trio from Greece which specializes in retro speed/thrash, crossing several influences. The opener "No Escape You're Dead" is vintage early Whiplash, a fast headbanger, but the very next "Sick Dreams" is already a different story, a heavy dramatic steam-roller with vague technical allusions, and a maddening speedy outro. "Torture" has no choice, but to be a standout piece, and it doesn't disappoint with its straight fast riffage, a major headbanger. "Warthrash" carries on in the same merciless vein, but "Psychopath" is a seismic proto-doomster, leaving the damage for the following "Natural Born Killers" which is uplifting speed/crossover with a slight surrealistic Voivod flair. "Inside Hell" is all-out thrash, a song taken directly from Destruction's "Sentence of Death"; and "Born Lived And Died" is another aggressive proto-death offering with a few more relaxed crossover sections. The last two songs would be a bit of a disappointment with their laid-back gothic-laced delivery, the closing "My Friend Has Left" alone being a melancholic Katatonia-sque piece, purely instrumental. There is not much coherence to be witnessed here, as though the band are not sure whether they want to be a full-time thrash metal outfit; but when the guys step on the pedal, they deliver no worse than the aforementioned acts.

Rotten System Full-length 2011

TORTURE (USA)

A great band from the heydays of thrash metal; "Terror Kingdom" is a decent beginning with a basic, Venom flavour, but on the full-length the guys unleash hell. Steel technical riffs played with a very aggressive attitude make this album an instant classic, standing right next to Slayer's "Reign In Blood" and Sepultura's "Beneath The Remains". The opener "Ignominious Slaughter" will literally slaughter you with its uncompromising fast delivery. Then the music takes the other extreme with the heavy, atmospheric, 11-min long "Dwell into Surreality", which sounds nothing like the preceding track. The next two numbers mix the fast and slow riffs, adding some more technical guitar work. They set the scene for the mighty opus "Terror Kingdom", which in its 8-min provides a breathtaking riff-fest of smashing speed and technical precision. "Whips" is a brilliant instrumental piece of furious more technical thrash, followed by another long, complex song: "Deceiver", which is a great combination of both intense and technical riffs, this time spiced with heavy, mid-paced riffs ala late 80's Slayer. These guys looked really well equipped to reach far, but they disappeared after this one, leaving behind one of the undisputable peaks of the thrash metal genre.

Terror Kingdom EP, 1987
Storm Alert Full-length, 1989

TORTURE DEVICE (NORWAY)

These Norwegians provide modern post-thrash/power metal with very abrasive guitars and very gruff shouty semi-death metal vocals. There is energy ("Bleed"), but there are also calmer, semi-balladic moments ("Winter Pale"), as well as mixtures between the two tendencies ("Illusion of a Dream"), which are the highlight, alternating fast with slow sections in a competent, albeit predictable, manner.

Winter Pale EP, 2011

TORTURE OF HYPOCRISY (POLAND)

2 songs of intense all-instrumental retro thrash metal ala Gammacide with the odd blast and quite stylish screamy leads. This is fast stuff with casual slower breaks and sharp riffage which doesn't stray from several more intelligent technical decisions.

Random Perspectives Of Reality Demo, 2010

TORTURE SQUAD (BRAZIL)

A thrash/death metal outfit; their early works cling towards the death metal side, and are not something really special, but with "Pandemonium" the guys hit the mark. Death metal is still present, but the concentration is on classic thrash (with touches of the modern school, too), and recalls many heroes from the 80's. The intro might stretch your nerves a bit being about 3-min long without too much happening, but once the opening cords of "Horror and Torture" reach your ears, you'll know that this will be a thrashing delight all the way. That same song blast-beats for a while, but in a pleasant way, and remains one of the finest achievements of the band. Later on the sound gets more aggressive, mixing thrash and death metal in a very good way: "Towers on Fire", "World of Misery", "Leather Apron".

"The Unholy Spell" is a bit rougher, but offers the same frantic fusion of the two styles with more nods to death metal probably, and after a few listens you may find that the guitar work is even more intriguing than the one on "Pandemonuim", with more choppy and crunchy rhythms, to the point that some songs can easily be placed in the technical thrash/death metal field: the excellent speedy "Spiritual Cancer" in the best tradition of the French Massacra; the Morbid Angel-esque "Abduction Was The Case". The speed and brutality come too much on tracks like the raging "The Host" which still offers loads of technical riffs, but "Welcome Home (The House Of Eternal Night)" is a very welcome home... sorry, break, being a much calmer speed/thrash metal number, followed by another full-fledged, but more aggressive thrasher: "Under The Wings Of The Empire". The bonus track at the end is a live recording of one of their earliest songs: "A Soul in Hell".
"Hellbound" bears no surprises: a frenetic, occasionally technical mix of thrash and death metal this time paying tribute to thrash metal more. Seldom does the music go into furious death metal territories ("The Fall of Man"), although there are short blast-beat sections on almost every track. "Cyberwar" is a very cool classic thrasher, and the closing "Hellbound" is a nice take on a more serious progressive song-writing with good melodic guitar work.
"AEquilibrium" is an expected wild amalgam of thrash and death metal favouring more death metal for a change from its predecessor, and as such the furious blasts have been increased present on every track to mixed impressions. The music is pretty fast with the heavy pounder "Storms" and the atmospheric gothic-tinged "The Spirit Never Dies" being the exceptions (the latter finishes in a brisk speedy manner, though, with nice melodic leads assisting). The more clever technical leanings hinted at previous releases spring up on "Black Sun" which is a nice energetic more intriguing thrasher.

