Copyright (c) 2007-2018 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


Based on "Dissatisfaction", this outfit serve metalcore-ish post-thrash with echoes of Chimaira and God Forbid. Things aren't completely stale and "Unleash The Craving" is a nice dramatic thrasher with gorgeous melodic leads, some of the finest to grace these ears recently. Highlights of the kind aren't very easy to encounter later on, but the leads remain on an impossibly high level: this guy deserves a medal for his pyrotechnics. The singer is not as impressive, though, his intelligible guttural death metal tone providing the requisite assistance without sounding very obtrusive.
"Symbiosis" is a more dynamic effort although the staple for the band gimmicks are all here making this new opus another fairly predictable affair way before the end. Bjorn Strid from Soilwork guests on a couple of tracks, but even his short involvement can't help elevate this bland album to the higher echelons.

Tank EP, 2007
The Burden of Will Full-length, 2010
Dissatisfaction Full-length, 2012
Symbiosis Full-Length, 2015

Official Site


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

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

Official Site


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

Official Site


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


This band (aka Thrash Core Fanatics) offers (based on the EP) 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.
"Where Madness Reigns" would not surprise those who have heard the preceding EP although all the tracks are brand new, and yet the style remains the same: fast uncompromising thrash/crossover this time played more on the core side with spontaneous pogo causers like "An Eye For An Eye" present, and short compulsive outbursts like "I Like Ike", and the ridiculously speedy "Punch In The Face". The vocals are more tolerable now, in the cleaner shouty department, and deliver with their forceful commanding performance.

Core '88 Demo, 2008
Speed or Bleed EP, 2009
Where Madness Reigns Full-length, 2011

My Space

T.F.N. (USA)

Raw semi-amateurish thrash, quite fast and intense, which is more on the crossover side with some of the cuts being pure hardcore. The sound quality is awful, but the guys hardly need a better one, just having fun including the singer who shouts merrily the whole time. Later the band changed their name to Social Decay and started playing more sensible music, still on the crossover side, but more proficient.

Political Death Demo, 1986

Demo Download

T.H.C. (USA)

Based on the "Christian Brainwash" demo, these folks (the abbreviation stands for Thrashing Hectic Circle) pull out intense dynamic thrash/crossover which explodes around in the form of short bursting tracks topped by rough proto-deathy vocals. The sound quality is pretty muddy, and the guys just bash with vigour without any pretensions at high-class musicianship.

Killing for Peace Demo, 1986
Christian Brainwash Demo, 1987


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


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

Abhorrence Demo, 2011


Classic thrash purveyors from Karachi who march forward with edgy abrasive guitars and brutal death metal vocals which don't quite suit the mellower musical approach, but deepen the morose atmosphere created by the dark rhythm-section which may recall the British veterans Deathwish although more relaxed speed metal-based passages are not "strangers" to their style, either. The album opens with the more brooding slower cuts before "Fatwa" starts thrashing with more speed and edge with more elaborate decisions heard on "Art Of War". Later on the more aggressive delivery is left behind despite the more ambitious song-titles ("Thrashbandi", "Mosh Mosh Mosh"). This is decently-executed old school stuff in various tempos which lacks something in the production department (the guitars fuzz quite a bit), but such flaws can easily be smoothened out on subsequent releases.

Tabahi Full-Length, 2014

Official Site


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

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


Based on "Divine Misanthropic Madness", this band pulls out cool old school thrash/death metal 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 it never stretches 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

Official Site


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: "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

Official Site


This band is the continuation of the early underground thrashers Backwater who decided on a name change, for better luck probably, in the mid-90's. The style is still in the classic thrash mould, but is not an exact Backwater-soundalike. It's actually way better than the Venom-esque stuff the guys were exercising under their previous moniker, being heavier and more aggressive and complex, closer to the Bay Area scene, Forbidden and Death Angel in particular. In other words, expect clever semi-progressive thrashisms that may also call to mind Onslaught's "In Search Of Sanity" as well on the more melodic orientations, among practitioners from the technical/progressive thrash wave (Pyracanda, also the obscure 80's formation Sudden Darkness) that was still operational in the band's homeland at the time. It looked like a good beginning of a new career, but this formation also fell apart soon after although the guys gave themselves another chance later under the name X-Ray, producing a less intense, modern post-thrash fixated album ("Dehumanized") in 1996. The band are back as Backwater in the new millennium, with a comeback effort ("Take Extreme Forms") released in 2013.

Slow Death Full-length, 1995


Baed on the compilation: 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 seven tracks, a surprisingly small number for a Compilation album.
The EP: a return of the technical/progresive thrash/death metal legends with an appropriately-titled effort; the title-track begins in a melodic progressive death metal manner, and it's on "Existence" that the shadow of Death appears as well as the cutting mazey riff-patterns. "Love & Hate" is a great creepy all-instrumental technicaller with labyrinthine decisionsand beautiful lyrical passages near the end. "The Devil Inside" is a doom-laden complexer with jumpy serpentine riffs, and "The Genius Way" is a vigorous shredder with more melodic progressive "decorations" which disappear for its acoustic version that wraps on the EP. The guys haven't made any drastic changes to their attractive style preserving the atmospheric complexity from their early exploits, and should hit the scene again with a longer opus soon.

Cealalta Parte Full-length, 1999
Decade Of Metal Compilation/Best, 2004
Resurrection EP, 2013

Official Site


Based on "Carved and Created", these guys play atmospheric death/thrash metal with epic touches at times resembling Amon Amarth, but often is the music more melodic with doomy/gothic overtones. "Entrenched" is the odd outbreak, much faster, an approach repeated on "Bound By My Own" near the end which is a cool energetic thrasher with black metal hyper-blasts unnecessarily included.
"Into Temptation": the modern melodic thrash/death metal saga carries on the band not straying too much from their staple epic mid-tempo march, and a rousing hymn after rousing hymn come in quick succession to please the listener's soul; the latter may lose atention, though, since the delivery never falters from the well-paved pattern the sole exception being the intense dramatic "Wastrel" near the end.

The Awakening Full-length, 2006
Carved and Created Full-length, 2008
Into Temptation Full-Length, 2015

My Space


This international gang provide heavy, but also melodic modern thrash which offers at times some more technical respite ("Keep Living"), but generally the approach is straight-forward the music led by a gruff deathy throat which is accompanied by an angelic female presence on the cool "soft" ballad "There Will Come Soft Rains" (yes, indeed).

Straight from the Underground Full-Length, 2015

Official Site


Based on "United States Of Mind", this act play right as rain thrash/crossover of the old school which alternates the pace thus avoiding the trite formulas of the style also adding the more surprising modern groovy section ("Criminals"). "Pain Talks" is a cool heavy pounder appearing in the 2nd half where the songs are longer and more eventful, but also a tad less energetic. The vocals are on the mid-ranged semi-clean side and are a cool addition to this unpretentious merry-go-round stuff.

Negative Outlook EP, 2007
Peace in Death EP, 2008
Happiness Under Chains EP, 2009
Tables Will Turn Full-length, 2011
Under The Same Shadow EP, 2012
United States Of Mind Full-length, 2013



This is intense blitzkrieg tharsh with an expressive bass bottom and a jumpy rhythm-section. The guys bash with passion a lot of help coming from the screamy lead department, the lead gutarist indulging in quite a few show-offy sections. "Electric Assault" is a relentless Slayer-esque rager, but the title-track is a surprisingly stylish technicaller, a nearly all-instrumental track which is full of time and tempo shifts some of which are preserved for the closing progressiver "The Robbery" which even features a nice lyrical balladic exit.

The Reality of Success Demo, 1989



These are the same guys who also play in the black/thrashers Witchaven. No shades of black metal 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

My Space


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

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



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 the guy here tries really bad high-pitched vocals. The music has both an epic and a gothic flavour as well and may appeal to fans of later-period Sentenced and Razorback, and even H.I.M.

Tales For The Unspoken Demo, 2008

My Space


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

Beyond The Line Full-Length, 2011


This act rose from the ashes of the symphonic black metallers Taliandorogd. 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

My Space


Based on the debut EP, this outfit indulge in melodic epic power/thrash with a very strong bass bottom. The music isn't very intense, but has its moments like the pounding shredder "Sealed In Blood" which is the best song of the three offered, also thanks to a very surprising fast-paced death metal passage in the middle the singer a bit of a detriment with his indifferent mean, semi-clean punky tember.

Taliesin EP, 1990
Atrocities upon Mankind EP, 2013



Previously this band were known as Lethal, and Trojan, 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 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


This band was the beginning for the guitar guru Pete Lee (Gwar, Rigor Mortis). Here he's helped by his comrades in the making of this typical American power/thrash in the vein of Laaz Rockit, Liege Lord and Aftermath. The style is more in the power metal mould as more formidable riffage can be encountered on the longer material ("Pestilence", "Decimation", the thrashing fury "Soul To None"). "Ripping The Earth" is a nice speed metal cut, and the closing "Summer Of Hate" is a more intricate composition with a frequent change of pace also offering a few moments for the hard headbangers. This was an auspicious beginning for a career which never took off; the band later continued under the name Sedition followed by the release of two more demos.

Talon Demo, 1987


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

Demo Demo, 2011

Official Site


The EP: this is your average melodic thrash/death metal of the new generation reminiscent of Gandalf and mid-period Sentenced. The music is laid-back and mid-paced, the solos are good, but the singer overdoes it a bit with his rending low-tuned shouts.
The full-length is a much more ambitious effort with longer compositions some of which are sheer progressive thrashers like the opening "The Voice of Nhanderu (Von)". The problem is that most of the songs are heavy mid-paced opuses, and on an album 1.5-hours long this not very flexible approach inevitably starts wearing out. Still, engaging numbers like the diverse "Hahem" and the epic "1814" show higher musicianship which should find a fuller realisation on future works. The guys also offer two acoustic versions of songs from the album at the end, but their elegiac, mild character serve to no purpose.

United EP, 2011
The Last of the Guaranis Full-length, 2016

Official Site


All the alcoholics should tighten their belts for this "alcoholic black thrash" attack which begins in a surprisingly minimalistic fashion with the atmospheric mid-tempo instrumental "Prelude To Destruction" which gives a nice boost to the bassist. After that the real assault starts with fast blitzkrieg numbers topped by vicious raspy black metal vocals. Subtlety isn't really the name of the game here except for the few melodic hooks on the final title-track which is the most melodic and proficiently-executed track on this sincere downpour of primal aggression.

Alcoholic Thrash Black Metal EP, 2012

Official Site


Based on "Degradation of Mankind", this band play fast blitzkrieg old school black/thrash with vicious black metal vocals. The aproach is dirty and primal recalling early Kreator and the Brazilian hordes from the mid-80's (Holocausto, Dorsal Atlantica, Vulcano, etc.). The delivery is pretty one-dimensional as apart from the constant bash one can hardly detect anything else save for the slower Venom-esque deviation on "Punk Slut", and the abrasive crusty vibes on "Power".

Possessed by Madness, Possessed by War Full-length, 2014
Degradation of Mankind Full-length, 2017

Official Site


This is a "stupid" brand of modern groovy post-thrash which doesn't completely lack in the faster department: check out the merry roller-coaster "Open Scars". "Black Crows" is almost a full-blooded thrasher which lifts the level up a few notches before the guys put all to sleep with a string of morose bluesy rockers, all the way to the closing title-track which is a cool energetic thrash/crossover anthem.

Stupids Full-Length, 2015

Official Site


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

Rukami Nizshih Bogov Demo, 2007


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 Maldicion" which will shock you with a sparse blast-beat spasm. The singer could put more emotion, though: his strained semi-shouty tones are too close to the Swedish melo-death school.

"The Darkest Reflections" is another commendable achievement, maybe a bit more modern-sounding, and with less speed involved. The overall sound is stomping and mid to up-tempo, and energetic speedsters like "Ligth of my Darkness" should have been more. "Mountain of Water" in the 2nd half lifts the spirit high with another portion of high-speed rhythms which are gracefully continued on the tad more melodic "Acid in My Arteries", and especially on the nice Paradox-worship "Torturers Lulllaby". The closing "Oscura Pasion" loses it all, however, an overlong semi-epic power/thrasher with a bit boring repetitive riffs. The flaws in the vocal department remain, too, the guy now shouting even more expressively to mixed impressions.

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

Official Site


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

No One Will Hear Us Full-length, 2005

Official Site


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

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

My Space


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

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

"A Girl Called Cerveza": Beers all around! Bottoms up! Let me see your empty tankards! Our favourite "drunkards" are here again! Not that anyone has missed them by any means. After all, they were one of the few of the 80's veterans who never disappeared or hid undergroud smitten by the new trends. What's more, they have shown some real quality recently playing some of the best thrash out there.
So what does this "Girl Called Cerveza" brings? The same good old thrash, of course! It comes frolically blended with speed metal on the energetic opener "Rapid Fire (A Tyrant's Elegy)", with a softer guitar approach. The milder patterns carry on the following title-track, but "Witchhunt 2.0" is a hard-boiler thrashing wildly before "Masters Of Farces" introduces some more speed metal to the masses. It's not going to be thrash all the way this time although "The Metal Lady Boy" delivers the goods (despite its silly title) with its steely riffs; if you listen with care, you'd be able to distinguish a helper to Geremia: this is none other than Mrs. Doro Pesch (Warlock) who adds her throaty tember to this speed/thrashing ode to Thailand's most famous "product". "Not One Day Dead (But One Day Mad)" again clings more towards pure thrash, and the wild galloping riffage on "Fandom At Random" will shatter your senses beyond repair setting the tone for the remaining 2 compositions which are full-ahead thrash with no bars held ending this effort in a fairly high note. As a whole all will be happy with this next chapter from the band's career which fulfills the expectations for light-hearted headbanging fun all the way, also further consolidating the axiome that Tankard will always be one of the safest bets for the thrash metal brotherhood worldwide. Cheers! And, who's this girl "Cervesa", by the way? Anyone...
"R.I.B.": the beer fraternity is back in business after just 2 years of absence, and they seem more drunken than ever with their staple branch of beer thrash which in this case is quite aggressive ("Fooled By Your Guts") before it unexpectedly shifts towards more technical waters on the title-track. "Riders Of The Doom" covers the happy speed metal fields, definitely not Deathrow, and "Hope Can't Die" is more on the relaxed power/thrash metal side. More hard thrashing "wonders" later on, first with "No One Hit Wonder", then with the ultimate speed/thrasher "Enemy Of Order" which may remind someone of Kreator's "Hordes of Chaos". The "assault" is wrapped up by the vigorous "Clockwise To Deadline"", and the final thrash/crossover joy "The Party Ain't Over 'Til We Say So" which is a sing-along hymn to close all beerfests around the world, especially in October. In the end, there's nothing better than good beer, and the good old classic thrash; rest in... well...
"One Foot in the Grave": the band increased the gap between their descents on three years, and here they are with their next showing which starts thrashing remorselessly from the get-go with "Pay to Pray", a handsome energizer with crisp lashing guitars. "Arena of the True Lies" is a laid-back speed metal anthem, but "Don't Bullshit Us!" is a rigorous headbanger racing with the following title-track as to which piece would sound more aggressive. "Syrian Nightmare" switches onto heroic gallops with a more overt speed metal-ish flavour again, and "Northern Crown (Lament of the Undead King)" stays within the same parametres before "Lock 'Em Up!" coems crushing with more intense, but still playful and uplifting riffage. "The Evil That Men Display" is speed/thrash at its catchiest, but "Secret Order 1516" turns to the other side being a more ambitious progressiver with a wider change of time and tempo changes, with wild thrashing taking turns with mellower, stomping moments. "Sole Grinder" closes this entertaining effort with brisk ripping riffs, a merry thrashing roller-coaster, proving once again the axiome that the good old Tankard can't simply produce a weak>

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-Weib Wie Schnee EP, 2006
Thirst Full-length, 2008
Vol(l)ume 14 Full-length, 2010
A Girl Called Cerveza Full-length, 2012
R.I.B. Full-Length, 2014
One Foot in the Grave Full-Length, 2017

Official Site


Based on the full-length, this band play modern thrash of the choppy, jumpier variety; in other words, expect a few less ordinary breaks as well as an abrasive guitar sound which contrasts with the stylish melodic lead sections. There are weird cyber-thrash/industrial extravaganzas ("Miserytomb") provided with echoes of mid-90's Voivod, too, as well as references to the old school ("The Plastic Age") some of those served in a more carefree crossover-ish fashion ("Waste of Bones"). A diverse "cocktail" as a whole where everyone may find something to like, the singer not the biggest asset here with his hoarse, semi-shouty deathy baritone. Some of the musicians are also active with the death metal formation Intrepid.

Be Offended EP, 2015
Unhuman Full-length 2017

Official Site


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 Frack Full-length, 1996

Official Site


Fairly cool retro power/thrash the band retaining the initial energy from the brisk thrashing opener "Ocultando La Verdad" although the more officiant, stomping side ("3772") also works well. "Rock And Roll" is not exactly a rock'n roll anthem, but its frolic soft hard'n heavy character kind of slows down the proceedings, a situation corrected by the much more dynamic speedster "Comunicacion". The vocalist is a passable semi-cleaner whose delivery is too dispassionate and rigid for this kind of music.

Uno Full-Length, 2017


This is obviously a rehearsal tape the guys, or rather guy (the music could have been made by just one person) indulging in fast-paced old school all-instrumental thrash which is a clear statement of intent with the opening "A Headbanger's Paradise", but the next "A Thrashing Good Time" is already a slower piece leaving the final damage to be done with "Basement-Dwellers" which brings back the mosh with more style, but the computerized sound of the guitars is hard to be disguised, or may have been intentionally boosted.

Guitar Pro Demos Demo, 2014


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

The full-length is built around the songs from the EP adding another 5 new tunes to produce a merry-go-round old school thrash which rages on in a cutting sharp fashion relying on longer for the style numbers where the fast-paced shred gets mixed with calmer moments reaching the culmination on the diverse "Prejudice of Violence" which is 9.5-min of manic headbanging thrash with a very cool balladic, lead-driven exit. The final "Killing of Mother Earth" is another hard thrasher regardless of the peaceful beginning. Listening to the material here, the guys look well set to provide the needed competition to Blood Tsunami, Scariot and the likes in their homeland.

Human Mutation EP, 2010
Based on Evil Full-length, 2012

Official Site


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

Ocean of Fear Demo, 1992
Sanctuary of Foreboding EP, 1994


Based on the full-length, this is some really weird, offbeat stuff; it begins with the gigantic "Rebellion" which is a larger-than-life progressive opera which by all means has its intriguing moments, but it's overlong and not very carefully plotted at times. Then comes "The Holy Torment" which is more orthodox progressive thrashing, but again expect the unexpected in the face of Oriental tunes, sudden balladic twists, and virtuoso lead sections, not to mention the harsh death metal vocals which appear to disturb the main clean ones. The diversity disappears on the cool galloping "Bleeding Compassion", but later on one will come across blasting death/black metal ("On The Edge") among other inappropriate elements, this mish-mash finished with the excellent mechanical technicaller "Final Embrace", the best song here and definitely an example to follow on future releases.
Reportedly on the EP the band perform in a much more restrained and more melodic manner sticking to the conventional progressive metal/rock patterns.

The Destruction Begins EP, 2006
Rebellion Full-length, 2012

Official Site


Based on "So Blind", this band plays heavy groovy thrash/death metal with industrial overtones. The music is seldom fast; the guys prefer to play it mid-paced to slow, but still cool more up-tempo thrashers are around (the short opening, bursting "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.
"Journey Through a Devastated Mind" is a meditative "journey" among the debris of modern thrash/death metal at least half of the tracks being slow and doomy with sudden faster outbreaks (What if...", a really nice progressive cut). Some epic Amon Amarth-esque tunes have also been thrown in ("Your Weakness") to make this an appetizing offering for the more laid-back side of the fanbase; the rest will be only midly entertained on the more hard-hitting moments which are not many at all. The singer is a forceful growler who gets the message through with his authoritative rendings which have both passion and depth.

Taomenizoo Full-length, 2003
So Blind Full-length, 2008
Journey Through a Devastated Mind Full-Length, 2012

Official Site


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

Breathe Again Full-Length, 2010


"Queen Of Thieves" is power metal with progressive touches. The sophomore album is much better putting the band on line with progressive thrash heroes like Watchtower, Realm, etc. The bad thing is that of the eight songs on it there are only four 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

Official Site


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

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

My Space


Based on "Tarantism" the full-length, this courageous Iranian act (metal is hardly the best loved music genre in the Middle East), who are now re-located to Los Angeles, pulls out atmospheric semi-progressive modern thrash mostly in mid-pace with dark heavy guitar work and gruff semi-death metal vocals which are quite intelligible, and try to change the pitch to suit the atmospheric music. Ballads and quiet interludes are thrown in the middle and elsewhere as well as a couple of short hardcore-ish outbursts which are a bad touch breaking the much more serious tone of the rest. The closer "Indefinite Beginning" goes away with all the praises being an intense exercise in semi-industrial thrash ala Die Krupps and Skrew.

"Distorted Brains" is a very uneven affair with an increased number of quiet moments bordering on Killing Joke with a very few ties to metal, let alone thrash. This is minimalistic industrial music with post-rock touches.

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

Official Site


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 Vodcechny", 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 Vodcechny Full-length, 1992
Never Say Never Full-length, 1995
Chemomarsh Full-length, 1996

Debut Download


Heavy rough thrash with a good bass bottom, but with disjointed stomping riffs which sound more sensiblle when offered at a higher speed ("Titanic’s Death"); otherwise what we have is just a pile of unfocused riffs which are fnally replaced by the much better leads for the final instrumental "Mort De Ma Vie", a really good, professional way to exit this not very deserving it effort. The vocals are unrehearsed semi-shouty ones, and fit the semi-amateurish musical delivery. The guys did a much better job in the speed/thrashers Vixit with whom they managed to release one full-length in 1991.

Premature Violence Demo, 1997


Based on the demo, these Malaysian "tigers" come up with evil black-ish thrash which is more on the classic side developing in a brooding morose mid-pace with ultimately dark overtones which are further accentuated by the brutal underground semi-declamatory death metal vocals. The guys speed up here and there, but those moments are hampered by the noisy production and the buzz accompanying the guitars. This is a raw recording which has its primal charm, but there's a certain room for advancement in both the musical and production department.

Kedamaian Jalam Hitam Demo, 2012
Promo Demo, 2012

Official Site


Based on "The Sea Of See Through Skines", this is 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 isn't 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 2nd half of 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 cold dispassionate sounds. The same effect is effortlessly achieved on the nice closer "Tinge of Irony" which is an interesting take on mechanized doom/thrash.

"Static Apathy In Fast Forward": the "apathy" has reached bigger proportions here, but this means more varied music as a whole. The sense of melody is again well mixed with the dispassionate shred which this time is more dynamic and not as dragging. The computerized atmosphere is frequently dissipated by melodic sections and jumpy moments ala Strapping Young Lad (think "City") the progressive interests of the band nicely captured on the more sprawling spacey compositions (the engaging dreamy closer "Limiting The Universe").

The debut is another stylish downpour of choppy groovy rhythms which are spiced by dreamy quiet interludes (check out the excellent spacey progressive balladic opus "Rack In Aeons") which are indeed necessary for one to be able to tolerate this hard sterile shred to the end. There isn't much variety in the approach, and this robotic computerized atmosphere may get tiresome at some stage despite the little dynamics encountered here and there ("Still...Knocks") and the hypnotic guitar patterns which carry a strong Soulstorm-vibe with again mid-period Meshuggah a close second soundalike.
"Harmonic Confusion" continues down the road to softening the band's sound who now have epitomized very good clean vocals to assist the less hard-hitting approach; even the more aggressive vocal side has been moderated to lighter parametres since a lot of atmosphere has been poured into the proceedings this time. The music now is only slightly industrialized post-thrash with only a couple of more intense cuts: the sterile dispassionate shredder "Self Destructive Haze". The rest is just too melodic to capture the fan's attention although the Opeth lovers may also find something to like here.

Distorting Point of View Full-Length, 2006
The Sea Of See Through Skins Full-Length, 2009
Static Apathy In Fast Forward Full-Length, 2012
Harmonic Confusion Full-Length, 2016


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 exquisite, 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


This new formation indulge in modern thrash/death which follows its own patterns without sounding very derivative probably due to the darker blacky overtones which are reflected in the brooding riffage epitomized on some songs. Still, melody overflows from everywhere even from the blasting passages ("The Plague") which are not many, but create the requisite dramatism. The end is preserved for the more serious material where the guys show more creativity to come up with 2 diverse numbers with the sweeping arrangements of mid-period Dimmu Borgir nicely hinted at.

The Philosopher King Full-Length, 2013


This unknown Polish trio specializes in intense Germanic thrash with bad semi-declamatory vocals which are put so up front in the mix that they kind of deafen the instruments when in action. Otherwise the guys shred with speed and the casual more stylish lead guitar work, the bass also featured prominently on every song.

Rehearsal Demo, 1990


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 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's 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 enjoyable than, say, Xentrix's "Scourge" or Re-Animator's "That Was Then... This Is Now".

Eggshell Staircase Full-length, 1993


Based on the debut demo, this band play dark/gothic brooding thrash with forceful shouty death metal vocals. The not very clear sound quality is only an advantage here since the guys rely on very dark riffage to pull it through often leading their style towards the fields of doom reminding of early Nightfall more than just now and then (check out "Anathemized"). There are no speedy temptations anywhere to be found, but the solid monolithic pessimistic atmosphere should be "fun" for the more sadness-prone fanbase. Some of the band members play with the progressive death metal outfit Discordant at the moment.

Lead Astray Demo, 1995
Revolution 2098 Demo, 1998

Official Site


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


Based on "Life Lessons That Only Death Can Teach", this is lyrical calm progressive thrash/death which doesn't lack an edge ("Year 13: Placebo Salvation") if it wants to, but the guys prefer to emphasize on atmosphere for most of the time. There's nothing bad about it if the compositions weren't too long (9-10min) containing too many meditative balladic passages ala Opeth who are the main influence here, not to mention the few full-fledged ballads without a tad of heaviness. The vocals range from gruff death metal to alternative clean ones, all handled well matching the music swings and moods.

Aria of Fear Part One: A Shadow Behind the Stars Full-length, 2008
Life Lessons That Only Death Can Teach Full-length, 2014

Official Site


This is rough modern thrash with bashing drums and brutal death metal vocals which mostly recite with a deep guttural tember. The band march forward in a monotonous mid-pace avoiding the groovy "traps" successfully, but the noisy drums, the lack of speed, and the repetitive rhythm-section may make the listener move onto something else before the end.

Hi\'e1ba Elsz Full-Length, 2012



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

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

Official Site


The EP: modern thrash with a twist: the twist comes in the form of hectic technical variations like the short puzzler "No Compromises", or the heavy doomy stomper "With Broken Chains" which "flirts" with the ballad to a positive effect. Apart from the very good sound quality, another asset is the attached versatile vocalist who uses his mid-ranged semi-clean tone to maximum effect to assist this cool, but not so adventurous at this stage, effort which also pulls out some stops on the stylish closer "The Stupid Mother Fuckers We Are" which shreds in a more sterile mechanical fashion promising more niceties to come this way soon. Some of the band members are also active with the progressive metal outfit Absence Falling.

"Drowning Force" is a stylish offering which moves up the progression scale by also preserving the more dynamic sections which intertwine with the more intriguing hooks to a positive effect. Some more timid post-thrash shows its teeth ("Ask Me to Die") at times, but the sharp edge of the guitars doesn't get lost for too long. "Dawn of Reckoning" is a heavy quasi-doomster, and "Nailed to Reality" is a brisk Megadeth-esque headbanger with great melodic tunes. It's a kind of hit-and-miss stuff in the end with ballads (the romantic "Victims of Silence") and other not very impressive insertions which at least are missing from the cutting closing title-track.

Mother Fucking Earth EP, 2009
Drowning Force Full-Length, 2014

Official Site


These Finns serve brisk classic thrash/crossover which varies the pace at times branching out into less controlled hardcore ("Tasteful Turmoil"), at others sounding surprisingly friendly with power metal and groovy touches ("First Blood"). "Alice in Wasteland" is a more serious closer with steady mid-tempo riffs and a cool balladic passage the party atmosphere slightly ruined by the harsh overshouty hardcore vocals.

Protect the Wasted Full-length, 2016

Official Site


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

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

My Space


This act specializes in modern post-thrash with power metal elements. The tone is friendly and melodic with stretches towards stoner/doom, classic heavy metal and crossover. A highlight is the closing doom epic "Air Sea Battle" which is an exemplary composition showing the band more capable of handling the heavier and slower side of the spectre. The vocalist is a fitting mid-ranged cleaner who gives a nice "colour" to the melodic musical picture with his passionate performance.

TaunTaun Full-Length, 2009

Official Site


"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.

"9 Sins" continues the power/thrash metal saga which retains the dark tones from the previous efforts, but is suitably aggressive as well as evident from the impetuous opener "7 Colors". The vigour of this number, however, isn't quite matched later on the sombre pessimistic atmosphere carried by brooding quasi-doomsters like "Dead Doll". The shorter material has its bite, though: "Room 237" is a cool galloper, and "Tower Of Hellions" is a more edgy power/thrasher again with doomy shades present all over. The closer "Taunted 2" is an overlong over 10-min opus which is nothing more than a bit more elaborate progressive power metal which isn't that cleverly-plotted, but delivers with its cool melodic decisions. The singer shines again this time pitching it a bit higher adding the necessary dramatism at the appropriate time.

Taunted Vinyl EP, 2000
Zero Full-length, 2006
Bleeding Black Full-length, 2009
9 Sins Full-Length, 2013

Official Site


Bay Area-influenced thrash from Brazil; competently done with all the albums being of a consistently high quality. "Signo de Taurus" contains the most melodic and fastest material, and could pass for the band's finest hour, if you enjoy speed/thrash mixed with crossover ("Mundo em Alerta" is a very cool example of the latter hybrid); the songs on this one are very catchy and are not hard to remember; shades of acts outside the Bay Area could also be felt: Destructor, Blessed Death, Sentinel Beast, the Spaniards Fuck Off, etc.

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

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

Official Site


These guys pull out intense old school thrash which strangely resembles early Coroner with a healthy pinch of bashing hardcore-ish thrash the final result quite captivating with a somewhat offbeat feel the "rude behaviour" solely provided by the short outburst "Lethal Injection". What can you expect from a song titled "Dance In The Moonlight"? Not much thrash, right? Yes, but in this particular case the guys make a charming cross between the best balladic moments to ever grace a thrash metal recording, and some impetuous thrashing passages which will make many bow in respect. The closing "Josey Wales" may have been intended as a joke after such an ambitious composition, but the band thrash with style there as well making this obscurity one of the best kept secrets from the Dutch underground. A very good sound quality and quite cool Tom G. Warrior-like vocals add up to the good fun. Later some of the band members formed the doom metal outfit Lords of the Stone.

The Seed Are Sown Demo, 1991


Based on the debut, this act offer jumpy hectic post-thrash which sounds intriguing without hitting any extremes technicality or speed-wise. The hard mechanical riff-patterns are nicely intercepted by quiet meditative moments ("System Without Honor") where the harsh shouty vocals are replaced by much more expressive clean ones. The Tool influence becomes apparent on the longer and more complex compositions ("Courtesy"), and generally this is music for the more tender of heart since there are no headbanging moments to be savoured whatsoever.

Tavfa Full-length, 2004
Clamor Victorium, Clamor Silentii Full-length, 2013

Official Site


This is intense blitzkrieg retro thrash with interesting progressive breaks which comes close to MX's "Mental Slavery", but the speed metal aesthetics here is stronger ("Oath In Blood") on the shorter material, and the progressiveness often turns to more intriguing semi-technical thrash: "Silent Weapons For A Silent War". "Against The Iron Jaws" is a maddening ripper with another more curious interlude; and the title-track is the next in line less ordinary headbanger this unusual symbiosis reaching the apex on the epic speedster "Life, Life" and the short technical puzzler "Tinged With Red". The vocalist is less shiny his angry shouty rendings kind of not matching the original musical approach which gives a nice desirable twist to the Mexican metal scene.

Island of Doom Full-Length, 2014


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


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

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

Official Site


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

The Innocent Sin Of Existence Full-Length, 2008


This US outfit acquit themselves with creepy doomy post-thrash which can be quite speedy on occasion ("Steeds of Ice"), but the heavy steam-roller riffs are all over it often ending up in classy doomy cuts ("El Cabron", the "super bending" "Super Bender"), or more complex exercises in progressive metal ("Grimple Storm") which are clearly the highlight. The singer assists the musical proceedings with an aggressive angry, deathy tember which pefectly fits the moody, pensive riffs.

Grampa Mountain EP, 2012


"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 the wild death metal bomb "The Porcelain Doll" which will easily break all the porcelain dolls in your and your neighbours' house), clinging towards the heavy mid-tempo ala early Celtic Frost most of the time, suddenly turning into stylish Bay-Area thrash on "When the Sun and Moon Share the Sky". "Not Quite Awake" will surprise you with another furious slab of thrash/death metal topped by very high-pitched King Diamond-like vocals. At the end the connoisseurs will recognize two good cover versions: of Slayer's "Necrophiliac", and one more Bathory: "Reap of Evil".

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

Official Site


The self-titled demo: 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.
The "Act of Violence" demo is more stomping and kind of angrier the guitars having already acquired a semi-groovy egde. "Entombed" thrashes harder and almost restores the more stylish exploits from the earlier demo; this is left from the title-track which is a more serious shredder with progressive leanings before "The Murder Machine" wraps it on with the last portion of sharp abrasive riffage. As a whole this effort is way inferior to the first one seeing the band trying to adapt to the swiftly-changing tastes of the decade.

Technakill Demo, 1991
Act of Violence Demo, 1992


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 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 post-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


Based on the debut demo, this Italian act specialize in stylish technical power/speed/thrash which combines the more immediate histrionics of their compatriots Creepin' Death with the more abstract dissonant decisions of Voivod leading to a not very predictable, maybe a bit hard to follow at times, listen especially when it hits more ambitious progressive heights ("Insane War"), (un)fortunately not very often. The sound quality is very fuzzy hampering the guitarists from showing their full skills. The singer isn't too bad with his attached clean tember, but he's also obstructed by the muddy sound quality his voice dropping lower at times.
The "Oblivion (Your Soul)" demo is a revelation, a very positive occurrence in the annals of Italian progressive/technical metal. It comes with a very bad sound quality, though, which may be a serious obstacle to some. Those who wouldn't be bothered too much by that should carry on, and they will come across "The Power of Indecision", a surreal cosmic shredder with choppy stop-and-go breaks, quirky melodic inerruptions, strong bass present, and an absolutely arresting melodic epitaph. "Oblivion", the relative title-track, is an eccentric progressive masterpiece with a more dramatic, pounding rhythm-section which surrenders to psychedelic dissonant landscapes ala Voivod those coming with a deep balladic nuance. "Post Agony" is a quiet fusion-like instrumental, and "Guardian Angel" is a consummate speed/thrashing riff-fest with serpentine riff-patterns and several attempts at a more orthodox play. "Stop" is woven by twisting ever-changing riffage with sudden speedy outbursts and jazzy bass-driven breaks. "The Right (2) Life" is one of the finest achievements in the progressive/technical metal fodder, a multifarious aural feast with a stunning Coroner-esque beginning, and a layer after layer of interesting decisions among which is a great quiet interlude; a more dynamic delivery is provided later alongside superb melodic accumulations. The thin, lacking depth and range, singer continues to be a detriment, but the great music largely compensates for any pitfalls be it form the production or from the vocal side.

