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)

An excellent technical power/thrash metal band who came at the very right time to replace the veterans Hexenhaus who showed with their last offering that they were not willing to tread the path of technical thrash anymore. T.A.R.'s style is more complex, with more twists bringing Living Death, or early, more thrashy Psychotic Waltz to mind. It's a pity that these guys stayed around for a very short time, because they have managed to come up with a fairly original sound, and there was definitely a demand in such kind of music back then.

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

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 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 with some 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 some 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

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 some 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

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

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.

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

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 some impressive cold, technical riffage. The songs are in mid-tempo, containing some inevitable groovy sections, but the heavy, stomping riffage saves the day, even producing some 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

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, 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 some 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 a fairly 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.

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

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

TAOMENIZOO (FRANCE)

Based on "So Blind", this band plays heavy groovy thrash/death 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

TARAMIS (AUSTRALIA)

"Queen Of Thieves" is power metal with some progressive touches. The second effort 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 some 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 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

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 sound. 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, Xentirx's "Scourge".

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 some clean, unsuitable vocals. The music is one-dimensional and monotonous, with some semi-alternative sections, sounding like a more aggressive Tool. "Collisions" is better, being very heavy and crushing, reaching some 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 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, with crushing riffs and very angry vocals with some proto-deasth 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.

End Of You All EP, 2009

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.
"Pornography" brings back the speed from the debut, but only partially, and the increased presence of 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.

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

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. Te 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

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, 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

TELEPATHY (USA)

Very good speed/thrash 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 a sa 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

TEMNICH (UKRAINE)

Cool black/thrash 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 they come with the obligatory slower passages (which come very well mixed on the closing "Kolomyjky"), where apparently the guys' passion lies.

Iamuih Pustuih Mogil Full-length, 2007

TEMPERANCE (SWEDEN)

Based on "Krapakalja", this band offers an eclectic, but not a very stylish blend of doom, thrash and some 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 when 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 acouple 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 some thunders, blues and balladic moments, and some 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 this one 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

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 some 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 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 some 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 is 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 some more melodic, gothic tendencies, but some gems could still be dug out: the marvellous "The Comet", a nice modern take on technical, abstract thrash 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 Nefilim"-styled tracks ("Nefilim/Annunanki") 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 debut, 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 with beautiful orchestral melodies, and some 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, 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 occasional 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 approach of the band's older material.
"Leavings of Distortion Soul" i 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 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.

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

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 blsting 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 some 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 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 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

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 an intense cover of Darkness' "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 attepmts 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 putting more emotion in his performance. Later this band was transformed into the stoner/doom metal outfit Flood.

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

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 non-serious rolling guitar sound typical for the Japanese.

Warp Speed Warriors Full-length, 2008

TERRAHSPHERE (USA)

Another fine piece of technical/progressive thrash forgotten by most; the style is hectic, choppy, with some 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.

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

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 growls.

War Confessions 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 (USA)

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 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 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 some gothic overtones here and there added, again in the vein of early Messiah.

Demo I Demo, 1990
Live Demo Demo, 1991

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

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 spiced with some short brutal grinding passages, sounding close to the Germans Ravage minus, of course, the very short half-min bursts like "Fuckbody" which will make run for cover. This is good headbanging fun, featuring really forceful thrash 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.

Shit Fuck Kill EP, 2007
Split It Out Split, 2008

TERROREIGN (USA)

This is a not very successful attempt at mixing thrash/crossover with some more aggressive, proto-death parts. The tempo is actually not fast all the time; there are heavy guitars ala Hellhammer, as well as tasteless grind-core 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 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 some 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 from the 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 more brutal, with a 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 altrhough the music is still classic thrash 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 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

TERROWHEEL (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 some cool speedy pieces ("Say No to Religion", "Tear This Nation Down") the final result is not firmly on the thrash 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 quite a 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 quite well in 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

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.

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

TESTOR (POLAND)

Based on "Ruiny", the band play modern, slightly technical thrash resembling Annihilator, plus some poppy non- thrash melodies; 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 comes 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)

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.

Demo Demo, 1989

THALIDOMIDE (FRANCE)

Technical, dark death/thrash with death metal, 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; 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 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. This great album will hopefully have a follow-up, since the band are still active, and some noise has been coming out of their camp for some time.

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, with some 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 some 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 some heavy late 80's Slayer-esque ones (Eraser"), to some brutal thrash/death 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, bordering on grind-core. 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 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. 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 some 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

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 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 towards doom, but not really 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 some really interesting jazz/funky passages, emphasized by great bass work and some 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 ARKITECHT (MEXICO)

Not so bad progressive metal with elements of power and thrash, which starts in the ultimate sleepy calm 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 some 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 some 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 ATMOSFEAR (GERMANY)

Based on "Millenium Of Thorns", this band offer modern death/thrash, which is mid to up-tempo, with some sudden adherence to aggressive blasting sections. The guitar work is cool and melodic, and some 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 2002 EP, 2002
2003 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 some 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, Venom-influenced.

The Batallion EP, 2007
Stronghold of Men Full-length, 2008

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"- 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 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 some sincere punk moments ("C'Mon C'Mon").

The Black Nasty Full-Length, 1995

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 some more aggressive guitars in the 90's, influenced by the "powers of the day": Pantera, Machine Head.

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 BURNING (DENMARK)

Run-of-the-mill modern thrash which contains some cool guitar work, and the tempo changes nicely, featuring some 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 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.

Storm The Walls Full-length, 2007
Rewakening Full-Length, 2009

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 CAVALERA CONSPIRACY (BRAZIL)

The Cavalera brothers are back together, but not in Sepultura; maybe prefer to rehearse a bit before coming up with something new with their main band? Judging by what they have done on this one, they look well prepared to strike with Sepultura: this is excellent thrash, which is not exactly an early, or mid-period Sepultura soundalike, although it's also rooted in the classic sound, but the production is modern, something which Exodus, Onslaught, etc. have also done earlier, and some modern "updates" in the music can still be caught. The sound varies from direct retro thrashers (the smashing pieces "Terrorizer" and "Ultra-Violent", and most of the tracks) to slower, atmospheric songs ("Dark Art"), to some more modern sounding ones ("Inflikted"), which could well stand also on another Nailbomb album. The album beats by miles the Sepultura works without Max, it surpasses "Chaos AD" as well, but it needs more to reach the greatness of "Arise" or "Beneath the Remains". This is a fine example that the brothers haven't lost the chemistry between them, which helped them make some great thrash in the past, and it's high time they stopped testing the soil, but give the fans another masterpiece.

Inflikted Full-Length, 2008

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 of the modern type, with some 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.

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

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. 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 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 some 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 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 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. This also melodic stuff with plenty of catchy melodic hooks topped by gruff death metal vocals. This bans 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 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 some 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 great 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 some 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 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 ENCHANTED (UK)

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

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

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 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 blend, with shouty, hoarse vocals and some more brutal blast-beat sections added, as well as sections where the band slow down, and the music starts smelling metalcore.

Isolation Full-length, 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, 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 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, but the 11-min epic compensates with its "Opeth-meets-Pink Floyd" sprawling, non-metal melodies.
The full-length debut has no ties to thrash being a very mellow gothic/doom 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 thrash 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 some crossover tendencies; the music at times sounds like a thrashy version of the German depressive doomsters End of Green.

Aggrieving Feeling Demo, 2006

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 some 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".

The End Full-length, 2008

THE FORCE (PARAGUAY)

4 tracks of energetic old school speed/thrash with cool sharp, melodic riffs, not too far from early Whiplash; the South Americans care more about melody, and their music has some 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.

Old School Metal Onslaught Demo, 2007

THE FORSAKEN (SWEDEN)

A cool band who play mostly melodic death metal of the Gothenburg school mixed with thrash and even some old school American death. The guys are quite technical, and occasionally manage to pull out some 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 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 att he 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 ("Caleidoscope") 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 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 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 added to 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, 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, but the music there at least makes more sense, even adhering to some 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, with meaty heavy riffs and some very fast parts, plus the 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, which requires 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 has also fascinated Joey De Maio, 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!".
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-tunes 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.