Shivering Full-length, 1995
Asylum Of Shadows Full-length, 1999
The Unholy Spell Full-length, 2001
Pandemonium Full-length, 2003
Hellbound Full-length, 2007
AEquilibrium Full-length, 2010

TORTURER (CHILE)

Based on "Rise From the Ashes", the band's style has a few distant echoes of the brutal side of the Brazilian metal scene (Sepultura, Sarcofago, Vulcano, etc.), the difference coming from the fact that Torturer are better musicians, and manage to combine the brutal thrashing with genuine stylish technical moments. The style may also remind you of early Pestilence and mid-period Sadus, so apart from all-out death/thrashers one can hear quite a few more intriguing elements: the atmospheric "Xenophobic", with a great lead middle break; the short technical "Ralco"; the almost progressive-sounding "Mental Storm", which apart from serving plenty of atmosphere and mood, doesn't forget to thrash along with the best; the larger-than-life diverse opus "Torquemada (Server Of God)": a fascinating mix of brutal death/thrash metal and genuine technical decisions; the less-than-2min of instrumental technical brilliance "Spiral Madness"; and, certainly, the 9-min closing opera "The Wounds Of Conversion" which covers all possible tempos and moods known to the thrash/death metal world concentrating on the furious more extreme side again.

"The Flames Of Purification" shows that the band fans have no reasons to worry, and the comeback period is equally as compelling as the early one. The style is again quite intense thrash/death, at times straight and to the point ("Into The Labyrinth"), at times carrying the nice technical edge ("Psycho"). Except for the raging death metal opener "The Flames Of Purification" and the complex brutal Morbid Angel-like "Santa Inquisicion", the music is not very fast or aggressive, and is more faithful to thrash than death metal. One of their major influences Sadus are honoured with the fierce cover of "Sadus Attack".
The debut is already an interesting listen combining mid-period Sadus with early Death to a fairly positive effect. The guys start moshing from the very 1st track ("Arachnophobia") which is a wild shredder with proto-death overtones. "Insane" is a curious piece with creepy twisted doomy riffs and several more intense galloping rhythms in the 2nd half. "Evil Confession" is vintage Sadus, an aggressive fierce piece with great leads. "Oppressed By The Force" is an ambitious progressive composition with complex technical musicianship ala Pestilence and Atheist and again, brilliant melodic lead guitars which are on a pretty high level the whole time. "Into My Own" is a stomping heavy thrasher with a few more intriguing hooks near the end. "Twilight Zone" is an outstanding technical instrumental, a compelling mix of technical and fast raging riffs; but "Back To Reality" will bring you "back to reality" being fast harsh stripped-down thrash/death metal, the sound getting a bit rawer for the closer "Demoniac Possession" which is a cool faithful cover of the Chilean thrash/death metal veterans Pentagram.
The EP will glue you to the player from the very beginning with the great 1-min lead-driven intro "Dimensión Cero" which is "rudely" interrupted by the aggressive thrash/death ripper "Código de Destrucción" which is vintage "Spiritual Healing". The infatuation with that Death album carries on with the more technical "Bestia Omnipotente", and the more speed metal-based "Guerrero Apocalíptico". "Santa Inquisición" is a furious technicaL deathster with a few slower pounding sections, and "Kingdom of the Dark" follows it closely being a bit slower and more straight-forward. the leads here are not as striking sticking to short screaming, not very melodic, pyrotechnics.
Although not releasing albums on a very regular basis, this act is easily one of the most impressive representatives of the genre in South America, producing an effortless blend of the extreme and the technical ranking right beside masters of the craft like Sadus, Death, Pestilence, Atheist, Messiah, etc.
The split with the French death metal outfit Misnathrope is 4 songs of fast, intense thrash/death, ripping tight stuff clingng more towards death metal perhaps, with Sadus again a pretty close soundalike. A pretty good beginning for the band, boasting a fairly good sound quality, crisp guitars, and a touch of technicality here and there.