Evolution and Revolution Demo, 1989
Oblivion (Your Soul) Demo, 1993
Techrome Promo Master (double version) Demo, 1996
Techrome Promo Master (double version) Demo, 1998

Official Site


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, 8hich 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


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


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


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

Only on Earth EP, 2008


Very good speed/thrash metal with a classic edge mixing the speedy riffage of the Bay-Area with the sharp mid-paced one of Anthrax. The title-track 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 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 standout performance. He actually sings quite well on the whole album, albeit seldom changing his high clean tember which comes as a nice mix between a higher-pitched Joey Belladonna and Michael "M.A.J.O.R." Knoblich (Scanner, Jester's March).

Legions of Frustration Full-length, 1993


The "Galactic Usurper" demo: a fairly talented young act who specialize in the difficult area of technical thrash without sacrificing the speedy side. The title-track introduces both aspects thrashing energetically all over. "Digestive Pit" follows the same pattern going up a notch in the technical department. "Future Existence" is graced by a couple of slower sections which possess the surreal, twisted quality of Coroner's "No More Colour". "Destructoid" is another fast-paced puzzler with echoes of the above mentioned Swiss of which a good reminder is also the subdued, semi-declamatory vocalist who doesn't hide his fascination with the mean venomous antics of Ron Royce (Coroner again).
The "Stellar Damnation" demo is three tracks both showing the band looking at the technical/progressive spectre. "Eons of Concealment" is just a melodic, still pretty intricate, intro, but comes "Stellar Damnation" and the serious progressive thrashing knows no boundaries the guys weaving these multi-layered compositions blending fast-paced passages with breath-taking balladic progressions on top of some mazey riff-patterns on "Obliteration of the Primordials" where the band seldom lose the fast-paced shredding during its nearly 6-min length. The leads are simply stunning and play a major role in giving this excellent short effort the desirable melodic boost.
The EP shows the band in a more spacey and dissonant form, but the intricate tapestries are pretty much intact being pensive and mid-paced on the opening "The Monolith", and fast-paced and hectic on the varied death metal-ornated "Artificial Divination". "Realm of Solar Darkness" is a beautiful cosmic opus with oblivious, abstract guitars alternating with more direct riff-based sections this surreal opera recalling Theory in Practice and Vektor, among other purveyors of originality. "Path to Omniscience" starts with a balladic deviation which later grows into a cacophonic, moody dissonant cavalcade the latter augmented by a short hyper-blast as well. This is a really interestng take on metal, and should prompt the band to take more time in the studio and come up with a full-length.
The "Universal Violence" demo contains "Digestive Pit", a dynamic high-speed shredder without any particular gimmicks if we exclude the really good melodic leads; "Violent Circle", a not very "violent" speed/thrasher with more dramatic proto-deathy accumulations in the middle; and "Conclusion", a 1-min balladic outro. At this early stage the guys just bash with passion and vigour not thinking too much about stupefying the fans with a less orthodox play.

Universal Violence Demo, 2010
Galactic Usurper Demo, 2011
Stellar Damnation Demo, 2013
Ascendance EP, 2016

Official Site


This is energetic modern thrash which hits high in the atmospheric department by also providing the requisite array of hard-hitting riffs. The sound quality is crystal clear boosting the guitars quite a bit which aggressive character is evident on the few headbangers like "Meltdown" and the more elaborate "Delta Four". "Angel Maker" is the tender deviation which even features passionate clean vocals as opposed to the harsh death metal semi-shouty ones.

Conform & Consume Full-Length, 2016

Official Site


The EP: 4 songs of semi-technical modern thrash/death metal which mixes jumpy rhythms with fast, deathy sections, the final result quite intriguing, albeit a bit disjointed at times. The guitars have a curious dry mechanical sound which brings the band close to Meshuggah and Gojira, but the shred here also has a certain headbanging potential, and the tempo-changes are more frequent. The singer is a synthesized death metal semi-shouter giving the proceedings an evocative industrial vibe.
The full-length is an even more puzzling affair, but by all means for the better. The opening "Caress the Rabid" is already a fairly hard to swallow affair with a dozen of illogical time and tempo switches, not to mention the operatic atmosphere recalling Hollenthon. "The Murderous Fifth" is a surreal technical deathster, and the perplexity only gets bigger on "Stratageddon" and "Paralytic", both hallucinogenic hecticers second to none. "Ship of Traitors" acquires marginally more linear thrashy confines, but the frenetic fretwork carries on unabated on "Seeding Derision" and the disorienting, unpredictable "Macrocosm of Torture". "Hibernus" sounds like Voivod playing death metal, spacey rhythms interlaced with fast ripping guitars, a truly impressive symbiosis. The final chapter from this very interesting saga includes longer compositions with less frantic riffage "There is Nothing Without Hate First" being another futuristic Voivod-ish masterpiece with sudden spastic, speedy passages; "Obtest the Abjuration" being a relatively orthodox dirgy doomism; and the closing "Geist", the last portion of labyrinthine, ripping technical thrash/death with more sprawling progressive decisions again smelling Voivod. This is a winner on all counts seeing a rising force on the technical metal field with a lot of potential yet to be displayed in the future.

Mockery Of The Fanatic EP, 2011
Nevercrown Full-Length, 2016

Official Site


The demo: 2 songs of modern progressive thrash/death in a more peaceful pace the guys trying to evoke a lot of atmosphere and manage to do that, actually, on "The Realists" which is a "really" captivating composition shredding in a stylish technical fashion even speeding up near the end. The singer is a low-tuned death grunter who gets buried under the instruments being placed too far behind them in the mix.
The full-length begins in a sweeping brutal fashion with "Self Division" where the hyper-blasts will blow your socks off. Later on things get under control a bit, but the pompous arrangements remain and go over the top on the 13-min saga "Bright Knife", progressive thrash/death with echoes of Opeth, among other less known practitioners. The bombastic song-structures may pull back some of the fans since the influences are so many within a single song that to follow the plot would be quite a challenge at times. There's plenty of music on display here, but its versatility may not be for everyone.

Time to Avenge Demo, 2010
404 B.C. Full-Length, 2014

Official Site


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

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

My Space


Based on "Krapakalja", this band offers an eclectic, but not a very stylish blend of doom, thrash and a bit of death metal. The approach clearly favours doom before the other genres, and the thrashy breaks come out of the blue, and since one doesn't expect them, there's no way he can enjoy them fully. "Dimension Complete" is probably the only track where the guys manage to put two-and-two together, and combine very heavy doomy riffs with a couple of bursting thrashy ones. The title-track is a good exercise in death/doom ala Beyond Belief and Asphyx, quite brutal at times, but the rest isn't really hard to swallow, especially the moments where the music degenerates to pure funeral doom with very bad clean semi-operatic vocals which can seriously pull you off.
The "Temperance" EP is raw abrasive doomy post-thrash which is at times almost funeral-like, at others quite playful and even optimistic. The noisy background is a major detraction as well as the rough shouty singer who only creates additional chaos to the already messy musical delivery.

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

Official Site


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

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

Official Site


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


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

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

Official Site


"Rivoglio Il Mio Futuro": this demo is typical modern power/thrash metal 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.

"Scusate per il Sangue" is a melodic power/thrash/post-thrash affair, arguably the band's magnum opus, which picks up speed early with the rousing title-track although to these ears the very good emotional, soaring vocals remain the highlight. Later on "Idiocracy" manages to come up with nice semi-technical riffs leaving the melodic hooks to the following "Imperi di Sabbia", and the infectious speed/thrasher "I Cani Del Padrone". "La Legge È Uguale Per Tutti" is another winner, a fast-paced shredder with progressive overtones; and "Radici Nel Cemento" is a more immediate headbanger racing with the speed of light alongside the closing "Sparami Sul Viso", another more interesting speedster which sees this act possessing all the right ingredients to play a major role on the Italian metal scene in the years to come.

"Virtual Line To Eternity" is still more on the naive heroic side the guys unleashing their carefree spirit with power/speed metal hymns aplenty thrash not very well covered "In the Black Hole" leading the pack there with its more hard-hitting arrangements; and "Moonlight Prayer" with its more serious progressive flair akin to Paradox. The sound quality isn't great, and the singer doesn't perform on the level he reached for the next album sounding indifferent, not very rehearsed and undramatic which is mandatory for this kind of music.

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
Scusate per il Sangue Full-Length, 2013

Official Site


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

Demo-nfaca Demo, 2011

Official Site


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

My Space


The EP: this UK trio offer cool, albeit a bit roughly-sounding, classic thrash which boasts a good bass bottom and forceful semi-clean shouty vocals. The compositions are lengthy (5-7min), but the guys keep thrashing throughout with just a few pauses along the way adding the odd stylish lead ("A New Age Dawns") here and there. "Too Blind Too See" is furious maddening thrash spiced with short pounding sections, and "Wrath Of The Repentant" is an anthemic speed/thrasher with both aggressive and epic tendencies. This could be a strong backbone for a worthy full-length, but some amendments are necessary in the sound department: there is a constant buzzy noise accompanying the songs making the riff-sections a bit noisy...

On the full-length all the 4 tracks from the EP are featured which leaves us with barely another 4 new songs. The new material doesn't betray the style chosen by the band and the guys do a good job thrashing with style spitting fire and ashes on major neck-sprainers like "Conquering the Masses" and "Sanity Deprived". The closer "A Bloodline Broken" comes a bit clumsy after the preceding "carnage" stomping uncertainly forward in a seismic mid-paced fashion wrapped up with a not very convincing doomy ending.

A New Age Dawns EP, 2010
The Battle Begins Full-Length, 2013

My Space


This is "tempestuous" epic power/thrash which gets really serious on the long "opera" "Vermes Da Terra", but comes "Voce" and things become faster and more direct. Both approaches take turns throughout as the emphasis later on goes more towards the power/doomy side with the heroic anthem "Olhos De Faria" which influences the remaining cuts in the 2nd half among which the faster speed metal-ornated "Sem Muita Curtio" is a needed revitalizer with some sections from the long opus "Em Nome De Deus" helping it as well. "Revolucio Sangrenta" is a dignified epitaph, a first rate speed/thrasher with plenty of headbanging moments offered. The singer is gruff with a forceful semi-clean tember who commands the proceedings with panache and authority.

Tempestuous Full-Length, 2011


The "Artifacts" EP: a 3-songer of very cool choppy technical thrash with a few interesting, more eclectic decisions resulting in the very creepy shredder "Deathtouch", the more intense ripper "Trample", and the serpentine Coroner-esque "First Strike" the latter also boasting nice lead sections. The singer may be a bit of a drawback having a screechy mean tember with witch-like tendencies at times assisted by a much more brutal death metal growl.

The "Summoning Sickness" EP is another technical no-brainer the band not wasting their time nailing the listener with mind-scratching, overlapping riffs on "Chape", before "Techno" provides the ultimate exercise in creepy, labyrinthine technical thrash (no techno here!) without ever trying anything beyond the mid-tempo parametres. "Fuckifino" is strictly for the fuckers who will be enchanted by the mazey guitar puzzles which reach a dramatic death metal crescendo in the middle this particular passage assisted by hysterical, screechy vocals. The band are well equipped to enter the full-length arena; there's no need in testing the waters with any more EP's...

Artifacts EP, 2015
Summoning Sickness EP, 2016


The debut: thrash metal with Messiah Marcolin-like vocals; an atractive mix, isn't it? And indeed, once you hear the singer you would think that Messiah 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".
"Overlord": after the teasing guitars on the introductory "Descent Into Treachery", which may remind you the Wolf 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

Official Site


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


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

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

Official Site


The debut demo: thrash metal with hardcore elements similar to the Evildead debut, but more playful at times, and faster ("Abortive Conditions" moshes more brutally with shades of Slayer).
The 1991 demo is sustained in a similar vain the guys thrashing like demented adding a few more melodic crossover variations on "D.S.H.", "Final Walk" the other moment where more laid-back rhythms can be come across, the delivery going towards the legends Holy Terror except in the throaty deathy vocal department.

T.I.D.C. Demo, 1990
Demo Demo, 1991
Demo Demo, 1992

My Space


Based on the self-titled demo, this act play "tempting" aggressive thrash which predates the Slayer and Dark Angel albums with a whole year and is very close in spirit to same year's Possessed's "Seven Churches" surppassing it in terms of brutality ("Enter The Coven") on the more bashing sections. This is scarily aggressive for the time of release the situation also enhanced by the forceful shouty proto-death metal vocals all this coming with a fairly good production if we exclude the unobtrusive hissing sound of the guitars. Some of the band members were later seen in the equally as aggressive thrash metal outfit Decrepit Uth.

Tempter Demo, 1985
Death is for Burning Demo, 1987


This British outfit specialize in modern progressive metal with strong thrashy nuances. The music is quite heavy relieved by the compulsory more laid-back passages those coming with some of the finest lead guitar work around, and may recall Opeth. The more intense compositions easily reach the headbanging sector ("The Baying Of The Wolf") although this trend never lasts for a whole song, but gives a very desirable aggressive boost to the album. The guitar sound is pretty cold and sterile, but the fascinating leads largely compensate for that providing numerous moments of melodic exuberance, thus creating a great contrast with the really heavy riffage (check out the pounding thrasher "To End It All Part II", which is the mid-part of a trilogy). "This Automated Nightmare" is a very cool heavy ballad which perfectly fits the emotional, slightly melancholic, tone of the singer who is at times intercepted by much more brutal death metal vocals. All the thrash breaks loose for the final time on the closing "The Predators Are Here" which lashes fiery riffs all over even speeding beyond the good taste at some stage. This is a really good entry into the more serious side of the genre, and should attract fans from quite a few sides including those who yearn for the next Altered Aeon release, and the ones who wonder how Opeth would sound if they decide to move towards the thrash metal spectre by also losing their annoying overlong balladic infatuations.

To End It All Full-Length, 2012


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

Murder EP, 2007

My Space


Based on "Stormreaper", these folks serve modern power/post-thrash, not very pretentious feelgood music which stays closer to power metal perhaps. "Ballad Of The Need" is a very good ballad, mind you, and the rest only marginally becomes more aggressive, but just for a bit. The vocals are cool clean, mid-ranged emotional ones and could be considered the highlight on this mild, pleasant effort.

Sinapis Alba EP, 2010
Restless in Peace Full-length, 2013
Stormreaper Full-length, 2016

Official Site


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

Tenebra Full-length, 1994


This very obscure band pulls out interesting technical thrash which on its best moments touches Megadeth's early period without a problem (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.

Keep On Talkin' Nonsense What For Demo, 1989


Based on "Catafalque-Comet" Best of/Compilation: this is one of the Polish metal scene's best kept secrets. Like with every compilation of this kind, one could find songs belonging to various sub-genres, but the base is solid progressive/technical thrash, not too far from Coroner's highest achievements on the best moments ("Wanderer", "You'd Better Fear Light"). There are parts where the sound acquires more melodic gothic tendencies, but some gems could still be dug out: the marvellous "The Comet", a nice modern take on technical abstract thrash metal ala Coroner's "Grin", or the 7-min progressive thrash wonder "Trial of the Comet" which will impress even the most skeptical fans of acts like Mekong Delta, Zero Hour, or even Dream Theater, if you like. Musicians of such a high calibre make even dark wave, "Sisters of Mercy meets Fields of the Nefilim"-styled tracks ("Nefilim/Annunanki", the title is an obvious nod to the legendary English dark wavers) sound compelling and interesting.

The Best of Compilation only includes songs from the period 1997-2001; songs from their full-length albums are not included. "The Odious Progress" is pure death metal, very well done, technical with numerous progressive passages, close to early Therion, the Australian avant-gardists Alchemist and Nocturnus. "Only Fearless Dreams" is standout progressive thrash/death, one of the finest achievements of the whole Polish metal scene. Apart from the keyboards and the spacey, cosmic noises, which were so typical for the compilation, there's 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 as there's a lot happening, and the last couple of songs hit the top (depending on the taste they could be considered the climax of the album), being very technical multi-textured exercises in progressive thrash/death metal with beautiful orchestral melodies and stupendous guitar work.
The "Melting" Promo provides four tracks of dreamy, complex progressive metal which is hard to be defined as thrash or death metal since there's much more on display here, clinging more towards the more modern sound, not far from Coroner's "Grin" mixed with quite a few fusion-esque, abstract elements ala Pestilence's "Spheres". Those of you who have already managed to give the new Cynic ("Traced in Air") a listen, will find more than just passing similarities between the two efforts. Definitely worth checking out, although there is nothing aggressive in terms of guitar work, just twisted elaborate arrangements constantly meandering, seamlessly flowing into one another. Could serve as a base for a new full-length, but the direction taken is miles away from the intense progressive thrash/death metal approach of the band's older material.

"Leavings of Distortion Soul" is a different "animal" once again, for better or worse, abandoning the technical play completely with occasional "sparkles" of thrash, like on the avantgarde gothic/thrash opener "Sleep and Walk", but later those gothic tendencies take the upper hand making the album sounding like the new/old Fields of the Nefilim with the vocals resembling Carl McCoy quite a bit. The guys have "flirted" with the gothic/dark wave genre through the years, but here I can see a full-blooded relationship taking form with very few "go-betweens" trying to break the "idyll": the dark mid-paced thrasher "Five Arms Made of Black" and the industrial-tinged "OOze". From a thrash metal point of view this effort had better be left alone although it can be viewed as a sure-handed entry into the gothic/dark wave genre.

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

Official Site


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's no mercy later with "bullets" like "Take A Long Line" involved. "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's only late-90's Testament which comes close as a soundalike as well as two more recent practitioners of the genre: the Germans Ravage and the Swedes Defleshed.

Sovereign Full-length, 2009

Official Site


Based on "Mental Satisfaction", this band mixes modern groovy post-thrash with cool up-tempo sections ("Numb and Broken", "Awake", and especially the good thrasher "Mental Satisfaction") which could have been more, because when they're around the sound comes close to Pantera at their best. "Tear Down Your Fears" is more dragging clinging towards the post-thrash and even metalcore area with the more intense sections brought to a minimum.

"Chain Reaction" continues the post-thrash saga now decorated by more elaborate progressive elements which still keep the songs short, but tone down the intensity quite a bit bringing the overall sound close to later-period Misery Loves Co. and mid-period Machine Head. So don't expect any hard-hitting thrash, but be prepared for quite a few dreamy spacey sections ("Violet World") those even smelling Depeche Mode's "Ultra". "Infected" is a heavy smasher, but its seismic importance is completely cancelled by the surrounding much mellower material. The gruff semi-death metal vocals are now nicely intercepted by better cleaner ones with an alternative edge which suit far better the more relaxed musical approach.

"Nova" is more ordinary-sounding some metalcore settling in slowly, but surely into the band's style. As a whole the approach is timid and quite mild the melodic hooks applied everywhere, the more aggressive sections taken straight from the Pantera textbooks the latter unfortunately not that many. "Golden Strength" is a nice more intense number ala "Death Magnetic", but the groovy implements ruin it in the second half.
"Convergence" thrashes with more spite ("Unbreakable") initially, but this doesn't turn into a dominant tendency as the band introduce more progressive elements before long, like the more epic arrangements on "The Shades of Night" and "The Faceless", or the djent-like jumps on "New Slaves". Overall the delivery has become more melodic and more polished with very passing ties to thrash.

My Personal War Full-length, 2007
Mental Satisfaction Full-length, 2008
Tear Down Your Fears Full-length, 2009
Chain Reaction Full-length, 2011
Nova Full-Length, 2013
Convergence Full-Length, 2017

Official Site


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

Official Site


Based on "Do or Die", this act plays groovy post-thrash with numerous stoner/doom "decorations". The band boldly borrow from acts like Cathedral, Helmet and Monster Magnet, by giving this amalgam a heavier, groovier spin which doesn't completely lack energy, and there is a frolic playful quality added to it at times ("Never Enough"). The vocals are of the cleaner semi-shouty type and are by all means a match to the uplifting music.

Fire in the Hole Full-length, 2006
Do or Die Full-length, 2009

My Space


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 rapping on the more alternative moments ("Urody Mody", which includes a blasting aggressive passage as well).

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

Official Site


"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

My Space


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 of 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

My Space


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


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 power/speed/thrash which beats even Bezerker on the best moments. "Divergence" is an awesome aggressive opener, but more power/speed metal-based delights are on the way ("Spirits Arising") as well as more elaborate slabs of progressive ("Thoughts Of Renewal") metal. "Generation X" is another no-brainer for the technical speed/thrash metal fans whereas "Dying World" is more laid-back mid-paced power/thrash. "Emanciaptior" offers technical complex rhythms aplenty, and remains in the mid-tempo. "Engraved" is a nice ballad cancelled by the mighty "Manology": another technical thrash delight. By that time the listener already knows that two consecutive songs of that intensity will not occur so he/she's prepared for the more peaceful progressive instrumental "Ever Enhancing". "Speak Of Black" after that thrashes in a more controlled less technical manner, but the speed increases for the final "Positive Mind Control": an exemplary progressive thrash metal composition starting 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'll do no wrong tracking this great obscure band down; music of such a quality would be a sure pick for every metal fan.
"Tears To Dust" would be quite a surprise for the band fans, and hardly a very pleasant one: the band have shifted towards the melodic progressive side of the spectre with hardly a riff or two to remind of their much more aggressive debut: think the Sieges Even metamorphosis after "Life Cycle"; this one is quite close in spirit. This is relaxed, laid-back music which is only moderately complex.
The EP is tender alternative post-rock seeing the guys sounding like an entirely new act. A bit of groove sneaks in here and there to keep the band in pace with what was going on at around the same time, but all this is too relaxed to catch the attention of the regular metal fan, and would be of a much bigger interest to those who like Radiohead, U2, Savage Garden, etc.

"Anhedonia": more than 10 years after theit last offering, the band are back and the good news is that some of their more uncontrolled thrashy spirit has returned not without the help of none other than Mr. Jeff Waters who is in charge of the crisp production. Don't expect an endless emulation of Waters-esque riffs here, though: this is well crafted modern power/thrash with echoes of modern, mostly German acts like Runamok, Face Down Hero, Perzonal War, especially the more recent works of the Italians Eldritch, etc. accompanied by the warm emotional vocals of Brett Rerekura. The guys thrash with confidence and an audible technical edge, and cuts like "Without Red Hands" will even make you mosh around with their intense headbanging rhythms, while more thought-out compositions like "Through The Madness" and the dramatic jumper "Where The Dead Grow" will make you listen with more care. A few more relaxed tracks still relate this effort to the band's last offering, but their bite is way bigger even on semi-ballads like "Fear Of The Unknown". By no means any near the brilliance of the debut, this album is a pretty good start for the band's 2nd period and as such can be rightfully placed alongside the better works from the aforementioned bands.

"Esoteric Symbolism" is another commendable achievement, more moderate from a thrash metal-point of view, but engaging and entertaining nonetheless. The songs are generally longer and more lyrical, and the level of musicianship has kind of moved up as evident from the opening opus "Line of Symmetry". The overall approach smells Eldritch once again with the shorter cuts biting harder with a more overt "sting" although they seldom reach the thrashing frenzy of the aforementioned Italians' tracks of the same kind. Shades of virtuosity sneak on "Parallels/Dual Reality" which is more aggressive shred with great leads as well. "Punishment By Design" is a dramatic power/thrasher with awesome lashing guitars, but the last string of songs are sprawling calm progressive semi-ballads from which only the closer "In Virto" serves more vivid moments as a final touch. Still, as a work of progressive metal this album is by all means a winner seeing an act growing stronger and more confident with each passing release.

Doxology Full-length, 1995
Tears To Dust Full-length, 1998
Not The Criminal EP, 2001
Anhedonia Full-length, 2012
Esoteric Symbolism Full-Length, 2014

Official Site


Hyper-active modern thrash/death the guys' rigorous delivery knowing no rest from beginning to end sometimes "flirting" with melody (the speed metal joy " A Bond Beyond Blood") more, sometimes shredding with an inordinate amount of complexity ("Theodicy") so expect quite a diversity here. "Punishment From Above" is another less ordinary headbanger with cool melodic hooks, and "Dualism" carries on in the same direction with more intriguing twists among the scattered blast-beats incorporated. "Poisonous Gift" reaches progressive heights not without the help of a nice quiet mid-section; and "Manifestation of Evil" is a short experimental track combining quiet ambience with dissonant hardcore-ish insertions. The title-track continues the stylish less ordinary thrashing with a portion of jumpy, less predictable riffs, and the final "Hidden In Tragedy" is the last in line frolic speedster which closes this album with aplomb. The vocals are subdued, death metal-ish and are not very clearly heard at times.

Pandora Full-Length, 2016


This trio pull out intense modern thrash with guttural death metal vocals. The delivery ranges from monolithic mid-tempo shredders ("Staring Down the End") to vociferous aggro-groovers ("Past & Present"), to short fast-paced distractions ("Forsaken", "One Step Closer to Hell") the latter capturing some of the old school magic.

Staring Down the End Full-length, 2017

Official Site


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

All Has Fallen Full-length, 2010

My Space


2 songs of stomping retro thrash with a very clear sound quality which gives a fair share to all involved. The music is intense without being too fast the riffs having an expressive lashing edge, the singer being a dramatic semi-cleaner with a few semi-shouty tendencies also helped by the short male shouty choruses.

Toxic Overkill EP, 2012

Official Site


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.
The full-length is the next chapter in the 90's groovy post-thrashy saga this album in particular contributing little to the movement concentrating on short hardcore-ish tracks which are not fast and intense, but stick to jumpy groovy rhythms which become more aggressive ("Predictions") on occasion, but are miles away from the higher models of the style.

Pursuit of Solutions EP, 1991
Earth, Evolution, Extinction Full-Length, 1996

My Space


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

My Space


Based on the self-titled demo, this act play direct speedy thrash ala Evildead and Slayer relaxing on the carefree crossover winner "I Bow To None". Otherwise the music is fast'n tight the singer adding to its sincerity with a forceful semi-declamatory approach, obviously unrehearsed and even frankly improvised at times, but fitting nonetheless.

Terminal Grace Demo, 1987
We're Crushing Your Head Demo, 1989


Based on "Redefine Existence", this band serve modern post-thrash with hysterical shouty, angry vocals. The band are not stale and break the more ordinary flow with desirable faster breaks those pure melo-deathisms with an expected Gothenburg flavour. The abrasive guitar sound impedes the more dynamic attempts some of which are nice fierce headbangers ("Resurrection", the appropriately-titled "Aggressive Obsession") coming in the 2nd half where the intensity goes up a notch.

Absence of Light Full-length, 2007
Face the Horror EP, 2012
Redefine Existence Full-length, 2013

Official Site


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


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 sparse lead guitar work, husky quarrelsome but intelligible vocals, and a fine intense cover of the Darkness megahit "Critical Threshold".

Herencia Violenta EP, 2006

Official Site


Based on "Skies Ablaze", these lads offer modern melodic power/thrash/proto-death which shreds with passion ("The Watching Eye", the urgent shredder "Delirium Déjà-Vu") at times, but most often is the music on the more friendly, mid-paced side where very good clean vocals arrive to "disturb" the main harsh shouty death metal ones.

Deathship Landing Full-length, 2013
Skies Ablaze Full-length, 2016

Official Site


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's enough room for all these to develop since the songs are 5-6min long.

Darkness Weaves Demo, 1988


Previously these guys were known as Crusher under which moniker they released 2 demos of aggressive old school thrash/death. The situation hasn't changed much here the band still holding onto their thrash/deathy roots moshing out with passion even adding brutal grindy sections at times ("Kills Per Minute"). Things get messy later on with more hardcore-ish sections taking over in the 2nd half making the sound more direct, but less appealing. The guys acquit themselves at the end with 2 longer more thought-out cuts the closing "Crushing Attack.../PoserKiller" being a nice chaotic semi-technicaller.

Grind Thrashing Death Full-Length, 2012

Official Site


Based on the debut, this is quite good mid-paced to up-tempo 80's thrash with slight technical tendencies resembling the Dutch bands Mandator and Vulture, among others. At times the music slows down introducing atmospheric, lead-dominated sections, giving the sound a slight gothic edge. The singer is a letdown with his unemotional undeveloped voice, despite the attempts at a cleaner more dramatic singing he makes from time to time.

"Plugged" is in a similar vein, and is firmly in the classic mould. The opening speedy instrumental "Vicious Circle" gives the album a big push with its energetic brisk melodies although the guys don't take the advantage from it later sticking to a slower heavier sound with a late-80's Metallica shade. Then comes "Asses To Ashes" in the middle to bang the head with more vigorous thrash, and the songs which follow till the end are more dynamic except for the tender boring ballad "A Friend". The singer does a better job this time trying higher pitches more often and generally adding more emotion to his performance. Later this band was transformed into the stoner/doom metal outfit Flood.

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


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

Evil of This World Demo, 1990


This Swiss trio specialize in crisp dynamic old school thrash which doesn't offer anything new, but at least moves the head around with the sharp, boosted guitar sound. The simplistic structures are abandoned for the progressive diverser "Prison of Humanity", but the hard thrashing formulas remain for most of the time except for another more ambitious cut: the closing "Take the Hit" which "flirts" with more melodic patterns moving more towards the modern school. The vocals are acceptable semi-clean ones which emit some passion here and there.

Your Life Is Your Death Full-Length, 2016



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

Ordered to Destroy Demo, 2010


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

Warp Speed Warriors Full-length, 2008

Official Site


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

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

Official Site


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

Third in Order of the Sun Full-length, 1991


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

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

Official Site


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

War Confessions Full-length, 2009

Official Site


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

Acquire. Dominate. Destroy Full-length, 2009

My Space


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's definitely some potential "lurking in the shadows" here.

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

My Space


Based on the full-length, this act indulge in quite cool old school thrash with The German school a prime target for worship. Intense headbangers ("Vigor Leech", "Scaphism") follow in quick succession the guys thrashing with the utmost intensity recaling Destruction at their fiercest ("Terror Doctrine") at times, with more technical embellishments ("Carbonized Corpses") also flying around. The vocals are rending throaty resembling the ones of Mille, only more aggressive with a deathy vibe. Some of the band members are also involved with another thrash metal formation, Mass Cremation.

Apocalyptic Impact EP, 2016
Unforeseen Consequences Full-length, 2017

Official Site


This outfit acquit themselves with standard modern thrash which covers both fast and slow grounds also not a stranger to the odd more technical hook and the more frequent virtuous solos which at times overshadow everything. The singer is a brutal low-tuned growler who is often interrupted by more hysterical higher-pitched "whispers" those belonging more to the black metal side.

Terrible Old Man EP, 2010



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


The debut: a cool new act who indulge in retro thrash which is both melodic and semi-technical following the early Metallica exploits ("Hammer Fist") as well as Forbidden and Testament (check out the attached Chuck Billy-like vocals on the aforementioned "Hammer Fist"); in other words expect an assured Bay-Area attitude served with a stronger pinch of technicality at times (the more complex shredder "The Age of Steel"). "Scum Ridden Filth" is nice speed/thrash, but expect a melodic relief on the short power metal instrumental "Of Victory and Valor" before the closing title-track provides the final portion of more elaborate headbanging rhythms which exit this effort with style and a promise for future niceties of the kind.
"Weapons of Thrash Destruction": with an album-tutle like this the fans shouldn't be guessing as to what will befall them here; and indeed, the band have no intentions on changing their blitzkrieg style as they mosh on full-throttle from the opening exploder "Reanimator" all the way to the closing complexer "Sect of the Serpent". The roller-coaster "Drunk as Fuck" kind of betrays the furious delivery with a mellower rock-ish vibe, but there should be no dissatisfied listeners after hearing the "violent" headbanger "Violent Reprisal" and the more intriguing semi-technical shredder "Nuclear Demolisher".

Destroyers of the Faith Full-Length, 2013
Weapons of Thrash Destruction Full-Length, 2017

Official Site


Based on "The Curse", this act provide cool retro power/thrash with very high-strung Halford-esque vocals which hit the high notes at will, but don't sound irritating. The music is quite varied ranging from smashing rippers ("Die") to creepy mid-pacers (the title-track) both sides covered equally the former at times smelling doom ("Sacred Field", the sleepy "Low Tension") quite a bit, but in a good nostalgic way. The sound quality is very clear making the guitars click and clock like scalpels. Some of the musicians are also behind the very good thrash/death metal outfit Inner Sanctvm, and the heavy metal defenders Metalforge.

Fire Inside EP, 2009
Killer Instinct Full-length, 2011
The Curse Full-length, 2014

Official Site


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

The "Darkness & Evil" demo carries all the trademarks of the band's style including the very fuzzy sound quality which mashes the guitars to a great extent, but not standing too much on the way of the forceful shouty vocals which this time sound more pleasant. This is fast barrage with references to death metal again Slayer and Dark Angel looking like the closest soundalikes, among representatives of the early South American scene.

War Fire Death Demo, 2010
Darkness & Evil Demo, 2011

My Space


This not very known band play egdy, roughly produced, thrash/crossover which jumps straight into hardcore the latter moments further aggravated by the death metal rhythms which accompany them at times. The guys play fast without much remorse the vocalist being a hysterical shouty banshee who does his best to overshout the abrasive noisy guitar barrage which often merges into one big chainsaw-like buzz. This is sincere simplistic bash without many musical merits.

Evil of Terror EP, 1989


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 post-thrash if we exclude the very cool melodic power/thrasher "Nib1o 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


The "Carving Techniques" demo: three songs of clever technical thrash in the best tradition of mid-period Coroner; this is expertly done with both speed and complexity, suffering a lot, though, from the muddy sound quality. The title-track is a superb technical speedster with stylish twisted passages. "Unable To Live" concentrates on vortex-like dramatism abandoning the more direct, fast-paced side. "Verbal Abuse" is another more intense track, again full of technical riffs and screaming leads on a swirling speedy base distantly recalling Coroner's "Totentanz" from "R.I.P.". The singer is a dead ringer for Coroner's Ron Royce, but the problem is that the muddy sound takes away a lot of his efficiency. This is a great obscure effort which is not totally devoid of logic having been released during the most technical year for US metal.

After a more profound research, it became clear that behind this nice piece of music stand veterans from the US underground scene some of whom have been part of the spawning stages of the death metal pioneers Nunslaughter, and to their resume we can also add the black/death metallers Decrepit, the melodic death/thrash outfit Dead of Night, the black metal purveyors Funeral Pyre, among others.
The "Distributing Pain" demo is a more aggressive offering now with clear claims at death metal greatness which comes expectedly technically-decorated, but not to the extent of amazement. The guys here prefer to bash in a more direct manner, reaching the intensity of Merciless' debut and early Massacra. "Carving Techniques" from the previous demo has been thrown in the middle, as though to justify the technical pretensions, after which the more stylish spirits seem to wake up for the making of the puzzling masterpiece "Live To Tell" which finishes this demo in a high note, something which it didn't really deserve.

The "Burn Bethlehem" demo shows the band having moved closer to the death metal field, and as such producing decent music mixing the more frenetic approach of Brutality with the more officiant battle-like one of Bolt Thrower and Benediction. The blend works, but is marred by the messy production qualities and the not very expressive low-tuned growling vocals.

The "Up from the Grave" demo is a re-recording of the "Terror Entombed in Terror" one, and as such sees the band fonder of death metal bashing wild in a stylish, pretty technical at times, fashion adding both doominess and a higher twisted technicality (check "Cathedral Of Lies" for both) on occasion. This is good music which doesn't quite reach the heights of the material presented on "Carving Techniques", but is still a worthy slab of technical thrash/death which sees the band in a transitional period, slowly but surely shifting from one style to the other.
The "Pain and Suffering" demo is a surprisingly straight-forward affair compared to the material released several months later. The bash has been served with style, though, so don't expect any amateurish music here; it's just that the ingenious technical elements have been presented in a pretty raw form with an aggressive proto-death "colouring". "Prophets" is a more stylish technicaller at the end as though hinting at the coming future metamorphosis.