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

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 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 HOWLING (PORTUGAL)

Death/thrash metal with a dark, gothic atmosphere of the mid-tempo variety, with beautiful Oriental melodies and some borrowed moments from Moonspell. "Scent of Desire" is a proof that the guys can pull out some cool headbanging riffs, still graced by a dark, gothic feel and some 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 KANDIDATE (DENMARK)

Pretty pedestrian modern 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 some sharp thrashy riffs into 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).

Preproduction Demo, 2008

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 some 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 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 some great, proficient leads, as well as some 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 a 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 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; 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 some 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 much bigger interest to power/heavy metal fans.

Lust Muscle Full-length, 2008

THE MIST (BRAZIL)

Another one of the Brazilian bands with a touch of originality (Acid Storm, Leviaethan, 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 some slower, dark, gothic-tinged numbers ("A Step Into The Dark"). 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 effective, slower, atmospheric numbers.
"Ashes To Ashes,..." shows a shift in direction to a modern 90's, Ministry-like sound, and is still a strong effort (for fans of industrial and modern thrash). Their swan song is not worthy, and has nothing to do with their previous works, opting for some 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 MOSHKETEERS (USA)

Well constructed heavy thrash with some 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 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 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 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 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 meaty heavy 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 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 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, 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 some 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. Some 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 SOULS UNREST (USA)

A death/thrash/sludge band; the music is very heavy, and references to Eye Hate God 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)

This band is a side-project for two members of Pro-Pain, and their style is a direct take on the more enjoyable early period of that same band. This http://www.myspace.com/becomingthesourcehttp://www.myspace.com/becomingthesourceis 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".

Stop the Madness Full-length, 1993
No Guarantees Full-length, 1995
Moment of Truth Full-length, 1996

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 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 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 thrash 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 the biting guitars and the more quiet moments. Hopefully this formation will last long enough to be able to come up with a full-length.

Dangerous Thoughts Demo, 2005
Slowly Forming Sanity Demo, 2006

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, 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 UNINVITED (USA)

Thrash/crossover, quite diverse, offering both quite fast and quite melodic numbers, but as a whole the music is not 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 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 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 thrash with several faster Floridian death metal passages.

One Bullet Left Demo, 2006

THE WATCN (USA)

This very little known trio plays doom-influenced power/thrash 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 opus with haunting balladic sections, and the closing "Traxx" is a sudden, but a very welcome switch on sharp technical thrash, a really stylish finish to this quite interesting obscure 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 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 some 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 some 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 some 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 some 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

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 reminsicent 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". 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

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 thrash akin to Devastation's "Idolatry" and Atomica's "Disturbing the Noise".

Created In Hate Demo, 1989

THESYRE (CANADA)

Black/thrash metal with an 80's vibe, and with some more modern "updates" in the form of some 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, pivking up some good thrash pace ("De Réalisme Et De Nihilisme Ac") at times, but also providing the odd hard'n heavy epic ("L’égalitarisme Freine L’excell"). The industrial elements are not that many, replaced by a few quiet balladic intros, and a pure noise ambient closer "Résistance".

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 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, with some 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 some 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 some 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 some black metal added, to the death/thrash blend. Certainly there are more direct sections ("Innocent Mind"), as well as some dragging 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 some brilliant technical guitars, which 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 some touches of black metal again; the clean vocals at the end could have been skipped, since they bring with them some laid-back slow sections.

In the Wake of Separation Full-length, 2005
Unholy Alliance Tour Split, 2007
Thine Eyes Bleed Full-length, 2008

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's 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, 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

THIRVEGOL (BELGIUM)

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

Demo Demo, 2007

THIS IS MENACE

Modern groovy 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 SOLEMN VOW (USA)

This band offer nothing more than modern thrash/death metal with a shade of metalcore. The music is quite jumpy, with some 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

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 some 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

THORON (SWEDEN)

A good thrash/death metal debut with a technical and fast-paced style recalling Hellwitch and Massacra on the most inspired moments; the guys offer some nice up-tempo thrashers with a German speed/thrash 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 some 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 2.5min 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". Their 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 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

THRAM (BRAZIL)

Modern, groovy thrash meets some 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 some 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 of thrash, and Thrash Attack 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 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 some aggressive thrash, but more laid-back thrash/crossover, with short, 2-min tracks. The tempo is quite fast, and the guys come up with some 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 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 some insipid groovy moments here and there, starting to sound like minor Biohazard, or even Rage Against the Machine. By all means they 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 demented asylum patients.

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

THRASHFIRE (TURKEY)

This 3-song demo offers excellent speedy retro thrash in the vein of Kreator, Destruction and the Canadians Sacrifice. Fast, intense music with meaty sharp riffage and good screamy, vicious vocals, coming as a mix between Schmier and Rob Urinari (Sacrifice).

Promo Demo, 2007

THRASHFUSION (SPAIN)

A fairly interesting piece of technical thrash, which despite some 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: 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 some great technical riffage last heard on Pestilence's "Testimony of the Ancients".

Experiencia Suicida Full-length, 1994

THRASHIN' IN THE STREETS (USA)

This album will hardly make you thrashin' in the streets, as most of the time it 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

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.

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

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

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 showms 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" mixes the two tendencies as a finishing touch providing the obligatory twisted breaks in the middle with the more intense up-tempo passages circling it around. Flaming Anger 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, and adds some more 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 "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 in 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/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 (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 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 mitigated failure, being slower power/thrash, 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 some 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 some acoustic passages and more atmospheric moments, which are accompanied by eerie chants, which nicely contrast 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 some progressive pretensions, but the balladic leanings (there is one pure ballad in the end) and the soft riffs may not delight the regular thrash fan. Some funky and industrial overtones have also been added, and "At Deadlock" may remind you of Mordred's "In this Life".

Demo Demo, 2007

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

THRONE OF SERPENTS (USA)

Cool classic power/thrash 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 some cool balladic moments ("In the Throes of Mourning...Sorrow Envelops Me", "Of Obsession And Pain"). The singer is not an asset, wth 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 quite 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.

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

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 occasions, 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, 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

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 Lastà And YouÆll Be the First Full-length, 2006

THY WILL BE DONE (USA)

"Was And Is to Come": typical modern thrash/death metal; despite some 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 thrash 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

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".

Man Made Paradise Full-length, 2008

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 some 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 some 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 12-min 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

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 more edgy. "Sparks of Rebellion" is a nice spark (no pun intended) 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

TIRAN (RUSSIA)

Old school speed/thrash with hysterical semi-black 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, the battle being won by thrash 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 their compatriots Korrozia Metalla's biggest hit "Russian Vodka". Cheers!

Proklyatie EP, 2007
Demonia Full-length, 2009

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. "Mutant Supremacy" offers some 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

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"), 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.

Catharsis Full-Length, 1991

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", wich 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 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

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 some 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 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

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 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, either, and kept on releasing works under his own name: "Polarizing Lines", a 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 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.

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 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.

Ein Sch÷ner Tag Full-length, 1995
Ein Tr÷pfchen voller Gl³ck Full-length, 1998
Ein Strau¯ bunter Melodien Full-length, 1999
Ich glaub' nicht an den Weihnachtsmann Full-length, 2000
Bon Scott hab' ich noch live gesehen EP, 2004

TOMMYKNOCKERS (FRANCE)

Based on the debut, this is mostly doom metal with elements of thrash; heavy, slow music interrupted with some 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 tempo: "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 is a must.

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

TONY FREDIANELLI (USA)

After the demise of Apocrypha, Tony Fredianelli was still eager to play some quality thrash, and the result of this is this solo album: excellent instrumental thrash which is much faster and frenetic than the heavier, pounding style of Apocrypha, and more technical. If Fredianelli had failed to convince you with his performance on the Apocrypha albums that he is one of the best guitarists on the planet, with this effort he would win even the most sceptical metal fans; 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" come 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 on 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 marvelous 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

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 some 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, 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: "Disciples" and "Black Is The Mask"; great numbers, with a faster-paced ending. "Execution" is the last song: fine speed/power/thrash 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 no big 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 some occasional "interference" from screechy black-ish rasps.