Hater of Mankind / Kingdom of the Dark Split, 1991
Oppressed By The Force Full-length, 1992
Los Ultimos Tiempos EP, 1995
Rise From the Ashes Full-length, 2000
The Flames Of Purification Full-length, 2003

TORTYR (SWEDEN)

Thrashcore done by stars from the Swedish metal circuit, old comrades of Dan Swano, and also full-time participants in the death metallers Tormented: Andreas Axelsson (Edge of Sanity, Marduk, Tormented), Roberth Karlsson (Facebreaker, Pan.Thy. Monium, Edge of Sanity, Scar Symmetry), plus the other two Tormented members. The music on offer is heavy abrasive, mid-paced to fast, pretty one-dimensional and simplistic with short 1.5-2min tracks also sharing some of the dark hell-ish atmosphere of the early Bathory albums.

Warvictims / Tortyr Split album, 2007
Ingen Kommer Undan Full-length, 2009

TORVARA (SWEDEN)

A 4-track demo of furious unbridled black metal with several interferences from thrash; the music is insanely fast bordering on grind at times, and the singer croaks in an unholy, not very intelligble, manner. "End" (which is, of course, the last song) contains a cool heavy doomy passage ala Celtic Frost.

Piedmont BM Assault Demo, 2009

TORZER (BELARUS)

Based on the full-length, this act provides an atmospheric mix of thrash and death metal of the classic kind, dark macabre music with fast outbursts not far from early Nightfall, plus interesting mellow balladic/doomy decisions: "Silence has Frozen My Heart...", a great melancholic composition ala My Dying Bride and early Katatonia; followed by the similar funereal instrumental "To Tame the Hate", which benefits from the absence of the not very convincing gruff low-tuned death metal vocals.

Once Upon a Midnight Dreary EP, 2000
Consciousness of Hate Full-length, 2002

TOSCREW (HUNGARY)

Based on the full-length, this act provides an extreme blend of thrash, death and industrial post-thrash metal distantly reminiscent of The Project Hate, but less operatic. The delivery meanders ranging from stylish technical pieces ("Hagyd Noni"), to doom/death mixtures ("Elveszve Benned") of the sterile clinical kind, to sinister creepy black/doomsters ("Beavatás") ala Khold. The amalgam works most of the time offering bleak musical landscapes with the crow-like black metal-styled vocals an apt assistance.

Kolonc EP, 2008
Antiego Full-length, 2011

TOSSIC (ITALY)

The band's debut is decent melodic thrash/power metal in the classic mould. It begins with the intense stomper "Orco", which pretty much sets the tone for the whole album; the latter develops in a solid mid-pace, with not many exceptions to the rule: "Depravado" is a cool speedster in the vein or early Metallica, including in the lead department where the guy shreds no worse than Kirk Hammett himself (remember "The Four Horsemen" and "Hit the Lights"). later on there are ballads, both heavy and more tender, but be prepared for one more piece of aggression: the short immediate "...Come Una Iena".
By the time of their 2nd full-length they have apparently lost interest in classic metal, and have gone head-over-heels into modern 90's post-thrash. "Transumanza" comes after a long hiatus, and is a big embarrassement, with almost no traces of thrash metal, opting for bland and utterly unappealing modern groovy metal, a total waste of time for the thrash metal fan.

Case Chiuse and Little Housis EP, 1990
Il Regno del Cinghiale Full-length, 1991
Box EP, 1992
F8 EP, 1994
Stato Brado Full-length, 1994
Transumanza Full-length, 2007

TOTAL ANNIHILATION (SWITZERLAND)

Based on the full-length, this band plays intense retro thrash with lower-pitched, not very shouty, hardcore vocals. The music is generally fast with few shades of hardcore on the shorter material (the frolic closer "Thrash Metal und Dosenbier" where thrash obeys the crossover laws), and several interesting melodic deviations ("Monster") on the longer compositions. There are also shades of Slayer, but served with more complicated parts; in other words, this is not exactly a direct read of the bashing laws of the 80's, but is a more strecthed version of those, also recalling the contemporary Gemran practitioners Cockroach.

Total Annihilation EP, 2008
84 Full-length, 2010

TOTAL DEATH (ITALY)

This is modern/classic thrash/death metal with shouty, hardcore-ish vocals. The band play at a steady morose mid-pace recalling the Germans Warpath and partly Cerebral Fix, the monolithic wall of sound occasionally "dispersed" by the odd more energetic crossover cut ("Redemption", "Rape"; the headbanging sections on "Slaves Of Order"). The attractive steam-roller qualities of the album wear thin before the end, though, since the delivery is quite samey all over, despite its resemblances to Bolt Thrower (check out the excellent atmospheric "haunters" "ish" and especially the lengthy doomy opus "Well of Madness" at the end), the rhythm guitar possessing the same characteristic melodic tone so typical for the Brits. This is not bad, albeit a bit inconsistent, and with a little refinement, both music and vocal-wise, these guys could make themselves heard on both the thrash and death metal scenes.