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

My Space


With members of Soilwork and Darkane in the band, you know what to expect. Well, you would be misled because this isn't 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

My Space


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 more 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 ColetGnia Best of/Compilation, 2007


The EP: this act specializes in intense aggressive thrash/death which has both modern and classic shades. The guys play fast'n tight recalling Dismember and Devastation. Merciless headbangers like "Redemptive Punishment" will exhaust you with their rapid-fire riffage, and the only relatively relaxing moment would be the few calmer, more technical, sections on "Submission by Fear" and the several groovy moments on the final "Last Fire". The vocalist is expressive and forceful in a way not far from Matti KSrki (Dismember).

"The Empire Strikes Black" "strikes black" with fiery passion the band thrashing hard from the get-go with an enviable amount of professionalism evident from every department except the vocals one where the guy just shouts in a spitting dramatic manner. The delivery gets quite aggressive on more than just one occasion bringing the sound closer to death metal on at least half the time as thrash is left for the more technical moments ("Protective Wolves", the brilliant shredding closer "Break the Cycle", a shining cavalcade of time and tempo-changes) on the album.
"Obscurity Rising" is a sure-handed thrash/death hybrid which this time comes with a hefty technical "sting" the hectic time-changes coming in quick succession "Times of War" being an especially interesting shredder with tons of infectious melodies in top of some inspired heavy riffing. "Holy Greed" and "Lust" speed up the latter pure death metal at some stage before "Feast of the Wretched" pleasantly surprises again with a more melodic, also more more serious song-writing. "Soldiers of Nothing" is the last fast-paced ripper before the final "New Dictators" wraps on this opus with a pleiad of elaborate progressive arrangements still retaining the venomous bite of the preceding material.

Face the Terror EP, 2012
The Empire Strikes Black Full-Length, 2015
Obscurity Rising Full-length, 2017

Official Site


Mechanical modern industrialized thrash which at least manages to steer clear of the post-thrashy vogues of the time trying to find its own face with a more aggressive attitude reminiscent of the Accuser works of the early/mid-90's. The problem is that the initial energy displayed on the opener "Machine Man" is seldom preserved the songs acquiring a dark repetitive character losing themselves in heavy mid-paced guitars where the shadow of The Black Album can also be felt. "Daytrippin" is a pleasant surprise: a hectic sterile headbanger recalling the Voivod works with Eric Forrest; a truly satisfying piece of modern robotic thrash which unfortunately has no "followers" later. The opener is cleverly remastered at the end with only the fast passage touched to create the final share of more energetic futuristic thrash. The singer is a deadringer for Frank Thoms (Accuser) and his indifferent dry antics provide the perfect vocal background.

Modalities Of Mind-Hazards Full-Length, 1997


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 don't 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 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 fine job.

Everlasting Hell Damnation Full-length, 1994


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

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

Official Site


Based on the full-length, this act provide modern melodic thrash/death which blends the trite Gothenburg formulas with more restrained groovy patterns creating hardly original, but professionally executed music which softens down to semi-balladic proportions at times ("Grandfather") where good female vocals can also be heard. The really fast-paced moments are not many at all (the closing "Defeated?" comes to mind), and generally the band are not interested in creating a lot of noise playing peacefully with a lot of melodic decorations.

Music for Bones EP, 2014
Reborn Full-length, 2014

Official Site


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 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 of which Norwegian acts like Khold or Thorns could have been proud.

Devil Worship EP, 2002


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

Demo I Demo, 1990
Live Demo Demo, 1991


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

Terror Spells Full-Length, 2011


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 "LidTrces Alom" to whom this split is dedicated.

The full-length is finally a fact and it doesn't disappoint see the guys operate as one tight unit for the realisation of this furious tribute to the old school. The overall approach is now closer to early-Kreator and Necrodeath the faster cuts even reaching out for the Dutch Expulsion's "Wasteworld". "Monarch of Ghastliness" is a very cool more elaborate composition, and later on arrives the instrumental "Threnody", a sheer lesson in technical thrash mastery. The shorter material is by no means less impressive, though, with flying "bullets" like "Infernal Speel" and the very appropriately-titled "Executioner Thrash Metal" tearing the air. "Kissed By Death" is a lightning-speed masterpiece also moving up the technicality scale again to influence the remaining two numbers the closing "Eerie Requiem" another stylish shredder with cool dramatic accumulations at the end. This is a sheer no-brainer which has all the rights to top the South American scene for 2015, and even beyond.

Donde Esta el Rehearsal Demo, 2006
El Golpe del Terror Demo, 2006
Rehearsing for thrash Demo, 2006
Fantomania Split, 2007
Executioner Thrash Metal EP, 2008
Terror Strike Full-Length, 2015

Official Site


Based on the full-length,, this power trio play intense, aggressive black/thrash which isn't far from the early Impaled Nazarene "atrocities"; in other words, expect more blasting black metal madness than sophisticated thrashisms with the brooding doomi-ness of acts like Barathrum and Khold ("Baal Hammon") standing on the side ready to interfere whenever a need arises. "Draugr" is a nice epic deathy thrasher provided at the end also matching the rough vociferous death metal vocals.

Hordes of Armageddon EP, 2016
De Vermis Mysteriis Full-length, 2017

Official Site


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

Thermonuclear Deathrash Attack Demo, 2011


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

Terminal Crazy Demo, 1988


The debut: 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's a cool cover of the American thrash legends Holy Terror's "Black Plague".
"Genocide" is a violent offering bashing with passion with numerous blast-beats along the way. This is pure aggression all the way sometimes beyond the level of normal comprehension offering slight reliefs on the longer compositions ("Coronation In The Scorched Land", the twisted atmospheric closer "Holodomor"). Some of the musicians are also involved in the death/black metal outfit Forgotten Words.

Horrid Efface Full-length, 2004
Omnipotence Full-Length, 2008
Genocide Full-Length, 2012

Official Site


Based on the full-length, this trio lashes inspired fiery retro speed/thrash which boasts sharp cutting riffs reflected in various tempos. The opening trio of tracks gives a strong speedy boost to the proceedings until the arrival of "Prometheus" which is a jumpy power/thrasher which takes away some of the dynamics, and later on the band have difficulties recapturing it with a string of cuts staying more on the mid-paced side. There's a not very good balance between the compositions here as the more invigorating ones are placed in the beginning leaving the 2nd half hanging kind of awkwardly with its mellower power metal nature.

Pure & Ugly EP, 2007
Thrash Will Strike Back EP, 2009
Of Malice and Evil Full-length, 2013

Official Site


Nice intense old school thrash metal spiced with short brutal grinding passages, sounding close to the Germans Ravage minus, of course, the very short half-min bursts like "Fuckbody" which will make you run for cover. This is good headbanging fun featuring really forceful thrashing pieces: "Madcap Terror", the hardcore-tinged "Occupation Son" and "Goddamn Asskicking Well"; a lot of aggression packed in no more than 2-min at the longest.
"We'll Show You Mosh, Bitch!" is another pretty brutal affair offering merciless super-fast downpour which never stops, and at the end one may be happy with the relatively short song-length (1-2min) which would still shatter you in a way no worse than the works of more recent acts like Evil Shepherd, Merciless Death and Suicidal Angels.
"Machete Justice" is a bit more laid-back now resembling Razor's "Shotgun Justice" quite a bit (the album-title could be a reference to the Canadians' magnum opus) with its merciless, rapidfire approach. The execution is more professional this time with not very audible semi-technical tendencies. The speed of light is easily reached on the 2-min explosion "Nocturnal Emission", and the remaining songs try their best to keep up with this lightning-fast delivery. "Back to the '80s" is the next in line "wink" at the glorious 80's preceding the exiting duo of lashing numbers which wrap up the band's finest hour and one of the most aggressive thrash metal recordings of 2015.

Shit Fuck Kill EP, 2007
Split It Out Split, 2008
We'll Show You Mosh, Bitch! Full-Length, 2011
Machete Justice Full-Length, 2015

Official Site


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

Terminal Crazy Demo, 1988


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

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

My Space


A decent entry into the speed/thrash metal catalogue of the Balkans delivered by this hellish Serbians who deliver with a shade of black metal resembling the Potruguese Alastor and the Swedes Bewitched. The music is vital and energetic the guys seldom betraying their blitzkrieg approach if we exclude the sparse blast-beating sections. The singer has a suitably evil underground voice which he never strains except for the odd more intense raspy semi-shout. Some of the band members are also active with the black metallers Triumfall.

Vintage Black Mass EP, 2012

Official Site


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

Demo Demo, 1990


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.
The "And Then Life Was Death" Promo contains similar music: vicious brutal black/thrash with more aggressive death metal tendencies at times ("Hellstorm"), at times coming with merrier Motorhead-ish rhythms ("M.T.D._I.M.W.D.") which are definitely much less than the purely proto-blasting moments which make this effort a really aggressive offering which doesn't give much room to thrash to "breathe". The vocals are again vicious and witch-like, but this time they are more clearly heard.

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
"And Then Life Was Death" Promo, 2011

My Space


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

Demo Demo, 2005

Official Site


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


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

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

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

Official Site


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

The Seed Left Behind Full-length, 2011

Official Site


Based on "The Second", these Italians pull out moody atmospheric, groovy post-thrash which at times introduces a melancholic Opeth-esque edge ("On the Edge"), but mostly this is too monotonous and one-dimensional to make even half a dozen heads turn. Some of the musicians take part in the much more interesting modern progressive thrash metal outfit Cataria.

Absolute EP, 2010
Blackwaters Full-length, 2013
The Second Full-length, 2016

Official Site


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

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


Jolly feelgood modern power/thrash which marches forward in a steady mid-tempo with a couple of modern groovisms ("White Crow") "roaming" around to ensure the album's wider appeal. The melodic tunes contrast with the very heavy rhythm-section the latter echoing The Black Album except for the times when the sound gets too playful ("One More Fix", "Time Out"). The vocalist has a convincing semi-clean baritone reminiscent of Ville Laihiala (Sentenced).

Primal Scream Full-Length, 2016


One of the "gods" of thrash; "The Legacy" brought them splashing on the scene with its blistering, fabulous technical guitar work. Neither of the band's releases which followed suit could equal this masterpiece although the next two were not that far. The 90's were a not very successful period for the band (like many others), with their style stretching from the bland power metal on "The Ritual" to the modern experimentations on the much better "Low", to the modern thrash-meets-death sound on "Demonic". All these wanderings through the metal "jungle" apparently helped; they closed the decade with flying colours with the "The Gathering": a glorious epitaph of the troublesome 90's. Although the original line-up has been together again for quite a few years, they are really taking their time preparing for a worthy follow-up...
"The Formation of Damnation" finally saw the light of day, after its release has been postponed indefinitely several times. The joy that your favourites have a new album will probably overshadow your initial judgement of this album, although this is a pretty cool comeback release for the thrash legends. The aggressive, proto-death leanings from "The Gathering" are nowhere to be heard, and the sound hesitates between the classic and the modern sound, sitting comfortably between both. "More Than Meets The Eye" is a nice opener, with energetic riffs, followed by the similar, but more modern sounding "The Evil Has Landed". At this point one might find how much from what he has heard so far recalls Testament's "Souls of Black" (with an updated, modern production). But "The Formation Of Damnation" comes thrashing down with sharp, smashing riffs, and a faster tempo, and the listener can safely pack up his troubles; Chuck Billy adds more vicious death-styled vocals on this one. Whether this was just a solitary explosion, remains to be seen, since the following is a very ordinary modern power/thrasher ("Dangers Of The Faithless"), although Skolnick does his best to make it sound more appealing (he does a marvellous job on the whole album, and he is the main reason why this work can not possibly suck). "Henchman Ride" is the other place where you can see yourselves moshing around: a good up-tempo number, very close to being the highlight. Another couple of slower, but this time better songs follow suit, before the intense thrashing "F.E.A.R" shoots you at close range. If you were wondering whether the guys have abandoned the habit of adding the odd ballad to their works, here comes the closing "Leave Me Alone", which is a slower, but quite cool semi-ballad with a sharper middle break, again supported by more aggressive death-ish vocals. 10 years is indeed a long time to wait, and it's debatable whether this effort was really worth such a long wait. Still, it is far from a failure, and although it doesn't really capture the spirit of the vintage Testament sound, fits well into the overall picture of classic comeback albums, served with a modern production and some modern "updates", and doesn't betray the tendency towards a more modern sound, started by the band in the mid-90's.
"Dark Roots of Earth": well, at least we don't have to wait for 10 whole years for the next Testament album. Four years is certainly a better deal so all "rise up" on the opening headbanger "Rise Up" which is the staple classic Testament razor-riffer, but diversity will be the name of the game here, and after the following "Native Blood" interestingly, and unexpectedly, blends calm mid-paced sections with spasmodic blasting passages the listener will have to throw all his/her expectations out the window. The title-track is a "dark" brooder with exemplary Shrapnel-like lead guitar courtsey of... yes, the master himself, Mr. Alex Scholnick. Fillings will fall on the intense speedster "True American Hate" which again comes forward with aggressive blasting inclusions. A string of more moderate tracks follows covering the ground between "Souls of Black" and "The Ritual" so don't expect too many great moments. The decresed tempo finally pays off partially on the galloping power/thrasher which has clear progressive pretensions, and is an engaging number which transfers its galloping qualities to the shorter and more intense "Last Stand For Independence" which is vintage classic Testament with a pinch of speed metal ala Attacker thrown in. Everyone involved is in top form Billy throwing some unexpected chords and notes here and there to a pretty positive effect, and Scholnick being the star of the show for the umpteenth time gracing this album with some of his most inspired pyrotechnics.
This is the last original composition; after it come pouring the cover versions. First is Queen's done in a frolic, certainly non-thrash manner with a tad of crossover. The joy completely disappears for the rendition of the Scorpions' ultimately dark doom metal classic "Animal Magnetism" with all the gloom and depression very well captured, but you must hear the fabulous leads of Scholnick in the middle: even if Ulrich Roth had still been with the Scorps at the time, he wouldn't have been able to come up with such triumphant performance. And finally someone to remember and honour one of Maiden's best songs: "Powerslave"; no unnecessary changes on this one the guys keeping to the tight structure of the original, even Scholnick recreating the Murray/Smith hooks almost down to the note. Greg Christian's bass-isms are almost as good as the one of Steve Harris; seriously! Billy keeps his characteristic blend throughout only changing it for the "Powerslave" chorus acquiring more melodic tones. Oh, and for a dessert there's an extended version of one of the better compositions from the album: "Throne of Thorns", not changed much, though, except for a few melodic "decorations".
"Brotherhood of the Snake": another 4-year break has been an end to, and the band are back in business with everyone involved in top form, especially the good old Alex Scholnick whose leads can seldom be suprassed, here or anywhere;not to mention Chuck Billy's always reliable semi-clean baritone with the tendency to brutalize the environment with the casual more brutal growl the latter gimmick not applied that much here. Steve DiGiorgio is back on bass and the line-up looks awesome with a lot of promise raised way before the first note has reached the listener's ears. And do the guys fulfill them on all grounds: the opening title-track is a major classic headbanger which opens the "Pandora's Box" of retro thrashisms which are at times slower and mid-paced ("Stronghold", the dramatic pounder "Seven Seals") with a friendly tone recalling "The Ritual", but fillings will fall on major rippers like "Centuries Of Suffering" which proto-deathy dramatic accumulations will remind of the best moments from "The Gathering". Sophisticated technicality takes over on "Neptune's Spear" with Scholnick unstoppable on the leads, before "Black Jack" rips you apart being a brutal shorter with a short blasting passage. More precise aggression with the urgent fast-pacer "Canna Business" and the technical hyper-active closer "The Number Game" closing this strong album with a deserved aplomb, automatically making it the finest hour for the band since the beginning of the new millennium.

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
Dark Roots of Earth Full-length, 2012
Brotherhood of the Snake Full-Length, 2016

Official Site


Good heavy epic thrash of the classic type characterized by heavy seismic riffage and forceful semi-shouty death metal vocals both features also typical of the pagan/epic thrashers Bifrost. The guys are not strangers to some faster sections ("Brainless"), but those are also interspersed with the obligatory doom-laden passages. The sound quality is a bit abrasive giving an advantage to the bass which constantly thunders in the background causing the guitars to sound too thin at times.

Testator EP, 2012

Official Site


Fast blitzkrieg classic thrash/crossover with more overt hardcore overtones; the guys sing all at the same time creating a merry mood which is ably supported by the high energy put into the music, and the very good production. There's also quite a bit of melody involved, in other words this is good thrashy headbanging fun the band supported by numerous guest musicians probably from various music fields in Poland.

Speed Metal Full-Length, 2013


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

Testimonia Full-length, 1993


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's a certain modern, 90's element in the sound: the semi-groovy, but also quite technical "War Desire". The brutality goes beyond Death at times: "Spiritual World", which is closer to Morbid Angel, and is served with great bass performance. "Disdusting Look" and "Kapos Sarkom" go into the other extreme, slowing down, with very heavy doomy riffage. "Degenerate" is a cool attempt at a more elaborate progressive song-writing, but the guys are better off when they rely on shorter more direct compositions although some of them are filled with technical twisting guitars: "Testimony About Yourself". Near the end the songs become shorter, much more melodic, with a clear groovy/hardcore edge, and could have been left out.

"Of Life And Death" is a strange "animal", an eccentric concoction of retro thrash (not much), modern post-thrash, and hardcore, with borrowings from funk and alternative. This is a pretty jumpy affair which develops in mid-tempo, the latter killing the more interesting technical decisions, with several outbursts of classic thrash/crossover happiness ("You're To Blame", "Let's Go"). Towards the end the sound becomes heavier with a proto-death metal shade and a more intense vocal delivery, recalling later-period Massacra, and sounds as though taken from an earlier period from the band's career.

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

Official Site


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

The "The Beast That Prays" EP boasts a crystal clear sound quality which can only be a plus. Otherwise the guys shred with passion showing quite a bit of promise with the excellent headbanger "Spectral Thoughts" which mixes speed and thrash in a cool classic manner. "Thrillers Prey" remains within the same confines maybe a tad more melodic and technical the guitar acrobatics from the previous effort starting to show up with style to spare. "Suffer for Salvation" is another prime technical shredder and this is the moment where this work sounds better than the debut demo: sophisticated cleverly-executed thrash reigns supreme without any unnecessary elaborate build-ups, something which marred the 1st demo; a memorable shouty chorus is also added to good measure. So far so great... arrives the 8-min closing title-track, a behemoth of complex progressive thrashisms which almost reaches the heights of albums like Sieges Even's "Life Cycle" and Deathrow's "Deception Ignored" with its spiral-like arrangemnets, twisted riffs, and abrupt tempo-changes. The guys have enough first-rate material accumulated for a full-length; they'll miss the train if they continue testing the soil with those EP's...

Transcending Reality EP, 2012
The Beast That Prays EP, 2014

Official Site


Based on "Ruiny", the band play modern, slightly technical thrash resembling Annihilator with a few poppy non-thrash melodies roaming around; below average. "Next Stop Insanity" abandons the technical elements and concentrates on more aggressive riffage which results in some cool headbangers ("Morality Is Over", "Here Comes the Electric") which this time come with a big amount of groove and the obligatory "exits" from thrash: "United Unworthy", "In Blood".
"Animal Killstinct" is a marginally more aggressive "beast" the guys thrashing in a modern, slightly abrasive manner with the shadow of Annihilator looming over the delivery. The band spice their hard-hitting approach with a few friendly groovers ("This Brock") the latter not sitting too well next to intense headbangers like "Total Annihilation".
The "The Torment" demo is a cool energetic inauguration into the band's repertoire containing lengthy elaborate pieces which don't contain anything too mind-boggling, but the guys keep good dynamics throughout, thrashing with more passion on the shorter blitzkrieger "Die You Bastard", leaving the more ambitious histrionics for the more twisting shredder "Wings of the Times" which combines the spinning Destruction-esque riffage with the impetuous progressiveness of Paradox. The singer can only be a humble assistant with this his thin, lacking range and depth, semi-clean bartione.
The "Through the Back Door" demo is an incredible leap forward for the band who have shifted towards complex, hectic technical thrash with some of the most puzzling time-signatures this side of Deathrow's "Deception Ignored" and "Realm's "Suiciety". "My-Not My Home", which is the opener, alone will make you dizzy with the super-dynamic decisions the riffs changing every few seconds alongside the constantly overlapping time shifts; a most stunning introduction to this no-brainer which also marks a vast improvement in the vocal department the man now actually singing, but in a more subdued semi-declamatory fashion. "Now You Fly!" follows a similar dazzling pattern the guys increasing the speed a bit although the unpredictability in the riff alternation remains with steel intricate gallops interlacing with bizarre melodic configurations, with momentary psychedelic stopovers creating more hallucinogenic atmosphere. "I'm A Hero" is a head-shaking headbanger with myriads of little details tickling the listener's attention who will lose concentration due to the inordinate amount of perplexing rhythmic patterns, the band steadily refusing to play by any conventions, throwing half the riffs from the famed Dark Angel opus "Time Does Not Heal" within mere 5.5-min. The cavalcade continues with "Changes", another mind-puzzler which thrashes with eccentric leaps and bounds the latter taking turns with more orthodox fast-paced passages, the "skirmishes" following in quick succession leaving no room for breath. The title-track is another exemplary showdown with guitar acrobatics galore jumping over each other everything amazingly following some underlying order the band never losing the plot regardless of how many time-signatures they have to go through, the over-the-top finale alone constituting half a dozen of them. "Bastard Part II", which is a sequel to "Die You Bastard" from the debut demo, is a prime technicaller the band obviously intent on beating every single technical/progressive metal practitioner from their homeland within the span of half an hour as this composition is the total opposite to its silly title being a textbook in infernally intricate shredding the guys shifting through various paces, the short screamy leads timidly moving from the way of this award-winning labyrithine rifforama. And this isn't the end which comes in the form of "Thoughts Detector", a supreme technical thrashterpiece which sums up the technical/progressive thrash field in its entirety, a surreal accumulation of rhythms and rifftastic configurations which the listener may stop following at some point due to their big density as more and more stupendous arrangementscome piled on top of each other, all the way to the virtuoso bass pirouette at the end. This is the ultimate exhibition of technical guitar wizardry, one of the pinnacles of the whole technical/progressive metal scene. It comes as no suprise that the band never managed to come even close to this musical drandeur, and shifted away from all things complex and elaborate; some efforts are simply not meant to have a sequel....

The Torment Demo, 1989
Through the Back Door Demo, 1992
Ruiny Full-length, 1996
50%-Garage 2000/2001 Full-length, 2001
Next Stop Insanity Full-length, 2007
Animal Killstinct Full-Length, 2011

Official Site


Modern progressive metal with shades of thrash with interesting musical developments some of them bordering on death metal-ish dramatism ("Inner Knowledge"); elsewhere we have choppy groovy djents ("Awareness"), psychedelic semi-balladisms ("Selene"), and more intense shredding sections ("Vacuum I"). "Vacuum II" is an excellent exercise in diverse not very predictable thrash with great melodic configurations. The vocal duel consists of a semi-clean semi-reciter, and a deep semi-shouty death metal throat.

From Darkness To Sublime Full-Length, 2017


Based on the debut demo: quite aggressive thrash/death metal coming from this very obscure band; the tempo is fast, and even brutal, including frequent blast-beats, with only "Silent One" slowing down with heavy crushing riffs.

The "Vermilion" demo will enchant you with its pompous orchestral intro which stretches into whole 3.5-min, followed by more complex thrash, no traces of death metal here (except for a few isolated short blasting sections), making it hard to believe that that is the same act who recorded such an aggressive effort less than a year ago. The music is heavy with technical leanings, recalling Forced Entry and Defiance. The title-track is an ambitious opus lasting for nearly 10-min which mixes quite balladic passages with furious proto-death ones in a slightly clumsy manner. The singer is good, his clean attached tember providing the necessary amount of dramatism.

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

My Space


Based on "Katana", these folks specialize in pleasant melodic, modern power/thrash which begins quite promisingly with the excellent soaring speedster "The Ship", but later it's only the ripping "Hell In Your Head" which matches it in terms on intensity; the rest is soft chords mixing with a tad more dynamic riffage led by the not very impressive, mid-ranged clean vocals.

Tesukabuto EP, 2005
War Full-length, 2009
Katana Full-length, 2016

Official Site


These German "warriors" fight with a blend of modern thrash and death metal which comes in various paces as the headbanging moments occupy at least half of the space provided here. The approach is not very intense all the way and several frolic speedy rhythms have been introduced to lift up the mood those reaching proto-blasting extremes ("Denunziant") on the more aggressive moments. "Marsch Der Anstendigen" is a short brisk number, and the closing outro is a pompous battle-like march without any metal-related tunes. The singer quarrels with authority with an attached shouty death metal tember.

Kriegsmaschinerie Full-Length, 2010


The "massacre" in this case is more on the thrash/crossover side the band "shooting" short, explosive cuts the good expressive semi-clean vocals another positive occurrence. The thing is that the music is strictly played for fun most of the songs having a kind of unfinished feel to them as though the guys have offered their rehearsal tape here despite the good sound quality.

'Til Death Do Us Party Full-Length, 2015


Based on "Peacemaker", this band have a lot of fun pulling out playful post-thrash mixed with a healthy doze of stoner/doom. The riffs weigh a ton and above, and the melodic tunes are all over this effort making it a good "companion" to any drinking session in a way no worse than any of the Down albums. Don't expect any hard-hitting moments: this is mellow stuff which will also waste a lot of marijuana among other jolly substances.

Pride of Texas Full-length, 2008
Rollin' Full-length, 2010
Peacemaker Full-length, 2012

Official Site


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

Texas Metal Alliance Demo, 2008

My Space


Technical, dark death/thrash with death metal, Kelly Schaefer (Atheist)-like vocals; exquisitely performed; The band is pretty much in a league of their own: if you can imagine a thrashy version of Atheist's "Unquestionable Presence"... "Les Maitres De Lillusion" begins as a doom metal track, but later the faster technical riffs tell a different story, and when the singer enters the scene with his tormented unholy sharls, one knows that this will be a much less ordinary trip; that same song twists and turns without leaving the slow-ish tempo introducing a handful of complex guitars relieving the listener with a more conventional, melodic outro. "Les Clones Programmes" starts in the same way, but before you get a headache switches onto faster straight thrash/death metal; a tendency further carried by the superb speedy technical death/thrasher "Le Regne De Linnommable" which might scare you with the two sudden short blast-beat sections. And finally one pure exercise in doom metal, with a twist: "Les Fleaux De Lobscurantisme", followed by the slightly faster "Last Breath". The technical exuberance reaches its culmination on the fine aggressive "Atheist-meets Morbid Angel" number "Survivre Par Le Sang", and the vortex-like technical thrash number "Laboratories Of Death". The closing track "Le Paradis Du Mal" is only a bit more relaxed, more melodic, progressive opus, with a cool speedy middle part, and a very sudden twisted super-technical ending. Unfortunately, this great album will not have a follow-up since the band are no more, but some of the members are now seen in the black metal formation Necrosphera.
The "Spread the Misfortune" demo is a rough around the edges blend of thrash and death metal which doesn't have the strong technical bite yet also suffering from the muddy sound quality; an inspired, albeit a fairly inauspicious start for the band. However, just 2 years later the guys look well equipped to take on the French underground metal scene; the "Death... Starvation... Plague and War" demo is standout technical thrash/death and a great precursor to the work done on the full-length. The opener "Ethnic Purification" (the demo starts and ends with 2 short acoustic instrumentals) sounds like an undeserving leftover from Atheist's "Unquestionable Presence", a twisted shredder with a cool abstract mid-break which sets the tone for this mind-scratching masterpiece. "Desintegration" is a more elaborate longer composition contrasting with the surrounding it short puzzling blitzkriegers among which "Power of Sects" is the most aggressive cut, a deathy brutalizer which is followed by the outstanding "Ecological Disaster", a constantly metamorphing hecticer with stunning overlapping riff-patterns which stay around for the closing "Blasphemy of the Christian Inquisition", another immaculate display of top-notch musicianship with a nice melodic lead section. This effort sounds at times even better than the debut and after all these years remains the only piece of music to capture the calculated twisted magick of the aforementioned Atheist album. It's a real pity that this very talented formation didn't last longer... an absolute must-check for every fan of technical/progressive metal.

Spread the Misfortune Demo, 1993
Death... Starvation... Plague and War Demo, 1995
Le Paradis Du Mal Full-length, 2003

Official Site


These French pull out modern thrash/post-thrash/metalcore which is a bit noisy, but the proficiency of the leads can't be ignored, neither the riffs' sharpness; those same riffs seldom leave the mid-paced parametres and may not be able to fully satisfy the thrash metal fan who may get tired of the frequent breakdowns and of the annoying shouty vocals.

The Suffering Mechanism Full-Length, 2014


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


One of the oldest Dutch metal bands; the band's debut is fairly good aggressive thrash metal with cool technical touches; the music is quite fast and intense, and very seldom takes a break from the merciless, but stylish bashing (the exception is the heavy technical closer which precedes Death's future more complex style, although it's only 2-min long (the expert musicians don't need too much to impress).
"Realm Of Ecstacy" moves more into the death metal realm, rather than the ecstasy one (pun intended). The guitar work is even more technical and faster, bringing to mind masters like Death, Invocator, Massacra; the end again is preserved for the slowest tracks: the short technical "Reincarnation", and the doom metal hymn "Terminal Breath".

"Angelic Encounters" elaborates on both the aggression and technicality, and especially the latter is quite striking with a cool backward play in the vein of Morbid Angel, which seem to be the main influence on this album, although thrash hasn't disappeared completely, and some good tracks are exactly that, pure headbanging thrash: "The Devil's Concubine", "Speed Kills".
"Undead, Unholy, Divine" brings back the more thrashy patterns of the debut, and is arguably the band's finest hour. This album is full of great thrashing: from the sheer headbanging delights ("Undead, Inholy, Divine") to heavy late 80's Slayer-esque ones (Eraser"), to brutal thrash/death metal mixtures ("Servants of Hatred"). Again the guys pay tribute to the large doom/death scene in their homeland with "The Sign of Sadako".
Thanatos are back after a long 5-year break, and "Justified Genocide" doesn't disappoint: it's quite aggressive death/thrash, not a distant departure from the band's previous output. The guys play fast and tight, adding the casual blast-beat wherever needed, and the music kind of sticks to the death metal patterns more this time. No complaints at all, since there is energy and power aplenty here, especially with bombs like "The Netherworld" and "Dawn of Eternity" exploding around, reminding you so much of the early late 80's/early 90's death metal scene. "Apostles of Damnation" is the obligatory for the band doomy "interlude", heavy as hell, this time coming at the very end, but you will all wake up on the short ultra-brutal grinding "Upwards Spiritual Evolution" which is the band's most outrageous "creation" so far, and a very shocking ending to this otherwise cool album.
"Global Purification": the veterans are back on the scene with this ultra-energetic effort which again sees them blending thrash and death in their staple blitzkrieg manner. The "carnage" carries on all the way through, the stops from the "bullet train" being very few (the more lyrical, melodic "Nothing Left" comes to mind), and for at least half the time this album is pure unadulterated death metal: check out the furious "Infestation Of The Soul", or the short rippers "Queen Of Gore" & "World Jihad". "The Demonized Minority" is a cool more technical piece, and "Blood Will Be Spilled" will beat you back to pure with its raging proto-blasting riffs. There are no surprises here whatsoever, but fans of the band should salivate all over and headbang to oblivion.

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
Global Purification Full-Length, 2014

Official Site


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

The debut demo is a similar wild affair the guys death/thrashing brutally their efforts ultimately hampered by the awful sound quality. Otherwise this is fast aggressive thrash/death ala Morbid Saint and Dark Angel's "Darkness Descends" mixed with compulsive outbursts of proto-grind. There are sparse more sensible moments, like the odd more stylish solo or the casual more controlled performance ("Antychryst", the Slayer cover of "Black Magic" at the end) which fit better the vicious semi-declamatory singer who tries to really emulate Tom Araya on the Slayer cover, and almost succeeds.

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


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


Based on "With Murder in Mind", this act play typical modern thrash/death the riff downpour carved by really cool melodic lead sections. "Mansion of Murder" is a surprisingly nice touch, a more complex progressiver with a raging finale; and "The Devil Wont Let Me Die" tries to provide a similar kind of entertainment only that it retains the speed as a dominant tool, turning into the highlight with some of the most interesting riff-configurations on the album.

Deathwish Full-length, 2011
Silence to Violence EP, 2012
With Murder in Mind Full-length, 2017

Official Site


The debut: this Chilean outfit pull out competent intense retro thrash with shades of crossover. The guys don't rely on speed too much and crush admirably with heavy seismic riffs recalling Rumble Militia also in the strong bass department. The music is fairly energetic also spiced with the casual merry punk reference ("La Solucion") and the stylish allusion to funk (sections from "El Negocio De La Muerte"). Still, at least on half of the tracks the band pull no punches thrashing with force ("Sobrevivir", the death metal-laced explosion "La Broma Asesina") the delivery suffering a bit from the thin lead guitar work and the dispassionate hardcore vocals.
"Muerto" is a faithful continuation of the band's career the band thrashing with enthusiasm and gusto their efforts again marred by the not very clear production which makes the guitars sound like drills here and there. The romantic side of the guys shows up here and there, on the longer numbers which are more melodic, but watch out for unbridled hardcore outbreaks (Muertos pt II") which would be a rude awakening for the sleepy souls who will be thoroughly entertained on the cool diverse instrumental "Thanatophobia" near the end. The vocals are a bit more attached this time, but it's obvious that the guy behind the mike still needs more time spent in the studio.

No Sirvo Para Esto! Full-Length, 2010
Muertos Full-Length, 2012


The musician called Brian Thane Chaffee is in charge here, and that same musician is responsible for some of the more technical sounds to grace our ears: he was a member and a mainman in Belial and Technakill, and was a prominent participant in the technical thrash metal wizards Unleashed Power. This is his last appearance on the scene, and based on "Hardbal", the man opens another venue for his infatuation with technical metal. The songs boast a thick heavy guitar supplement which is definitely modern, but the crunchy guitars are technically-charged recalling Unleashed Power, above all, marching onwards in a formidable mid-pace with sudden switches to a faster play ("Atlas"). The technical prowess isn't that big and doesn't quite reach the most exuberant labyrinthine structures of Unleashed Power, surrendering to groove ("Sample The Masses") here and there. Brian sings in a mid-ranged levelled clean tone which shines the brightest on the cool closing ballad "The Search". This may seem like his least likely ""child", but one would always be curious to track down those early demos and look for obscure displays of technical genius.

Little Wars Demo, 1993
Demo Demo, 1993
Hardball Demo, 1996


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

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

Official Site


Based on the live, this is some noise which could pass for thrash, or even death metal, or possibly black, but this mess is so impenetrable that after the 3rd song the fan may just move to something else. The leads are the sole element which could be distinguished with more ease. It would be next to impossible to recognize the cover version of Celtic Frost's "Dethroned Emperor" at the end except at the chorus if you manage to hear the deep throaty vocals.