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

TORMENT (GERMANY)

Based on "Tormentation": playful, roller-coaster thrash metal with 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 some 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 some 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

TORMENTA (BRAZIL, Ribeirão Preto)

Classic thrash which mixes both some speedy, aggressive thrashers ("Juizo Final") and some more melodic, power/thrash concoctions ("Obsesso"). The vocals are weak, being 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 some 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 quite 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 nature. Towards the end the music loses its thrash appeal, moving towards the heavy/power metal field.

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, but 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 fans.

Tormented Soul Full-length, 2004

TORMENTER (USA)

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 title the song says; it boasts a great melodic lead, which will make you hum around), settling for a while for speed metal, 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 some 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").

Assault from Beyond the Grave EP, 2008
Hunger for Violence EP, 2009

TORMENTOR (CZECH)

Based on the "Revenge Of Death" demo: this band play aggressive thrash 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 on the more stylish leads, and the bass is put so much upfront, that it stifles considerably the guitars. 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 hybrid, and this is what you will hear on all their demos. The musicianship is good, the pace is fast, and some 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, 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.

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

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 (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 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

TORQUE (USA)

The first Phil Demmel's (ex-Vio-Lence) project, before Technocracy; the style is a capable mix of the Bay Area thrash 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 some cool atmospheric sections. Some faster more energetic passages are also present, those reminding of late period Massacra. 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: a weird mix of raging modern thrash, quite twisted at times, and some 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 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 adds some 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 some more progressive song-writing, which loses a lot of the heaviness, but makes up with some 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, 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 some 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 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 some pure classic hard'n heavy tunes. There is an American band, who resemble these guys' music a lot: Beowülf. 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 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, following closely the raw models from the early Brazilian metal scene: Volcano, Sextrash, Sarcofago, 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.

Souls of the Hole EP, 2008

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 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 again, 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 break, being a much calmer speed/thrash 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 Hel".

"Hellbound" bears no surprises: a frenetic, occasionally technical mix of thrash and death, 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.

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

TORTURER (CHILE)

Based on the debut, the band's style has echoes from 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 some brutal thrashing with some 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 and some genuine technical decisions; the less-than-two-min 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".

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

TOSSIC (ITALY)

The band's debut is good melodic thrash/power metal in the classic mould. By the time of their second full-length they have apparently lost interest in classic metal, and have gone head-over-heels into the modern 90's 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 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 some 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, 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, but... "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 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 fan may not be entertained the whole time, since the band prefer to stretch into many directions, or were probably looking for their best 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 outstanding Christian thrash metal band; their first three albums are very cool technical thrash (the debut features some 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 some 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 number as well: "Exoskeletons"; the guys' interest in doom (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 edge, which suits them best. 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 in 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 being a cover of "War is Hell".

Violent Carnage Demo, 2009

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.

Evil Never Dies Full-length, 2003
Hell on Earth Full-length, 2005
An Overdose Of Death... Full-length, 2008

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 some 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 some 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 a more technical sound. "Dragons Eye" speeds up again, this time supported by some 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 some 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 play 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 Kreator's "Pleasure to Kill" embraced very tight, 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 some very screechy leads, which may drill your mind, if listened on a more regular basis.

Slaughter Demo, 2009

TOXIC WAR (BRAZIL)

This Brazilian trio pull out raw, energetic old school thrash 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

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 mighty intense 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 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 SOCIETY (SERBIA)

Vintage Destruction is what you'll hear on the "Living Kufeso" demo, which boats 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 some 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 some 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 thrasher 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-pace 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, 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 some 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 headbanging moments ("Path of Reality", and the exiting final minites from the closer "Justice for None").

Tracedawn Full-length, 2008

TRAGEDY DIVINE (GERMANY)

Two bands emerged from this fine band: Spiral Tower and Sacred Steel, both more famous, but far less good (of the two formations Sacred Steel are closer to this band's style). This is excellent progressive power/thrash of the heavier, slower variety, not too far from the works of Eidolon and Nevermore. Gerrit Philipp Mutz does a fine job with his clean, emotional vocals, which are actually quite close to the ones he later used on the Sacred Steel albums. The music is mostly mid-paced, although "Die in my Dreams" opens this effort with great galloping rhythms and some sharp technical riffs; but the next song: "I Married a Witch", sets the tone for the rest of the album. Some tracks will crush you with their heaviness: "Seize Control", and "Tyrant Shadows" is a marvellous return to the speed/thrashy style of the opener, this time without any technical decorations. "Veils of Solemn Black" is the only pure power metal-based track here, followed by a very good ballad: "Bleeding Crystal Tears". "Ritual Damnation" speeds up again, this time with a slight touch from the power/speed metal scene of the 90's. "Tragedy Divine" is a cool atmospheric, semi-balladic piece, progressively laced; could have been an influence on Opeth, as the approach is quite similar.

Visions of Power Full-length, 1996

TRAKTOROTH (CROATIA)

Based on the "Nervoza" demo, this band offers simplistic thrashcore with vicious black-ish vocals. The music is surprisingly melodic, even lyrical ("Nekrogurman" which features a ncie balladic moment; the mellow hrad'n heavy closer "Samoubiistvo") with a slight black metal flavour in the guitar department as well.

Fergusson Division Traktoroth Demo, 2004
Pure Fucking Poljoprivreda Demo, 2004
A Journey Through The Opuzenian Darkness Demo, 2007
Mir I Bistrina EP, 2009
Mrgud EP, 2009
Nervoza Demo, 2010

TRAMPIRE (GERMANY)

This obscure German band offer cool classic thrash with a Bay-Area flair (think Metallica, above all). The music is both straight (on the shorter tracks) and technical (on the longer ones). Both sides are equally as appealing, as my personal preferences go for the more technical one, where the guys let their musical prowess loose, creating some really impressive semi-progressive pieces: "Black Widow", the brilliant semi-balladic "Talking To Fools", which boasts the best guitar work on the album; the state-of-the-art instrumental piece "Journey", which is a real journey through the realms of technical, thought-out thrash. There is also time for one speed/power happiness: "Cry Out", and one enjoyable, light-hearted speedy crossover closer, "Freibier". A very unknown act, and a nice companion to the bands from the progressive/technical thrash wave which was in full swing in Germany at the same time.

Talking to Fools Full-Length, 1992

TRANSFIXION (BRAZIL)

Transfixion mix quite a few styles on their debut: there is classic thrash, there are quite a few modern thrash elements, too. "Lost Dignity" could fit perfectly in a Dark Tranquillity or an In Flames album, and the last track "Solarization" has a strong industrial vibe. Not bad for a first album, but concentration on fewer styles next time would be better.

The Last Horizon Full-length, 2000
What's Real? Full-length, 2006

TRANSGRESSER (USA)

This is the early incarnation of Intruder; the music on the first demo is pure American power metal akin to early Overkill and Jag Panzer, maybe a bit faster, whereas on the second one the sound really packs a punch, although still more rooted in speed/power metal, with hints at thrash.

Demo Demo, 1984
The Azra - Ironworks Demos Demo, 1986

TRANSGRESSION (USA)

This is a really pleasant surprise: from the dark ages for metal comes a fairly enjoyable work of heads-down retro speed/thrash. This is great, hard-hitting, intense stuff which comes with a handful of influences, all perfectly entwined together: Anthrax, Wargasm, Slayer (their late 80's period: the heavy, dark "Dimmer"), Vio-lence, etc. Some slower tracks occupy the middle of the album: "Witch Hunt", which boasts some fine crushing riffage, the doomy sinister "Outside Circles". "Framed in Pain" is a brilliant technical speed explosion, which would be one of the highlights even on any of the late period Death albums. The guys have found the perfect balance between the more aggressive, fast-paced numbers and the heavier, moody ones; a varied work of classic thrash at its finest.

Dead Wisdoms Full-length, 1997

TRANSILIENCE (USA)

State-of-the-art progressive thrash which even beats Voivod's "Killing Technology" in the best moments, simply because this music is more technical, and more edgy. The vocals are the only downpoint, sounding quite indifferent and slightly sterile, recalling Denis "Snake" Bélanger's vocals on "Nothingface" and beyond. This is an unforgettable technical riff-fest with a great bass-bottom and twisted guitars which strongly recall the same time's works of Mekong Delta and Target. The time changes are mind blowing, and the sound never jumps onto the more aggressive wagon. The last track is a marvellous instrumental where you can hear the riffs which later Mekong Delta used on the "Kaleidoscope" opener "Innocent?" (I guess this is just a coincidence havind in mind that this is an utterly obscure demo, and it's not very likely that the German band had ever gotten hold of it).