Well Of Madness Full-length, 2010

TOTAL MAYHEM (BRAZIL)

Fans of the fast aggressive thrash of Kreator, Darkness, and early Necronomicon will love this: "Three Faces of Violence" is an explosive demo, with great sharp, speedy guitars; the tracks vary from hectic, chaotic (the opening "Drink Is Your Life") to superb speed/thrashers ("Transgenic Food", and most of the songs). "Putrid Face Of Violence" is a fine intense instrumental piece, and "Fucking The Masses" is a nice brutal number with a Wehrmacht shade. "Enforcing Thrash" is a marvellous closer, thrashing with full force, supported by great melodic, technical hooks: a masterpiece of classic, headbanging thrash. The singer is a find with his vicious raspy tone, coming as a mix between Oliver "Olli" Fernickel (Darkness) and Schmier.

Enforcing Thrash Demo, 2001
Three Faces of Violence Demo, 2003

TOTEM (POLAND)

A death/thrash metal hybrid, but not of the aggressive variety like The Haunted; it's mid paced with great melodic riffs and quite technical ones at times. The only exception would be "Lost Dimension" where the band speed up for a while. The riffs are clever frequently changing and flowing into each other with a dark, almost gothic edge, a feeling further aggravated by the more atmospheric breaks which are short, but effective. "Day Before The End" is a cool haunting track which probably best illustrates the band's original approach. "The Race (P.O.C.B.F.E.O.O.M)" is a fine slab of more complex progressively-laced thrash, although the clean vocals could have been skipped. "Merry-Go-Round" is a simplistic melodic number which doesn't quite belong here, but the not very good impression is cancelled by the following "Taste of Life", which brings the sound back to the higher standards, but, again, these bad clean vocals which could be a serious detraction to some. "Thrash The South" may raise some hopes that the guys would turn to all-out thrash just for a while, at least in "the south", but no: this is another dark death/thrasher which contains a speedy section in the middle, but the rest is pounding semi-technical riffs which deliver the goods, but would hardly be the headbanger's paradise. As a whole we have a band who give a certain twist to the death/thrash metal formula without going too far into other metal territories, although their style might remind you at quite a few times of the Swedish gothic death metal masters The Project Hate.

Day Before The End Full-length, 2005

TOTEM PHASE (FRANCE)

Heavy modern thrash metal with a variety of vocal styles (based on the full-length); this variety is hardly necessary, as the basic gruff hardcore ones are quite fitting to the music, which is otherwise not a total waste, and thrashes at times with intensity and conviction: "Zero Point", "Angels Run". "Industrial Love" is a really cool atmospheric thrasher, with nice Oriental acoustic guitars and heavy punishing riffs; well, the melodic section with the clean alternative vocals could have been left out. "River Of Hate" is a tribute to Metallica's 90's period, but "Privacy" comes thrashing with full force: the most aggressive track here, followed by the cool short country closer "Turtle Familiy".

Chrysalis 21 Full-length, 1994
Un EP, 1997

TOTENMOND (GERMANY)

Based on "Thronräuber", this band pull out quite diverse thrash/death metal with various influences: "Achtung Panzer" is a cool nod to mid-period Bathory with its epic atmosphere and pounding riffs; "Nihil Novi" is a blasting thrash/death fury; "Dornenschaf" is a very good heavy mid-paced thrasher; "Sonnenstrahl" is an excellent take on ponderous atmospheric doom. Most of the songs are nice up-tempo thrashers spiced with the occasional more aggressive death metal riff, but their penchant for slower doomy sounds takes the upper hand here and there again, like on the very good closer "Luzifer Stampft".

The debut "Lichtbringer" offers the same wild fusion of several styles, but no death metal: the opening "Die Schlacht" is a monotonous, but cool mid-paced thrasher with an industrial edge; "Ragnarök" and "Sagenwelt" are faster hardcore-ish pieces; "Vaterland" is pure classic doom; "Kellerstahl" is total funeral doom, quite well done; "Kreuznagel" is a nice speed/thrasher in the Sodom-vein. The closer "Necrophiler Sonntag" is a strange track clinging towards industrial again; as a whole the thrash metal fan may not be entertained the whole time, since the band prefer to stretch into many directions, or were probably looking for their most suiting face at this early stage.

Lichtbringer Full-length, 1996
Väterchen Frost EP, 1997
Fleischwald Full-length, 1998
Shape Disc EP, 1999
Reich In Rost Full-length, 2000
Auf Dem Mond Ein Feuer Full-length, 2001
Unter Knochen Full-length, 2004
TonbergUrtod Full-length, 2005
Thronräuber Full-length, 2008

TOTTEN KORPS (CHILE)

Based on the "The King of Hell Reclaims His Throne" demo, this band play good aggressive fast thrash/death metal similar to Incubus and Massacra. The tempo is quite fast most of the time, and the guitars have a nice technical edge, bringing to mind Pestilence's "Testimony of the Ancients" as well.