Demo Demo, 1986
Live at Black Devastation Festival Demo, 1987


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

Ominous Silence Full-Length, 2011


There's no end to obscurities coming from the Far East; this one in particular is not the brightest "diamond" of them all presenting semi-amateurish black/death/thrash which tries to be both bashing in the spirit of early Bathory, and more complex in the spirit of Burzum and Celtic Frost. The final result is not convincing at all the few original ideas buried in the very bad sound quality and the awful declamatory death metal vocals which don't sing, but make enough noise to deafen the instruments when in action. The songs are quite long (5-9min), but the really engaging passages are very few, if any, the awful sound merging them together into one chaotic melee.

Catholic Traitor Demo, 1991


Based on "Food for Worms", this band play modern laid-back thrash with brutal death metal vocals; the music approach is quite sleepy as the band prefer the more atmospheric, gothic way of execution touching doom metal on the imposing elegiac closer "Left To Rot (Prayer)"; very seldom adhering to any more aggressive, faster-paced escapades.

What I've Become EP, 2014
Food for Worms Full-length, 2017

Official Site


This is a side-project of the Carpathian Forest guys so expect black metallisms along the way. Not surprisingly the music on offer is a mix of black and thrash as thrash is more on the corey, crusty side with heavy shadows of Celtic Frost sharing the same penchant for heavy, mostly mid-paced delivery. The title-track is vintage funeral doom, but "Beast Within" comes in as an immediate compensation with its brutal raging riffs, a potent blend of death and black metal. "Sons Of The Winter" is a very cool epicer in the vein of mid-period Bathory and may pass for the highlight here alongside the excellent dark shredder "Nekrogrammaton" which inevitably features a portion of brutal hyper-blasts. The ending is a tribute to Barathrum and Khold with two creepy dirgers competing with each other as to who will produce the most depressing passages. This isn't bad at all actually, and the guys may consider turning this venture into a more lasting presence on the scene.

Born In Thorns Full-Length, 2015


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

Humanity EP, 2003
Straight To Hell Full-length, 2011

My Space


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 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

Official Site


This is an entertainment of the intense lashing variety and as such should keep many fans happy. This outfit indulge in melodic, almost classically-inclined guitar-wise, thrash/death which clings towards escalating dramatic structures preferring to develop in a steam-rolling mid-pace assisted by very good melodic guitar work, both in the riff and lead department. "Seasons Of The Scythe" is a very cool speedy cut reminiscent of Dissection, but don't expect two in a row here the next "Fire Of 1000 Cries" being a nice semi-ballad with attempts at clean singing which replaces for a while the main gruff forceful death metal vocals. More brutal music follows suit with the short explosive cut "I Am Famine" which also pulls it out in the technical department in a smashing Pestilence-like fashion. The two sides start alternating in the 2nd half with another short technical piece added near the end ("Slaughter The Gods") the final wrap thrown by the melodically exuberant "The Black Thrash" which is mostly thrash in mid-pace without any borrowings from black metal.

Seasons of the Scythe Full-length, 2005

My Space


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 later with "The Curse of Martha Splatterhead" which is heads-down aggressive thrash/crossover surpassing their earlier efforts on quite a few times in terms of intensity. The songs expectedly develop in a fast pace with loads of jumpy hectic riffs, chaotic screaming leads, and the odd doom-laden heavy section. Some explosive brutal "surprises" are not spared, either: the very fast "Scotty Came Back", the straight retro thrasher "By The Hook", the heavy steam-roller "Martha's Disciples". The traditional more melodic track comes at the end: "Splatter Rock I" which is really long (3.5-min!) and clings more towards doom rather than rock.

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

Official Site


Based on the full-length, this band provide quite cool classic speed/thrash along the lines of Paradox and Manticora so expect a few more intricate arrangements although the focus is clearly on hard-hitting riffs intercepted by soaring melodies and the casual allusion to the ballad ("Rust"). In the 2nd half the songs become a bit slower clinging at times towards power metal, but the riffage there is still suitably heavy along with the very good emotional clean vocals who still may become more adventurous and higher-pitched on future works.

The Addication EP, 2010
Burned Down EP, 2011
The Addication Full-length, 2012

Official Site


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

The Affected Demo, 1989

My Space


This is the last temptation for the guys who were earlier known as Mystic Alliance, where the style was more power metal-prone. The music on offer here is crunchy modern post-thrash which squashes all over, and the few sparkles of technicality ("Lost") should have been more as they give a much more attractive "colour" to this otherwise fairly monotonous album. The delivery can be labelled as at least semi-groovy since the band try to escape the 90's cliches successfully even notching it up a bit on the more vivid "S.K.A.I.D." and the playful speed metal joy "Those Whom The Godz Love Die Young". Later on "I Say War" crushes with more power and with a more classic "sting" giving rise to several more dynamic cuts towards the end which comes in the form of a cool cover of Heathen's "Death by Hanging" from the Americans' debut where even the former Heathen guitarist Doug Piercy adds a few stylish licks as a guest musician. It's a really weak effort having in mind that the musicians had a very audacious start in the early-90's as one of the most impressive technical/progressive thrash metal heroes on German ground (and not only) under the name Tokkata.

Time Full-Length, 1997


This is modern thrash which contains some of the clever technicality of the representatives from their motherland although for most of the time this is right as rain stuff with numerous catchy melodic hooks and shouty death metal vocals with a slight hysterical "sting". Things go towards mid-period Death on the energizer "Don't Worry, The Worst Is Yet To Come" which is a short headbanging piece with good technical riffs. "Taco Song" is a cool acoustic ballad with flamenco overtones, splitting the more direct material at the end from the more technical one.

E.P.E.P EP, 2011


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


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

The Apocryphal Order EP, 2010


The debut: this act, whose line-up reads like "who's who" of Danish extreme metal featuring members of Invocator, Autumn Leaves, Scavenger, Submission, Koldborn, etc. specialize in modern thrash/death metal which comes with its own face avoiding the melo-death traps of their Swedish neighbours for most of the time. The "assault" starts immediately with the raging opener "Infinite Ghost Anathema" and never lets up although more laid-back mid-pacers ("In a Hail of Deadly Bullets") are by all means provided. A bullet after bullet come shot with the utmost precision the musicians operating like a well polished machine the shouty rending vocals probably the only more ordinary, not very impressive, ingredient. "Flames of Liberation" is a nice stylish technicaller served near the end to show the band's bigger potential which is also restated on the excellent shredding closer "The Sanity Insane" which loses some points due to the awkward clean vocal insertion.
"In the Wake of Collisions" is more death metal-oriented and more atmospheric, but this isn't a pullback the shredding urgency of cuts like "Between Reason and Hubris" and "The Serpent Tower" making up for the several mellower deviations. The band haven't emphasized on the technicality and the overall delivery is more orthodox excluding the interesting dramatic crescendos on "The Reaping Reverence", and partially the swirling mechanistic riff-patterns on "Sanctity of Allegiance". The doomy officiancy of the closing "Horizons Buried" may be a sign of new horizons to be explored in the future...
"Cult of None": the album surprisingly begins with the 10-min progressiver "Reviver", but this big ambition shown from the get-go doesn't take the upper hand, fortunately, since right after it it becomes business as usual for the Danish gang with the ripping mechanizer "Exo Reign". The rest of the material is quite lengthy (6-8min), but there's no slouching the guys death/thrashing in a familiar manner maybe adding more progressive touches coming close to the stylish futuristic exploits of Darkane ("Waves of Trance"). "Hesperian" is another heavy officiant dramatizer, but the good melodic leads save it as well as the imposing closer "Sun Grave" which shows the band at their more operatic and diverse regardless of the strong feeling of deja-vu hanging in the air (remember the previous album closer).

The Machinery of Oblivion Full-length, 2006
In the Wake of Collisions Full-length, 2008
Cult of None Full-length, 2015

Official Site


Diverse modern power/thrash with slight semi-technical overtones; stylish melodic embellishments ("Crucifiction of Thoughts") are served regularly at times "killing" the aggressive inertia ("Room 333"). The second half is entirely dedicated to the power metal field with very few intense moments the sole exception being the speed/thrashy crescendos on the closing "Witch Hunt". The singer is sudbued deathster whose sinister semi-whispers are an effective appendage.

Consummating Divinity Full-length, 2017

Official Site


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

Hyperstructue Full-Length, 2008


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 mOme Full-length, 2005
Trinite Full-length, 2007
Heros Assassin Full-Length, 2009

My Space


The full-length: after the intro (which is dedicated to the cult Italian film director Dario Argento, and is actually a reworked guitar version of the main theme from his best film "Suspiria" written by the eclectic progressive rock act Goblin), we are hit with a nice slab of vintage old school 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 with the sharp riffage. The tempo slows down for the last song "Outburst" which, despite its sinister title, is the softest track, an atmospheric doomy power/thrasher finished with the same opening tune from the intro; a good album which never enjoyed a follow-up. The guys later chose the industrial path to follow with their new formation Think About Mutation, and became one of the leaders of the European industrial scene with frequent nods to this genre's metallic side.

The "Trief" EP is another pretty capable offering the guys already thrashing with conviction on the sharp "razor" "Headless" producing the odd more intense, and much shorter, hardcore-ish break ("Hellraiser"). "Twenty Problems" is an excellent twisted thrasher which will make your day with both direct and more puzzling riffs packed into a bit more than 2.5-min, before the final "Dirty Deal" elaborates on the darker doomy side of the band's approach which found a fuller realisation on the full-length.

Trief EP, 1990
Catharsis Full-Length, 1991


With every new act coming out of Switzerland, one secretly hopes that this would be the next Coroner, or Celtic Frost. Well, those two acts would hardly be repeated, but one should also be open to new outfits, especially when they sound as inspired and technical as the band here. The opening "Jihad" is a most curious composition developing as an orthodox melo-thrash/death metal piece until the swirling mid-passage which is indeed vintage Coroner with some of the finest stop-and-go rhythms epitomized recently. The listener would be immediately braced for more niceties of the kind, and those eventually keep coming, albeit in small dozes first on the quirky mid-pacer "Ballet of the Bane", then on the excellent semi-balladic twister "Tribunal". "Inexorable" is a marvellous technical speedster with echoes of Paralysis and Expulsion "Soft Target" only a tad "softer" thrashing far'n wide with more sterile, mechanical guitars. Watch out for "Extralegal Execution", the highlight here, a superb hectic technicaller which alone makes this album a recommended listen; fast raging passages take turns with surreal, spacey ones. All the way to the frantic closer "Concrete Cathedral" which in the 2nd half "flirts" with a jokey bluesy tunes the latter still working fine as a finishing touch. This new act may not be the next Coroner or Celtic Frost, but is by all means a very promising young formation who are going to play a major role on the European metal scene in the years to come.

The Artifice Full-Length, 2016

Official Site


The debut: ripping old school thrash with good high-strung vocals ala Katon de la Pena (Hirax). The music isn't bad, but the guitar sound is a bit thin favouring the more aggressive, shorter numbers ("Jump of Death (D-Day)"). In the 2nd half the approach becomes a bit milder with the crossover hymn "Losing Faith", the pounding proto-groover "Cover Me", and other similar not as invigorating pieces.
"Abyss" is a huge disappointment, awful grungy post-thrash which is unlistenable even if intended as a joke. The guys flirt with alternative, funk, hardcore, blues, and other unnecessary gimmicks. Skip with passion...

Prelude to War Full-Length, 2015
Abyss Full-Length, 2016

Official Site


Based on "Millenium Of Thorns", this band offer modern death/thrash metal which is mid to up-tempo with a sudden adherence to aggressive blasting sections. The guitar work is cool and melodic, and nice acoustic passages are scattered throughout, but this has been done on many other works of recent times.
"The World Is Grey" is another modern thrash/death metal affair of the more varied type with "atmosfear" and melody "marrying" under restrained riffy barrage which is mostly mid-paced spiced with the odd more aggressive outburst. The more hectic, less predictable, decisions on the closing "Sodomized" may bring this effort towards the more progressive works of the time, but generally this is more in the pedestrian workmanlike camp.

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 World Is Grey Full-Length, 2010

Official Site


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

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

My Space


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

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

My Space


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

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

Vibrations of Doom


Based on the "General Rejection", these lads play pretty cool progressive/technical thrash with frequent speedy escapades from the more complicated main plot. The shadow of the Bay-Area can be felt ("Face Of Distress") here and there, and "The Mourning After" is a precursor to the elaborate approach of Heathen's 'Victims of deception". The singer has a thin clean voice which can be annoying at times since it doesn't have the power and depth which would have been fine for this kind of music.
The "Dreamland in Misery" demo is another 3-songer which shows the guys moving up the complexity scale with longer more eventful compositions which miss the thrash idea (the title-track) at some stage, but compensating almost immediately ("Suicidal Medtitaion") with a portion of sharp hard-hitting guitars. "Accurate Contradiction" is another semi-balladic relaxer kind of preparing the fans for the ensuing full-length.
The full-length is one of the better transitional albums of the 90's the guys now incorporating the modern trends without losing their initial approach. "Seed" is a heavy doomy creeper, and this side is also heard on a couple of other songs later before the full-blooded ballad "Secrets" spoils the mood a bit the abrasive guitar edge not very fitting to it. The final string of pieces recall The Black Album to some extent, and the band start sounding more ordinary and less inspired. Still, this effort should please the 90's audience in a way similar to Forbidden's "Distortion", Kreator's "Renewal", and Anthrax's "The Sound of White Noise".

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

My Space


Based on the debut EP, This is mostly stoner/doom with the odd more intense post-thrashy break; mid-paced to slowish stuff with shouty semi-death metal vocals and a heavy rhythm section. Some of the musicians play more intense retro thrash/crossover with Short Sharp Shock.
The full-length is an elaboration on the EP's so expect stomping volcanic riffs often bordering on blues and ballad with only a handful of more dynamic sections scattered trhoughout.

The Bendal Interlude EP, 2010
Odourama EP, 2012
Reign of the Unblinking Eye Full-length, 2016

Official Site


This 3-song EP is truly dedicated to the underground old school black/thrash metal idea. Still, it doesn't immediately scream "early Bathory!" opting instead for a clearer guitar sound with an early-Slayer vibe. Fast and slow sections are capably blended except on the final "Watch My Town Burn" which is a purer black metal composition with a lot of atmospheric moments and a few pretty good guitar-driven breaks "haunted" by the surprisingly cool melodic leads. The singer is a typical blacky "raven" who accompanies the music well, but doesn't take too much space. This is a good beginning which shows promise and hopefully the guys would be able to capitalize on it.
The full-length unexpectedly contains all the material from the pilot demo, but apart from that we have 8 brand new tracks to enjoy, and they don't disappoint with their brisk old school atmosphere and dedicated musicianship which doesn't shine with anything too original, but will keep the listener entertained, especially when the guys add those catchy death metal sweeps ("These Thirsty Gallows (Never Run Dry)") from time to time. At other times the fans will savour creepy doomy rhythms ala Khold ("Servant of The Devourer") served with a more dynamic thrashy flavour; or will wonder at the speed/thrashy "valour" of cuts like "Chained and Confined". Even the operatic hyper-blasting aesthetics of the final "Here's To Your Endtime" sound attractive and appropriate to the ears: the band provide a "cocktail" worth tasting by a wide gamut of metal fans.

Casket Prospects Promo Demo, 2012
Casket Prospects Full-Length, 2012

Official Site


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

The Black Nasty Full-Length, 1995


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

The "Khaos Sigma" EP will sweep you from the very beginning with the maddening headbanger "Chaoskampf" which immediate hard-hitting riffs are replaced by more spacey, discordant ones on the more complex "Martyr No More". Then comes "Rules of Engagement" which is another ripping piece with brutal remorseless guitars, before "March of a Blackened Christ" acquires a more pensive character which is partially shared by the closing mechanizer "The Awakening", a stylish technical opus with echoes of Altered Aeon and Biomechanical. The guuy has already proven that he is quite a capable musician and it's probably time to surprise his fans with a full-length release not far from now.

Digression EP, 2010
Khaos Sigma EP, 2014



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

Born Full-length, 2011

My Space


Based on the full-length, this band deliver intense classic thrash the band sparing no energy on vigorous death metal-ish cuts like "Dreams Of Hatred", moshing out in a less restrained manner at times including on the Death cover of "Open Casket" at the end which is quite faithfully performed losing a bit from the subdued, not very audible vocals.

Death Eternal EP, 2013
Rites of Absolution Full-length, 2017

Official Site


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

Skate for the Devil Full-length 1986


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

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

Official Site


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 full-length debut: with all the good acts from the old days gone (Celtic Frost, Coroner, Messiah, Apocalypse, Calhoun Conquer, Lunacy, ETC.), the Swiss scene seems the only one which doesn't take any part in the resurrection movement of recent years. Not many new bands, either, and that's why this one here should be given a chance. These newcomers, who were previously known as Cideraid, try to find the balance between the classic and modern sound, but at the same time they try something more complex, the latter attempts leaning more towards the modern side (the slightly dragging 9-min opus "Out of the Fire/Into the Flames"; the atmospheric operatic closer "The Burden of Truth"). The retro sound reigns supreme on the shorter material ("Ashes from the Skies"), but the dominant tone is mid-paced. The vocalist is not bad with a clean voice which attains certain gruffer tones at times. The guys have a long way to go before they reach the high standards set by their aforementioned peers, but at least they seem to have the skills to at least try.
The EP adds another 3 pieces to the band's repertoire, but would hardly please the fanbase with its moderate gothic-infused approach which relies on slow to mid-paced rhythms and retouched guitars with elements of progressive and more operatic arrangements ala Hollenthon and Therion. It could be viewed as a rehearsal for the guys' moving to other territories for exploration since there isn't much here to relate the present material to the one on the full-length.
"Fragments" is a gothic/baroque post-thrashy opera which speeds up ("Among The Shards") at times, but the operatic atmosphere is too strong to be overcome by the sparse adherences to scattered thrashy aggression. The band have definitely moved on, but their present "face" is too generic to make them stand out.

Downfall of Man Full-length, 2011
The Bikini Blues-Sessions EP, 2012
Fragments Full-Length, 2014

Official Site


This is modern melodic thrash of the semi-atmospheric, up-tempo variety with one heavy, mid-paced surprise: "A Quick Way to A Short Death", a cool pensive number with a gothic flavour. The vocalist is a subdued low-tuned growler with a few semi-shouty tendencies expressed to a better, more comprehensive effect along with a sparse clean vocal participation on the closing cut "Foretold Tale".

You Were Dead In Your Transgressions Demo, 2005


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

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

Official Site


Intense simplistic thrashcore with both Madball and early Pro-Pain obvious references; the sound here is more modern perhaps and a bit more light-hearted the guys "shooting" fast direct cuts the longest one being just over 2-min. The guitars are pretty stripped-down, and some of the tracks offer milder mid-tempo sections and even the odd melodic lead (!?). The singer is suitably angry and semi-shouty, but holds a surprising melodic blend on quite a few times contrary to his hoarse drunken tember.

Bad Blood Full-Length, 2007


Energetic modern thrash with the Swedish school an obvious influence with aggression and melody coming together onto almost every song. Despite some interesting riffs springing up here and there, this isn't anything 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 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

My Space


Based on "Somber Ceremony", these guys play choppy crunchy modern thrash which drags a bit at some point the band using those unmelodic chugga-chugga riffs to no end which on the constantly repetitive mid-paced to slow background just don't sound attractive (the exception is the exiting section from the closer "Turmoil" where the guys thrash vehemently with passion for a change). There is some creepiness permeating the album (the doomy undercurrents on "Misery Company"), but it should have been spiced with something else. The singer is a semi-whispered death metal growler who isn't very clearly heard at times, and one gets the feeling that he doesn't really want to.
The debut is in the same vein maybe sounding a bit more classic at times (the more light-hearted shredder "Journey's End"), but still holding onto the modern laws tight on steam-rolling groovers like "Embedded" and "Dead Is Thought To Be Dead". The singer tries to sing more here, but his antics are still not very audible sounding quite strained at times.

"Coercion" is a modern "animal" of the not very exciting, less energetic type slightly reminding of Voodoocult and Fetish 69 when it gets more industrialized. The situation livens up on "They Live, We Sleep", but there's too much treading on semi-balladic and doomy waters although "Dethanol" is a fairly good example of the latter genre. Still, kudos should be paid to the guys for trying to give the modern trends a more individualistic twist and avoiding thus annoying groovy infatuations.

Poor Man's Coffin Full-length, 2004
Somber Ceremony Full-length, 2010
Coercion Full-Length, 2014

Official Site


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

Origins Full-length, 2011

Official Site


This young act serve party rock'n post-thrash/punk which breaks at times the unpretentious atmosphere with the casual heavy stomper ("Jungle Robot"). This is a simplistic mish-mash, also featuring numerous nods to classic heavy metal and hard rock, assisted by drunken mean vocals which distantly resemble the early vocal histrionics of Lemmy.

Skid Mark Full-Length, 2015


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

My Space


Decent modern thrash with very good expert leads and several nods to the retro sounds (the energetic headbanger "Make My Day"). The guitars cut painfully, and the tempos change appropriately the faster parametres (check out the maddening title-track at the end) more widely covered giving a capable boost to the proceedings which are also helped by the forceful shouty vocals.

Reborn Full-Length, 2014


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 (the title-track). 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, though, "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

Official Site


Based on the full-length, this is a Slayer tribute made in South America. Nothing new, some would say, and they wouldn't be too far from the truth although the band put their hearts into it thrashing with power spicing the rigid formula with more flexible, semi-technical chops ("Total War"). In the vocal department the resemblance is simply striking whereas on the music side the delivery sometimes shifts into other fields (the atmospheric, quasi-doomy "Cross Addiction"), and generally in the 2nd half the guys don't rely on speed too much the only genuine mosher there being the ripping "Faithless".

Reign in Terror EP, 2013
Tortured Spirits Full-length, 2016

Official Site


Cory Smoot is a former member of the shock corethrashers Gwar, and here he "experiments" in a more complex, almost progressive at times, manner with the style producing crunchy modern thrasherism which has both energy and heaviness in almost equal dozes the major flaw being the very short length of the songs (2-3min) which leave many of the ideas unfinished. Still, one can't possibly remain indifferent to the audacious headbanging vigour of "Mandatory Purgatory", or to the galloping dramatism of the closer "Countdown To Oblivion". Cory sings in a rough deathy fashion, but his rendings are tolerable and comprehensive. The other annoyance may be the very noisy guitar sound which is accompaied by a constant buzzy background, intentionally or not.

When Worlds Collide Full-length, 2012


Based on the debut, this band offer modern thrash which is both close to death metal and hardcore during various stages. In other words, there is a lot of dynamics and moshing around and the fans would be by all means pleased on headbangers like "Overzeal" and "Motocross", the latter a sure-handed crossoverer which try to balance the situation against the majority of shredding mid-pacers. The vocalist semi-shouts in a forceful attached tone and is a cool fit into the intense picture.

Hate You Full-length, 2010
Pariah Full-length, 2012

Official Site


This band really made a name for themselves despite their short career. Their original name was Crown Of Thorns, but they had to give it up after legal claims made by a Christian metal band of the same name. The style is very fast/aggressive death/thrash metal of the modern type with occasional punk-ish tones and death'n roll elements, not too far from the music Entombed started to play on "Wolverine Blues": a very good, but a short-lived band. Their singer Johan Lindstrand after the split-up formed the band One Man Army And The Undead Quartet.

"Doomsday King" is a reunion album seeing the guys alive and well hungry for more damage done mostly in the classic thrash/death metal department; the "missing link" (to some this may be quite a pullback) is Johan Lindstrand himself who couldn't abandon his duties in his other projects, and has been replaced by Jonas Stslhammar (also Macabre End, God Macabre, Utumno, etc.). The guys waste no time, and the title track hits you straight in the face moshing out in a cool semi-classic manner spiced with cool Oriental hooks. The speed goes up a bit on the next two numbers, especially on the nice melo-speedster "Age Of Iron". Time for retrospection and relaxation on "The Tempter And The Bible Black" which is a laid-back doomy piece, before "Soul Slasher" continues the carnage on full-throttle. "Blood O.D." is a "bloody" violent proto-deathster, and "Through Eyes Of Oblivion" is intense aggressive thrash. The band leave the more complex longer compositions for the end; those songs mix fast and slow sections, the closer "He Who Rises In Might- From Darkness to Light" overdoing it a bit including furious blasting sections bordering on black metal. Still, this is not enough to spoil the good impression from this comeback effort which sees the guys concentrating more on the retro side of the genre in contrast to their older more modern-sounding works.

"Death Is Not Dead": no, "death is not dead" as is evident from these veterans' new offering; neither is the thrash/death mixture they've been hammering for over 15 years now. The band fans will receive their expected portion of intense, up-tempo riffs served with a cool sense of melody where the Gothenburg school shows its teeth pretty wide. Curious allusions to "Karmina Burana" can be caught on "Iblis Bane" done in an impetuous speedy manner. "Eternal" is the obligatory mid-pacer, an epic battle rouser ala Amon Amarth; but on the rest "speed may kill you", like on "Speed Kills (Full Moon Ahead)", for example, indeed one of the fastest tracks on the album keeping the flame alive, the latter just about to burn out near the end on the several slower monotonous songs where the heaviness comes a bit too much.

Hell is Here Full-length, 1999
Deathrace King Full-length, 2000
Crowned In Terror Full-length, 2002
Possessed 13 Full-length, 2003
Doomsday King Full-length, 2010
Death Is Not Dead Full-length, 2014

My Space


This band tried to keep crossover alive for a while during the 90's. Their guitarist Greg Minier had two side projects, one under his own name. The debut is a very good beginning for the band's career thrashing quite intensely most of the time, leaving little room for the crossover side of the music to show up: check out the raging opener "The Pit". "Die Hard" preserves the speed and intensity, but the guitars have a jollier, crossover edge. "Your Image" is a furious short hardcore outbreak after which the guys never let the aggression loose, and here comes another couple of thrashing delights: "Hellcorn", "Rise", "One Demon to Another", which reach almost a Slayer-like intensity. "Back to the Cross" is a pure Slayer worship after which comes a time for some more laid-back crossover: "Confidence", but only for a while since the guys are eager to thrash their hearts out which is what exactly happens on the raging "The Insult Circus" and "Threat". The closing "Crucial Moment" retains the speed, but gives way to more melodic riffs. This excellent work was another testimony that back in 1989 thrash was alive and well with no signs of wearing out or falling from grace.

"The Pillars of Humanity" is a worthy follow-up offering the same uncompromising attitude with fast-paced fierce thrashers. "Mindbender" slows down after the first three intense tracks, even offering a slight groovy twist, well conformed with the tastes of the time. "Path To Sorrow" is a surprising turn to a semi-balladic song-writing, but the guys haven't forgotten about their thrashy side, and "Fellowship Of Thieves" takes no prisoners. "Focus" is a lighter thrash/crossover piece followed by "The Strength" which, in order to justify its title, thrashes more aggressively once again. The title-track closes the album with heavier, slower and generally more melodic riffs which are more than 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

Official Site


This is the same act known earlier as Crucifier; the guys slightly modified their moniker in order to avoid mix-ups with similarly-named outfits. The delivery, however, hasn't moved a bit and remains vigorous old school thrash to the bone with the German school "courted" the most this time as the opening "Within Insanity" can fit on any of the first two Destruction efforts. The mosh never stops here as then band shoot "a bullet" after "bullet" with the utmost intensity, seldom breaking the pattern with marginally more technical riffage ("Forgive and Don't Forget") or with more playful crossover rhythms ("Fake Truth").

Voices In My Head Full-length, 2017

Official Site


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

The Dead Will Rise live EP, 2011


Pretty decent thrash/proto-death of the old school; the band play fast'n tight reaching the extremes on shattering cuts like "Thousands Of Deaths" and "Death To Betrayers" which are pure aggression graced by a very clear sound quality and sharp cutting guitars. The singer is not so bad unleashing an attached semi-shouty tember with quarrelsome shades.

The Curse EP, 2011


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

Demo Demo, 1986


Based on the full-length debut, this formation specialize in playful modern post-thrashcore which is moderately up-paced ("I Don't Wanna B U") at its most intense; the rest is friendly uplifting punk/crossover with bits and pieces of more hard-hitting thrash ("Fermented") scattered around a bit nonchalantly. The singer tries to sing at times and pulls out a more attached performance with his intense semi-clean tember which resembles Tom G. Warrior (check out the interesting epic galloper "Territorial Fistings", the highlight on the album).

The Apes of Wrath Full-length, 2011
Ape Diablo Full-length, 2014

Official Site


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

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

Official Site


The debut: 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 intensity on "Awakening of the Morningstar".

"Relentless Demonic Intrusion" is a more intense affair introducing death metal to the fore, hardening the approach quite a bit in a way not too far from Torture Squad and the last Thanatos (Holland) album, also suiting the brutal deathy vocals more. Expectedly, the tempo is fast with a sparse inclusion of short blasts, and this is the reason why the more varied, slower cuts work kind of better: the dramatic epicer "The Day Of The Beast" which brings a desirable shift from the dominant speedy delivery.
"The Ultimate Cremation Pyre" is the next in line "beast" unleashed by the band with thrash more prominently featured this time making cuts like the title-track engaging raging sagas, and pieces like "Black Earth Coffins" and "Crowned in Maggots (Hell Is Not Enough)" short bursting headbangers. "Azhidahaka" is a more laid-back, more atmospheric composition, and "Phantasmal Crossroads" crosses the boundaries towards bombastic operatic black metal making this effort a really varied "beast".

The Day of the Beast Full-length, 2008
Relentless Demonic Intrusion Full-length, 2012
The Ultimate Cremation Pyre Full-Length, 2017

Official Site


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

Killing Reality EP, 2009

Official Site


Modern groovy post-thrash with industrial overtones sitting somewhere between Fear Factory and the Swiss avantgardists Swamp Terrorists; the guys wisely abandon the dirge which usually comes with the style opting for more dynamic numbers ("Daemons", the title-track), and the dance potential of floor sweepers like "Be-Were" is hard to deny despite the constant presence of the guitars. The fun atmosphere is high all over this effort which is also favoured by the nice clear production and the harsh, but comprehensive deathy singer.

Catacombs Full-Length, 2015


This is noisy modern post-thrash which mixes with more aggressive death metal cords to a chaotic and not very listenable effect trying to come close to the mechanical patterns of mid-period Meshuggah, but there's too much djent and post-core here for the album to truly take off. This is one-dimensional groovy music which is sustained in exactly the same fuzzy manner from beginning to end piling discordant riffage on top of each other creating noise rather than music in the long run. This band may start "a new era of cacophony", but hardly one of "destruction"...

A New Era Of Destruction Full-Length, 2012


This act indulge in noisy chaotic modern thrash/death which is ultimately ruined by the fuzzy guitar sound and the hysterical shrieky vocals which, with a bigger stretch of the imagination, can pass for a Dany Filth (Cradle of Filth) emulation, but "raped" through an awful lot of synthesizers. The mess gets a bit under control on the early In Flames-worship "The Void in Which I Slumber" which is a more compelling listen with brutality and melody blended nicely together. The closer "Ravenous" starts as a pensive doomster, not a bad beginning, but later on the madness resumes with some of the wildest blast-beats incorporated.

Entheogen Demo, 2013


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

Speed up the Death Process Full-Length, 2009


Based on the debut, this act specialize in a more atmospheric brand of modern thrash/death metal which isn't very fast-paced, but delivers with steady mid-paced riffs which produce some imposing epicers ("Spread the Plague"; the officiant doomy rhythms on "The Desolate") along the way. The closing title-track livens up with more vivid riffs those mixed with nice melodic lead guitars creating the most musically-proficient moments on the album. The singer is a mid-ranged death metal growler who doesn't show off a lot staying wiithin the same parametres the whole time.
"Gospel of the Wretched" is a more uneven effort the band moving from spasmodic blasts to quirky sterile passages without any transitional signs with quite a few elements on top of each other on almost each track making the songs a bit lengthy. That's why "Thrashed Out Cold" comes as a big surprise in the middle serving pure headbanging thrash for about 3-min consequently remaining the highlight the rest of the numbers continuing the messy overcomplicated delivery which hits the top on the very ambitious closing instrumental "Occam's Razor" which at least pulls some impressive melodic hooks the latter matching the proficient lead guitar work there both marred by the very noisy production.

Trapped in Twilight Full-length, 2010
Gospel of the Wretched Full-length, 2012

Official Site


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

My Space


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

The Devastator EP, 2011


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

Imperium EP, 2011


The debut EP: this is cool energetic thrash/crossover of the old school which comes in different tempos and relatively short compositions (2-3min). Things can be pleasantly melodic ("Hotel Guantanamo") at times, and generally the band don't aim at any aggressive heights just having a good time moshing in a carefree laid-back fashion. The singer is a perfect fit with his attached semi-shouty tember never quarelling in an incomprehensive aggro-manner.
The "Pizza Patrol" EP is more aggressive with more brutal thrashy guitars the band shooting short compact "bullets" in quick succession some of which (the title-track) are close to stripped-down hardcore while others ("Danger in Blue") are more carefully executed thrashers with a couple of light-hearted crossover ("Zone Out") crowd pleasers thrown in at the end.

The Spawning EP, 2010
Chain Reaction EP, 2013
Pizza Patrol EP, 2017

Official Site


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

Official Site


Based on "The Killing Plan", this band manage to combine Floridian death metal with thrash in quite an impressive way. The music is technical, recalling Morbid Angel and even Atheist at times with heavy stomping parts alternating with furious blast-beats. The guitar work is quite stylish, and although most of the time the sound is more death metal-based, the level of musicianship displayed here makes this band recommended to many metal fans.

"Survival Guide To The Apocalypse" is a good debut, again courting death metal more, but the guitar work is good all over. The music is constantly fast, and the songs are much shorter, not accentuating on the technical performance that much. "Warstrike" is a nice piece with slight progressive overtones, thrashing more than the rest, but offering slower doomy moments as well. "Seven" is a nice short technical death/thrasher after which the technical charge increases for the atmospheric mid-paced "The Idol Usurped". "Megalomania" is an all-out thrash attack where the singer tries some unholy shrieks ala Tom Araya ("Black Magic"), but quickly the guys show that they can manage much more aggressively than that with the following brutal death metal fury "In The Land Of The Dead". The closing "The First Waters" beats all, however, with the ultra-fast black metal sections, and is actually a full-blooded black metal number, showing a band still in a stage of honing their "weapons".

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

Official Site


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

The Dying Seed EP, 2009

My Space


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

Contemporary Noise Pollution Demo, 2011


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

World War III EP, 2009


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

The Embodied Full-length, 2011

My Space


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

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

Official Site


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

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

Official Site


A really cool obscurity of choppy classic thrash with a lot of atmosphere sustained in a consistent mid-pace despite the short length of the songs. The riffs are seismic and thundering the melody not so widely covered except as scattered elusive passages. The production is quite good boosting the macabre semi-shouty death metal vocals which are quite good, by the way, co-existing well with the crushing rhythm-section.

Ascension Demo, 1993


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

The End EP, 1996

Official Site


3 songs of classic American speed/power/thrash with echoes of The Exorcist and Pile Driver. "Pharaoh" ends in a great doomy Oriental way, a short excerpt which remains the highlight also because the not very impressive listless clean singer doesn't participate there. The bass work is particularly good moving ahead of the guitar performance which is marred by the fuzzy production although one cann't possibly remain indifferent to the excellent melodic leads on "Granite". This is vivid dynamic music with a frequently changing pace which by all means sounded off-context and belated at the time of release.