Threatened Fears Demo, 1989

TRANSMETAL (MEXICO)

The most celebrated and longest running Mexican metal band; their style varies from raw/brutal thrash on earlier recordings, to some well-crafted death metal (" El Infierno De Dante"), to ferocious grind-core on later works, to some attempts at a more serious song-writing on the last two albums.

Muerto en la Cruz Full-length, 1988
Desear un Funeral EP, 1989
Sepelio en el Mar Full-length, 1990
Zona Muerta Full-length, 1991
Burial at Sea Full-length, 1992
Cronicas de Dolor Full-length, 1993
El Infierno de Dante Full-length, 1993
Dante's Inferno Full-length, 1993
El Llamado de la Hembra Full-length, 1996
Las Alas del Emperador Full-length, 1996
Mexico Barbaro Full-length, 1996
Debajo de los Cielos Purpura Full-length, 1999
Tristeza de Lucifer Full-length, 2002
El Amor Supremo Full-length, 2002
Lo Podrido Corona La Inmensidad Full-length, 2004
Despertar de la Adversidad Full-length, 2006
Progresion Neurotica Full-length, 2006
20 A±os Ondeando La Bandera Del Metal Full-length, 2007

TRANSPARENT (DENMARK)

Very good modern thrash metal which takes a little from the 90's scene (Pantera, Machine Head) and combines it with the more fashionable nowadays sound of Overkill and Annihilator. The band stick to heavy, mid-paced riffs which work fine with some more technical implements ("Unparallelled"), which will remind you of Megadeth, among others.

Mutual Assured Destruction Demo, 2005

TRASH TALK (USA)

Brutal hardcore-ish thrash with frequent streches towards grind, those suddenly broken by clumsy groovy/sludge; references to Cryptic Slaughter are well justified, especially on the shorter material, as well as to Lair of the Minotaur, and even EyehateGod ("Revelation") on the dirtier doom-laden sections.

Trash Talk Full-Length, 2008

TRASHCANNED (AUSTRIA)

Based on the full-length, this band, whose line-up includes a beautiful female guitar player, plays quite typical for the time melodic thrash/death metal, which is not a "stranger" to some cool up-tempo riffage, but the softer groovy passages are quite a few as well, as well as a couple of cool keyboard-driven gothic moments.

And Embers Will Rise EP, 2005
The Age of Treason EP, 2006
Redemption Full-length, 2007

TRASHMACHINE (UKRAINE)

A very good technical thrash trio with their style being a cross between Megadeth and Testament; apart from the more technicaly-charged numbers, the band show a skill in handling some cool more direct up-tempo thrashers ("Bad Stuff"), or in combining both styles in a respectable manner ("Door to Hell", a great track, the highlight of the album). Like many of their "colleagues" from around the same time from their neighbour Russia, this excellent band didn't last for more than one album.

Breaking Through the Ranks Full-length, 1993

TRAVAIL (USA)

This band was a side project of Steve Buschart, a future member of the heavy/thrashers Motive. The music on this one is very cool classic thrash of the heavy, mid-paced variety, with some implements in the vein of early Celtic Frost and Slaughter, thrown in here and there. It's not stale at all, and some nods to the doom/stoner scene ("No Tongue") can also be caught in the guitar department. "When You Die" inserts some technical riffs, but the rest is straight-forward and more conventional; "Close the Door" (which is actually the closer... of the door) is the other song where some more intriguing guitar decisions can be heard, and where the leads move one level up. The vocals are maybe not very appropriate rough low-tuned death metal styled ones, but the crushing music largely compensates for this flaw.

Translation Full-length, 1996

TRAUMA (PERU)

After you pass through the strange, unpromising intro "The Fly of an Angel", what awaits you is excellent intense thrash not too far from Sepultura and Slayer at their best. This is smashing music, mostly fast-paced, with great sharp riffs. There are some very occasional groovy moments ala Pantera ("Reality Is"), but they only add to the heaviness of the album. Another reminder that this is a work of modern times, is the clean vocals which sneak for a few seconds on "Dying Again", which is an otherwise very cool thrasher. You can do no wrong by hunting this band down: classic thrashing madness at its uncompromising best.

'Memories of Pain' Full-length, 2006

TRAVESTY (USA)

This trio pulls out complex progressive metal with thrashy overtones, which on the longer compositions sounds quite appealing ("Travesty"), but there is a fair number of shorter tracks where the eclectism goes over the top with too many styles "courted": black, death, alternative, grunge, doom, jazz, funk, etc. It will puzzles the listener quite often, for better or worse, but as a whole this wide amalgam misses the plot more than just now and then.

Travesty EP, 2005
Adverse Effects Full-length, 2006

TRAZOM (USA)

This offering can hardly be classified as an EP containing 8 full-length songs lasting for close to an hour. Anyway, what we have here is pure classic speed/power/thrash metal reminiscent of Savage Grace and Laaz Rockit. The opener "Natural Disaster" is a heavy smasher with technical pretensions, but "Poltergeist" is a pure speed metal delight. "Demons in His Head" is dark brooding technical thrash in the spirit of early Hexenhaus which adds a few swirling speedy riffs and fine proficient leads. "Let it be Done" is spiral-like dramatic dark power/thrash with great bass performance. Speed is not the order of the day again on "World of Illusions", but this number is pounding progressive thrash in mid-pace, a crushing display of sharp heavy riffage with a quiet balladic ending. The last 3 songs are previously recorded, and have a dirtier sound, which still is not an obstacle for the listener to distinguish prety decent American speed/thrash metal, nice reminders of the glorious 80's.

A Reclamation of Power EP, 2009

TREACHERY (USA)

Based on the "Innocent Bystanders" demo, this band play standout up-tempo thrash in the Bay-Area tradition: think Forbidden's debut, Vio-Lence's debut; great hard-hitting riffs aplenty and very poweful vocals ala David Wayne (R.I.P.). The tempo often goes into more aggressive territories ("Victim of Age", "Innocent Bystanders"), where all-out speed becomes the order of the day very quickly. "Death By Napalm" might disappoint you in the beginning, especially after the title gives so much promise, starting like an ordinary power metal number, but then the guitars start raging and you're completely sold again.

Innocent Bystanders Demo, 1989
Superstition of Reality Demo, 1992

TREBLINKA (CANADA)

Based on the "Trial of War" demo, these guys come up with good aggressive thrash, which is never too fast or brutal, but the guitar sound has this sinister, heavy quality resembling Possessed's "Seven Churches", but without the proto-death metal atmosphere. Moments of early Slayer (in the vocal department, too) and the Dark Angel debut could also be felt. The music varies nicely from faster parts to some quite heavy, crushing ones, topped up by cool short leads.

Trial of War Demo, 1987
Demo Demo, 1989

TREMOR (HUNGARY)

Based on the demo, this is quite cool 80's thrash metal with a dark atmosphere somewhat reminiscent of the Polish band Hellias (their early works) or Raise Hell (but with less sharp riffage), with a nice balance between slower stomping riffs and some faster headbanging ones. The vocals have this meaner black-ish tone, and the lead guitar work is particularly good.
"Homályba menet" is another very good dark, gothic thrash effort, richer in atmosphere than the demo, but not forgetting to thrash admirably with fine, intense pieces like "Homályba Menet", and the excellent, Necrodeath-influenced "Orokolt Hanyatlas". The other songs are mostly in the mid-tempo, with slow, almost doomy passages, topped by the unholy black metal-ish howls of the singer.
"Thrashtamentum" aims at more aggressive territories, and as such is the band's most brutal effort. The music is very fast, "courting" death metal much more, but one could hardly complain, after hearing the ligntning speed delight "Nem Leszel Torveny", which finds some time in the middle to remind of the band's interest in a more formal, gothic sound, or the dark technical "Foldjeim Embere Terdre! (Gaia)". "The Restless" successfully mixes raging thrash/death with gloomy orchestral gothic near the end, giving way to the English version of the aforementioned "Foldjeim Embere Terdre! (Gaia)", aka "Man Of My Lands, Kneel! (Gaia)".