The King of Hell Reclaims His Throne Demo, 1990
For Infernal Insurrection Demo, 1991
Our Almighty Lords EP, 1992
Tharnheim; Athi-Land-Nhi, Ciclopean Crypts of Citadels Full-length, 2001

TOURNIQUET (USA)

An essential Christian thrash metal band; their first three albums are very cool technical thrash (the debut features annoying high-pitched screams not too far from King Diamond). The style on those albums varies from more speed/power/thrash metal mixtures on the debut, which is the most melodic and most accessible effort, to a more technical style on "Psycho Surgery" which at times takes a really non-standard direction (the funky breaks on "Dog's Breakfast", the flamenco guitars on "Viento Borrascoso", the doom experiments on "Officium Defunctorum"), to a more aggressive more straight, but still interesting thrash with brutal death metal riffs on "Pathogenic Ocular Dissonance" which also contains one cool combination of thrash and rock'n roll: "Phantom Limb", but with one odd hard'n heavy/doomy number as well: "Exoskeletons", which "winks" nicely at Black Sabbath's "Snowblind" at the end with the main theme from that song inserted; the guys' interest in doom metal (their drummer-Ted Kirkpatrick, is a former member of the doom metal legends Trouble) springs up again, this time taking an even more ambitious form: the 10-min sprawling "Skeezix Dilemma", which has a cool speedy intermission.
Their works from the 90's were more experimental ranging from the modern post-thrash ala Metallica's Black Album on "Vanishing Lessons" to the awkward, almost alternative, sound on "Crawl To China". In the new millennium the band returned with the excellent "Microscopic View of a Telescopic Realm". Once the brilliant opening riffs from "Besprinkled in Scarlet Horror" reach you, you will know that the guys have abandoned all experimental approaches from the 90's, and have returned to the thrashy formula, albeit with a more melodic, but by no means less appealing, edge. The aforementioned number is an encyclopaedia of thought-out complex, but at the same time memorable and catchy, music with tempo changes aplenty, keyboard passages, and a very cool acoustic balladic finishing touch. "Drinking from the Poisoned Well" is less elaborate, sustained in mid-pace, followed by another progressive masterpiece: "Microscopic View of a Telescopic Realm". Two more ordinary softer, not as impressive, more power metal-based tracks come before the explosive "Erratic Palpitations of the Human Spirit" shoots you with its furious riffage. "Immunity Vector" is one of the band's finest achievements: a magnificent instrumental piece, with fabulous guitar performance, and one of the greatest main themes in metal history. "Indulgence by Proxy" is a heavy dark thrasher, and "The Skeezix Dilemma, Pt. 2" closes the album in an imposing sprawling progressive fashion, lasting for 10-min, covering a wide range of tempos, rhythms, and moods.
One of the finest metal albums of the new millennium, "Where Moth and Rust Destroy" is by far the band's crowning achievement, with Marty Friedman, and Bruce Franklin from Trouble on board. Everything here clicks: from the magnificent opening multi-layered progressive thrash opus "Where Moth and Rust Destroy" to the creepy doom metal masterpiece at the end "In Death We Rise", this album will blow you away with outstanding musicianship. Certainly, Friedman has a big contribution to its greatness providing the superb lead guitar performance on all compositions. If the previous release has its fillers here and there, this one is perfection all the way: a major testament for the band's willingness to play an important role during the genre's renaissance.

Stop the Bleeding Full-length, 1990
Psycho Surgery Full-length, 1991
Pathogenic Ocular Dissonance Full-length, 1992
Vanishing Lessons Full-length, 1994
Carry The Wounded EP, 1995
Crawl to China Full-length, 1997
Microscopic View of a Telescopic Realm Full-length, 2000
Where Moth and Rust Destroy Full-length, 2003

TOXIC CARNAGE (BRAZIL)

This 4-track demo provides old school Germanic thrash in a generally fast pace with rough throaty black-ish vocals. Cool stuff with simplisitc but edgy riffs which nicely speed up on "Sadistic Greed" in the best tradition of early Destruction. The last track is a tribute to Toxic Holocaust (see the review below) being a cover of "War is Hell" from the Americans' debut "Evil Never Dies".
"Storm Of Hate" follows the same path built around the 3 original tracks from the demo, so this is a good old school thrash metal attack with the German school paid a tribute, Destruction and Kreator, above all, with sharp cutting riffs and fast tempos. At the end there is another cover, but this time it's Kreator's: "Tormentor", done faithfully, maybe in a more controlled speedy manner.