The End Demo, 1993


A very wild mixture of thrash, black and hardcore; the music is very fast and aggressive with a strong industrial edge including the horrible synthesized vocals. Impaled Nazarene could be a close call, but these guys are more thrashy, although the approach is the same: relentless violent stuff with frequent blast-beats thrown in the most unexpected places. The guitar sound is very thin, and creates the impression that everything has been done hurriedly on a computer.

The "666 Verses" demo is a strange "animal" seeing the guys slowing down considerably, retaining the industrial edge, and now the screechy hysterical vocals simply miss the point since there's only one blasting track on which they can scream their lungs out. There's even ambient involved as well as depressive black/doom ala Beherit, even industrial landscapes ala Red Harvest and the Dissection frontman Jon Nodtveidt'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

Official Site


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

Isolation Full-length, 2008

My Space


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

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

Official Site


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

The full-length debut is another frolic merry-go-rounder with loads of jolly catchy melodies, from sing-along (and respectively jump) tunes to quite a few nods to classic heavy metal, doom/stoner (the longer compositions) and even sincere hard rock. This is not pure thrash by a long shot, and as such may not be recommended too highly to the hard-boiled fanbase.
"Earth Inferno" continues in the same optimistic vein so don't expect a lot of thrash here again, but several more progressive-sounding opuses like "Forlorn" and "Maranon" which are largely epic power metal hymns as the rest is marginally more intense with more nods towards the 90's power/speed metal movement.

Ex Nun on the Run EP, 2008
Pronounced the Evil Dead Full-Kength, 2012
Earth Inferno Full-Length, 2017

My Space


The band name tells a lot: yes, this is the continuation of 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 opuses 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 four tracks from the demo/promo so expect more moderate power/thrash metal speeding up on occasion ("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

Official Site


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

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


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

Official Site


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

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

Official Site


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

Aggrieving Feeling Demo, 2006

Official Site


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

Project Seibzehn EP, 2010


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

Power of Suggestion Full-Length, 1992


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

The End Full-length, 2008

My Space


This band plays modern thrash/death with a few more playful tunes thrown in. The overall approach is not miles away from early The Haunted or Maze of Torment except that the Germans slow down more often, and adhere to more melodic hooks, still thrashing with might ("Erlosung (Ein Traum vom Leben)") more than now and then. The singer is the staple subdued death metal husker who doesn't interfere a lot with the music, but is a capable addition nonetheless. Some of the band members are also involved in the power/thrash metal formation Brain Damage.
The full-length offers modern "zombificated" thrash which is more melodic this time with death metal barely touched on the few more aggressive tracks. Tne overall approach now resembles latter-day Kreator with a similar alternation between fast and slow compositions. "Obey The Crown" is a cool retro speedster which works well with the dominant more updated riffage which turns the closing title-track into a steam-rolling squasher with a faster-paced twist.

River Runs Red EP, 2012
Zombificated Full-length, 2014

Official Site


This act rose from the ashes of the thrash metal formation Overlord which managed to record two demos earlier. The demo: 4 tracks of energetic old school speed/thrash, already heard on the Overlord demos, with cool sharp, melodic riffs, not too far from early Whiplash; the South Americans care more about melody, and their music has shades of power metal as well ("Evil World"). On the other hand we have "Heathen's Attack", which is an explosive thrasher in the beginning before the more melodic hooks take over, alternating with the fast aggressive riffs.
"Possessed by Metal" uses the songs from the debut demo as a backbone adding another couple of energetic speed/thrashers ably supported by gruff, but intelligible, semi-clean vocals sounding like a mix between Schmier and Reinhard Kruse (S.D.I.). "Evil World" is a laid-back mid-tempo power/thrasher, a tendency slightly covered on the 7.5-min instrumental "Long Live the Metal Gods", which is a multi-layered composition mostly sustained in a solid galloping rhythm; but the rest is direct speedy music with sharp crispy riffs which also carry a nice shade of melody.

"Nations Under Attack" is an old school delight all the way and will make you jump with joy from the very first notes on the opening "The Barracks" which is a glorious speed/thrasher with optimistic tones with the following title-track another no-brainer for the headbangers with its solid sharp riffs. "Doomsday" carries on with the attack in a more sweeping speed metal fashion, and this is what one will encounter later on: fast uncompromsing "neckbreaking" metal, like the song of the same title sums it up so well. "Nightlords" is the definitve speed metal hymn of the new millennium with great melodic leads. The closing "Stamped Of A Thousand Stallions" is a true revelation: a 9-min instrumental of immaculate speed/thrash metal moshing out the whole time with fabulous riffs and leads, an encyclopaedia of high quality metal for which alone this album is a must-buy. Well, after such a climactic effort the question is: "and now what?", and only time can tell how much further these guys can reach...
"Stormwarning": this album has the heavy duty to carry the torch from a nearly perfect effort, but the band just enjoy themselves here playing frolic unpretentious speed/thrash ala Vectom and Warrant without any particular highlights which is a safe bet, and would hardly disappoint anyone with its catchy melodic guitars. The saga comes at times with heavy pounding riffs ("Forbidden Grimoire"), but for most of the time this is uplifting merry-go-round stuff "Eternal Rage" the only reminder of the aggressive nature of the previous recordings.

Old School Metal Onslaught Demo, 2007
Possessed by Metal Full-length, 2008
Thirsty of Metal Split, 2010
Nations Under Attack Full-length, 2011
Stormwarning Full-Length, 2013

My Space


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

"Beyond Redemption": the guys are back after a fairly long pause, but they are not intent on changing their blitzkrieg approach, and have even gotten one step up the aggression scale with an inclusion of several aggressive cuts which, needless to say, are pure death metal. The band shred like demented on the opening sweeping title-track before embarking on a more officant epic journey with a string of ensuing compositions where the delivery becomes even semi-technical. Later on the songs are mixtures of fast and slow riffs the latter taking the upper hand the faster parts at times going straight into blasting terriroties. As a whole there's little thrash to be heard here, if any at all, and as such this album would be more highly respected by the death metal fraternity.

Manifest Of Hate Full-length, 2001
Arts Of Desolation Full-length, 2002
Traces Of The Past Full-length, 2003
Beyond Redemption Full-Length, 2012

Official Site


"Requiem Aeternam Dona Eis Domine": modern metalcore-ish thrash which changes the pace quite often consequently sounding more interesting than the norm for this style especially when the guys unleash these wonderful technical death metal rhythms (check out "Searching For Redemption"). "Dead Inside" is an infectious thrasher and the rest isn't too far behind the cuts being generally short (2-3min) and to-the-point "The Revelation Of God" arguably the finest rager again coming up with a more accentuated deathy edge which also better fits the angry shouty death metal vocals.
"Dead Inside": the guys are on fire, and here they are again with a second full-length for 2016. The approach isn't radically different from the one on the debut, modern semi-technical thrash with the more brutal death metal-ish insertion and more dramatic accumulations ("Searching for Redemption"). The title-track is catchy thrasher, but "Buy, Work & Sleep" goes over the top with its aggressive blast-beating passages. Things don't look too bad in the 2nd half with the galloping shredder "God May Love Stupidity" and the lightning speed technicaller "The Revelation of God", but the band ruin it all with the inclusion of two noisy industrial tracks as bonuses at the end.

Requiem Aeternam Dona Eis Domine Full-Length, 2016
Dead Inside Full-Length, 2016

Official Site


Based on the EP, this band plays a heavy mix of thrash metal and stoner/doom which doesn't always shy away from the odd hardcore outbreak ("Don't Look Back"). Still, the thrash metal fan may get annoyed by the sprawling, and somewhat clumsy, stoner passages.

"Valley of the Serpent's Soul" is a more dynamic offering although doom/stoner is again covered well, but generally the sound is more lively even comprising a cool energetic speed/thrasher ("Altar Of Lies"), and the rougher hardcore cuts "Goddess Of Pain" and "The Neurodyssey". The vocals are in the angry shouty department, but suit well both the more energetic and the slower stonery feeling of the album.

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

My Space


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

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


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

Awaken The Fury EP, 2006
Innerkiller Full-length, 2011



Based on the "Something Fowl" demo, this outfit serve intense aggressive old school thrash in the vein of Devastation and Gammacide. This is fast, in-your-face stuff with a few hectic semi-technical decisions, and clear pretensions at death metal ("Deus Ex Mechina") way more obvious than the ones of the aforementioned acts. The vocals are very quarrlesome with a shade of hardcore, but the riffing is too wild and extreme the guys really crossing the borders of thrash more than just now and then. The sound quality is surprisingly clear making the guitars click with a lot of sharpness; except on the last two tracks which are played live (or are they?).

Demo Demo, 1991
Something Fowl Demo, 1993


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

"Ausgedorrt": the full-length finally arrives to serve the fan intense classic thrash/crossover which is quite varied including a few dissonant Voivod-ish distractors. "Penis (Satan Gib Mir Einen)" is a more serious take on the good old thrash lasting for nearly 8-min resulting in potent, almost progressive-sounding, music sticking awkwardly among the sea of much more immediate cuts.

Nailed To The Eggz Demo, 2010
Saga Of The Fistship Demo, 2011
Ausgedorrt Full-Length, 2015

My Space


Based on the EP, this formation play seismic steam-roller old school thrash with expressive brutal death metal vocals which are at times intercepted by hysterical screechy ones. The guys seldom settle for just one rhythm and change the riff-patterns often without breaking the consistent heavy delivery except on isolated sections from some songs (the galloping delight "Next in Line"; the ripping shreds on the closing "Tyrant"). This is a cool effort with intriguing moments and a lot of promise which may have already been fulfilled on the preceding full-length...

...As the World Dies Full-length, 2008
The Genocide Of All EP, 2009

My Space


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

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

My Space


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

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

Official Site


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

The Great Collapse Full-length, 2009

My Space


Roughly produced retro power/speed/thrash which is not very intense, but resembles mid-period Exciter and the Germans Liar. The guitar sound is too fuzzy to make a positive impression, and the singer shouts hysterically too often to create pleasant atmosphere. "Cataclysm" at the end tries to provide something more dramatic, even death metal-ish, but the awful noisy production and the screamy unrehearsed vocals are too big downsides for this effort to drag them around.

Demo Demo, 2012

Official Site


A classically trained guitarist (she is also a very skilful violinist), this woman (or girl) takes the infatuation with classical music in a way radically different from the one of Mekong Delta, and turns it into ferocious thrash outbursts played with a lot of skill and confidence. The tracks are mostly instrumentals (except for the debut): short, but quite effective, and the speed might be a problem for you to distinguish the classical pieces on which they are based; her original works are on the two full-lengths although "Beethoven on Speed" features quite a few classical variations as well whereas later she started paying tribute to her favourite composers (the EP titles give you a clue).

"Worship Me or Die" is a shocking debut which at this point sees Kat making some attempts at singing with a very gruff low-tuned voice, not too far from Sabine Classen (Holy Moses), for example, but kind of more intelligible. "Metal Messiah" starts the album in a heavy mid-paced manner with only timid guitar variations which doesn't betray what would follow later. "Kat Possessed" begins in the same way, but later on the raging ultra-fast play begins, and the final result is very close to total chaos. "Death To You" is a strange stomping piece followed by a string of very chaotic illogical compositions ranging from the semi-groovy slow "Satan Goes to Church" to the violent bashing on "Metal Massacre" and "Demons", which could easily pass for one of the first attempts at death metal of the most aggressive variety. "Speed Death" is equally as brutal (it's "speed death", after all), but the music there at least makes more sense even adhering to technical sections. "Kill The Mothers" is another chaotic unlistenable piece, but the closing "Ashes to Dust" is a true revelation: a fine piece of speedy thrash metal with heavy meaty riffs and very fast parts, plus a slightly annoying overlong introductory narrative. This is a very unusual hectic/frantic, but also original take on metal, which may completely startle the unprepared, but has its raw charm despite the violent intensity of most of the tracks, and is surely a grower requiring several listens to be fully appreciated.

"Beethoven on Speed" starts with the super-fast title piece which "rapes" Beethoven big time, but is quite enjoyable, especially since no one has attempted this before, and here The Kat shows her real talents shredding like demented. "Ultra-Dead" is a nice sinister slab of heavy semi-technical thrash with the Kat singing again. Another moment which may be familiar to you is the cover of "Flight Of The Bumble-Bee" which had also fascinated Joey De Maio two years earlier, who did it on bass for "Kings of Metal". And, of course, the excellent read of the "Funeral March", here turned into a fabulous varied instrumental, with great guitar performance all over. What follows is short classical instrumentals with both the riffs and the shredding on a very high level: especially striking is "Beethoven Mosh" which isn't 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 isn't a single dull moment on this very good album provided that you're fans of the guitar shredding, otherwise this may come as too much for you; oh, and make sure not to miss the short, half-min outro "Bach To The Future: For Geniuses Only!" (the title says it all!).

Having proved herself as one of the better guitar peformers of her time, The Kat has concentrated entirely on her favourite composers after the second full-length, and it's a pity since all those EP's are barely longer than 7-8 min, with all the instrumentals very short, and kind of underwhelming as they contain pure shredding without too many riffs. The Kat is alive and well, and the recent re-release of her two full-lengths is hopefully a sign that she is ready to strike again with a new material.

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

Official Site


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 technical scene in the UK may have its new champions soon with Biomechanical not being the most productive act out there. These newcomers pull out fairly decent technical modern thrash with not as overt shades of melodic death metal. The guitar virtuosity is admirable all over although at the same time the excellent precise shred sounds as though it has been displayed merely as a show-off at times losing coherence and flow here and there. Still, the cleverly structured moments are also quite a few so there should be no disappointed at the end. There's a lot of variety on offer including imposing ambient meditative passages ("Pleiadian Keys"), but the real power of this effort lies in the exuberant technical numbers, like "From Vanity to Utility" which is a concoction of hectic frantic guitar explosions piled on top of each other to a dizzying hallucinogenic effect; "The Escapist Notion" which is an "opera" of super-fast passages and much slower atmospheric cuts; "Extension to One" which is a hyper-active technical headbanger. The closing "Machine Over" is a less eventful progressive number which sees the guys taking a break from the exhausting performance served earlier. This album offers a lot for the technical/progressive lovers, but its numerous plot twists may come too much for the more conventional thrash metal fans.

Disclosure Full-Length, 2012


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 sparse 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

My Space


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

Mike, Shut the Fuck Up EP, 2009


This band literally invented the moden thrash/death hybrid on their first two albums. The band's cross between classic thrash and the Gothenburg sound had a huge influence on many bands. On "Revolver" the band started expanding their horizons outside the metal spectre which took a full-fledged realization on "The Dead Eye": an album which has very little to do with their basic thrash/death metal sound, pulling back the majority of their fanbase.
"Versus" sounds more aggressive, and is a much better effort, with some tracks well worth the time: the heavy steam-roller "Pieces", the energetic thrasher in the best tradition of their first albums "Little Cage", but the softer material in the vein of the more recent output dominates, and would leave their hard-core fans cold for at least half of the time.
"Unseen" would be a total waste of time for their hard-core fans who may have kindled a sparkle of hope with "Versus", but all will be lost on this alternative offering which has very few ties to thrash metal, coming with a pinch of grunge, desert rock ala Monster Magnet, among other "pleasantries".
The "Eye of the Storm" EP is 3 songs of cool modern thrash which shows its teeth quite wide on "Infiltrator" the latter recalling the band's beginnings when they were thrashing with the best out there. And not only that, but the short exploder "My Enemy" is a ripping rager with a strong death metal flavour. Clearly signs that the band are finally waking up from their slumber... or are they?
"Exit Wounds": yes, it is, and this new offering is a cool reminder of the self-titled debut with its brisk razor-sharp riffs which are spread all over the album the guys apparently hungry for more intense modern thrash. And this is exactly what the fan will get here, impetuous raging guitars, laced with a death metal "sting", fly from all sides interlaced with some briliant melodies. There are the obligatory slower mid-pacers in the middle which are not very exciting, but overall this is a fairly decent comeback from the "dark ages" of their career showing the band still pulling it out, albeit hardly reaching the very upper echelons of the genre at present.
"Strength in Numbers" is almost as intense as its predecessor, and the opening "Brute Force" provides exactly that, speedy remorseless bash although this isn't the dominant style. Comes this "Spark" which leads a string of mid-paced groovy post-thrashers, the "idyll" partially interrupted by the more aggressive title-track. Things get back to normal for a bit with the perennial headbanger "Tighten the Noose", but the guys mix it up later, alternating fast with slow pieces, toning it down to nearly doomy papametres on the closing dirger "Monuments" which surrenders to atmospheric balladisms as a finale.

The Haunted Full-length, 1998
The Haunted Made Me Do It Full-length, 2000
One Kill Wonder Full-length, 2003
rEVOLVEr Full-length, 2004
The Dead Eye Full-length, 2006
Versus Full-Length, 2008
Unseen Full-Length, 2011
Eye of the Storm EP, 2014
Exit Wounds Full-Length, 2014
Strength in Numbers Full-length, 2017

Official Site


This young Dutch outfit pull out modern thrash/death which balances between hard-hitting and more playful rhythms ending up sounding as a mix between the Finns Gandalf and Carnal Forge. The brutal growling vocals are a bit harsher than the musical background, but the latter on the other hand hardly offers anything too fast-paced to make the head bang.

Focus in Reliquum Full-Length, 2015



This not very known German trio play quite good classic semi-technical thrash/death with expressive shouty vocals and convincing choppy rhythms crossing Death's "Spiritual Healing" and Pestilence's "Consuming Impulse" without sounding derivative. The guys cleverly change the pace bashing with passion ("To Hurt", the explosive shredder "...Erase The Word Sorrow") at the appropriate moments. "Erosive Thoughts" is a great rising technicaller its undercurrents growing into something nicely progressive and atmospheric on the final "Line Of Fear" which could have suggested at a future more attractive metamorphosis which, sadly, never came to pass.

Isolation...Share My Pain Full-Length, 1996


This project is a collaboration between members of F.K.U. and other musicians from the Swedish metal spectre (Defleshed, Nonexist, etc.). The music on display is fast impetuous old school thrash which bears some resemblances to the father band, but branches out into more melodic speed metal waters; and when "N.25TH ST.APT.213" enters the scene with those serpentine technical decisions, the listener will know to expect the unexpected despite the frequent application of fiery blitzkrieg riffs on the shorter material. Then the title-track tries to bring some "symmetry" to the proceedings with the next portion of more clever riffing, but follows a string of short raging numbers which completely "kill" the more serious intentions the closer "Life Remains Insane" another more intriguing composition providing breathtaking melodies at the end to generally positive impressions left by this one-time collaboration.

Fearful Symmetry Full-length, 2014



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

Official Site


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


Based on "Deceived by the Sacrifice", this act serve modern thrash on the melodic side which has the energy and the bite as well as the sharp lashing riffage. "Stamp of Lies" is a more engaging, complex piece, but the rest is unpretentious stomping thrash assisted by rough shouty semi-death metal vocals.

Truth Has Been Burned Full-length, 2007
Deceived by the Sacrifice Full-length, 2015

Official Site


The debut: this is ripping thrash of the old school with screaming leads and lashing riffs: a guilty retro pleasure which adds the more aggressive deathy tinge, but doesn't also forget about the more lyrical side of things (the nice qiuet interlude on "Last Horizon"). Things almost get out of control on the brutal blasting cut "The Scum Anthem", but the guys have the knack at inserting the melodic hooks at the most appropriate places to alleviate the "pain". "Of Martyrs And Men" is a cool dramatic cut mostly in mid-tempo with beautiful melodies and stylish guitar decisions, a very fitting exit from this promising demo which also has a nice bass support (check the closing atmospheric bassisms on that same "Of Martyrs And Men") from beginning to end. Some of the musicians are also busy with the death/gothic metal formation Archantia.
"A Monument to the End of the World" is another smashing effort from the guys who this time thrash even more aggressively with an added death metallic edge which never gets out of control, but even manages to slow down on a couple of more moderate mid-pacers ("Hellride"). Speed/thrashers like "Warrior's Roar" and "The Third Seal" will put a wide smile on your face due to their sheer hyper-dynamic nature, the final string of pieces serving the heavier less vigorous music which still rocks wits its more serious, officiant "colouring".

The Scum Anthem Demo, 2011
A Monument to the End of the World Full-Length, 2014

Official Site


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

Three Betrayals Toward Modern Man EP, 2011


Modern thrash which reaches for more brutal deathy ways of execution ("Psychopathic"), and generally the delivery is quite intense and even technical (the twisting shredder "The End") on occasion with more officiant doomy overtones ("Beneath the Tombstone") on the longer compositions.

Heavensent and Hellbound Full-length, 2018

Official Site


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


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

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

My Space<-br>


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

"Loose Ends" serves modern dynamic thrashcore which develops in a brisk energetic fashion with some of the catchiest hooks around packed within short (2-3min) tracks. There are inevitably slower moments to be encountered ("Doodle"), but the predominant shred is pretty up-tempo. "Cross of Greed" is an admirable technical speedster with which even the Dutch Expulsion would be proud, and from it till the end the approach gets a bit more aggressive with a shade of death metal. The singer contributes to the intense atmosphere with his guttural death metal tember.
"Death In Your Coffee" now serves a death/crossover (call it a new style, if you like) boogie with a strong crusty vibe. The delivery is pretty intense all over and cuts like "A Good Knife" are nice vigorous thrashers. "Folsom Faggots" is a playful rocker, and in the 2nd half the variety is bigger with the mid-tempo stomper "Olympian", the semi-technical melodic speed/thrasher "Hordak", and the doom metal winner "The Worst Pain You Feel". The rest is invigorating crusty crossover/hardcore madness which still has a merry, catchy vibe and is pretty memorable.

Skins of Our Backs Full-length, 2010
Loose Ends Full-Length, 2012
Death In Your Coffee Full-Length, 2015

Official Site


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

Howl Of Centuries Full-length, 2004

Official Site


The band title doesn't mislead as this is indeed a thrash attack, pure old school stuff the guys diversifying the rigid fast-paced approach with a few off-beat melodies ("Disease") and a couple of more stylish semi-technical decisions ("Disinhibition", the funky Mordred-esque shredder "Live or Die"). The guitar sound is a bit abrasive giving more room for the bass to be heard, and the vocals are a bit weird, wit a thin alternative clean blend that can fit some punk act as well.

Thrash Attack Full-Length, 2017


This is all-instrumental stuff which for most of the time is pure modern thrash which shreds are cold and mechanical with shades of groove, and overall there is not much variety in the approach the prevalent heavy mid-pace served in several forms all evolving around jumpy crunchy formulas which would wear out at some stage due to their persistently repetitive nature. This is moderately complex progressive music which may have its charm for fans of the djent movement.

Empty Your Mind Full-Length, 2012


Simple direct thrashcore varying the tempos and generally ornated with a lot of merriment coming from both the music and the vocal sector the guys having a good time playing this unpretentious jolly good stuff which seldom switches onto less sensible bashing hardcore.

Never Surrender EP, 2008


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

Promo 2009 EP, 2009
Condemnation Full-length, 2010

My Space


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

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

My Space


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

Underneath Blood Skies Full-Length, 2010


The debut: pretty pedestrian post-thrash with touches of hardcore; repetitive riffs and shouty vocals ruin the intentions leaving the more interesting intense passages hanging awkwardly amid the clumsy groovy rest. One may be really surprised to find out that behind this unexciting project stay former members of the melodic death metal maestros Withering Surface. The band was known under the name The Downward Candidate with one demo released in 2005.
"Facing the Imminent Prospect of Death" is a more acceptable offering, again in the thrashcore arena, but more intense and a bit more varied. The guitars come with an intriguing industrialized edge (check out the creepy Voivod-esque "Modvind") which is more clearly heard on the slower numbers which are also short, but are more eventful even with a touch of technicality (the closer "The Knives Spit"). The singer shouts unmelodically to the point of hysteria deafening the instruments at times.

Until We Are Outnumbered Full-Length, 2010
Facing the Imminent Prospect of Death Full-length, 2012

Official Site


This band is the first exploit of Chris Valagao, the vocalist who later went onto much bigger glories with Strapping Young Lad, Zimmers Hole, Memorain, Just Cause, etc. Based on the "Oceans of Ignorance" demo, this act provide quite cool classic progressive thrash which shows its diverse face from the very first composition "Matricide" where direct bashing sections take turns with intricate, labyrinthine ones to a head-spinning effect. "Scarred" has a quiet, balladic beginning but the hard stylish thrashing is just a note away this time served in a more aggressive, less complex manner with creepy sinister riffage applied in the 2nd half. "Within" marches forward with heavy setam-roller riffs the "idyll" enhanced by a brilliant virtuoso lead section, and the final "Prisoners Of Apathy" is hectic and choppy again not speeding up much. Valagao traditionally performs well and his mean-ish semi-clean tirades are the perfect fit to this less ordinary approach to the genre.

No Mind, No Morals, No Regrets Demo, 1990
Oceans of Ignorance Demo, 1991


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 EP: this trio offer hectic modern thrash with more elaborate progressive shades which meander and twist in a surreal Psychotic Waltz-esque fashion on the cool "Conversations With The Dead". Elsewhere things range from weird time-signatures ("The Room") to more aggressive offbeat shredding ("Would I Know") ala Twisted Into Form and respectively Spiral Architect. The closing "Deep Water" is a nice combination of dreamy quiet landscapes and hard riffy decisions this "marriage" wisely missing the vocals which are barely heard throughout not interfering too much with the engaging musical delivery.
The full-length is a logical elaboration on the music heard on the EP so prepare for quite a few hard-to-swallow passages which start immediately with the meandering opener "Rituals", a creepy cut with surreal shreds and swirling, chaotic leads. "Dredge" isn't a sloucher, either, even notching it up towards more aggressive, death-ish proportions. Later on the the band incorporate math and djent elements into their style which slightly break the monolithic razor-sharp riffage on "Hatchling". "Reflections of" switches towards purer progressive with several more brutal accumulations in the 2nd half; and "Between the Lines of Fire" is a larger-than-life opus with effective mechanized, sterile rhythms. "The Denied" after it tries to compensate with a warmer, more melodic approach, but the complexity of the riffs may leave the listener on the bewildered side. All the way to the final "I, Catharsis" which thrashes harder leaving the more oblivious riffage for the end. As a whole the band have done a fairly good job once again complicating the environment with their stylish brand of clever modern progressive/technical thrash.

Denial in Retrospect EP, 2013
I, Catharsis Full-Length, 2015

Official Site


The debut: a decent blend of classic and modern power/thrash with a bit hoarse shouty vocals with a hardcore pitch. The tempos shift as the heavy mid ones are more dominant reaching dramatic heights on tracks like "The Birth of War" and "Notongue". The sharp riffage nicely interplays with the numerous melodic licks, and it should be given more opportunities for a faster play in the future, like on the opener "Confidential Confidence".

"Murder All Doubt" is a way more energetic affair the guys thrashing with more "confidential confidence" the title-track galloping with the finest horses out there alongside short biting headbangers ("A New Hell You Embark", the frolic speed/thrasher "Choose Them Wisely"). "Reflection Spills" is a doomy moodkiller which indeed "kills" the accumulated inertia leading to a string of not very striking mid-pacers, partially captured on the last two pieces which are heroic speedsters with an epic flavour.

Sleep Can't Hide the Fear Full-Length, 2014
Murder All Doubt Full-Length, 2016



These Japanese "metal maniacs" pull out interesting semi-progressive thrash/crossover which boasts great lead guitar work (check out the classical virtuosities on "Kung Fu Metal"). The avantgardism so traditional for hordes of Japanese acts inevitably shows up on the eclectic, unpredictable "No Money No Life", and the title-track is a major headbanger with a proto-death flair. "Crazy Star" is another number where the lead guitarist shines all the way, and "Yakisoba Saburoh" is a sure-handed speed metal winner. "The King Of Metal Slime" wraps it on nicely with twisted semi-technical riffs on a creepy, almost doomy, base. This is good varied stuff with cool clean/semi-clean vocals which successfully stretch to the higher registers whenever they feel like it.

Metal Maniac Full-Length, 2015

Official Site


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

Preproduction Demo, 2008
The Konsortium Full-length, 2011

My Space


Fast blitzkrieg thrash/crossover sitting between the classic and the modern trends in the genre comprising short bursting numbers which seldom contain more than the usual for the style energetic barrage the one here very seldom intercepted by something more substantial. The direct musical approach is assisted by expressive shouty semi-clean vocals.

17 Full-Length, 2011


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


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

Official Site


This act specialize in melodic, alternative power/post-thrash/crossover with a very good bass bottom. The singer shines all over with his jocung clean punk-ish tember abandoning the good tone for the sake of a few more aggressive shouts on the final energizer "Divided And Weak".

Threshold Demo, 1993


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 sparse faster thrashy breaks; the overall sound clings towards Lair Of The Minotaur, or Barathrum. At the end there's 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

My Space


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

The EP comprises 4 songs which cover different fields: the opening "Lament Configuration" is an engaging power/thrasher with epic tendencies; "Childe Roland" is dramatic epic doom/thrash with balladic overtones; "Dangerous Days" is a sweeping galloping speedster with some catchy melodic hooks; and the final "Curse of the Shade" is melodic power/speed metal with fine leads and escalating dramatic passages.
"Lost in Legend" contains all the 4 songs from the EP, and the rest is again more in the power/speed metal camp with more aggressive thrashy riffage incorporated on a couple of tracks: the furious galloper "Children Of The Wild", the dramatic eventful speed/thrasher "Turmoil Within". There are quite a few quiet balladic sections present making the album sound too soft, but apparently the band are interested in pursuing this side of their repertoire leaving the more aggressive delivery for their colleagues.

Out of the Ashes Full-length, 2011
Dangerous Days EP, 2012
Lost in Legend Full-Length, 2013



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

My Space


This act is the continuation of Blackkout, who released one quite good demo 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 masterpeice 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 five 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


Based on "Progression", this act play modern thrash/death of the Gothenburg variety obeying all the rules of the genre without any hesitations. The major flaw would be the not very fast compositions the band seldom speeding up, making the album a bit lifeless and too predictable. The singer rends his lungs in another predictable fashion contrasting with the catchy melodic tunes whcih are all over the place, but not in a such a bad way.

Face2face Full-length, 2005
Chainbreaker Full-length, 2006
Elegance of Bloodiness Full-length, 2009
Progression Full-length, 2013

Official Site


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", the title-track. 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

My Space


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

Burn This record Full-Length, 1989


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

Giac Mo Hoang Tan Full-length, 2003

Official Site


Based on "The Inner Workings of Infinity", this band play not very imaginative post-thrash which mostly surprises on the longer tracks ("Monkey Knife Fight") where more clever riffage appears although the lack of speed may be a major complaint for some. The meditative/balladic nature of at least half the material presented here would be hardly to everyone's taste, too, so not many would be those who would have the patience to stand all the way to the cool spacey psychedelic closer "Obelisk" which is a curious all-instrumental blend of Opeth and Hawkwind.

The Long Cold Dark Full-length, 2010
The Inner Workings of Infinity Full-length, 2013

Official Site


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

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

My Space


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

My Space


This is the continuation of the thrashers M.A.D.; the guys have abandoined the more interesting, semi-technical delivery for the sake of much less pretentious and more simplistic thrashcore led by hysterical shouty vocals with a harsh synthesized blend. "And the Apes Got Creepy" has a curious alternative blend, but it's a bit more than the next grunge/post-thrashy charade.

Albino Single, 1993


Disciples of Power's ex-drummer Steve Thorne is involved here. and indeed the music manages to capture some of the technical magic of the other act. It begins with the excellent speedy instrumental "Close the Lid" which pretty much sets the tone for the rest among which "Aneurysm" is a cool technical deviation, and the closing "By Reason of Insanity" is another semi-technical delight with crisp, not very predictable riff-patterns. The singer semi-shouts in a not very rehearsed death-ish fashion.

Thoughts from the Infected Demo, 1990
Hard to Swallow? Demo, 1992


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

Lust Muscle Full-length, 2008

My Space


An eclectic trio specializing (based on the self-titled EP) in parodic post-thrash with jazzy/funky tendencies. This is clearly an acquired taste with the distorted guitars, the sudden switches between influences, the frequent exits from metal, and the hysterical synthesized vocals. "Mostly Michael Schenker" has nothing to do with the style of the renowned German guitar player, but is another off-beat composition with concentration on balladic jazz.
The band's subsequent efforts brought them to not very well trodden paths where post-trash, avantgarde, jazz, funk and other influences meet for the creation of eccentric, larger-than-life operas with not many relations to thrash.

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

Official Site


Thrashers from Guatemala who are heavy on the bass, and otherwise prefer to shred in a brooding mid-tempo; which is fine except that some monotony settles in which the more energetic "Zipacna El Brujo" tries to dissipate with a portion of brisk headbanging guitars. The singer is a hoarse deathy semi-shouter who suits the dark morose tone of the music.

Váyanse O Muera Full-Length, 2017


These guys have a fairly long discography, but their ties to thrash metal on the earlier efforts are not that many. On this album reviewed here they step the pedal up and start galloping quite scarily on the 2nd number "I'm A Pervert" (the opening "Black Snatch" is a pure doomster). Things get a little scattered after this imposing cut into the staple for the band directions also revealing their early infatuations with punk and blues in the middle (check out "Bring On The Sluts") so don't expect too much thrash later on. The singer semi-shouts in an attached manner nicely recalling early Peter Steele (R.I.P.) from his Carnivore days, maybe a tad more expressive and higher-pitched. Some of the musicians aim at a clearer classic heavy metal sound with their other project The Mantors (see the review a few lines above).

Duceifixion Full-Length, 2009

Official Site


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

The EP offers 4 songs of evil, misanthropic black/thrash, which is quite remote from the much more polished style heard on the full-length. This is fast, frequently blasting, stuff crossing The Berserker with Impaled Nazarene to an ultimately crushing, but still pretty listenable, effect. "Black Thrash" is a cool, much slower, cut recalling the early German scene, and is the only slight hint at the very near future metamorphosis.

Evil Rulz EP, 2009
Metaphor Full-length, 2009

Official Site


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

Alone In The Light Full-length, 2006

Official Site


Based on the 1995 demo, this act play fairly intriguing semi-technical thrash which may make you spend a certain portion of your life trying to track down those elusive full-lengths (and an EP). "Desecreation" is an intense spastic opener which suddenly changes time and tempos something which also happens on the following "Fighting Machine", maybe in a slightly less hectic fashion. "Burning Son" is a swirling progressiver with hallucinogenic Confessor-like developments, a most choppy stomping number with dramatic accumulations. "Shine" is a spacey, oblivious piece which pensive character is cancelled by the much more energetic "Beyond These Walls". The band obviously love their stompiness, and here comes another heavy cut, "Could Never Be", before the closer "Legacy of Scars" varies things with more a flexible rhythm-section again more in the progressive camp. The singer has a highly dramatic clean baritone which to thes eears seem to be the perfect fit to the diverse musical palitre.

Demo Demo, 1995 Even the Score Full-length, 1999
Legacy of Scars Full-length, 2000
Warning: Contains Heavy Soundz EP, 2001
Advise with Caution Full-length, 2002
The Militants Full-length, 2003
One Nation Under Death Full-length, 2008

Official Site


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

"The Hangman Tree" is the band's finest hour; the first two compositions are complex affairs mixing the more speedy immediate riffs with those dark gloomy ones which were only slightly hinted at on the debut. But later the guys start thrashing with passion, and are almost unreachable ("Peter Pan Against the World", "The Hangman Tree- Act One", and others), alternating these thrashing gems with equally as effective slower atmospheric numbers.

"Ashes To Ashes,..." shows a shift in direction to a modernized quasi-industrial 90's Ministry-like sound, and is still a strong effort (for fans of industrial and other modern trends). Their swan song is not worthy and has nothing to do with their previous works opting for an awful brand of modern metal.