Elveszve Demo Demo, 2001
Homályba Menet EP, 2003
Thrashtamentum EP, 2005

TREMOR (TRINIDAD AND TOBAGO)

Based on "5.8", these guys offer cool dark progressive power/thrash with nice clean mid-ranged vocals. "Disembodied" smashes with heavy doomy, but at the same melodic, riffs, only to give way to the speed metal delight "Seek". "J' is a calmer progressive track ala mid-period fates warning, and up to this point one may be confused as to how to exactly label these guys. "Deceased" brings back the heaviness from the opener, but nothing really thrashy happens. "Final Strike" is a sinister power/thrasher with epic overtones, influencing the next "Warriors of Steele", which is a tad more melodic, with very good vocal performance. The closing "Tremor" is exemplary progressive power/thrash in the best tradition of the Swedes Pathos and later-period Hexenhaus, a great blend of sharp and heavy riifs, finished with a nice balladic outro. It would be interesting to track the other albums down, and also finally acknowledging the existence of a Caribbean metal scene, which judging by this band, should not be ignored.
"Crawl From The Wreckage" is of a worse sound quality and offers a milder sound, obviously influenced by Iron Maiden (check out "The Hunted") vocal and harmony-wise, and as a whole there is not much thrash to be heard, the music being safe progressive heavy/power metal also recalling the 80's American power metal scene (Jag Panzer, Griffin). The tempo is mid the whole time, with nice semi-balladic moments on "Angels Watching", with the doomy tendencies having not developed at this stage.

Crawl From The Wreckage Full-length, 2004
5.8 Full-length, 2006
Rebirth Full-length, 2008

TRENCH HELL (AUSTRALIA)

With musicians coming mostly from a death and black metal background, among whom one can not help but notice the presence of Hexx: the new black metal guru on the Australian black metal underground, also having taken part in the spawning stages of the Toxic Holocaust career, what could we expect here? This is jolly, Motorhead-influenced thrash, bringing also to mind the Canadians Exciter. In the more intense sections one could feel some early Destruction riffs, too.
The EP is a further elaboration on the music already heard on the demo; early Exciter-worship, quite well done, thrashing a bit more intensely at times ("Armoured Fist"), also "courting" the early German speed metal scene ("Last Rites").

Alcoholic Disaster Demo, 2004
Southern Cross Ripper EP, 2008

TRENCHFOOT (BELGIUM)

A blitzkrieg 3-song demo of heads-down classic thrash; good fast-paced stuff, with some crossover atmosphere ("Putting Out The Fire (With Gasoline)") present, and cool vocals reminiscent of John Bush (Armored Saint, Anthrax), but gruffer.

Demo Demo, 2007

TREND (DENMARK)

Heavy 90's groovy post-thrash, a combination of Helmet and mid-period Machine Head, but the Danes sometimes take a more alternative turn, not too far from Rage Against the Machine. On the other hand, there are some pure stoner/doom compositions: "Untouchable". Don't bother...

Bitch Full-Length

TREPANACIA (RUSSIA)

This underground trio will offer you retro thrash in a dark brooding form with lighter crossover tones which on the other hand come fully compensated by the more frequent extreme proto-death passages. Apparently influenced by the later works of their compatriots Front, the guys continued raising the thrash metal flag high under a different name through the 90's and the new millennium: D-Ozz, with two released full-lengths so far. Reportedly the style there is not too dissimilar with a few modern throw-ins.

Bezumie Deystvitelnosti Demo, 1994

TREPANADOR (ARGENTINA)

Quite good obscure album of intense thrash, with slight shades of death metal, sitting between the modern and the old school. The guys spare no speed, which works just fine, combined with the more technical riffs. The slower, heavier numbers ("Presagio") are not as striking, being more standard. Suddenly will one come across pure galloping thrash delights ("Prisión Racial"), or explosive Slayer-esque ones ("Sentencia"), with also nods to the Slayer late 80's period ("Enjambres De Obsesión").

Prision Racial Full-length, 1996

TRIAL BY STONE (USA)

Based on the first demo (both demos share only the title, no tracks), this band play modern thrash/death, which has its own face, brought mostly by some stylish technical riffs ("Loss for Words", which is not an Iron Maiden cover). "Skinfection" is a very good, epic thrash opus, graced by some cool emotional clean vocals, which accompany the low-tuned death metal growls. "C.U.N.T" is a good take on the war metal of Bolt Thrower, and has no relation text-wise to the 4-letter word it alludes to.

Trial By Stone Demo, 2004
Trial By Stone Demo, 2005

TRIBULATION (SWEDEN, Arvika)

Based on the "Putrid Rebirth" EP, this band pull out cool thrash/death metal the way it was meant to be played in the early stages of this particular genre- think the French side of the genre: Massacra, Aggressor, Loudblast. This is heavy, but also quite brutal at times stuff, featuring some nice speedy guitar work akin to the German heroes Kreator and Sodom.

Aggression Within Demo, 2001
Agony Awaits Demo, 2004
The Ascending Dead Demo, 2005
Putrid Rebirth EP, 2006

TRIBULATION (SWEDEN, Surahammar)

Thrash/crossover band similar to early D.R.I. with too many punk-ish overtones.

Clown Of Thorns Full-length, 1991
Spicy EP, 1994

TRIGGER ZONE (USA)

There is very little information about this band on the net, but the "Best Of" compilation I have, displays a really good band, with a style varying from power metal ala Metal Church ("Bone Crusher") to some pure high-octane American power metal numbers in the Omen, Helstar vein ("Trigger Zone 88X"), to awesome sophisticated technical thrash in the Forbidden and Megadeth-vein ("Chaos"); "Procrastination Wall" and "Day for Fighting" offer more aggressive and faster guitar work, accompanied even by some blast-beats: great headbanging stuff. The singer is a find as well, having a very powerful tember similar to David Wayne (R.I.P.), maybe cleaner and more melodic.

Demo Demo, 1994
Best OF ???

TRINO (BRAZIL)

Based on "More than a New Life", this act provides derivative one-dimensional groovy thrash seldom livened by more dynamic thrashy sections. The guitars crush and the singer is reasonably angry, but this has been heard many times before.

Suffocated Breed Full-length, 1999
More than a new Life Full-length, 2001
Oposição Full-length, 2003
666 Corporation Full-length, 2006

TRIPLE 7 (HOLLAND)

This band is a side project for two members of the retro thrashers Engine of Pain. With Engine of Pain the guys managed to enter the official release-circle, whereas with Triple 7 they are still on a demo stage. The style here has very little to do with the classically-inclined one of the other band; this is a modern-sounding mixture of power and thrash metal with heavy, groovy parts and some cool technical guitar work recalling the Canadians Obliveon's later period, and the Voivod 90's works with Eric Forrest.

Witness Of A Dead Creation Demo, 2001
Recognition Demo, 2003
Pieces Of Me Demo, 2004

TRITON ENIGMA (SWEDEN)

This is the new band of Metallic Kitty- the girl who sings for Decadence, ably supported by the "one man band" Ronnie Bergerståhl (Grave, Amaran, Centinex, World Below). The Kitty gives a more aggressive, black-ish edge to her vocals, and it's hard to make comparisons between her two performances. The music is typical Swedish thrash/death, more aggressive, but less impressive than the one of Decadence. It's much closer to death metal, and the frequent blast-beats ruin the final impression a bit. The closing "Madness" is the only more thrash-based track, although it is ornated by some gothic melodies.

Black Lies Full-length, 2008

TRIUMPHAL ARCH (RUSSIA)

This band's line-up included a future member of the progressive power/thrashers Trizna. The music on this one is more conventional, despite the impressive length of the songs (the shortest one is 5-min long). There are some interesting moments, though, and the tempo often changes from mid-tempo to fast, but such long tracks require something more to really deliver the goods; now they just start wearing off at some point, and you might lose interest in the proceedings for a while, but rest assured that you will catch up on the next song, with more of the same. The longest song: "Abadon", has a certain doomy flavour and, surprisingly, is the least tiring one, coming up with some cool heavy guitar work. The vocals are worth mentioning, being nice clean, mid-ranged, with this semi-high blend at times, also characteristic of Kipelov from Aria.