Violent Carnage Demo, 2009
Storm Of Hate Full-length, 2010

TOXIC HOLOCAUST (USA)

Very enjoyable old school black/thrash metal influenced by Bathory, Sodom, Kreator, etc; all the albums are in the same easy to swallow, accessible simplistic vein, with plenty of catchy rhythms for the fans to enjoy and headbang to. All the music is performed by just one man, whose name is Joel Grind, who has also taken part in recordings with the similarly-styled Japanese acts Barbatos and Abigail, among others from the US scene.
The "Gravelord" EP is 3 tracks of playful rockish thrash with bold ventures into punk/hardcore, and even hard rock on the Motorhead-ish "Suicide Eye".
"Conjure and Command" is another commendable slab of intense old school thrash which rips from the get-go with the short and to-the-point "Judgement Awaits You". Joel Grind and Co. remember to slow down from time to time: the heavy shredder "Red Winter"; the doomy "sleeper "I Am Disease", but it's lashers like "In The Depths (Of Your Mind)", "Nowhere To Run", and especially the Slayer-esque mosher "Revelations" which will make the fans' day big time.

Evil Never Dies Full-length, 2003
Hell on Earth Full-length, 2005
An Overdose Of Death... Full-length, 2008
Gravelord EP, 2009
Conjure and Command Full-length 2011

TOXIC NARCOTIC (USA)

Based on the "Damn Near Killed 'Em" EP, this band play energetic fast thrash/crossover somewhat reminding of S.O.D. and Cryptic Slaughter, helped by vocals which sound like an awkward fusion of deep death metal growls and more traditional thrash ones. Reportedly their full-length debut is in the same vein, but on their second one the style has moved towards pure hardcore.

Damn Near Killed 'Em EP, 1999
People Suck Full-length, 1999
We're All Doomed Full-length, 2002

TOXIC SHOCK (GERMANY)

The band's debut carries on the speed/thrash metal legacy of Angel Dust and Exumer, and is easily their finest achievement. This is blistering, blitzkrieg speed/thrash from beginning to end; the opening "Breakout" will give you a clue what to expect: fast riff assault from all sides. Later the compositions become longer, but the approach is the same, with very little deviations ("Overloaded" is the only song which tries to escape from the merciless formula with more melodic slower riffs, and ends up sounding quite appealing), producing immortal hymns, like "Mad Sounds", "Raging Speed" (which title best describes the music on the whole album), among others.
"Welcome Home Near Dark" starts in the same fashion with the fast-paced "Behind The Guillotine", but it inserts technical "ornamentations", and introduces a new singer, whose semi-death/semi-hardcore vocals are hardly the most appropriate style for this kind of music; as a result we have stuff which is closer to the early efforts of Erosion rather than the band's debut. And here comes "Change From Reality" (a song of this title is not included on the debut), which brings the change with it towards a slower and more technical sound. "Dragons Eye" speeds up again, this time supported by fine melodic hooks and an attempt at a catchy chorus ruined by the gruff vocals. "World Power Rules" and "True Insanity" are enjoyable headbangers preceding the heavy monster "One End": a great mid to up-tempo number with great punishing technical riffs which finally match the aggressive vocal delivery. Later on another exercise in more technical thrash shows up: "Termination", followed by the good closer "The Challenge", a fine piece of pure heads-down speed metal.
"Between Good and Evil" starts traditionally quite impressively with the speed/thrash aggressor "Mental Mutilation" which comes with even more brutal and vicious vocals than on the previous work. Still the music is thrash metal all the way, with no traces of death, and "Suffocation" is a very good up-tempo thrasher, followed by the shorter explosive "Terror". "Choose Your Way" breaks the pattern a bit in the beginning with more melodic and slower riffs, but starts thrashing with no mercy not long after that. No more surprises of the kind, and till the end we have a relentless thrash attack, not too far from the one on the debut; "What Dwells Within" is a stylish closer adding cool semi-technical licks to the overall picture which remained the band's swansong.

Change From Reality Full-length, 1988
Welcome Home Near Dark Full-length, 1990
Between Good and Evil Full-length, 1992

Vibrations of Doom

TOXIC SHOCK (USA)

Based on the first two demos, this band plays very well executed thrash reminiscent of quite a few big names from the 80's scene: Anthrax, Slayer, Destruction, etc. In the faster parts the sound moves even towards Toxik ("World Circus"), but most of the time the music is heavy and up-tempo with excellent sharp guitar work.