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



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


Based on "Tread The Darker Path", this act, which line-up comprises of ex-members of old "dogs" like English Dogs, Sabbat, and Sacrilege, offers pretty decent modern power/thrash which is dynamic and jumpy, and doesn't lack an edge. It alternates between more laid-back mid-paced songs and more vigorous faster ones which take the upper hand in the middle occupied by major headbangers ("The Unholy Feast", "Decadence Within") which will stir your blood quite a bit. Even the mellower tracks are not bad at all "biting" with lashing riffs and stomping breaks. Near the end the listener will come across a nice cover version of Iron Maiden's "Wicker Man", the singer particularly doing a very good job impersonating Bruce Dickinson quite well; he is an asset all over with his not very emotional, but consistent, semi-clean mid-levelled tember.
"The Disappearing Humans": this effort is strictly for "disappearing humans" and as such would attract the power/post-thrash crowd more since thrash isn't very widely covered the guys "flirting" with grunge, alternative, hardcore, and more. "Spirit of Freedom" is a truly explosive moment with spontaneous headbanging riffs, but it causes a rest for the musicians who relax with moderate semi-balladic cuts till the end the most memorable passages being the great leads on the closing "The Eye That Offend".

Don't Look Now...I'm Living EP, 2003
The Wolves Are Hungry Full-length, 2004
The Unholy Feast Full-length, 2008
Tread The Darker Path Full-length, 2010
The Disappearing Humans Full-Length, 2013

Official Site


Based on "Eleve" this band play dry sterile modern thrash with more or less overt technical tendencies: think their compatriots Watch My Dying, and of course, Meshuggah, the vocals the staple for the style harsh shouty ones. The mechanical shredding works most of the time thanks to fast-paced passages inserted at every opportunity, but the harsh abrasive guitar sound may get on the nerves of the most melody-prone fans, and the guys' refusal to play above the mid-tempo (the exception, "Leper Island" and a few other isolated parts from other songs) may be another reason why this effort would hardly be both the modern and the classic thrash metal lovers' first choice.

Revolution Blues EP, 2007
Revolution Blues Full-length, 2008
Hedgehoglife Full-length, 2011
Eleve Full-Length, 2015

Official Site


Well-constructed heavy thrash metal with hardcore moments having no influences from the 90's trends; the sound quality isn't very good and the guitars are a bit fuzzy, but there's a lot of energy put in the recordings. The music recalls 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 speedy killer "The Life Of Emptiness".

The Downward Spiral Full-length, 1992

My Space


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

Imperfection EP, 2011

Official Site


The Polish scene is very sparce in the new millennium from a thrash metal point-of-view, and this act are welcome with their decent brand of modern thrash which relies on sharp speedy riffs with more recent Paradox coming to mind on the more aggressive material. The middle is occupied by a bit dragging proto-groovy numbers with a shade of the NWOAHM, but the band are back on track in the 2nd half for a bit before indulging in more complex, but less energetic compositions which disappoint with their reliance on repetitive mid-paced structures which turn to a pure ballad on the closing number. Some of the band members raise hell with the goregrind outfit Invalid Libido.

Unnamed Reflections Full-Length, 2010

Official Site


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 isn't 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


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

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

Official Site


Energetic modern thrash/death which readily borrows from the Gothenburg heritage with all the staple tools of the trade lined up: the sharp riffage, the soaring melodies, the shouty death metal vocals, etc. "Appreciate Your Life" is a nice modern headbanger, but the band mix the pace throughout concentrating on the melodic sweeps which are particularly good on the closing title-track.

Victim Of The Evolution Full-Length, 2015

Official Site


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

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

Official Site


"Coma Poems": a cool debut of modern thrash along the lines of the more recent works of the Finns Maple Cross, and Municipal Waste so it's far from "nothing"; there are some groovy parts, but most of the time the music is energetic and has a good headbanging potential.

Coma Poems Full-Length, 2005
How to Avoid Heaven Full-length, 2006

My Space


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 title-track 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 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...
"Lost Control": the guys seem to have "lost control" here since their approach is even less restrained on this hyper-energetic roller-coaster which sees the band seamlessly blending furious guitars with sophisticated technicality. To these ears the former side is more strongly accentuated on, the template changed to an extent by the more elaborate "C.A. Riverplate", and the cover of Holy Moses' "Reborn Dogs" in the middle, the latter given a bigger deathy boost. Death metal stays around for the maddening "The Impact" which "impact" could be shattering for the less prepared, and it can by all means be felt on the following rager "Red Blood Bey". The closing "Oort Cloud" is a progressive oddity the delivery altered to much slower dramatic build-ups, a purely, and quite surprising, instrumental exit from this fairly wild, again less ordinary, effort.

No Hush Till Thrash Full-length, 2003
Deranged Full-length, 2006
The Age of Demise Full-length, 2009
Lost Control Full-Length, 2013

Official Site


This is bombastic modern thrash/death/black metal which operatic qualities at times reach a Cradle of Filth-like pomposity. The blast-beating passages are too many for the thrash metal fan to be totally immersed in this recording although there's quite a bit of thrash to be heard (the varied stomper "Legions Through The Breach"; the more lyrical symphonic thrasher "Ember To Ashes"; the more technical shredder "Fleshwar"). The vocalist is a sheer Danny Filth impersonator, and his shrilling tember may be quite annoying for the more squeamish.

Codex Mystirium Full-Length, 2016


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

Jump into the Grave EP, 2009

Official Site


Based on "Burn These Dreams", these Canadians provide happy-go-lucky modern power/speed/proto-thrash which to these ears sounds like a hybrid between Children of Bodom and more recent Iced Earth with the odd heavy metal tune ("For Another Moment") added for maybe not such a good measure. This is really mellow stuff in which the female vocals surpass the male ones in terms of both quality and range, but their tender nature is well more suited to the relaxed character of the music. Some of the band members can also be seen in the much more aggressive formation Death Toll Rising where the style is classic death metal.
"Apocalypse Moon" is again more oriented towards the speed/power metal audience, and more intense cuts like "Indoctrination" may sound a bit awkward on the mellower background the latter also graced by sweet semi-balladic moments ("Downfall"). There's not much thrash to be savoured here, but there's a lot of dynamcis and some really nice inspired, high-strung female vocals.

The Order of Chaos Full-length, 2009
Burn These Dreams Full-length, 2011
Sexwitch EP, 2012
Apocalypse Moon Full-length, 2015

Official Site


The debut: this is a side project for some members from the progressive death metallers The Revenge Project. The guys acquit themselves with ripping old school speed/thrash along the lines of Forbidden and Heathen, a striking resemblance with the former act also in the vocal department. The music here is perhaps a bit more aggressive with the casual insertion of the blast-beat, and generally the band shred with speed which seldom degenerates to slower parametres. The approach is right as rain without any technical or groovy deviations. The title-track is a more moderate mid-pacer, but on the rest no mercy is shown the guitars cutting painfully making this effort a sure winner on the Balkan metal scene, especially after the heroes Ira Deum (also from Bulgaria) are no more.
"Apocalypto" follows a similar path with intellident shredders like "Master Of The Flies" and "Thrashin' Maniacs" amply provided, raising the Bay-Area flag sky- high. The headbanging mania is on full-throttle with "Coma" serving a pacifying balladic, lead-driven passage, and "Greater Than God" trying to inpede the wayward crescendos with a couple of more stomping sections. "Back To Yesterday" softens down with a portion of merrier speed/power metal developments those also staying around for "The Final Day" which is indeed the final piece, a varied speed/thrasher that closes this entertaining opus with the requisite doze of energy.

World Metal Domination Full-Length, 2014
Apocalypto Full-length, 2017

Official Site


The debut: this new act deliver retro power/thrash with a few modern throw-ins. The overall style recalls more recent Iced Earth and Eidolon the singer carrying quite a bit on his shoulders with his emotional dramatic clean voice. The music is less striking being heavy and mid-paced and may wear thin at some point the band referring to Nevermore quite a bit in the 2nd half consequently abandoning the few more dynamic structures from the beginning. This is well played, but kind of monotonous and not very original music which would find its most avid fans among the power/progressive metal fraternity. Some of the musicians (those who hail from Chile) also play in the death metal outfit Agonized.
"Dawn of the Deaf" is way more aggressive the band thrashing hard from the very beginning with the diverse, not very predictable, opener "End Of Trust" which changes time and tempo-changes at will still creating a lot of pleasant moments for the listener. The aggression diminishes later on, but the twisted arrangements remain reaching Extol-like heights on "Until The World Takes Us". Dramatic hard-hitting riffs will welcome you on the title-track which even reaches proto-blasting proportions at some point. More quirky rhythms near the end on "In Decadence", and especially the ultra-hectic "New Disorder" which is also a standout progressive thrasher with more than a few faster-paced surprises. The closing "Of A Nation" is another impressive varied, headbanging shredder the band acquitting themselves with dignity producing a much better effort now seeing themselves moving forward with big steps, the musicians matching the vocalist's performance this time every step of the way.

The Outside Full-Length, 2012
Dawn of the Deaf Full-length, 2015

Official Site


This act plays intense speedy thrash/crossover reflected in short blitzkrieg songs with direct stripped-down guitar work and a few more intriguing decisions (the surreal melodic riffage on "The Hillside"; the stylish technical sections on the furious "Crucifiction"). The guys have fun playing this merry unpretentious stuff which is aptly supported by expressive Kurt Brecht (D.R.I.)-like vocals.

WRKT Demo, 2009

My Space


A pleasant surprise from Virginia this way comes: this band play cool, both melodic and semi-technical, stylish music which mixes the more recent melodic infatuations of more recent Kreator with a more vicious base resulting in memorable stuff which is never too fast and gets quite intriguing (the short puzzler "Power Trip") at times. "Neon Black" is exemplary modern thrasher-ism with plenty of memorable hooks to associate to, and "Cataracts" will bang your head with force its energy never lost till the end also reflected in the more engaging closer "Doppelganger Effect" which shreds cleverly for more than 6-min. The singer is an attached semi-shouter who is always intelligible if we exclude a few isolated higher screams those not handled that dexterously.

Gravity Hits Full-Length, 2012

Official Site


Based on the full-length, this act provide cool modern thrash which has its more traditional, classic side ("Disciples") as well its more pounding, more officiant ("Reanimated") one. "Cadaverous Carnival" tries to bring the winds of death metal for a while, and "Dehumanized" makes attempts at a more technical play recalling the guys' compatriots Invocator, including on the nice atmospheric porgressive closer "The Nation".

The Petulant EP, 2014
Dictum Full-length, 2017

Official Site


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 sparse 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 isn't completely bad, but there's 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

My Space


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 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


Based on "Eyes on the Betrayer", this one-man project (the name is Anders Lindberg) pulls out a mix of classic and modern thrash quite close to more recent Annihilator offering a similar amalgam of fast and slow numbers. The Swede's musical proficiency is far form the one of Mr. Jeff Waters, of course, at least at this stage, but he manages to deliver some catchy tunes and crisp headbanging rhythms which come a bit too much on the longer material ("Voracity for Veracity") since the approach is fairly standard without any adventurous attempts. Anders sings in a slightly indifferent manner with a semi-clean mid-ranged voice again reminiscent of Jeff Waters' singing "exploits" on "King of the Kill".

Wow, the man obviously has a lot of time to dedicate to his music career and here comes a 2nd release for 2013. The self-titled album is an obvious improvement over its sloppy predecessor the guy now moshing out with more attachment spicing his not very pretentious approach with sweeps of melody which bring the winds of speed/power metal with them ("Retail-My Life", and elsewhere). The headbangers shouldn't be disappointed with dynamic cuts like "The Haunting Suspicion" and "AAA" around, and generally Anders has taken a good care of the faster side of his repertoire also adding a few more technical touches ("Zombie Jesus") here and there. If we exclude the not very convincing closing semi-ballad "A Funeral Just for One" the rest is pretty acceptable; the guy should work on his vocal performance, though: his not very attached semi-declamatory antics are now not on par with the bigger musical skills on display.
"Human Shape": no more "wows" here; the guy dedicates all his time to making music which should be a feat in itself. This album, which may not be the last one for this year, is another display of the man's staple style the production falling behind a bit due to the fuzzy guitar sound which may have been applied intentionally. The delivery is a bit more varied with frolic cuts like the crossover-ish "In Fraud We Trust" and the hard'n heavy title-track. Real hard-hitting thrash is first encountered in the 2nd half on "Babylon" and later on the more moderate "After Lie", but the concentration this time is strictly on melody and optimism which is also reflected in the better, more inspired, vocal performance.

"Lifestream": the guy is on fire with two full-lengths (that's relative) released in 2014... this is what I call a truly dedicated to the cause metal musician. This effort here is only five tracks and doesn't betray the highly energetic delivery already witnessed on the preceding works. The album is well balnced between all-out thrashers ("Liar's Inc.") and more moderate speed/thrash hybrids ("Hallowed Be Thy Shame") "Damnation" being the relaxed power/speed metal anthem.
"Infinite Screams" is another 6-songer seeing Anders pitching it higher in the vocal department accompanying music which is more on the speed metal side, but will keep the fans entertained throughout with blistering hymns of speed which will be highlights even on albums like "Walls of Jericho" (Helloween) and "Into the Dark Past" (Angel Dust): "Facts of Contrition", a supreme display of soaring roller-coaster musicianship; the short crossover-laced "We Have Variety"; etc. "The Passion Play Shunts" is a gothic power metal reliever, another very cool number, before the closing "Heeding The Cull" notches it up with more merry fast-paced rhythms. Anders is doing a job currently and his short opuses are really worth hearing if not for anything else, at least for nostalgic reasons... this is so old school, baby!
"Bleed for Speed": there'll be hardly "bleed for speed" here, but the guy has done a decent job again serving his now expected brand of classic speed/thrash which is again more on the speed metal side with frequent intrusions from power metal (the anti-brutal "The Brutality of Reality"). The second half is kind of skippable, though, with heavy rockers ("Deaf Forever") fighting for domination with more aggressive speed/thrashers ("Infinite Screams") the latter reaching a crossover pitch on the shorter material ("Positive Thanking"). "Tribute to Life" is a surprisingly good acoustic ballad, and the closing title-track is a sweeping headbanger, a fitting exit to this uneven, but an overall satisfying tribute to all things old school.
"Shadows of My Soul" commences with the optimistic speedster "Mr. Precedent" which sets the tone for the remaining material with milder heavy rockers ("Hell on Earth") inevitably inserted, breaking the speed metal stride. The title-track is a more ambitious progressive composition marking another departure from the prevalent light-hearted faster-paced approach.

Canon of Ugliness Full-length, 2011
Eyes on the Betrayer Full-length, 2013
The Porridgeface Full-Length, 2013
Human Shapes Full-Length, 2013
Lifestream Full-length, 2014
Infinite Screams Full-length, 2014
Bleed for Speed Full-Length, 2015
Shadows of My Soul Full-Length, 2017

Official Site


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

Promo Promo, 2010


This "power trio from hell" could have mistaken its whereabouts because this is some bland soft proto-thrash (that's very relative) mixed with heavy/power metal with serious glammy pretensions on the mellower moments. Except for the closing stylish shredder "Myre" there's not much energy to be encountered; this is peaceful boogie stuff with good soulful clean mid-ranged vocals.

American Man Full-Length, 1993


This is first-rate fast blitzkrieg modern thrash which moshes out with more style than usual frequently bordering on the technical ("Makaberzer"). The less serious side of the guys' repertoire in reflected in short bursting headbangers ("The Musketears"). "Witch-Hunt" is a nice choppy steam-roller with spinning, overlapping riffs; a really heavy piece which flows into the intricate headbanger "Conspiracy" which twists and turns into not very predictable directions also slowing down in the middle. "Doppelganger" is a stylish galloper with sudden speedy, also very technical, outbreaks; and "Captive Of Ruins" is a varied shredder with maddening deathy passages taking turns with super-technical vortexes. "Katie, Katie" is the seeming relaxer with direct, more orthodox guitars and a nice balladic mid-break; and "Web" isn't too far behind being just a heavy pounder. Not to worry since the guys haven't abandoned the complex arrangements, and here comes "The Collector" to shatter your senses with indigestible riff salads and great melodic leads. "Traumatized" closes the album with plenty of style thrashing with some of the most technical, spiral-like riffs around. Such good technical music hasn't been heard from Finland for a looong time, reminding of the great heritage the country has when it comes to technical metal: Stone, Nomicon, Demilich, Maple Cross, Protected Illusion, etc.

Code of Secrecy Full-length, 2016

Official Site


"... To the Pit": intense modern thrash metal crossing early Pantera with faster proto-death sections (the brutal blasting closer "Honor.Torture.War" goes a bit beyond that); not bad, with very heavy riffage and even classic-sounding at times ("Mind Your Own Shit", the excellent speedster "Struggle To Survive"). Although the word "thrash" features on a few times in the song-titles ("23 Thrash BC", "Brutal Thrash Maniacs"), music-wise there are not many references to the old school, including in the vocal department where the singer is a typical angry semi-death metal shouter.
"Green Machine Laser Beam" doesn't betray the band's staple sound if we exclude the bigger presence of death metal now which fills the album with ripping dramatic pieces ("Beyond The Purple Pipes", "Ice Road Trucker Vs The Sun") which get mixed with more conventional, and far less interesting, groovy tracks. The approach gets too mellow near the end the guys relaxing with laid-back crossover rhythms despite the contrast made with the expressive shouty death metal vocals which are still a match for at least half of the songs.

"Untrue Like a Boss" is less intense than the previous recordings now even reducing the dynamics to mere post-thrash for most of the time leaving behind their more aggressive thrash/deathy roots. As a result the music is very radio-friendly also helped by a few variations on popular folk songs ("Video Games Ain't No Shame"). Crossover also reigns supreme quite a bit, and one will be relieved to hear "Action Metal", a pounding thrasher with a cool lyrical middle which is later matched by the ripping speedster "Tape Trading Like A Boss". This is a really weak effort which sees the guys experimenting beyond the border of the good taste, at least from their initial fans' point-of-view.

No Future for the Dead Full-length, 2005
Immortal Attitude EP, 2007
...To the Pit Full-Length, 2010
Green Machine Laser Beam Full-length, 2012
Untrue Like a Boss Full-Length, 2014

Official Site


This band play modern semi-progressive power/thrash which is surprisingly characterized by short pieces, but their seeming immediacy conceals several intriguing decisions: check out the jumpy "Apophis", for example, or the stylish headbanging mechanics epitomized on "The Catalyst". Elsewhere the delivery is more orthodox the dominant mid-tempo riffage not generating the necessary doze of excitement except for the singer whose clean emotional croon is clearly one of the highlights here.

Unquiet Full-Length, 2015


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

Armageddon Demo, 2004

Official Site


These Hungarians play very cool ambitious progressive thrash with long complex, compositions where more dynamic thrashing alternates with slower, more elaborate decisions especially on the energetic shredder "Identities" which stylish flourishes are marred by the bad gruff semi-death metal vocal delivery. "Adressed Conscience" is another vigorous progressiver with shattering riffage and very good bass support the latter forming a great duel with the leads. The "Epilog" at the end is over a min of intense thrashing sounding like a rehearsal for a longer, more compex track.

No Problems..., All Right... Demo, 1991


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


A power trio from Puerto Rico who offers good progressive power/thrash metal with heavy meaty riffage of the more modern type, well expressed on the excellent opener "Blood Was It's Avatar" which crushes with 10-ton hammering riffs. "Pridian" is more relaxed and faster aiming at the power/speed metal crowd, but "Snake In The Grass" goes up a level retaining the speed, adding a more aggressive proto-death edge to the proceedings, ending up being a nice energetic thrasher. "Natural Selection" returns to the heavy steam-rolling riffs from the opener, with a bigger sense of melody. "Impeding Doom" is a cool galloping technical number with a faster melodic speed metal ending; nothing "doomy" here. 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 sparse clean indifferent vocals are hardly the best possible assistance to them.

An Inminent Decline Full-length, 2008

Official Site


Based on "A Nation Divided", this band play cool classic power/thrash with echoes of mid-period Megadeth including in the clean mean-ish vocal department. Some hard thrashing can also be encountered ("No One Knows") on occasion as well as a few radio-friendly rockers ("The Scum"). The latter are compensated by energetic bursters like "Silence Isn't Golden" and formidable gallopers like "I Don't Know You", but the guys are by all means interested in a wider gamut of fans not intent on entertaining the thrash metal audience with mild closers like the Motorhead-ish "Dinosaur".

The Ringmistress Full-length, 2013
A Change of Scenery Full-length, 2015
Wolves EP, 2016
A Nation Divided Full-length, 2016

Official Site


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

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

My Space


Although 3 of the songs on this 4-track demo are over 8-min long, this isn't 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


Based on "Coup de Grâce": half the Swedish metal constellation (members of Ceremonial Oath, The Haunted, Dimension Zero, Soilwork, Carnal Forge, etc.) have gotten together for the creation of this faithful tribute to the Swedish thrash/death metal canons. The staple abrasive sound of early Entombed and Unleashed has been reintroduced, and consequently the approach is closer to death metal despite the presence of several wild thrashing rhythms ("Resolution", "Enslavement") and the more discordant hardcore-ish vibrations of cuts like "Art of Murder". The vocals are vintage Lars Goran Petrov (Entombed) performed by the The Haunted throat Marco Aro.

Rise from Treason EP, 2013
Scars Full-length, 2013
Torture Tactics EP, 2015
Coup de Grâce Full-length, 2016

Official Site


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

Death Is A Gift EP, 2011


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

Hell EP, 2009



This obscure formation specialize in dark hypnotic thrash with heavy stomping riffs and harsh, semi-death metal vocals. The guys march on with a steady mid-tempo "artillery" "World of Shit" a particularly evocative piece of pounding, steam-roller thrash. The lead guitar work isn't bad, but it comes with a more accentuated boost which makes it sound like having been taken from another recording, and pasted on top of the rest. The band later changed their name to Fatal Hatred and started playing death metal for the relase of three demos in the early-90's.

The Riverview Nightmare Band Demo, 1989


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

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


A band who walk the line between the modern and the classic sound; while their debut is more on the modern side, and doesn't sound too different from hundreds of similar efforts, with "Dark Invitation to Armageddon" the guys aim at the classic school and do a much better job. This is encompassing music which stays much closer to thrash metal with very few traces of death metal, and has something in common with the Bay-Area scene, Slayer, and also Destruction and Kreator. There's a very good balance between fast-paced pieces ("Never Bury the Hatchet") and heavier slower ones ("To Tame a Life") having a strong late 80's Slayer influence; some are cool combinations of the two: "Beyond Judas". The guitarists have a good sense of melody and some lines are very catchy and memorable: check out the brilliant "Dark Invitation to Armageddon", among others. A sparse 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

My Space


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

"Pull the Trigger...and Bite This Bullet" offers more serious musicianship which is reflected in longer compositions, but still there's not much excitement generated; this is the good old groove over and over with one exception: the energetic headbanger "Modern Entertainment". "Suffering Pride" is a playful nod to early Pro-Pain, and "Personal Instinct" is a more dramatic lasher with brutal, almost death metal-like, riffs.

From Nowhere to No One Full-length, 2010
Pull the Trigger...and Bite This Bullet Full-Length, 2013

Official Site


This band, who is led by Sam Bean, a former bassist of the grind/death metal "freaks" The Berzerker, play "senseless" "floating", modern thrash which gets mixed with hardcore and grind the resulting mixture too brutal at times to fully capture the regular thrash metal fan's attention. Industrial arrives with the longer numbers in the middle and this is when the delivery comes close to the one of early Strapping Young Lad ("White Flag"). The 2nd half makes more sense generally with longer cuts and more expertly executed arrangements which come for the sake of the aggression and the more polished guitar tone.

The Floating World Full-Length, 2012

Official Site


Based on "Virion", this one-man show performs heavily-industrialized thrash of the modern school, of course, with very fuzzy guitars and harsh amateurish synthesized vocals crossing The Strapping Young Lad with late-period Skrew to a mixed effect. The guy keeps the dynamics high, but the annoying buzz of the guitars doesn't help the listener a lot who may find it hard to distinguish the riffs on some tracks. The closing instrumental "Compression" seems to work the best being an intriguing exercise in guitar-oriented industrial with dramatic escalating arrangements.
"Inter-" is a furious offering focusing on more aggressive riffs and more industrial noises, but the latter seem to work well on the pretty dynamic guitar background. The guy thrashes with passion reaching Ministry and Skrew-esque extremes with ease without also missing on the more dramatic orchestral arrangements of mid-period Front Line Assembly (remember "Hard Wired"): the excellent operatic "Denouement". The rest of the material is much shorter sticking to intense speedy parts which come with vivid guitars and sudden sonic turns topped by heavily synthesized, and not very pleasant for that matter, vocals. The man, whose name is Brandon Duncan, spares more time for his other project: the industrial doom metal act Inchoate with whom he already has 4 full-lengths.

The Sequence of Prime Full-length, 2007
Virion Full-length, 2010
Inter- Full-length, 2012

Official Site


These Dutch entertainers offer (based on the "Rise Of The Degenerates" EP) fast blitzkrieg classic thrash/crossover which, despite the short songs (1-2min tops), manages to provide the necessary melodic digressions the latter always very short, but satisfying enough to create a short explosive portion of good old stuff also characterized by a good bass bottom, a pristine sound quality, and expressive shouty vocals. Some of the band members play similar music in Rupsband.
"The World Is Fiction" is a concise brisk thrash/crossover affair with very short (1-2min) songs the guys bashing with vigour and passion, but also with a few musical aspirations nailing a bullet after bullet in the utmost stripped-down fashion.

The Shining EP, 2004
The World Is Fiction Full-length, 2006
The Flood EP, 2010
Rise Of The Degenerates EP, 2012

Official Site


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

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

Official Site


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

The Souls Unrest Full-length, 2006

My Space


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, Altered Aeon) will find their new favourites here. You'll make no mistake drinking from "the source"...

The Source Full-length, 2009

My Space


Two of the band members later joined Pro-Pain, and this band's style bears quite a few resemblances to the more enjoyable early period of the more renowned act. This is mostly hardcore with occasional thrashy riffs, not very aggressive, but catchy and energetic. The debut is the band's most thrashy offering, containing the fastest material the guys ever recorded ("Death Sucks", "Repo Man"); check also the crushing mid-paced "Self Proclaimed Expert".

"Stand Up For What You Believe": those "monsters" are back to take part in the resurrection of the genre and "stand up for what they believe" sounding as crossover and hardcore as ever. The music now resembles Madball quite a bit and the catchy, more melodic antics of the old days are kind of forgotten, the band sticking to simplistic core-ish numbers which alternate between fast and slow moments. As a result we have an enjoyable, albeit hardly exceptional, offering which also has echoes of the more officiant, S.O.D.-esque stompiness (the closing "Nothing Remains"). Some of the band members are doind something similar, but groovier, with their other act Bloodclot!.

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

Official Site


This is stomping crunchy thrash which prefers to stay within the mid-tempo parametres often "plagued" by swirling and quite techhnical leads which are by all means superior to the simplistic one-dimensional riffage. The singer is not that bad with his clean attached voice reminiscent of a lower-pitched Joey Belladonna.

The Stand Demo, 1991


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

Get Ready To Roll EP, 2011


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

Demo Demo, 1988


Based on the "The Real Peace" EP, this act plays abrasive power/thrash with a dominant stomping galloping motif which presupposes moderate headbanging although the noisy guitars aren't always pleasant-sounding, and the singer(s) shouts in an angry manner recalling M.S. "Scruff" Lewty (Hellbastard). This is a typical underground recording trying to keep up with a dying movement not sharing much with the trends at the time.

The Day That Laugh Died/In Your Head Split, 1992
The Real Peace EP, 1993


This Irish outfit specializes in modern thrash topped by ultra-brutal death metal vocals which are the most unsuitable choice for this kind of music, and that's why they are intercepted by less aggressive clean ones from time to time. The rhythms are heavy with frequent stretches towards the headbanging sector, and as a whole the music doesn't lack dynamics also recalling some of the NWOAHM acts (God Forbid, Chimaira).

Bruise The Flesh To Black Full-length, 2002


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

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

My Space


Based on the full-length debut, this act offer fast energetic thrash/crossover which abandons the carefree mood at times to acquire a more serious attitude: the thoughtful, but still pretty raging, thrasher "Into The Wasteland". After a string of short blitzkriegers comes another longer composition: "Drowning In Blood", which boasts a nice doomy/balladic break even. Still, the highlight here remains the imposing "The Madness From The Sea" which is a seamless mixture of thrash and doom the two sides alternating within to a positive dramatic effect. This is a nice diverse listen which sees an act who definitely want to be more than just mere Municipal Waste or early Nuclear Assault copycats.

"Terminally Chill" is a prime headbanger from beginning to end which again marches forward with a hefty pinch of crossover plus added aggression from Slayer, above all, its "violent" nature also reflected in the short direct numbers the instrumental "Unfinishable" going towards the more brutal death metal fields. The closer "World of Ruin" is a pleasant surprise with its more technical approach and a few effective side-effects (keyboard surrealities, violin-driven "decorations", etc.) which can definitely materialize into something more substantial later.

The Terrordactyls Full-length, 2009
Unknown Terror EP, 2011
Terminally Chill Full-length, 2014

My Space


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

Dangerous Thoughts Demo, 2005
Slowly Forming Sanity Demo, 2006

Official Site


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

Homenaje a la Mentira Full-length, 1998

Official Site


This Italian trio play heavy, not very conventional, groovy post-thrash with shades of stoner/doom and very good bass performance. The delivery is slow-ish to mid-tempo at best without any speedy "ornamentations", and the singer is a shouty death metal growler.

Visions of Hate Demo, 2009

My Space


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

The Unavowed EP, 2007
War EP, 2010

Official Site


Excellent retro thrash is offered by this trio, mixing the more technical Kreator period (late-80's/early-90's) with later-period Death. The fast frantic technical opener "Masquerade" within the span of 2-min will tell you the story of both aggressive and more complex thrash metal before things take a more elaborate direction on the longer "Empire Of Insanity" which is a 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

Official Site


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

The Uncrowned EP, 2010


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

Systemwreck Full-length, 1986


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

Dust Settles On The Odontophobes EP, 2011

Official Site


A very good speed/thrash metal album calling to mind Agent Steel's debut and Attacker; there's an interesting vocal "duel" between clean high-pitched tones and some very low proto-death growling (guess who wins!) ones. 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 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


This is evil black/thrash metal which has everything: blasting Cradle-esque passages, stomping doomy riffs akin to Celtic Frost, evil misanthropic durge in the vein of Khold, early primitive barrage ala Bathory, more stylish technical elements ala Drottnar on the unpredictable "Obey the Beast"; proto-groovy doominess ala later-period Satyrikon on the closing hymn "Failure Of Humanity". The singer is an unholy blacky raven doing a really good job behind the mike in enhancing the menacing atmosphere on this sure-handed entry into the black/thrash metal catalogue.

Failure of Humanity Full-Length, 2013

Official Site


Based on "Shackles Be Gone", this act pull out cool crisp energetic modern/classic thrash which clings towards the progressive with shades of both Paradox and Manticora lurking in the background on the opening title-track, and stay there almost the entire time the only unmitigated annoyance being the "brutal/clean" vocal alternation as the former side of this duel is hardly necessary as the clean throat carries the album just fine. A few more brutal death metal strokes can be heard ("Dragons for Mouth and Mind") here and there, but also expect heavy semi-ballads ("Lust Hunger") with the clean vocalist more fully epitomized, as well as straight-forward hardcore-ish rippers ("Dying to Survive Myself"). "Elder Witch" is an exemplary diverse progressive thrasher with numerous nuances embedded, the highlight here, with the dramatic pounding "We Shall Carry the Torch" a close second.

A Death to Your Scene Full-length, 2007
Six of Cups Full-length, 2010
Ritual Burdens Full-length, 2013
Shackles Be Gone Full-length, 2017

Official Site


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

Tales and Tears Demo, 1991
Dark Is Better Demo, 1993


The 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

Official Site


Based on the "Repent or Die!" demo, this band play intense dynamic thrash with firmly embedded uplifting crossover elements ("The Truth"). "Armageddon" is an excellent 2-min semi-technical instrumental, but the rest is barely average at best marred by the unrehearsed shouty vocals and the really bad sound quality. Later the guys changed their name to Eightball Cholos, and produced one album ("Satan's Whore") in 1996 of groovy sludgy thrash/death.

Repent or Die! Demo, 1986
Cut the Crap! Demo, 1989
Cut the Garbage! Demo, 1990


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

One Bullet Left Demo, 2006

Official Site


This Irish outfit deliver energetic heavy/proto-thrash with power metal elements hitting the mid-paced parametres as well ("Consumed By Venom") where the sound even becomes better and more serious. The problem is that this effort lacks bite and vigour the band feeling way more convenient when serving epic hymns like "Nice Night For A Walk". Among the 4 live tracks at the end there is one very cool cover of Burzum's "War" done in an appropriate pagan/viking manner showing the band's early infatuation with the black metal side of things.

The Watch Demo, 2005

Official Site


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

Damn the Games Full-length, 1993


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

Demo Demo, 2008

My Space


The debut: former members of the modern thrash/deathsters Colour Trip are at work here to continue with their former act's legacy. This is a fairly faithful follow-up to the other band's style with heavy modern riffage crushing with power not forgetting about the more variable fast rhythms ("In This Age of Darkness") which are served with a pinch of crossover. "Fire and Iron and the Stench of Fear" is a formidable deathy steam-roller with semi-technical tendencies, and "Never Shall Rest" and "With Scorn I Seek Revenge" are short exploders leading a couple of more intense numbers after it, making this effort a sure pick for fans of modern thrash/death metal.
"Der Zerstorer" comes with a very abrasive, nearly industrialized, guitar edge with formidable ragers ("Beast & Plague", the short Slayer-esque "Rules of War") taking turns with intense heavy pounders ("The Devil Knows") and some really impressive doomy hymns ("I Bleed Black"). The majority of the tracks are ruthless fast-paced offenders, though, and this opus would be a sure pick for all the moshers around the globe.

The Cure Is the Disease Full-Length, 2012
Der Zerstorer Full-length, 2017

Official Site


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

Fan Site


The full-length debut: three black metal legends, Samoth (Emperor, Burzum, Arcturus, Gorgoroth, Satyricon, Zyklon, etc.), Cosmo (Windir, Scum, etc.), and Nils Fjellstrom (Dark Funeral, In Battle, etc.) have joined efforts for the production of this atmospheric less ordinary take on the thrash/death/black metal idea which ranges from cosmic larger-than-life arrangements ("The Armageddonist") ala Bal-Sagoth, to straight-ahead retro thrashers ("Of Men and Wolves"), to bombastic gothic/black/doomy pieces ("The Juggernaut Theory") in the vein of Dimmu Borgir and early Arcturus. There will be few to get bored here, although for the thrash metal fans the entertainment will hardly be all the way unless they can cope with the frequent interferences from the other genres.
"Inroads" follows a similar path relying on a wider genre mixture and a strong atmospheric background. The pace varies the whole time settling for a few effective slower numbers in the middle where the melodic hooks are quite impressive ("Cold Iron Soul"). The "idyll" is rudely broken by the raging "Fear Propaganda", and near the end comes the atmospheric blackers "Hunger" and the closing "Throne Renowned Of Old" where the hyper-blasts reign supreme amidst virtuous leads and pompous arrangements. Those who were happy with the 1st album will have no reasons to complain here, even the thrashers may find more moments to enjoy on this multi-faced opera.
"In These Woods, from These Mountains" is a grand effort although it has very little to do with thrash. This is progressive dissonant death/black death metal akin to mid-period Blut Aus Nord and more recent Ulcerate; beautiful stuff which would appeal to the progressive metal fanbase as well.