World Devil Full-Length, 1989

TRIVIUM (USA)

Trivium are perhaps the thrashiest of the wave of metalcore bands who flooded the scene in recent years. That's why I can't help, but find a room for them on this site; especially after they remind me so much of 80's Metallica at times.
"Shogun" is a stepdown for the band, despite some improvement in the lead guitar department (check out the opening "Krisute Gomen", and other tracks). Apart from some intense death-laced passages, the music has kind of lost its bite; the melodic Swedish influence can be felt stronger: "Into The Mouth Of Hell We Mar", and the middle is preserved for mid-paced melodic numbers: "Throes Of Perdition", "The Calamity", "Insurrection". The title carrier, which closes the album, does almost nothing to improve things, being a very long, 12-min progressive composition, which meanders in many directions, leaving not much room for thrash.

Trivium EP, 2003
Ember to Inferno Full-length, 2003
Ascendancy Full-length, 2005
The Crusade Full-length, 2006
Shogun Full-Length, 2008

TRIZNA (RUSSIA)

This band appeared at the same time with End Zone, and both played classy progressive power/thrash. Trizna are the less adventurous, with lighter melodies and an overall more melodic sound. "Need for Speed" is a nice debut, which starts very promisingly with the fast technical instrumental "Flash in A.S.S.", which would definitely satisfy your "need for speed". "France" is a smashing heavy, slower number, followed by the long (7-min) semi-balladic technical thrasher "Fear of Life". Just when one starts to wonder where all the speed had gone, comes the energetic "Big White Horse-Cowboy", which has more in common with the power/speed metal scene of that time, but is quite satisfying. The speed remains for the next two numbers which increase the heaviness and the technicality, being the highlight of the album. All this is followed by a pleasant (depending on the taste) surprise: a very cool cover version of ABBA's "S.O.S." (the metal acts love this band, hey!).
After a long break the band are back with "Vertical Horizon", with their style softened and more modern, and with more nods towards the power metal field, often completely abandoning the thrash metal idea; not a very satisfying work as a whole.

Out of Step EP, 1995
Need For Speed Full-length, 1996
Vertical Horizon Full-length, 2004

TROUPNY YAD (RUSSIA)

Heavy, crushing thrash metal with some nice fast headbangers, and an overall style not too far from another Russian band- D.I.V.(their early works). "Time to Kill" is probably the best example of their style; simplistic, enjoyable stuff, containing nice catchy, playful numbers ("Shtusha-Kutusha", "Uh, Blyad!"), with a crossover touch. The faster tracks provide good, headbanging fun ("Nenavizhu", "Duraki") with sharper, but still melodic, memorable riffs. "Dohlaya Strana" is a nice aggressive track, with a darker, gloomy atmosphere, immediately followed by the other extreme: the doomy "Kukuhi". "Allah Aqbar", the closer, combines the two contrasting styles, with preferences for the more intense guitar work.
"Raby Nemy", which arrives after a lengthy, 8-year hiatus, offers a much more laid-back, melodic approach, similar to those more playful, jolly numbers from the predecessor, some of which are openly rock'n roll-like: "Zampolit". "Jrite" and "Depressniak" remind of the slower, doomy side of the band's style, and are the best songs; the rest is soft heavy/thrash, which would hardly impress the more hard-boiled thrash fans.

O.V.O. WITH O.V.D. Full-length, 1995
Time To Kill Full-length, 1997
Raby Nemy Full-length, 2005

TRUDA (ROMANIA)

A more energetic version of the 90's groovy thrash; when you least expect it, the guys start thrashing with full force out of nowhere, regardless to how awkward it may sound on the heavy much slower background. Still, this technique is not too bad, but is only present in the beginning; later on the album takes a much less desirable soft edge, degenerating to downright hardcore-ish alternative.

Taraf Nation Full-Length, 2008

TRUTH BE KNOWN (SINGAPORE)

This Singaporean outfit pulls out mid-paced thrash/death of the classic variety, quite consistent pace-wise, although some more aggressive moments can be heard ("Just Another Lamb", the sparce blast-beats on "Oblivion Youth", the brutal technical leaning ala Suffocation on "Confront Your God"). The consistency pays off, producing some really cool steam-rollers ("Dogma", "Thus Is Your Fate", "Deny Defy") ala Bolt Thrower. "NoReligion" is a nice gothic/death/thrash interlude, not losing the steam-rolling riffs. The singer fits well into the picture, comfortably sitting between Dave Ingram (Benediction) and Karl Willets (Bolt Thrower).

Just Another Lamb Full-length, 2008

TRUTH CORRODED (AUSTRALIA)

Based on "Our Enemy Is The Weapon", this band play modern thrash metal influenced by the Swedish scene: think Carnal Forge, Terror 2000, with nods to the 90's aggro-thrash (Pantera, Machine Head) movement.

Fuel The Chain EP, 1999
End EP, 2001
Begin Full-length, 2001
Our Enemy Is The Weapon Full-length, 2005

TRY TO INFECT (GERMANY)

Cool, modern blend of thrash and death metal with several vocal styles involved, among which the clean ones will get on your nerves for sure. The riffs are quite good, the leads as well, and the pace changes, without reaching any aggressive heights. This is not metalcore, like some sources on the Net imply, but is heads-down thrash/death with the Swedish school an obvious influence.

The Rise of Humanity EP, 2008

TUDOR (CZECH)

Based on the first two albums, this is mostly mid-paced, atmospheric black/thrash with some occasional faster moments, which slightly resembles early Celtic Frost, but is more melodic and simplistic, and the early works of their colleagues (and compatriots) Törr. Their minimalistic approach to song-writing was an obvious influence mostly on black metal acts like Barathrum, Thorns, Khold, etc.

Bloody Mary Full-length, 1992
Zapomeò... Full-length, 1992
Bestie Full-length, 2006

TUMULTO (BRAZIL)

Based on the "Metalurgia" split with the death metal monsters Sign of Hate, these guys offer pretty cool classic power/thrash with simplistic, but very catchy guitar work, mostly mid to up-tempo, with maybe more brutal for the style vocals, leaning towards death metal. The music may remind you of the American power/thrash metal acts from the 80's: Helstar, Liege Lord, Omen, Laaz Rockit, Savage Grace, Anvil, etc. The band switches onto more intense thrashing for the excellent "Blood Thirsty", and especially for the short explosive 2-min "Trator", but the rest is not bad at all, and will definitely serve to arouse your curiosity in spending the time to track the full-length down.

Conflitos Sociais / Scar In Flesh Split, 1992
Holy War Demo, 2002
Metalurgia Split, 2007
Fight Full-length, 2007

TUNGSTENO (ARGENTINA)

With a very regular participation with demos and splits in the metal underground, it's apparent that this young outfit want to make themselves heard. And they should, since what is on offer here is vintage 80's speed/thrash, with nods mostly to Kreator and Destruction, above all. The music on the "Realidad o Ebriedad" demo is fast and intense, seldom bordering on death metal ("Vino y Velocidad"), ably assisted by the vicious brutal death-ish vocals. "Regimen de Violencia" has a catchy chorus ala the Bay-Area acts, along with a nice headbanging up-tempo. "HxIxVx" is a 1-min brutal grinding explosion, but sometimes a man needs something like this to get all tension and anger out of his system. "El Escuadron del Thrash" from the first demo is a longer, more complex composition, frequently changing pace in a cool, smart way, bordering on semi-technical thrash at times, and "Te-Thrash" from the same demo is direct Germanic speed/thrash, with some interesting guitar implements. It would be interesting to see what would come up, if the guys choose to develop these tendencies on future releases...

Tethrash Demo, 2007
Thrash Slash Vol. 1 Split, 2008
Realidad o Ebriedad Demo, 2008

TUONI (FINLAND)

Modern power/thrash with a certain gothic shade, sounding like more thrashy late period Sentenced and To Die For (both also from Finland). There is also a strong presence of groove on many songs, and the music is infused with gothic gimmicks, like keyboards, clean vocals as opposed to the angry semi-death shouts, etc. There are not too many sharp guitars to headbang to, but the gothic fans might find it too heavy for their taste.