Demo Demo, 1988
Demo Demo, 1989
Feeling The Pain Demo, 1990
Demo Demo, 1991
Demo Demo, 1992

TOXIC TRACE (SERBIA)

This Serbian trio pulls out retro thrash of the Germanic type with, of course, the early Kreator style embraced very tight (the name betrays their influences big time), and never let loose, maybe only on the lower-pitched black-ish vocals. Expect 4 ultra-fast numbers with a very fuzzy guitar sound, constant bashing, one-dimensional hollow drumming, and very screechy leads, which may drill your mind, if listened on a more regular basis.
"Torment" (these guys' whole life apparently revolves around Kreator) is based on the 4 songs from the demo which now come with a better sound quality, and are more appealing ably assisted by the 5 new tracks which are in a similar blitzkrieg vein, very fast thrashers with a pinch of proto-death coming as a more brutal version of "Pleasure to Kill". This is not bad at all, actually, having a lot of energy played at a ridiculously fast pace easily going over the approach of speed heroes like Fastkill and Expulsion. This is the reason why some may get tired of listening to this album on regular terms because of its constant fast downpour seldom relieved by the odd heavier break, or the stylish deviation into more technical speed/thrash: the excellent "Against The Cross", which simply cries for a follow-up (hopefully the band are aware of those "cries"). This effort can not possibly finish without a tribute to the guys' idols, and here comes a vicious brutal version of "Flag of Hate" at the end to wrap this merciless maddening stuff up in a logical manner showing a band dedicated to leave a really "toxic trace' on the contemporary metal scene.

Slaughter Demo, 2009
Torment Full-length, 2011

TOXIC TRASH (BRAZIL)

Intense classic thrash/crossover with slightly unpleasant shouty semi-death metal vocals; there is plenty of energy on display especially on the shorter tracks ("Mundo Doente") which are furious "bullets of pain" thrashing hard with a certain proto-death edge.

Mundo Doente Demo, 2010

TOXIC WAR (BRAZIL)

This Brazilian trio pulls out raw energetic old school thrash metal which is an unrefined take on the early German speed/thrash scene, occasionally touching punk/crossover at times ("Toxic War"; this shouldn't have happened on the band-name carrier, though). There are more brutal touches scattered throughout the demo, like "Warriors Of The Chaos", where the sound acquires undesirable proto-death tendencies, and smells mid-80's Brazilian thrash metal (Volcano, Sextrash, Sarcofago) quite a bit.

Execução Demo, 2006
Guerra Eterna Demo, 2007

TOXIC WINE (BRAZIL)

This band provide gruff-sounding retro thrash with low-tuned sinister deathy vocals. The approach clings between Slayer and early Dorsal Atlantica and Holocausto, except for the closing "Desechos Corrosivos" which is a happier cut with shades of power/speed metal.

Violencia En Las Calles EP, 2011

TOXIK (USA)

A short-lived, but a very essential band; "World Circus" is a fabulous debut with blistering fast and technical guitar work which will sweep you away in no time. The opener "Heart Attack" will literally bring you to the state of a heart attack with its smashing speedy guitars. Later the guitars lash with more sharpness and technicality ("Social Overload", "Voices") reducing the speed for a while. "Door to Hell" comes thrashing down with superb technical riffs, setting the scene for the brilliant complex technical opus "World Circus". 3 more splashing intense technical speed/thrashers await you after that.

"Think This" takes a more complex progressive approach decreasing the sharp technical edge, but coming with some fine progressive thrash metal tracks ("Black and White", "Technical Arrogance"). The songs are generally longer and more elaborate; the short ones have both their faster ("Greed") and more light-hearted ("Out on the Tiles") moments. "There Stood The Fence" is a very cool tribute to the ballad. Despite the less immediate nature of this work, it is another stellar effort which, unfortunately, remained the band's last "temptation".

World Circus Full-length, 1988
Think This Full-length, 1989

TOXIK KARIZMA (DENMARK)

This is modern power/thrash metal which tries to follow its own path with crunchy mid-paced riffs with an abrasive quality, and manage to produce the necessary invigorating atmosphere ("Ain't It Sad") on occasion, although to these ears the better moments are where the sound takes towards more complex, progressive (the nice semi-ballad "40 Seconds Later") dimensions. The vocalist is a hoarse semi-cleaner with a cool blend who becomes quite emotional on the good closing ballad "Anywhere The Wind Blows", in a way not too different from early Ozzy.

Toxik Karizma Full-length 1995

TOXIK SOCIETY (SERBIA)

Vintage Destruction is what you'll hear on the "Living Kufeso" demo, which boasts a very good sound quality, excellent guitar work with the staple swirling/rolling riffs of the Germans, the apocalyptic Schmier-like vocals, and a crossover twist on "Toxik Invasion". The guys also play more melodic music in another band: Dalium, oriented towards classic heavy metal, and the guitarist Marcos Rodríguez fully displays his talents on his solo album "MRM".

Toxik Society Demo, 2008
Living Thrashers Full-length, 2009
Living Kufeso Demo, 2009

TOXIMIA (USA)

A combination of hardcore and thrash metal with a strong Carnivore-influence, with very basic riffs and a total lack of solos.