The Armageddonist / Of Men and Wolves EP, 2010
Ominous Full-length, 2010
Inroads Full-length, 2012
In These Woods, from These Mountains Full-Length, 2016

Official Site


Friendly, rock-ish post-thrash with a grunge vibe and some cool vocal inclusions with an attached soulful flavour. "I Don't Crae" would please the doom metal fanbase as well with its heavy jumpy rhythms.

The Xotix Demo, 1994


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

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

My Space


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

"Beyond the Threshold of Reality" has moved towards the Swedish death metal school almost exclusively, and as a result the speed has gone a few notches up with an interesting inclusion of both atmospheric and hyper-blast black metal moments. Thrash is still present, but it comes not very plesantly decorated with hardcore ("The Serpent God"), or bonds with speed metal ("I Exist") in order to survive. A good sense of melody can be felt all over, too, mostly accentuated on the slower passages (the laid-back post-death metaller "The Neutronium Alchemist").

Hymns of the Cthulhu Mythos Full-length, 2004
Confrontation with the Disciples of the Shadow Walker EP, 2007
The Plague of the Pallid Mask Full-length, 2008
Beyond the Threshold of Reality Full-length, 2011

Official Site


This outfit were earlier known as Vatican and Marquis De Sade. Based on the 1996 demo, this is ehavy power/thrash,s trictly in the modern camp with the groove, the aggro-vocals and all the rest. The squashing rhythm-section naturally never leaves the mid-pace, but manages to keep lengthy numbers like the stomping doomy anthem "Savior" moderately interesting. The guys changed their name to Kurai, and the style shifted towards the progressive groovy metal camp. The guitar player Scott von Heldt also had a moderately successful career in the all-instrumental sector in the 90's under his own name.

The Crystal City Demo, 1994
The Hunt Demo, 1994
Theater of Madness Demo, 1995
The Demo Demo, 1996


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.
The full-length debut is a wild "animal" fulfilling the expectations for an intense roller-coaster entertainment which can be both more engaging (the eventful opener "Blaspheme") or direct and aggressive ("Dark Symphony Of Death", "The Dead Smell Bad"). "Them" is a cool diverser blending slow pensive rhythms with wild outbursts, and "Azsesino" is a brisk speedster bringing sweet memories of the early days of the German scene. Some may try to "fuck like a beast" on "I Fuck Like A Beast" although its unbridled energy would be too exhausting for those who try. "Persecution" brings forward excellent technical leanings among the speedy barrage, and the final "Hidden Journey" is an encompassing speed/thrasher which combines all the elements heard previously into one plus adding a few more brutal death metal leanings in the 2nd half. This is a really good continuation of the guys' career showing that they haven't lost anything from their bite despite the long hiatus. Some of them also play in the thrash metal formation Corpus Depthia although so far they have only one demo released in 2000.

Journey Into the Unknown Demo, 1992
Hidden Journey Demo, 2006
Dark Symphony of Death Full-length, 2009
Final Chapter Full-length, 2013

Official Site


Modern thrash with both post-thrashy and hardcore overtones; the sound is a bit industrialzied and the rhythm section is quite crushing on top of the brutal semi-shouty death metal vocals. The band provide the odd headbanging "oasis" ("Servant of Two Masters" which reaches an almost death metal-like intensity; the closing manic "Crucifixion"), and the prevalent mid-pace is unexpectedly replaced by a more dynamic one in the 2nd half where the guys have much more fun moshing out in a carefree crossover fashion making the album way more attractive.

Cost Of War Full-Length, 2012

Official Site


Modern melodic thrash/death which heavily relies on melody despite the slight buzz coming from the guitars and the harsh shouty death metal vocals. The music has a strange progressive "colouring" which is especially evident on "Ground Zero" and on the atmospheric quirker "United We Fall". The tempo is mid for most of the time the band very seldom feeling tempted to speed things up.

Theories of the Apocalypse Full-Length, 2016

Official Site


The EP: classic thrash metal reminiscent of Kreator's late 80's/early-90's period with brutal death metal vocals; the guitar work is good with frequent stretches towards both a melodic and technical play including a haunting balladic outro on "Blackout" (which is not a Scorpions cover). There are speedy moments ("Dark Incarnation", "Raise the Dead", which is a nice Oriental-tinged composition), but the concentration is on mood and a more proficient, less intense, delivery.
The full-length is a stylish offering fulfilling all the promises from the EP without relying on the material from there. The approach is a bit more mechanized in the guitar department, but intensity isn't spared: check out the impetuous urgent shreds on "Symbiode" which is a swirling technicaller with echoes of Vektor and Altered Aeon. "Genetic Variants" is an excellent visionary robotic rager with cutting riffs and a cool jazzy break in the middle. "Riptide" is more immediate compared to the preceding numbers, but comes "Psychosphere", a modern progressive thrasher executed more officiantly without too many technical decorations. Follows the headbanging delight "Venomous Tormentia" before the 2-part opus "Engines of Creation" arrives to provide more perplexing technicality, especially on the 2nd half where the band pull out their best performance. This is a fairly intriguing listen which isn't sustained in a thorough technical fashion the whole time, but will delight the listener with its seamless shifts from more immediate to more complex sections.

False Hope of Tyranny EP, 2009
Psychosphere Full-length, 2014

Official Site


The debut: this band is the continuation of the very cool alternative thrashers Peace Corpse. Sadly, the music here (based on the debut) is pretty pedestrian groovy post-thrash completely lacking originality and emotion the only less visible merit being the cool forceful semi-shouty vocals.
"A Dead Area" is another noisy abrasive affair which stomps its way using tools like groove, stoner, sludge, grunge and all the rest which is fortunately served in smalls cuts and is consequently not as annoying although very few will be those to stay until the last 15th track.

Theory of Negativity Full-length, 1995
A Dead Area Full-length, 2003

Official Site


A bit rough, but not terribly bad, retro thrash with a shade of hardcore on the more bashing moments. The tracks are not very long, within the 3-min range, and boast impressive bass support and fast steel riffage, which comes with a bit of buzz at times. The leads are short, but surprisingly quite good, carrying the necessary doze of melody. The same, however, can't be said about the singer who semi-shouts in a drunken hardcore fashion with a gruffer deathy tone at times.

Welcome To Madhouse Full-Length, 1995


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

Left to Rust Full-Length, 2010

Official Site


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

Official Site


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

Created In Hate Demo, 1989

Fan Site


Beer and thrash: a great combination, isn't it? These Poles have realized that only too well and music-wise (based on the demo) they don't disappoint pulling out intense stuff with Slayer an obvious reference. The guys thrash with passion also helped by the pretty good production, and somewhat hampered by the expressive thinly shouty vocals. Surprisingly, the Slayer nods get cast aside in the middle for the introduction of a couple of mellower speed/power metal tunes ("Mr. Two-Face") akin to later-period Helloween, but the thrashing environment gets restored soon after with the heavy pounder "Hatred". The closing "Thrash" could have a bit harder, though: it sounds like a more edgy mix of power, speed and thrash.
"Saints" is the expected from the band blend of speed/power and more hard-hitting thrash as the latter is a delight ("Perfect Plan") to listen to with its raging sharp guitars and sparse technical licks. "Smoke & Soot" is a pleasant proto-groover, and "Fairyland" is an overlong (8.5-min) boring ballad both pulling the album down by a healthy notch the guys never being able to recover the merry power/speedster "Mr. Two-Face" the only more energetic tune in the 2nd half. That same 2nd half is the reason why this effort can't possibly score too high placing the band next to another average act from their country: Hunter.

Demo'n'Beer Demo, 2012
Encephalopathy EP, 2013
Saints Full-length, 2016

Official Site


Rough, sloppily produced demo of dragging semi-atmospheric doomy thrash which introduces a more intriguing semi-technical motif on "Pieklorodny Syn" which stays around for the closing shorter "Senny Koszmar", another better constructed, and much faster number its impetuous riffage ruined by the bad guttural death metal vocals.

Demo Demo, 1990


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

Futility Of Mankind Demo, 2010

Official Site


Black/thrash metal with an 80's vibe, and with more modern "updates" in the form of industrial sounds, slightly recalling the extremists Dodheimsgard. Fans of the Japanese movement in the black/thrash genre: Sabbat, Abigail, Barbatos, etc. will love this band.

"RTsistance" changes the pattern moving towards a more groovy sound reminiscent of more recent Satyricon and Khold, slower but still interesting, picking up a good thrashy pace ("De RTalisme Et De Nihilisme Ac") at times, but also providing the odd hard'n heavy epic ("LoTgalitarisme Freine Lexcell"). The industrial elements aren't that many replaced by a few quiet balladic intros and the pure noise/ambient closer "RTsistance". The band members are also involved in other projects: the black metal formation Aufkrema, and the death/thrashers Decayed Remains.

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

Official Site


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

Stress Full-Length, 1997


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

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

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

Official Site


Modern sterile thrashcore with a surreal Voivod-ish edge; "Serpent" is one of the more outlandiish headbangers you may hear in the new millennium; and "Tout Droit" tries to resurrect the dormant spirit of the early exploits of Treponem Pal with its corrosive, industrialized riff-patterns. "Le Desert" is a more relaxed, but utterly futuristic crossover extravaganza nicely exemplifying the mechanical, robotic aura of this interesting recording which otherwise not very pleasant shouty vocals occasionally acquire a cool cleaner blend ala Burton Bell (Fear Factory).

THINK Full-Length, 2016


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

Poverty Is No Disgrace Full-length, 1989


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

A Call to Arms Demo, 2006

My Space


These Mexicans deliver energetic old school thrash which is accentuated by dynamic frolic speedsters like "Hell is Here" and "War Reigns" which also come with more interesting quasi-progressive overtones. "Death Holocaust" excels in the lead department reaching virtuoso heights, and "Hate's On" is a ripping speedster showing the guys as capable musicians as the only flaw is the hoarse shouty death metal vocals which are simply not a match to the better music.

Degeneration Full-Length, 2017

Official Site


This "third world" act offer not very imaginative groovy post-thrash/death which has echoes of later-period Massacra and mid-period Gorefest, but at this stage all has been said and done in this sub-genre. The band definitely sound more interesting when they try to escape from those cliches, and speed up to hardcore proportions (the cleverly-titled "Brains Killed the Apes"), but this happens too seldom to label this minor effort as anything but another rehashed, forgettable fair, the pedestrian angry semi-death metal vocals another painfully familiar trait.

Inferno Demo, 2003

Official Site


Based on the full-length, this is modern thrash/post-thrash with slight melo-death tendencies. The approach doesn't lack energy, but at the same time isn't openly rigorous the dynamic mid-tempo dominating the scenery accompanied by very shouty death metal vocals.

Dominion Full-length, 2010
Scarred EP, 2014

Official Site


This outfit provide decent classic thrash which suffers from the bad hysterical rending vocals. There are a few more laid-back references with a crossover flavour thrown in, but when the guys decide to thrash, they pull no punches (the intense shredder "The Temple Of Fear"). The album accumulates more and more speed with each passing number "Modern Altars" in the middle already "flirting" with death metal for a bit, and the "assault" seldom stops till the end with the spasmodic blast-beats on "Eternally Dying" making things comfortably brutal, but when those blast-beats remain for the last 2 numbers, one may start getting scared here and there. Still, the band know their craft and they don't let things get out of control on this cool fresh debut which is faithfully dedicated to all things old school and trve. Some of the guys also play in the death/black metal outfit Dust Over Eden.

Towards Devastation Full-length, 2011

Official Site


Based on "Evolutions End", this act play modern thrash/death which tries to keep a more individual face without falling too much in the Swedish melo-death "traps". The dominant thrashy delivery also helps the guys escape from them, but the penchant for longer, more moderate progressively-tinged compositions, which occupy the middle, is debatable since it completely kills the inertia accumulated in the beginning. The ending is on a high note and the fans will jump on cuts like "Embers Of Defiance" and "Inferno Horizon" which set the scene for the arrival of the colossal 12-min closer "Inferno Horizon", a hit-and-miss affair sacrificing the brisk approach of the preceding numbers for the sake of peaceful, feelgood rhythms which virtually go nowhere pulling the album down by a healthy notch. The band were previously known as Skeletal Embrace where the style was more of a black/death metal mixture.

Oracles of Amargeddon EP, 2006
Oracles of Armageddon Full-length, 2008
Implosion of the Senses EP, 2012
Rise of the Black Angel Full-length, 2012
Evolutions End Full-Length, 2016

Official Site


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

Demo Demo, 2007

My Space


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

No End in Sight Full-Length, 2005


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

Victims EP, 2010


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

Behind The Second Curtain Full-length, 2005

Official Site


This formation offer dark, doomy black/thrash which borders on the Barathrum stylish depressions, but the gloom here is at times ripped by sudden hyper-blasts ("Torments Of A Deity"). "Darkest Nights Shadow" is black/doom at its best, and the closing "Psychonaut" is a choppy, not very predictable thrasher with cool slower, epic additions making this album worth hearing with its emphasis on atmosphere and quite cool, suitable raven-like vocals. Some of the musicians also take part in the stoner/doomsters Weed Is Weed.
"InConnu" acquires more playful dimensions, and the gloom is not as thick dissipated by optimistic abrasers like "Angels, Devils and the Serpent Grey". The blasting extremes ("Three III ", the symphonic blaster "Five Rivers of Hades") haven't been removed completely, but they can't stand a chance against imposing epic opuses like "Atrocious" and the rocking delight "Helltrain". The title-track combines both sides into one captivating multifarious saga, and remains the highlight on this diverse, flippant roller-coaster.

Thonian Horde Full-Length, 2016
Inconnu Full-Length, 2017

Official Site


Abrasive modern thrash which suffers from the shouty rending death metal-ish vocals and the slightly repetitive nature of the riff-patterns. Still, there's dynamics galore and "Por Mala Suerte" is a cool semi-complex number... it's just that this kind of music has been done many times before to not very impressive results.

Armamento De Piel Y Hueso Full-Length, 2015


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

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


The very boosted guitars spoil the intentions a bit; otherwise this outfit indulge in classic epic speed/thrash which straddles the path between Blind Guardian and Manticora producing both hard-hitting numbers and more sprawling progressive-oriented ones. The former side kind of works better with rippers like "Indomitable" & "The Prophecy" leading the pack; the other half represented by more laid-back compositions like the semi-balladic "Enchantress", and the epic galloper "Diseases of Thought". The vocals are expressive and powerful slightly echoing Hansi Kursch (Blind Guardian) matching the music's heroic character every bit of the way, albeit ruining the closing cover version of Judas Priest's "Hellbent For Leather" with a more hoarse unmelodic performance. The guys also take part in the melodic death metal act Acedia, and the death/black/thrash hybriders Decapitated Saints.

Indomitable Full-Length, 2014

Official Site


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

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


Thornclad offer a nice variation from the sea of modern thrash/death hybrids which flooded the Swedish music scene in the late 90's. This is a nice look back at the 80's thrash days, with a more modern production: a nice fast headbanging stuff with sharp riffs and quite intense delivery. There are pauses where the guys slow down and come up with cool melodies with slight gothic/melodic death metal overtones which, fortunately, aren't 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


A modern thrash/death affair with a few bombastic blacky arrangemnets as well; the approach is pretty dynamic and also melodic with nice melodic licks flowing constantly alongside tasteful lead guitar work (check out "Lust Through The Ashes"). The delivery is fairly direct until the arrival of the Death cover of "The Philosopher" in the middle which is done professionally with panache slightly altered thanks to a not very obtrusive keyboard background. The vocals are witch-like black metal, at times semi-whispered, at others vicious assisted by sparce more brutal death metal ones.

Destroy The Light Full-Length, 2015

Official Site


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

Games for Annihilation EP, 2010



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

Return To Dust Full-length, 2006

My Space


This is modern/classic thrashcore with rough semi-souty death metal vocals. The approach is sprightly and lively with interesting psychedelic variations thrown in ("Goverment of Punks") those also coming with a more hysterical, screechy vocal presence. Heavy, not as dynamic, numbers ("When the Drugs Fail", the epic dirger "Transparent Ideals") also roam around to ensure the album's more widespread appeal.

Those Angry Men Full-Length, 2017


This is modern thrashcore with inebriated gruff Lemmy-like vocals which accompany accessible hardcore-ish abrasive music that is at times too friendly ("Humanoid", the psychedelic Pink Floyd-esque "Space") to be labelled as thrash. The approach is too mild without any speedy aspirations although a good sense of melody ("Ophelia") can be detected here and there.

Holy Mountain Full-length, 2017

Official Site


Based on "The Regal Pulse of Lucifer", this act play intense aggressive modern thrash/death metal which is quite fast for most of the time also throwing a couple of black metal influences. Majestic atmosphere comes forward on the slower operatic numbers "The Regal Pulse of Lucifer" and "Artificial Malevolence". Thrash doesn't have too many chances to exist independently except on isolated sections from the shorter material ("Infernarium", "Fire and Blood"); on the rest the death metal saga is in full swing. The band members are involved in numerous other acts, mostly belonging to the black/death metal camp, around the Greek and European scene: Rotting Christ, Soulskinner, Diablos Rising, etc.

Diabolou Archaes Legeones EP, 1993
Eosforos Full-length, 1994
Apollyon Full-length, 1996
DV8 Full-length, 2002
Orgia Daemonicum Full-length, 2005
The Regal Pulse of Lucifer Full-length, 2013

Official Site


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 her/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. The title-track is a progressive thrash opus which will engage you in a more concentrated listen since there are quite a few things happening inside, but never leaves the thrash metal realm, and is a quite an achievement recalling Rush. "Cornerstone" is creepy industrial thrash followed by the Voivod-ish "Daughter Mobius" which sounds like a leftover from "Dimension Hatross", and is the first sheer eclectic piece here. "Alexander vs. the Puzzle" is a very cool acoustic ballad. "Ballerina" is a 2.5-min thrash/crossover delight with a twist. "The Chalice Vermillion" is the other really complex exercise in progressive thrash, and again hits the top with the high level of musicianship displayed although the very elaborate last part might give you a headache with the "bass-versus-leads" duel. After such a climactic effort, the remaining songs logically take a break from the progressive approach and are more direct featuring one more ballad ("Blistered Text And Bleeding") and the pop-ish, but entertaining "Bearing An Hourglass". The band's later works leave the thrash metal spectre completely, but retain most of the other genres.

Songs For Insects Full-length, 1992

My Space


Based on the full-length, this crew provide typical unimaginative modern thrash which is done in a robotic manner which means that the work put is professional, but kind of mechanical and emotionless. The riffs are quite heavy and steam-rolling and they carry the album all the way to the end without changing even for a split second. The singer shouts in a slightly hysterical deathy fashion, but sounds kind of attached to the proceedings.

Ascended From Fragments EP, 2011
Thoughts of Rejection Full-length, 2012



This young Irish outfit offers a modern mix of thrash, death and groove. By all means the all-out thrash attacks work best ("Relic", "God Complex"), but don't expect the moshing to go through the whole song since the guys are pretty eager to pack the other influences inside, too. The vicious semi-death metal vocals are at times interrupted by much better clean ones, very similar to the ones used by Burton Bell (Fear Factory, GZR). There's 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

Official Site


A cool power/thrash metal band, featuring the former Xentrix singer Simon Gordon; the style is along the lines 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

My Space


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

Blight EP, 2010

Official Site


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

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

My Space


An unholy duo from Brazil who specialize in vicious intense claasic speed/thrash with brutal shouty death metal vocals. The music is pretty bashing and it's obvious that the guys have a long way to go before they reach any decent musical standards. They play fast without any sophistication the only more sensible moment being the Destruction-like break on "Alcoholic Possession", and partially the vitriolic speedster "Thrash Attack" which is another nod to the early German school.

Death Gods EP, 2012

My Space


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

Only the Forces of Metal Will Live Demo, 2005
Mental Torture EP, 2010

My Space


These "avengers" may start thinking of changing their name if they plan on carrying on with this mild brand of power/thrash metal which has nothing "vengeful" about it, and the thrash comes in small dozes in a sleepy mid-tempo which quickly hits the balladic waters somewhere in the middle and seldom makes things more energetic with the insertion of stoner/doom moments near the end (the pleasant closer "Penalized Soul"). The singer has a hoarse semi-clean voice which fits the friendly poppy musical approach.

Total War Full-Length, 2013

Official Site


These youngsters indulge in atmospheric modern thrash which is on the folk/epic side, but its sing-along character is ably supported by the heavy rhythm-section and the odd spasmodic speedster ("Insomnia"). Still, this is soft friendly music which will be of a bigger interest to fans of Ensiferum and Finntroll, and generally those fonder of the Scandinavian trends in the genre.

Alaridos En El Desierto Full-Length, 2012


The debut: aggressive thrash/death metal with unexpected lyrical lead-driven passages; the symbiosis works not without the help of the plenty of dynamics offered "the Sicilian way" which means that apart from the obligatory "thrash bombz" there will be moments of relative tenderness the latter not a very regular phenomenon, but still noticeable. The balance between the faster and slower passages isn't that well achieved creating a disjointed feel which can be certainly corrected on future recordings. The singer is a brutal death metaller who can tone it down as well since he not always fits the much more melodic tone of the music.

"Mission of Blood" includes all the songs from the demo, expectedly, but the old "bombz" are ably accompanied by new ones which raise the retro flag high the main help coming in the form of fast blitzkriegers some of them easily reaching death metal dramatism ("Human Obliteration"; the vigorous proto-blaster "Fear of the Night"). The reliance on speed is probably bigger, at this stage still for the better, and few would be those to not notice the excellent melodic leads on "The Curse".
"Master of the Dead": the opening "Condemned To Kill Again" starts with a mesmerizing baladic lead-driven intro which transforms into a raging rifforama which occasionally becomes more melodic and progressive ("Evil Witches"),but for most of the time what one will experience is uncompromisng headbanging "assault" as expressed through raging cuts like "Curse Of The Priest" and "Black Steel". "Taken By Force" is a more intricate shredder, and "Evoking The Ghost" is the more laid-back relief with some excellent melodic lead guitar work.

Sicilian Way Of Thrash Full-Length, 2012
Mission of Blood EP, 2013
Mission of Blood Full-Length, 2014
Master of the Dead Full-Length, 2017

Official Site


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

Split Split, 2007


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

No Posers Demo, 2011


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

Demo Demo, 1990

Official Site


An obscure power trio, who should also add "death" to the their name, from the States who specialize in intense vigorous thrash supported by gruff death metal vocals which shout comprehensively and boost the aggressive delivery. The band bash on and death metal inevitably sneaks in at some point ("Good Shot") making this effort a hard proposition even compared to the early Death works of which the semi-technical dramatic shredder "Competition on Endurance" is a very good reminder. "Denying the Charge" calms down with more clever riffage and slower arrangements which leads to the appearance of the short laid-back puzzler "Never Surrender" and the creepy monotonous mid-pacer "Night Killer". The remaining two numbers are also less energetic making the 2nd half less striking and kind of uninspired. Still, from a pioneering point of view this demo scores high introducing some of the first genuine death metal rhythms on the scene.

Eyes of the Owl Demo, 1988


This is mild friendly stuff which never really thrashes, but rather semi-thrashes with strong shades of hardcore and punk; in other words, these "punx" are still punk "hungry", not quite there yet thrash-wise. The title-track moves up with harder riffs, but the rest is too mellow to ctach the listener's ears. The singer has a gruff death metal-ish throat often assisted by his comrades for the production of several shouty choruses.

Como Ratos Full-Length, 2016


Inspired and quite good classic speed/thrash which is a nice reminder of the time when Destruction were unstoppable (think "Infernal Overkill", above all). Speedy riffs intertwine with some addictive melodies the delivery seldom branching out into the unexpected (the blacky Celtic Frost-esque stomper "Killer"). "Thrash Kommand" even suggests at some technical executions to be come across at some later stage, and "Third World War" may make you cry with memories of the incredible "Bestial Invasion" with its perennial rolling rhythm-section. "Overkill" is a short brutalizer with some stylish technical guitar work, which is followed by the brilliant virtuoso "Instrumental", a masterful display of hidden skills which aren't revealed elsewhere since the speed/thrash crescendos are so addictive that one would hardly require more. The singer is a bit of a pullback with his subdued hoarse death metal tone, but still he doesn't impede this album from being considered as one of the peaks on the South American metal circuit of the past 5-6 years. All hail the "thrash kommand"!

Las Tropas Del Mal Full-Length, 2013

Offical Site


The demo: 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-ranged delivery; a higher-pitched shouter would be a better choice.

The EP is slower with a much more melodic guitar work, and there's not 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

Offical Site


A heavier take on the good old thrash/crossover reminiscent of early Gwar with longer numbers and mellow rhythms which don't smell thrash all the way, but are a fun to party at. The approach is a bit clumsy the band not handling the switches to a faster play that well, but excel in the doom metal department where "Memoirs Of SixFourNine" is a sure winner with hypnotic volcanic riffs. The singer has a gruff semi-deathish voice, but holds the odd sweep of melody when willing.

Trentonia Full-Length, 2002


Well, the guys don't give you a very big choice: you'll have to either thrash or... die. Judging by the music, it would be wiser to choose the first option since the guys acquit themselves with energetic, albeit pretty one-dimensional and not very imaginative, retro thrash with semi-shouty mean-ish vocals ala Steve Souza (Exodus). The music is pretty speedy peppered with headbangers like the ultra-speedster "Zombie Assaalt" which echoes the uncompromising, venomous style of 80's Hirax. "The Return Of The Thrash Lord" and "Doppelganger" are marginally more intriguing exercises in spinning Germanic speed/thrash, but direct raging, proto-death pieces ("Fistfucking Metal") quickly cancel those more meaningful efforts; check out the piercing Tom Araya-sque scream on this one. "Ripped To Pieces" turns to pure death metal for inspiration at some stage, and the closing "Wake Up And Smell The Trash" is a more relaxed thrash/crossover number. The band simply try to cover all that was relevant from the scene back in the 80's without having any pretensions at originality or thinking outside-the-box. Some of the musicians can also be seen in the death metal acts Caligvla and Hibernus Mortis.
"Melting Your Skull" clearly aims at "melting your skull" with its blitzktieg, no-bars-held delivery which is quite intense (the bashing opener "Metal Massacre (The Ultimate Revenge)") and takes no prisoners for most of the time: just check out "Street Trash" and "In the Key of Death" as well as every other song. "Gorantulla" is a good more technical splasher with a more aggressive proto-death flavour, but the short length of most of the material doesn't give too many chances for such exploits to shine fully regardless of the efforts made on the choppy, not very predictable "The Post Mortem Star", and the bombastic closer "I Thrash on Your Grave".

Poser Holocaust Full-Length, 2011
Melting Your Skull Full-Length, 2015

Official Site


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 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


This is competent stuff (based on the demo), but badly produced the noise behind the guitars taking away some of the joy from this sharp mosh in the spirit of Anthrax which gets a bit more aggressive on occasion ("Mutant Society"), but is otherwise energetic thrashing mayhem topped by cool comprehensive semi-clean vocals which semi-shout at times with a pinch of Kurt Brecht (D.R.I.).
"Stupid World" is a huge step forward for the band who now thrash with so much conviction that their histrionics border on the semi-technical: check out the rousing 1.5-min hymn "Charlie Andrews Is Nuts". The guys relax in the 2nd half for the production of several frolic thrash/crossover cuts, and "All Right" is a hard-hitting thrasher. "Mutant Society" is rudely placed towards the end, unaltered, ruining the final part of the album quite a bit with its messy sound and unfocused aggression; a situation almost saved by the more serious shredder "Non Conformist" which excels in the screamy lead department.

Vol.1 Demo, 2012
Stupid World Full-Length, 2014



Post-thrash and stoner/doom co-exist here producing a heavy, but also reasonably melodic, affair which gets merrily speedy on occasion (the Motorhead nod "Thank You For Ripping Us Off") and generally doesn't lack energy also recalling the Metallica "Load/Reload" period plus certain country atmosphere present.

Bring The Knife EP, 2012


These "thrashalls" play retro speed/thrash with crossover tendencies thrashing with force on a couple of times although the heavy mid-tempo moments are also quite a few reaching the climax on the pleasant doomster at the end "Domain Desire". The vocals are an asset being clean, mid-ranged and passionate without trying anything too high-pitched, and compensate for the noisy production which "graces" the guitars with an omnipresent buzz.

Demo Demo, 2007

Official Site


Based on "Night of the Sacrifice", this band, who were previously known as Evil One, bring thrash back with full force moshing out all the way through (the exception the epic power/thrashers "Under the Hammer" & "1888-Jack the Ripper") the hard-hitting riffage greatly helped by the very clear sound quality. The singer is another asset with his emotional clean semi-shouty voice. "The Burning of Atlanta" is a soaring speed/thrashing hymn with memories of the great German movement from the 80's (Running Wild, Helloween, Iron Angel, Exumer, etc.), before "Abused" thrashes the neighbourhood in a remorseless Slayer-esque manner. Speed metal comes to stay with "Maniac" and the self-reflective closer "(We Are) the Thrash Crew" which show a convincing "thrash crew" which "possession by thrash" from the debut would be definitely worth checking out.

Possessed by Thrash Full-length, 2013
Night of the Sacrifice Full-length, 2015

Official Site


This outfit indulge in intense varied black/thrash which most intolerable part seem to be the screechy, industrialized vocals which take quite a bit of space. Otherwise the guys wisely use a lot of atmosphere ("Khaos In My Vains") alongside some pure classic speedsters ("Fuck You Hard") and moody power metal epicers ("Already Erased"). In other words, the variety is just staggering logically following the path outside thrash quite often the latter recapturing some ground on the quirky "No Mans World" and on the frolic Gothenburger "Lucifiras Witchcraft".

Intraddictions Full-Length, 2015


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

Got Metal? EP, 2007

My Space


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, mostly on the sophomore demo which also boasts a crisper sound quality and marginally more proficient, more technical guitar work.

You Must Kill Demo, 1987
Women Die Demo, 1988

Official Site


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 second half the variety is bigger with one song going towards Slayer: "Penetration In The Shadows", one covering Testament's "Over the Wall", and one covering D.R.I.'s "Suit And Tie Guy", both very faithfully done. The singer should be fired, though: his rending hysterical shouts would be hard to match even by the most psychotic asylum patients.

The Promo/Rehearsal/EP is a more controlled tribute to the classic school, fortunately all-instrumental (this vocalist, folks, is really bad) offering fast intense stuff close to Rigor Mortis and the early Devastation efforts (think "Signs of Life") suffering this time from the bad buzzy guitar sound.

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

Official Site


These "mad thrashers" from Brazil offer a slightly primitive mix between Venom, Pile Driver, and early Slayer which still delivers thanks to inspired speedy rhythms which are quite repetitive, but will ensure good time also due to the friendly lyrics which deal with beer, girls (bitches, in their case), and everything in-between. It's clear that the guys will always be "ready to thrash" like one of the song-titles says, and one should feel safe with them around except that he/she may be a tad scared of the rough shouty death metal vocals. The band members are also involved in the black/speed metal outfit Praga.

For All Drunks 'n' Bitches Full-Length, 2014

Official Site


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

Dark Enemies Demo, 2010

My Space


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

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

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

Official Site


Based on the debut demo, these folks serve intense energetic thrash which comes a bit more tricky on "Masque Of Thanatos", but later on the guys just mosh out with passion the leads being on a particularly high level deserving a better sound quallity. Heads will fall on smashers like "Kill With Ease", but later on the delivery kind of slows down returning towards the end for the short exploder "Insane" and the headbanging shredder "The Hangman's Knot". The vocalist has a rough semi-deathy throat which he strains to the maximum at times. Later on the guys formed another act, Dreadnot, where the music took a more melodic, but much more interesting, avantgarde turn.

Crash'n Burn Demo, 1988
Demo 2 Demo, 1988


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

Experiencia Suicida Full-length, 1994

My Space


These Italian "thrashgangsters" offer quite cool semi-technical thrash with impressive guitar work, not far from the one of Marc Scaccia (R.I.P.; Ministry, Rigor Mortis) which borders on the flashy on the not very predictable opener "Thrashers In The Moshpit". "Beauty Is Only Skin-Deep" is another less ordinary headbanger with rolling, twisted riffs and choppy stop-and-go rhythms; and the title-track is a more immediate shredder with dark overtones and more dramatic speed/thrashy crescendos recalling the US obscures Torture (think "Storm Alert"). The vocalist is more on the semi-declamatory side, and his antics come with a not very pleasant synthesized blend. This is a really promising start and it would be interesting to see whether the guys would be able to make a lasting impression on a very competitive scene like the one in their homeland.

Terror Has Begun Demo, 2015



This formation specialize in a mix between modern and classic thrash which uses some more extreme tools of the trade, like the brutal deathy leanings on "Your Metal Way", but there's a contrast brought almost immediately: the groovy sleepy rhythms on "Itzalak". The fans will hardly "thrash till death" on "Thrash Till Death" which only speeds up a bit near the end. "Thrashgression" is encountered finally on the closing "Seven Corpses For Dinner" which shreds with force and speed to exit this average effort with more style than it actually deserves.

Endless Pollution Full-Length, 2014

Official Site


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

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

Official Site


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

Season of Evil Full-Length, 2006

Official Site


The EP: a name which would suggest some direct headbanging thtash actually stands for clever, thought-out modern thrashism which is developed around long compositions and choppy rhythms which may wear thin at some point since they get repeated again and again to no end except on the vivacious opus "Disease Called Human Mind" which livens up with dramatic spiralling guitars that are sadly missing from the rest of the tracks. The vocals are harsh semi-clean, and although they hold no melody whatsoever, at least they fit the cold sterile landscape created by the dispassionate music.
The full-length continues the trend from the EP the guys elaborating the landscape with lengthy thought-out numbers relying on heavy volcanic dry guitars to pull it through, with several more dynamic decisions ("Perdition", the excellent atmospheric shredder "Beauty Of Killing") dissipating the thick modern miasma. The guys overdo it a bit on the overlong monotonous "Rest In Peace" wich borders on doom for nearly 10-min, and on the 11.5-min melancholic melodic dragger "Solaris", a situation partially saved by the marginally more dynamic "Disease Called Human Mind" at the end.

Insight EP, 2014
Disease Called Human Mind Full-length, 2017

Official Site


One will have no choice but to obey the new "thrashist regime" established by these young Scotts who thrash with conviction and professionalism "courting" both Slayer and the Bay-Area school throwing the odd more technical hook here and there. The tracks are short and to the point (2-3min) lashing fiery riffs to no end rarely indulging in slower passages ("Culture of Vanity"). Watch out for the short explosions "Hotel Blast Terror" and "Vermin", and the technical speedster "Scavenger's Daughter". "The Grave" has a nice tender mid-break, but moments of the kind are not many at all, and overall the fans should be happy with this new entry which doesn't re-invent the wheel, but keeps it rolling in a way no worse than the legions of recently resurrected 80's "dinosaurs".

Fearful Symmetry Full-length, 2012

Official Site


Based on the full-length, this band provide pretty decent old school thrash which main surprise would be the mean Mille-like vocals. The delivery isn't as aggressive as early Kreator, though, concentrating on speed/thrashing mixtures with more melody "roaming" around mainly in the form of tasteful lead sections. The headbangers will by all means rejoice on cuts like "Neckbanger" and "Son of Bastard". Ironically, "Thrashing and Slaughter" is the slowest track here softening the 2nd half which still finds its way towards the more intense performance on the last two pieces. This is a cool nod to the retro canons of the genre and the band have all gthe claims to be one of the premier thrash metal exponents in South-East Asia at the moment.