Elävät & Kuolleet Full-length, 2005
Tuli Kulkee Full-length, 2007

TURBO (POLAND)

Turbo started as a heavy metal band, but the thrash metal mania of the late 80's took them away."Ostatni Wojownik" is a great entry for the band into thrash metal with long, interesting songs and excellent, semi-technical guitar work. "Epidemic" is much more technical, showing the band's ambition to rival the technical metal heroes- Coroner, Target, Mekong Delta, etc., and is another strong release. "Dead End" retains the technical tendencies, but the overall style is a lot more aggressive, jumping onto the death metal wagon at times; another cool effort. "One Way" follows on the steps of its predecessor in terms of aggression, concentrating on furious thrash ala Sepultura's "Beneath the Remains" and Devastation's "Idolatry", this time without any technical pretensions, a pure pounding attack, a glorious closer to Turbo's thrash metal period. Later the band adopted a more modern, power metal-oriented sound, and their subsequent releases are of no big significance to thrash metal.

Last Warrior/Ostatni Wojownik Full-length, 1988
Epidemic/Epidemie Full-length, 1989
Dead End Full-length, 1990
One Way Full-Length, 1992

TURMION KŠTILŠT

Industrial thrash, coming as a more aggressive version of Rammstein and Ooomph; another close soundalike are Die Krupps. The frequent use of keyboards stifles the sharp guitar sound. The tempo admirably speeds up at times ("MinŠ MŠŠrŠŠn", "Paha Musta Veri"), but again... these keyboards. Inevitably the music takes some occasional dance dimensions ("Shuttle To Venus"), but the guitars have enough edge most of the time to pull this album through.

U.S.C.H. Full-Length, 2008

TWELVE GAUGE (USA)

This band specializes in minimalistic power/thrash of the mid-paced variety (based on "Violent New World"), reminiscent of more recent Venom, the Nasty Savage debut, and Hallows Eve, on the more intense moments. The music walks all over the music spectre, also offering something more punk-like ("Empty Headed Youth"), pure heavy metal hymns ("Integrity"), and of course the occasional full-blooded thrasher ("Wartorn": this one is quite violent, "Civilized Man").
"The City Is Burning" is by all means the better achievement, successfully mixing their slower and faster side on the opening "Invasion". "Meth Head" is full intense thrash ahead, but "Our Time To Die" decides that its predecessor was not aggressive enough, and thus includes some furious blast-beating moments ala Slaughter: resemblance between the two acts further aggravated by the slower stomping section, which follows them. "SFS" keeps thrashing with no mercy, and it's somewhere in the middle when "Status Climber" slows down, recalling the debut in many ways. "The Iceage" is a nice tribute to the early Canadian scene: Exciter, Anvil, a forceful speed/power killer, but "The City Is Burning" brings the album back to the more aggressive patterns, boldly wading into Slayer territory. "Winds of Doom" very well justifies its title, slowing down again, recalling mid-period Cathedral with a pinch of thrash. Although there is nothing revolutionary in the band's approach, few will complain when the good old power/speed/thrash from the 80's is being brought with such dedication and competence.

Violent New World Full-length, 2002
The City Is Burning Full-length, 2005

TWELFTH GATE (USA)

This band started very strongly with "Summoning", which was a fine slab of progressive power/thrash ala Nevermore and the French Kragens: dark, haunting music with crushing riffs, heavy mid-tempo, and good powerful, albeit slightly one-dimensional vocals. "Threshold of Revelation" three years later brought about a more modernized sound, and despite the more aggressive attitude, some of the magic of the debut has been lost somewhere; the songs are more simplistic and many of the interesting moments used previously (stomping doomy guitars, balladic atmospheric passages, etc.) have been considerably decreased. The guys have various other projects among which the thrash/speed metal outfit Burning Blade comes close sound-wise.

Summoning Full-length, 2003
Threshold of Revelation Full-length, 2006

TWILIGHT HAMMER (CANADA)

Fast intense black/thrash metal with a strong German influence; the guys indulge in long compositions where nothing really technical happens, and as such also resemble the Canadians Sacrifice, "Passage to Babylon" hitting the top in this vein closing on 13.5-min., an interesting varied track with nice epic deviations and cool lead improvisations. The guitar work delivers with sharp speedy riffs producing furious unbridled thrashers along the way: "The Flames of Toronto" which can indeed set Toronto on fire; this one needs very little to qualify for the Sacrifice raging debut. More controlled speed/thrashing fury comes on "Another Heaven Burns" and on the closing roller-coaster "The Torch of War" which with its merry riffage comes close to crossover; could have been written earlier since the singer strays from his husky sinister rasp here sounding unpleasantly synthesized.

Orcish Steel Full-length, 2007

TWISTED INTO FORM (NORWAY)

This band could be considered the continuation of the progressive metallers Spiral Architect, who, for some reason, were praised sky-high in various media. This formation is the better one, still playing progressive metal, but with a more aggressive, thrashy edge. The album starts strongly, with the first 3 songs summing up the best from the more technical side of metal; within small, 3.5-4min strustures, the guys nicely fuse very twisted and vortex-like riffs with some more intense ones, resulting in 3 masterpieces, which will remind you of Depressive Age, later period Death, Watchtower, early Psychotic Waltz, and others; great time changes, which never stray too much from the structure, keeping its coherence. With the slow dreamy "The Thin Layers of Lust" the sound loses its edge quite a bit, going straight into classic progressive territory ala later period Sieges Even and Dream Theater. With "Manumit" the thrashy sound returns, resulting in another fine string of thrash-laced progressive numbers (check out the marvellous labyrinthine "The Flutter Kings"). For the last two compositions the more complex progressive sound returns, with the obligatory elaborate sections and quiet atmospheric passages, but "Coda" exits this album in an imposing thrashy manner, with some sharp, smashing riffs. As with every progressive metal act we can't talk about speed or aggression, but this is truly compelling music, which flows nicely most of the time, with no unnecessary "musical show-off" sections (except, maybe a few ones on the longer tracks).

Then Comes Affliction To Awaken The Dreamer Full-length, 2006

TWISTED MOTIVATIONS (USA)

This is a two-man project; the music is progressive power/thrash reminiscent of Eidolon and early Eldritch. This is good stuff, although these guys often insert peaceful, acoustic passages more than necessary (almost on every song), but after all the intention is not to create a headbanging material. Still, the more aggressive riffs are more than enough to keep you on the alert, at least in the first half. The songs flow nicely in the beginning, without too many complications, until they reach the middle, where two more complex affairs await you, one of which ("Marjan") goes over the top, and is the actual flop here, with its balladic, toothless, non-thrashy approach, too long for what it was intended to be (an interlude, that is): 10-min. The bad news is that after this monstrous song the band never manage to elevate the quality of their performance to the higher levels in the beginning, and the remaining tracks are nothing more than your average power progressive metal output, quite dreamy and soft to be classified as thrash anymore. Apparently the guys' target is not primarily the thrash metal audience, and as a work of progressive metal this album delivers the goods on all counts.

Red Shift Full-length, 2004
Timespan Full-length, 2008

TYFOON (BELGIUM)

Based on the "Edge Of Violence" demo, this is very cool thrash metal calling to mind Kreator's "Extreme Aggression" and Hypnosia's "Extreme Hatred" (in other words, all albums which title contain the word "extreme"). Aggression and technicality shake hands here in an admirable way, accompanied by good Mille Petrozza-like vocals.

The End Demo, 1987
Edge Of Violence Demo, 1993

TYNATOR (USA)

Competently done, but pretty unmemorable 80's power/thrash metal with a kind of an appealing, but not fully developed dark sound. The guys try to play energetically, by at the same time putting something more technical in the proceedings ("No Lies"), but this combination leads to somewhat chaotic song-structures, although on the longest compositions they have actually done it right: "What Am I Doing Here?", which is not as fast, and the guitar work is better, albeit less thrashy than on the other songs.