War Full-length, 1987

TOXIN (GERMANY)

This very good band offer quite an original technical sound with Despair being a relatively close soundalike: a fine combination of more abstract, almost progressive tracks and more direct headbangers are featured here. "Misanthropy" opens the full-length in a fairly aggressive manner with its stomping, but slighlty chaotic, riffs. The follower "Retrospective" is both a light-hearted crossover-like track, and a smashing headbanger in the second half. "Disintegration" is a typical progressive number lasting for more than 8-min, and strangely reminds me of Manilla Road's thrashy period. Such exercises in more complex metal are nowhere to be found, and the other songs are shorter more immediate, but still quite technical and interesting: check out the hectic and stylish "Two Wishes", which combines aggressive riffage with genuine technical tunes, or the sharp technical thrasher "Wings of Death" which sounds like something which Target or Coroner would have written.
"Aphorisms" is a promising beginning for the band, although the sound is slower, heavier, with less technical performance, but still engaging and intriguing.
"Cloned" arrives after a 4-year break, but sees the guys not having lost their bite, and the music presented is vigorous intense retro thrash on the first 2 numbers ("Deface", "The 7th Journey") before straying nicely into calmer semi-balladic waters ("Alternate Reality"), and at the end into excellent technical thrash on "Cloned" which is a twisted piece in the Coroner vein.

Aphorisms EP, 1989
Misanthropy Full-length, 1991
Cloned EP, 1995

TOXODETH (MEXICO)

The debut is a masterpiece of technical/progressive thrash which would make even bands like Coroner and Mekong Delta proud, although this band's music is not riff, but lead-based. You have to stay put all the time because there is so much going on here that you might get lost if you are not careful. There is a lot of atmosphere created, mostly of the dark, gloomy type. The music is not fast, but stays within the mid-paced confines, sometimes descending to doom metal territories. "Doom Predictions", contrary to the title, is the fastest song, and the only one which actually speeds up (if we exclude the death metal-ish brutal sections from "Mausoleum"). The closing instrumental "Tales from Beyond" gives a chance to the bass player to show his skills, but near the end the lead guitar takes the upper hand again, for the upteenth time. The star of the show is Raul Guzman whose guitar performance is mindblowing with very original ideas presented. His leads are maybe too melodic for the style, but are quite impressive, and take a considerable space from the album, to the point of a show-off (intentional or not).
"Lo mas Morbido de la Realidad" is the much lesser effort, now a full-fledged death metal slab for most of the time, with the leads now sounding more appropriate and not as showy, but that's hardly a good point here. The contrasting blend of very fast brutal sections and very slow almost balladic lead-driven ones is not the best in the world, the transitions being clumsy and very abrupt, which leaves the calmer mid-paced numbers the more attractive side ("Impulso", "Profundo Desconocido"). Every song is preceded by an ambient intro, more or less appropriate, and the sheer exercises in technicality are very rare: "Qué Hay En Esa Mente Sucia" is outstanding twisted technical thrash/death with great leads and an even greater fast-paced outro, but it harshly sticks out of the much inferior rest. The Guzman brothers (Raul's brother Jesus (I can see quite of you, Christian believers, shuddering when hearing the name, but this is his real name) is the singer, and his ultra-brutal guttural tones make a cool albeit uneven "duel" with his brother's virtuoso guitar pyrotechnics) have messed it up pretty bad here, and it's understandable why this offering still waits for a follow-up.
"Phantasms" features a couple of tracks already heard on the debut, but the rest is quite different, much faster and much less technical recalling the early thrash/death metal attempts made in France (Agressor, Loudblast) as well as Protector and Messhiah. Raul Guzman sounds pretty straight-forward with almost no shades of the technical flamboyance which overtook the band's sound less than a year later, and he actually gives plenty of room for the others to peform, including the very brutal guttural death metal singer courtesy of his brother Jesus. What may annoy some is the orchestral/ambient intros which come before each song, and serve to no purpose except calming the listener down from the brutal extreme portions of metal coming between them; those same intros/outros/interludes were also used to a not very positive effect on the band's sophomore album.

Phantasms Demo, 1988
Mysteries About Life and Death Full-length, 1989
Lo mas Morbido de la Realidad Full-length, 1993

TRACEDAWN (FINLAND)

Melodic modern thrash metal with a somewhat orchestral atmosphere, created mostly by the keyboard implements; the guitar work is quite good, albeit lacking in the more aggressive department, but this is not intense stuff, staying mid-tempo for most of the time with numerous atmospheric slower passages. The vocals are two kinds: ones clean, and surprisingly not bad, the others hoarse death metal ones. "Art of Violence" speeds up, introducing beautiful lead guitar work. "Fallen Leaves" slows down, but the heavy galloping riffage is worth checking out. After those two numbers, which occupy the middle, the music descends to the calmer patterns from the beginning, getting even softer (the tender orchestral ballad "Widow"), seldom providing more vigorous headbanging moments ("Path of Reality", the exiting final minites from the closer "Justice for None").

Tracedawn Full-length, 2008