Living in Pain Full-length, 1989
Living in Pain - Demo Series EP, 1990

Vibrations of Doom

TYPHONIC BLAST (HOLLAND)

From the slightly undeveloped, Motorhead-influenced sound on the first demo the band managed to come up with some convincing music on their last one so far which stays closer to the classic school: the Bay Area scene, more specifically; the style is predominantly mid-paced and heavy, featuring a cool headbanging winner ("Empty Seat").

Testosteronics Demo, 2001
Hellride Demo, 2002
Typhonic Blast Demo, 2006

TYPHOON (AUSTRIA)

So apart from Ravenous there was another thrash metal act from Austria in the good old days. This band come later than the other one and the thrash metal legions, but showed that it was never too late for some fine quality old school thrash. The music at display is speed/thrash with a certain progressive/technical edge, sounding quite close to the works of the acts from Germany who were a part of the progressive/technical wave which started a few years previously. These guys are faster, and maybe more straight-forward in their approach, sounding close to Paradox's "Heresy" at times. But the longer tracks spare no technical elements, and some of them are really fine examples of how speed and progressive structures could co-exist: "Wait For Disaster", "Evil Divine". There are the odd slower compositions, where the guys try to insert some balladic elements and calmer, heavy/power metal sections: "Try Again", "Fearful People", but their patience runs out fast, and at some point they admirably go back to the speed metal patterns.

Take Good Care Full-length, 1994

TYRANEX (SWEDEN)

This young trio is fronted by the girl Linnea Landstedt who both sings and plays a guitar. Based on the "Blade of the Sacrificer" 3-song demo, the band offer a softer version of the classic 80's thrash, mixed with a considerable doze of heavy/power metal. Both music and vocal-wise these guys (and a girl) will remind you of 80's Chastain, more aggressive riff-wise, and more varied in the vocal department, where Landstedt is not afraid to scream quite high whenever needed, or even adhere to some scary growls occasionally. Reportedly their first two demos are solid efforts as well, so don't be surprised if you see them signed to a major label some time in the near future...

Demo Demo, 2006
Tyranex Demo, 2007
Blade of the Sacrificer Demo, 2008

TYRANN (NORWAY)

Fast & furious black/thrash, which very seldom slows down, but when it does, the music takes off: "Hellridden", which even manages to sound technical, and doomy- quite an eventful and diverse composition, with fine guitar performance and stylish time changes. The thrashers will hone their ears on the short bombastic "Shub-Niggurath", and on the cool mid-tempo steam-roller "Soulburner". On the rest the hyper-blasting black metal outbreaks may make him jump in his sleep.

Shadows of Leng Full-length, 2009

TYRANNICIDE (USA)

Based on the full-length debut: very good, aggressive, somewhat semi-technical thrash, which will remind you of Gammacide and Slayer. "Hiding Under White" is a complex, slightly heavy-handed opener, which suggests little of the more aggressive sound later on, with its pounding, slow-ish riffs for the most part; one can not help, but notice how close this track sounds to the future angry-thrash which conquered the metal scene in the 90's. "Nails on the Chalkboard" already thrashes with more power, but the following numbers surpass it by miles: the brutal, Slayer-esque "Was It Worth It" and "Think for Yourself", the even more intense, proto-death "Drink, Drive and Die". "Peer Pressure" slows down again, but is much better than the opener, with cool technical hooks, and a nice balladic interlude. "Inner Peace - Holy War" tries to follow the more technical patterns as well, and it's not bad, combining more complex with straight bashing sections: an intense and intriguing listen. The closing "By His Own Hand" begins as a ballad, but the middle is aggressive thrashing, quieting down near the end.
"Hard Like a Machine" three years later is almost as impressive: both tracks are fine heavy pieces, still quite intense and technical, but recalling Exhorder's debut, rather than the two aforementioned bands.

God Save The Scene Full-length, 1989
Hard Like a Machine EP, 1992

TYRANT (SWEDEN)

Black/thrash/speed which will remind you of Venom, Celtic Frost, and Bathory in the slower parts, and Sodom and Slayer in the faster ones ("Hell Has Broken Loose"); these fast parts are not that many (3 songs altogether), and the focus is on heavy, mid-paced, simplistic riffs which create a monotonous, and even depressive feeling. The production is a little dirty, trying to imitate the one from the 80's works of the aforementioned bands.

Reclaim the Flame Full-length, 2007

TYRANT'S REIGN (USA)

The fact that these guys never got the chance to sign a full-length deal with a label, is equal to a crime. This is some good classic thrash which would have placed them along with the best from the American metal scene. Like with every Best of Compilation, on which this review is based, there are songs which differ in style: the majority are energetic Bay-Area tinged thrashers, but there are longer tracks where the influence of the American power metal scene is obvious. There is no a dull moment here, maybe the 7-min long semi-ballad "Forever And A Day" is not very convincing. There is an interesting attempt at technical thrash as well: "Unconditional Surrender", and this could have been the future direction taken by the band if they hadn't split up.

Untamed Demo, 1986
Year of the Tyrants EP, 1987
Demo Demo, 1989
Tyrant's Reign Best of/Compilation, 2004

TYRANTS BLOOD (CANADA)

This is the new band of Brian "Messiah" Langley, a former Infernal Majesty singer. The music here is not too far from the one offered on "One Who Points to Death": this is a pretty decent mix of thrash, and a bit of death metal. The guys play fast and tight, but without any technical pretensions, and all the songs tend to merge into one another. The second half of the album is less frantic, and offers some more intriguing hooks ("Warhammer", which boasts some nice melodic leads), the technically-charged, but also raging "Wolfheart", the excellent more complex closer "Rebel Angel", where the music takes a very unexpected turn towards a more thought-out song-writing.

Tyrants Blood Full-length, 2006
Prophecy EP, 2008

TYRUS (AUSTRALIA)

This band may be the first thrash metal band in Australia, and it's a shame they disappeared after just two demos during the peak time for the genre. The band's style "hesitates" between quite heavy, with somewhat menacing atmosphere, sound with crushing riffs not too far from early Celtic Frost ("Crucifixion"), and some speedy numbers which would have stood quite well even on the Angel Dust debut ("Bubonic Plague"). A great band who only served to "warm-up" the Australian thrash metal fans for the coming of other acts like Mortal Sin, Hobb's Angel of Death, Bezerker, etc.

He's a Liar Single, 1986
Tyrus Demo, 1986

Tärpäth (FINLAND)

This demo offers retro thrash/proto-death, fast relentless stuff with hoarse semi-death metal vocals. The music is simplistic with nods to Slayer, Rigor Mortis, Devastation, etc. "No Flowers At Your Grave" is a cool doomy instrumental at the end.

Botnia Thrash Assault Demo, 2009

TÖRR (CZECH)

A cult black/thrash metal band; their first two works are essential with their old school sound in the Celtic Frost/Bathory-tradition. Later their music took a more melodic turn, but retained its thrashy edge. "Toerritorium" is a pleasant surprise showing the band looking back at their roots, with the majority of the songs sounding as though directly taken from the band's early efforts, with only a few having the more melodic edge of their more recent works.

Armageddon Full-length, 1990
Institut klinickÚ smrti Full-length, 1991
ChÝpni o kus dßl Full-length, 1992
Morituri te salutant Full-length, 1996
Tanec Sv.VÝta Full-length, 2000
Made In Hell Full-length, 2003
Toerritorium Full-length, 2006

TØMMERMENN (NORWAY)

Based on "Urbant Helvete": this is melodic modern heavy/thrash, with influences from various other genres. This is not intense or hard-hitting stuff, often relying on pure heavy metal, or groove, or stoner/doom, to pull it through, and as a whole this music will not be very satisfactory to the thrash fan.

Tømmermenn EP, 2002
Tolv tonn Full-length, 2004
Urbant Helvete Full-length, 2006

TÖXIK DEATH (NORWAY)

Very cool early Germanic thrash, quite fast, with great simplistic, but very sharp riffs, and slightly sluggish drunken vocals; at times the music acquires some crossover tendencies ala Nuclear Assault, but the constantly speedy tempo and the biting riffage are intact throughout. For fans of vintage 80's speed/thrash this will be a no-brainer.

Happy Fukking Holocaust EP, 2007

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