Neckbangers EP, 2014
Kaiser Of Evil Full-Length, 2016

Official Site


This album is anything but "thrashless"; on the contrary, it contains rigorous classic thrash with updated abrasive guitars which boldly enters the death metal arena (the sweeping furioso "Beyond All Evil") and generally the band don't spare energy lashing fiery riffs from all sides on full-throttle calming down at times with heavy late-80's Slayer-esque riffs ("Watch It Burn", "Sanity Deprived") or with distorted takes on hardcore ("Bulletbelt Thrash"). The riff-patterns aren't repetitive, though, and there's enough variety here to entertain the listener. The singer is a bit of a pullback with his hoarse death-ish tember who semi-growls his way in a scary semi-declamatory fashion.

Awaiting Rebirth Full-Length, 2012

Official Site


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

Kontrol Sosial EP, 2004

Official Site


Based on the 3-song "Religion" demo, this act play a blend of modern and classic thrash which mixes both sides on almost every track the more dominant tone clinging towards mid-period Sepultura crossing the intensity of "Arise" with the pounding proto-grooviness of "Chaos AD". The singer has a good forceful tember, at times cleaner, at times gruffer, assisting the energetic music with competence and emotion.

Hasta la Muerte Demo, 2010
Religi=n Demo, 2012



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

Karat Demonicheskoi Kirkoi Full-Length, 2009

Official Site


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

The EP is in the same vein, light-hearted crossover/thrash crossing mid-period Broken Bones with Ratos de Porao, also paying tribute to their favourite actor: the kung-fu legend Bruce Lee ("Bruce Lee (Honor a Chingadazos)"). The music is unpretentious acquiring the roller-coaster attitude of Motorhead ("Brutal Party") as well at times. The 2nd part contains the more serious material resulting in the "colossal" piece "Stupid Creation" which thrashes with passion for over 7-min; and "Eternal Nightmare" (which is not a Vio-Lence cover) which is shorter and a bit less intense. The vocals this time a bit more shouty and less expressive, but still are a good "assistant" to the musical barrage.
"Kingdoms of Hate" is another "thrashock" the guys getting more serious now with longer numbers composed although the approach hasn't lost its edge and speed still being in the thrash/crossover parametres although it shows frequent sparkles of technicality ("Circles Of Fire", the Bay-Area worship "Pestilence" which is vintage early Forbidden) which are all over the album. "Chorysaicosamurai" is a curiosity, but of the appetizing type: an all-instrumental piece with a balladic beginning before a furious crescendo tears the air unleashing a wall of brutal riffs. "B.H.R. (Blood, Honor, Race)" is an epic with its more than 7-min of clever controlled thrashing which smells technical the latter tendencies nicely translated on the following headbangers "United to Win" and the more elaborate "Why?". The complexity fortunately never evolves beyond the accessible technical realms the band only relaxing on the carefree hymn at the end "Pedos Con La Ley!".

Demo-lition Demo, 2010
Total Destruction EP, 2012
Kingdoms of Hate Full-Length, 2012

Official Site


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 isn't the most suitable way to fit this kind of music.

Hold Til'Death Demo, 1990


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

Unexpected EP, 2008

My Space


This young outfit indulge in lashing intense classic thrash with crisp modern production; an able mix of raging Slayer-esque skirmishes and firing on all fours Germanic outrages. The speedy crescendos never end with "Hard Study!" some mid-paced respite from the assault. At the end one may be able to recognize the Melvins' "Honey Bucket" wisely done in a hard thrashing manner surpassing the original in terms of aggression. The singer is a shouty throat, but is more on the cleaner, rather than the angrier side.

Perpetual Malice Full-Length, 2015

Official Site


An intense mixture of thrash, hardcore and death metal with a very good bass bottom and slightly screechy semi-death metal vocals. The music makes sense with crisp lashing riffs which seldom go below the up-pace with the casual short screamy lead section added for good measure.
"Rager at the Lake" is a sheer "rager", and not only at "the lake", but anywhere else the rending vocals again creating a not very positive impression. The music delivers, though, and some lashers will make you jump around with joy ("From Biped to Strider", the longer more complex title-track, the ripping galloper "Terrorizing Deep Thrashprints", the brutal speed/thrash attacker "70-80 % of Sightings Are Real"). Semi-technical virtuosity comes served on "Dr. Meldrum Believes" as a "dessert" near the end, to make this album an even more appetizing listen to the hungry thrash metal crowds. The band members are also busy with the brutal death metallers Line Up Your Lies, and the thrash/crossover heroes Destruction's End.

Max Thrashtensity EP, 2011
Rager at the Lake Full-Length, 2013

Official Site


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

Thoughtcrime Full-Length, 2011

Official Site


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

Official Site


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

The EP is a really aggressive offering thrashing wildly with gusto producing lightning-speed numbers on a slightly abrasive hardcore base with not very pleasant shouty vocals. The sound quality is quite messy creating the impression that this effort had been recorded way before the reviewed demo.
The debut demo comes with a very raw sound quality and the musicians' skills at this stage correspond well with the pristine sound. This is primal bashing thrash of the old school with death metal throw-ins; a really amateurish effort which has a few slower doomy sections, but those sound even worse with their pounding aesthetics. The singer plainly shouts and his rendings can only be partially distinguished on the two cover versions at the end: AC/DC's "TNT", faithfully rendered with the hard rock atmosphere of the original if anything can possibly be sustained on this awful noisy background; and Motorhead's "Orgasmatron" which is harder to recognize due to the very buzzy guitars and the loose interpretation.
"The Evil Inside Me" is another brisk thrashing roller-coaster the fast-paced assault with short blitzkrieg cuts quite close to Slayer's early period, seldom pausing for a break one of which is the nice acoustic instrumental "Let The War Begin", and the other a really cool cover of Death's "Crystal Mountain" which shows a surprising more technical/progressive flair possessed by the band which should be displayed more frequently in the future.

Thrashtorno Mental Demo, 2007
Terrible Death Demo, 2008
Comando Thrasher Demo, 2010
Bablados con Mierda EP, 2010
Asesinos Del Infierno Full-length, 2010
Unearthed in the Disaster Full-length, 2013
The Evil Inside Me Full-length, 2017

Official Site


These "Thrashylvanians" pull out competent energetic thrash with some admirable semi-technical guitar work. "Hell Dance" is a nice speed metal-ish "dance" before the closer "Suck My Dick" gives this obscure effort a jocund crossover flair also featuring a rousing shouty chorus.

Way of Death Demo, 1990


Based on the "Encephalic Oppressions" demo, these guys resurrect the hectic technical style of the early Flaming Anger (Germany) demos to a really impressive effect. "Pandemic Reflection" is a brilliant speed/thrasher constantly alternating between fast direct and swirling technical moments. "Condemnation" is another headbanging smasher, and "Mage's Rage" is even more fierce moshing out in a more controlled technicality-wise fashion. Then "Obscene Anatomist" finally shows mercy slowing down, but just in the beginning; the 2nd half is fast frantic speed/thrash again a bit more straight. "A Piece Of Madness" is truly "a piece of madness" mixing the two tendencies as a finishing touch with the obligatory twisted breaks in the middle, and the more intense up-tempo passages circling it around. Flaming Anger kind of failed to extract the best out of their early efforts on their full-length, and hopefully the Slovenians will not repeat the same "mistake".
The full-length sounds a tad more controlled from a technical point-of-view with a more overt echo from the Bay-Area which smells early Forbidden quite a bit now blending the straight-forward barrage from "Forbidden Evil" with the more complex landscapes of "Twisted into Form". However, with each passing track the complexity increases "Induced Adrenaline" being the "initiator" with its serpentine-esque twists and turns, before "Beats of Aggression" throws the listener into spontaneous headbanging with its clever stylish speedy guitars. "Pandemic Reflection" starts with a beautiful acoustic digression, but don't expect for the "idyll" to last for too long the guys switching onto full-ahead thrash later leaving this piece as an almost instrumental one with vitriolic riffs and great melodic hooks. "Injecting Hate" is a more ordinary Bay-Area worshipper, and "Factual Perspective" is a heavy stomper with cutting riffage and numerous speedy distractions, another more technical piece with a standout rhythm-section which grows into "Insanity Is Unquestionable", the next in line tribute to the once burgeoning Bay-Area scene, a nice reminder of Testament's heydays. Comes the closer, "Thraw", to "throw" you into the final portion of furious headbanging this one a prime speedster which lashes fiery riffs without much sophistication letting all the band's aggression out who don't spare themselves to thrash everything around as a finishing touch. This is by all means a good effort although the more individual character of the preceding demo has somewhat been lost for the sake of a more or less frequent reference to the aforementioned area on the west coast of the USA.

Thraw Demo, 2007
Injecting Hate Demo, 2008
Encephalic Oppressions Demo, 2009
Decoding The Past Full-Length, 2013

My Space


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'll make a mistake as traditionally the looks deceive: these guys (could be girls?!) unleash very good intense retro thrash. Their album was produced by Hisayoshi Hiraga- the ultimate vocal guru in Japan, having sung for Rosenfeld, Aion, and Manipulated Slaves, among other non-thrash metal acts. The band starts thrashing with full force from the get-go with "Play Only" and "D.I.E.", before "Beyond The Future" tones down the speed adding both heaviness and a certain amount of technicality recalling their compatriots Outrage and Metallica. This 9-min pounding monster is a nice slab of more thought-out metal, but after the following "Inferno" thrashes its soul out one knows that those short blitzkrieg numbers are the more preferred side, and fortunately "Parasite" is another direct bombastic thrashterpiece. "Limited Life" is a satisfying aggressive proto-death track, before "Low Brow" slows down a bit with meaty smashing riffage. The closing "Beauty And The Beast" is brutal super-fast thrash ala early Sadus putting an end to this very obscure, but valuable, addition to the Japanese scene of the 90's which only drawback would be the unemotional synthesized shouty vocals.

Parasitism Full-length, 1995


Based on the full-length debut: this band offer quite generic groovy power/post-thrash which borrows heavily from the 90's scene, and more particularly Machine Head's unimpressive period (1999-2004). The music loses its edge quite often, and will also remind you of Anthrax's alternative "flirtations". 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
Unbroken EP, 2009
Overcome Full-length, 2012
Unstoppable EP, 2014

Official Site


The EP: the heavy stomping opener "Darkness Of The Death" doesn't promise a very big fun for the classic thrash metal lover, but soon after the band show their teeth with the energetic speedster "World Destroyed" which sadly remains the only one of its kind, the rest returning to the heavy doomy sound with only the closing "Instrumental" livening up in the mid-section with a fast brutal melo-deathy portion of riffs which come accompanied by very good screamy leads. The singer hesitates between a subdued black metal-styled delivery and a more vicious lower-pitched one akin to Mille.
The full-length finds the right way to thrash and the guys wisely mix the pace the whole time producing some admirable headbangers along the way: "Lies, "With Hate", "Innocent Fall", etc. "Lost Souls" is a more friendly power/thrasher, but its stomping character is a perfect fit to this fairly energetic effort which also brings the winds of proto-death on the otherwise not very intense "Darkness of the Death" near the end. For an apitaph the band shoot a cover of the Colombian black/thrash metal legends Reencarnacion called "No Moral", an aggressive speed/thrasher with several interesting melodic licks, obviously additional insertions made by the band in order to ake the song more relevant to their staple style.

World Destroyed EP, 2010
With Hate-Religion-Violation-Death Full-Length, 2016

Official Site


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 aren't 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


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

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

Official Site


An intriguing debut of dry, mechanical, technical modern thrash reminiscent of the more comprehensive, earlier Meshuggah period, and later period Obliveon. The music has a strong industrial edge and the singer isn't a very pleasant hardcore shouter, but fans of the aforementioned 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. The band's later works cling more towards the metalcore fraternity, and may not be of big interest to the thrash metal fanbase.

Under Reprisal Full-Length, 2006

Official Site


This is dark doom/death spiced with some thrash, heavy volcanic music with several interesting melodic excursions ("Increment Wrath"), but generally too morose and brooding for the average thrash metal fan. The vocalist is a brutal guttural death metaller and perfectly fits the pessimistic character of the music.

Certain Shadows Full-Length, 2011

Official Site


Based on "Careful What You Wish For", this act deliver modern power/thrash which relies on heavy, volcanic riffs to pull it through with occasional more technical "flirtations" ("Mockingbird") "roaming" around, dissipating the "darkness" provided by "Stronger Than Death" and other similar groovers. The vocals are mean semi-clean ones and do a good job hovering over the seismic musical landscape.
"R.I.P." is in a similar vein maybe relying on the groove more also inserting dubious moments of serenity (the jumpy ballad "Light Bleeds Through the Black"). "Bury the Wicked" is more than welcome to bring the thrash with sharp lashing riffs, and when the dramatic semi-technicaller "Laugh Now... Cry Later" follows suit with style, things take turn towards better waters, all the way to the intense death metal-laced closer "Death Rides Again", a cool progressive composition with creepy sinister arrangements.

Dead to Rise Full-length, 2013
Careful What You Wish For Full-length, 2014
R.I.P. Full-Length, 2016

Official Site


This band play acceptable modern power/thrash which has its more aggressive side ("American Massacre") where the shadow of Testament is quite prominent. "Evilution" is a very good heavy semi-ballad with some exemplary lead guitar work reminiscent of none other than Alex Scholnick; and the closing "(Happily Ever Evil) Let Us Prey" is a nice technical shredder with less predictable time and tempo shifts. The singer is a decent dramatic clean throat pitching it higher to a positive effect whenever needed.

Dawn Of The Shred Full-Length, 2016


Based on the IInd demo, this band play mild power/proto-thrash with alternative elements among which the best thing are the very good melodic lead sections, and partly the more intense rhythms on "Free Of You" which try to capture the pounding magic of The Black Album. The siinger isn't bad at all, though, trying to impersonate James Hetfield, but his tember is more melodic and more lyrical, to these ears for the better.

Body and Soul Demo, 1992
II Demo, 1993

Official Site


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

My Space


An admirably brutal underground recording sees an act willing to take part in the estabishment of the death metal movement although at this stage the delivery is still thrash, but very aggressive and bashing the band creating a chaotic, but listenable, wall of sound which comes close to the Wehrmacht "atrocitites" coupled with a more complex approach ala Gammacide on the clever, more technical basher "Why". The singer has an intense semi-clean baritone which also holds the odd melody whenever needed.

Apathetic Death Demo, 1990

Official Site


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

Within The Expanse Full-length, 1991


Based on the demo, this obscure formation pull out laid-back thrash/crossover with open punky overtones the jocund tone also preserved on the more "serious", longer material ("Blood On My Hands"). later on the delivery loses the intensity settling for insipid mid-paced rhythms which go nowhere except hitting the ballad bottom on "Trap Door". The singer doesn't really sing, but recites in a dispassionate, listless manner seldom acquiring a meanish pitch to spice his monotonous tirades.

Demo 1 Demo, 1989
One O' One Full-length, 1992
Surface Dwellers Full-length, 1994

Official Site


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

Demo Demo, 2007

Official Site


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

Vertonte Zeilen Full-Length, 2011


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

My Space


This is an interesting mix of black metal and old school speed/thrash submerged in loads of atmosphere which definitely favours black metal more, giving the more thrash-based material ("The Crypt") an ethereal, majestic aura. The delivery is mostly mid-paced touching mid-period Bathory ("Radiation") on the more officiant compositions. Some of the band members are also active with the black/death/doom metal hybriders Ordeals.

Reflections in Darkness Full-length, 2017

Official Site


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

Insanity EP, 2011


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

Into the Grimness Demo, 2009

My Space


Vivid dynamic old school thrash with somewhat screamy high-strung vocals; the music packs a punch, though, and the fans will have their fun on this capable alternation between moderate mid-pacers (the title-track) and more intense speedsters ("Good and Broken"). There are a few attempts in the second half for a more serious song-writing ("Prisoner of War"), but the performance there is a bit clumsy with not very imaginative riffage involved.

Monsterborn Full-length, 2014

Official Site


This formation play lashing semi-technical modern thrash/death which also emits atmosphere ("Devoid The Usurper") from the slower moments which will remind of early Morbid Angel with a more energetic twist. The problem is that the speed from the beginning gets replaced by more officiant, doomy riffs later which by all means deliver, but in a battle-like Bolt Thrower, Amon Amarth-esque way ("Visions Of Blood", the steam-rolling closer "Bring Out Your Dead").

The Stench Of Deceit Full-Length, 2012



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

Baptized in Blood Full-length, 2007

My Space


Modern power/thrash with a contrasting vocal "duel" between growling death metal and passionate clean tirades the latter at times acquiring a gruffer James Hetfield-like flair. The music picks up speed ("Revolution") on occasion, but for most of the time the guys are content enough to follow on the steps of acts like Trivium. The leads are on a really high level gracing every song among which "Forever War" is a cool dynamic progressiver, and "Too Little Too Late" is an inspired headbanger with Metallica overtones "burying" under a pile of fiery riffs the otherwise cool balladic closer "Sin Of A Broken Man".

Eternal Divide Full-Length, 2014

Official Site


Based on the second 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


This outfit provide violent speedy retro thrash/proto-death which shifts towards pure death metal on the blasting "Belial". "Snake" is a very cool stylish progressive thrasher with elusive black-ish atmosphere, and "Necromancy" is a nice pagan epicer which grows into the closing "Wisdom", another more restrained exercise in evil, sinister pagan thrash to which the shouty blacky vocals are the perfect fit.

Occultus Full-Length, 2015

Official Site


Based on "Deathless", this band offers a melodic brand of the so popular 90's aggro-thrash although the riffs crush well by being quite catchy at the same time, but the approach is pretty derivative recalling Machine Head (their various periods) quite a bit with a few stoner nods towards Down (after all, the band's called Throwdown). Still, some headbanging surprises "roam" around ("Headed South"), and the vocals are suitably angry with a cool melodic blend as well, not far from Phil Anselmo, although the clean tember, which interferes from time to time, could have been spared, despite its similarities with the more recent James Hetfield singing style.

"You Don't Have to Be Blood to Be Family" is more relaxed music-wise, sounding less angry with elements of metalcore settling in. The groove isn't as eventful and often drags with heavy repetitive riffage.

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

Official Site


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

Mosaic of Death Demo, 1992


Based on "Safe Inside", these folks provide dynamic modern thrash which goes along the well established lines without offering anything too striking. The attempts at more progressive song-writing diminish the energy, and are inferior to the more immediate material among which one may spot the invigorating headbanger "Start Making Sense". The harsh-clean vocal duel is another annoying side of this fairly pedestrian album.

Thrown into Exile EP, 2013
Safe Inside Full-length, 2016



Based on the full-length debut, this act play fierce lightning-speed retro thrash which is inevitably graced by shades of hardcore the latter suiting better the rough, unpolished production. The guys know no mercy thrashing like demented till the end, and the headbanging fun will be guaranteed especially on the purer thrashy entertainments ("Rise the Revolution", the early Metallica worship at the end "Ready to Punish"). The vocals are harsh and throaty, and shout intelligibly for most of the time. Some of the band members also play in the deathcore formation Broken Neck.
"Rage and Rebellion" doesn't slouch and the guys mosh with passion the whole time although the overall delivery is a tad more controlled featuring a couple of less energetic stomps ("My Brain, My Riot!", the modern groover "Antipatriots") here and there. The hardcore "sting" is also felt including on the varied merrier closer "Infesting The Enemy".

Burning the Liars EP, 2014
Rise the Revolution Full-Length, 2015
Rage and Rebellion Full-Length, 2018

Official Site


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 earliest 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 isn't so deeply immersed in speed, if at all, but offers decent power/thrash clinging between the modern and classic trends. The more vivid moments are the re-mastered version of their first composition "Sceptre", also featured on the Sceptre demo, and the 80's American speed/thrasher "Night of Fire"; "Fire at Will" also "fires at will" more aggressive faster riffs on occasion, but most of the time the music is mid-paced and heavy. The bonus material at the end is in the form of the original "Sceptre", where one can again appreciate this primal spontaneous slab of early speed metal, and the nice galloping power/thrash instrumental "Baptized in Blood", also composed in 1983, and quite a pioneering piece for that period, but not released anywhere until this time.
"Abysmal Fear" is more uneven, but is almost as good mixing staple power metal hits ("Struck By The First Stone") with surprising brutal thrash/deathsters (the very appropriately-titled "Brutal Assault") splitting the albums into two contrasting sides. Later on one can hear the energetic speedster "Into The Blackest Hate", the dramatic power/thrasher "Shroud Of Blasphemy", the speed/thrashing fury "Into The Blackest Hate", etc. Things get a bit messy in the middle with the uncontrolled blasts on "Tormented Contradiction" which ruin an otherwise good pounding semi-technical piece. Then comes the slower doom-esque "Abysmal Fear" before "Nocturnal Within (Forever Dark)" shows more technical prowess within just 3.5-min. Don't expect two of a kind here, though, and "Burnt Offerings" is another heavy dramatizer with dark doomy overtones the latter overtaking completely the following instrumental "Screws To The Skull". The brutal rhythms return for one last time on the closer "Chamber Of Lost Souls" which is a wild technical thrash/deathster consolidating the uneven character of this album which tries to embrace quite a bit when a more concentration on the technical side could have probably produced better results.

Night of Fire Full-length, 1999
Abysmal Fear Full-Length, 2012

Official Site


Based on the "Objection Overruled" demo, this act specialize in potent "crunchy" power/thrash which shreds hard at times, still in a dominant mid-pace without any faster temptations. The guitars come with a strong noisy edge, but the guys mosh on unperturbed and create very cool music with a few delightful technical hooks on "Theoretic Poison" and "Inspector Snake" the latter a major galloper with razor-sharp riffs. The singer is another asset with his emotional high-strung performance recalling both Bruce Dickinson and John Arch.

The self-titled demo is another killer the guys sticking more to the more conventional American power/thrash metal patterns, but the crunchy rhythms on "Beyond Recognition" and the good soulful ballad "Father" ensure pleasant moments with this slightly roughly-produced effort which also serves something more progressive on the final "Opposition" with a flavour of Fates Warning, except for the brutal exiting break which will make quite a few fans jump in surprise.

Objection Overruled Demo, 1991
Thump-N-Crunch Demo, 1992


Based on the "Thunder Attack" demo, this band play good classic speed/thrash metal ala Warrant, Vectom, 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.
"Heavy Metal Rage" is a cool tribute to all things old school concentrating more on the speed metal side the aforementioned influences still standing on their sleeves. The music is fast and energetic with melodic guitars and the staple gruff semi-clean vocals. The cheese is aptly avoided the whole time the band marching on with intense riffage the more melodic relief coming from the lead department. The closing "Heavy Metal Rage" should have done more, though, in order to deserve the album-title: it's a milder power metal rocker with retouched galloping riffs and epic colourings throwing a slight shadow over an otherwise cool nod to the days of yore.

Thunder Attack Demo, 2004
Thunder Strike Back Full-length, 2005
Hymns of Wrath in This Metal Age Full-length, 2008
Heavy Metal Rage Full-length, 2011

Official Site


This band provide decent semi-progressive classic power/thrash which starts promisingly with the excellent diiverse opener "Bonequake", before "Rift" offers a more linear pattern, and "Free At Last" deletes all positive impressions with a never-ending array of quiet, meditative sections. Later on the band mmanage to produce a few more interesting rhythms, but their impact is still not sufficient to make this effort a sure pick for the thrash metal fan.

Where Are the People? EP, 2016

Official Site


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

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

Official Site


Lashing bashing thrashcore expressed with short direct tracks and shouty agonizing death metal vocals. Things get out of control at times when the guys move onto pure grindcore, but this isn't really a complaint the band providing numerous chances to pogo into oblivion because this is what this compulsive, spontaneous effort is all about.

Thunderfuck Full-Length, 2012


A capable cross between modern and classic thrash with playful speedy rhythms becoming heavily groovy ("Murderer") on occasion, with "Southern Whorehouse" being a nice tribute to the rock'n roll boogie of Motorhead, suatained in a good Southern vibe, with an appropriate half-sober vocal support.
The full-length is another merry roller-coaster the hardest-hitting track on it being the title-one from the EP; the other material sounds a bit more optimistic and melodic, but equally as speedy: check out "City Of Doom". "Murderer" is almost doom, but there are plenty of energetic rhythms to be encountered on this frolic merry-go-rounder which gives a nice Motorhead-ish twist to the southern country-esque sludgefests on the closing "Southern Whorehouse".

Hate EP, 2010
Hell Trip Full-Length, 2012

Official Site


Modern power/thrash/post-thrash/doom; a varied amalgam which is more on the calmer side with friendly mid-paced rhythms provided aplenty those accompanied by sparce, but quite impressive bassisms and some tasteful melodic lead sections. The only "shadow" in this relatively optimistic picture is the gruff low-tuned death metal vocalist who doesn't interfere a lot, and is actually a tad suitable for the more officiant, doom-laden material (check out the doom metal behemoth "Beyond the Seventh Sea": vintage early Cathedral!).

Thoughts & Thunder Full-Length, 2014

Official Site


The full-length: the Far East comes to us with this slab of dynamic retro thrash with modern production which is modelled along the Bay-Area lines: think early Exodus, above all, and Death Angel. The tempo is up with several more lyrical deviations ("Imperious Regime") which are short and don't detract from the assault-like listening experience. There's not much variety in the execution except for the more clever, technical approach epitomized on the closer "Possessors of Absolute Power" which could occupy a niche on Heathen's "Victims of Deception". The singer has a mean semi-clean voice which he doesn't strain too much, but leads the show with authority.

All That Is Left EP, 2009
Fear The Hunter Full-length, 2014

Official Site


The album title (the debut) 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. Engaging head-banging thrashers ("Art Terrorrist") are mixed with some impressive technical pieces ("Our Lady of Lunacy").
"Enemy at the Gates": the band are back after a long hiatus eager to thrash the neighbourhood and beyond. The opening title-track is already a major neck-sprainer its vitriolic character greatly helped by the excellent production. The attack continues all the way shooting fiery riffs at close range those becoming mildly technical ("My Brain Is Dead... Reactivate It's Too Late"; the short ripping technicaller "The Culptit Chaos" already heard on the debut) on occasion. "Horror Paradise" would be a crowd mover with its stomping mid-tempo riffs and a sudden speedy exit as well as the cool bonus track "Parabellum" which is a nice varied speed/thrasher with good screamy leads. The band traditionally don't disappoint, but during the time they were away the Italian thrash metal scene has been enriched with young talented acts, and now it may be a bit tough for them to stay on top.

"Survive at Last And You'll Be the First" stays faithful to the blitzkrieg style of the debut, and there'll be hardly a fan disappointed the guys thrashing their hearts out with clever more technical "winks" provided ("Commandments", "I Win") handsomely here and there. "Thrashmegistus" is a cool "occult" thrasher aptly supported by the new version of "The Gate Beyond" which isn't really altered dramatically. "React" arrives near the end to make the more serious fans listen with care to the more stylish execution again; and the final "No Light Out There" is another remorseless headbanger finishing this album with the high note it richly deserves.

The Power To Thrash Full-length, 2003
Survive at Last And You'll Be the First Full-length, 2006
Enemy at the Gates Full-Length, 2013

Official Site


Later members of that band went onto bigger glories and lay the foundations for some of the finest technical exports from Italy: Gory Blister, Sadist, Node, Will O'Wisp, etc. On this 3-song effrot the band insert quite a lot of music and some of the shreds here can seldom be reached even by the most talented acts around. The compositions are lengthy (7-8min) and the riffs come piling up to a somewhat disorienting effect at times the relentless shredding accompanied by stylish bassisms. Speed is hardly covered the guys obviously fascinated with the labyrinthine structures of Atheist only that the passages are longer here the Italians obviously having more patience building those complex landscapes without ever losing the plot. Some more aggressive rhythms sneak in at the beginning of "Bewaring of Myself" as well as nice angelic female vocals as opposed to the main shouty death metal ones, but later on this song is another immaculate display of technical musicianship to which the Italian music scene was a "stranger" at the time. It's kind of sad that the guys never lasted beyond the one-EP-wonder stage...

Thy Nature EP, 1995


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

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

Official Site


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


The debut: this Spanish act provide dark pounding thrash of the old school which betrays its origins with the annoyingly abrasive guitar sound and the harsh quarrelsome vocals. The guys deliver seismic steam-roller stuff reminiscent of early Xentrix and the ballladic/semi-balladic passages are not late to spring up ("Ego"). The problem is that this heavy wall of mid-paced rhythms will wear thin well before the end the guys leaving the more dynamic moments for the final duo "The Master Piece" being an interesting diverse shredder, and the closing title-track is a dramatic piece with a few faster sections which aren't enough to compensate for the previous tedious performance.
"Where the Gods Fall": the delivery hasn't changed dramatically from the debut and the guys carry on with their monolithic steam-roller approach which now "flirts" with groove, industrial and epic doom to muddled results. The listener will get tired sooner this time listening to this monotonous never-changing affair which only strife at redemption would be the cool dramatic accumulations on "Where the Gods Fall".

Thybreath Full-Length, 2013
Where the Gods Fall Full-Length, 2015

Official Site


A heavy groovy affair which obeys the 90's post-thrashy canons with gruff aggro death metal vocals. The music also borrows from sludge and stoner the band never tempted to attempt something mre lively and dynamic, and this unmelodic chugga-chugga saga may get on the listener's nerves way before the end.

Salvation By Bloodshed Full-Length, 2017


Modern thrash/death which could be very uplifting ("Bury Me") with epic gallops incorporated, but generally the delivery isn't very dynamic the guys settling for heavy quasi-doomy rhythms excluding the short jumper "Damned at Midnight" and another more optimistic galloper, "E.O.S.". The rest is way more officiant and progressive-prone like the imposing 11-min closer "Carving the Throne".

What We Left Behind... Full-length, 2017

Official Site


Based on "The Irony Of Fate": we have whole 16 tracks here, but this isn't thrash/crossover; the songs are lengthy 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 wouldn't be able to enjoy this stuff very much, but there's a lot which could appeal to the metal fan in general.

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


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


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

Born Hope EP, 2010


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

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



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 isn't too far. Still, there's 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


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 the awkward bluesy/jazzy tunes inside ruin the intentions. The ballad "Don't Regret" is cool, though, but make sure to skip the other one: the overlong closer "Say NO Yourself" which is a total waste of 12-min, and does nothing to add up to the metal mood of the album, except for an even more embarrassing speedy part at the end. As a whole we have a very uneven effort which more inspired moments are hopelessly buried in the average unfocused rest.

Poison Of Sorrow Full-length, 1997


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.

HSlt nicht an fnr 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

Official Site


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

My Space


This is the name of this multi-instrumentalist who is in charge of everything here for the production of this modern technical/progressive thrasherism which relies on dramatism and atmosphere as well as the odd stylish melodic lead section (check out "Longing for Clarity"). The man reaches heights on virtuoso pieces like the diverse "Beyond Sanity" which blends aggressive shred with enchanting melodies the latter taking over on the closing "Endless Forms" which is a lead-driven instrumental with a few impressive bassisms. This is an inspired effort which should expose the guy to wider circles who should, by the way, make some amendments in the vocal department: his hoarse semi-death metal antics are not a match to the much better music.

Morbid Desire EP, 2012

Official Site


The modern thrash/post-thrash saga still continues here and there in the new millennium, and this act are another proof of that. The guys keep the dynamics high with ripping marchers like "Ivory March" and more intense headbangers like "V.O.M.B.E." and the more varied shredder "Macrominus". "Bury Me Down" is a nice dramatic doomster, and the closer "Corpses and Unicorns" is another fast-paced cut with shades of melo-death. The vocals are not bad attached semi-clean shouty ones, and add up to the energetic feel of the album.

I Full-Length, 2017


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

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


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

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

Official Site


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

Official Site


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

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

Official Site


Modern melodic thrashcore with a few more interesting classic references to the early Suicidals; this is party optimistic music which could have been served with a bigger number of speedy catchers: most of the numbers are in the mid-paced parametres including most of the short (1-2min) ones. The singer is a drunken semi-declamator, but suits the merry tone of the music.

Take Control! Full-Length, 2013


This is very diverse progressive power/thrash whihc changes the influences at will coming with a strong orchestral atmosphere the latter enhanced by a creepy keyboard presence. The intense thrashy rhythms get lost at times in the sea of other nuances which is a pity since when the band start pulling technical tricks out of the bag, the approach reaches Zero Hour ("Protector Of The Brave") heights with ease. Alas, the pretentious pompous atmosphere reigns supreme for most of the time marring the other attempt at progressive/technical thrash greatness "Wardrums". The main singer is a clean mid-ranger, not bad, but he's often interrupted by a very gruff death metal-ish one which by all means adds up to the diversity, but "kills" the more lyrical sections. The guys are also active with the progressive power metal stalwarts Janus Experiment.

Tip the Balance Full-length, 2014

Official Site


Based on the "Driven By Terror" demo, this act, who rose from the ashes of the thrash/crossover heroes Axite, provides a pretty decent blend of power, speed and thrash metal which rips with sharp edgy riffs and varied tempos among which the up galloping one is very well incorporated ("Infernal Inferno", "Puppet Regime"), and applied frequently to a positive effect. "Untold Truth" is a raging speedster with early Kreator an obvious influence, and "Death Watch" is a cool nod to the Bay-Area. The vocals are forceful semi-declamatory ones which get the message through without much actual singing.
The "Fuk You Very Much" demo is a more moderate affair thne gallops put under tight reins siding more with the US power metal brotherhood than with thrash, the title-track ensuring some more energetic approach with bouncier rhythms, but also with cool melodic implements.

. Demo, 1989
Driven By Terror Demo, 1989
Demo Demo, 1990
Fuk You Very Much Demo, 1994



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

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

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

Official Site


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

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

My Space


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


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

Nh8n Full-length, 2010

Official Site


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

"Life Apocalypse" will make your life "apocalypse" with its constant speedy barrage which manages to take over almost completely over the several not very convincing epic moments. The more aggressive attitude is well accentuated on full-ahead headbangers like "Road To Ruin" and "The Abyss" which will keep your adrenalin high due to hyper-speedy moments some of which come decorated with sparce blasting sections. The dominant fast-paced delivery in the end is relieved by the short acoustic instrumental "A Wound That Never Heals", but expect the next "Hollow Gods" to blow your socks off with hyper-blasts ala Dimmu Borgir and Emperor. Yes, the diversity here is bigger, but hardly to a very positive impression, the final winners in the long run being the direct short blitzkriegers ("Divided We Fall") which should have been more. The guys have hardened the course quite a bit, but they hardly need assistance from the more extreme side of metal which would eventually turn them into just one of the many extreme metal purveyors of recent years who try to pack as much as possible without any certain focus.
"Chasing the Devil" doesn't bear any surprises for the band fans the speedy moments prevalent this time making this album an updated version of the "eagle fly free" 90's power/speed metal scene. The thrash metal fans may not be enormously entertained although the closing "The Endless Light" should make quite a few heads bang in unison as a farewell touch to this decent, but hardly exceptional product.

Into The Fire EP, 2009
The Divine Equal Full-length, 2010
Life Apocalypse Full-length, 2012
Chasing the Devil Full-Length, 2015

My Space


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

Tiwanaku Demo, 2003

Official Site


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

Official Site


Based on "Against the Real", this act pull out the traditional for their country melo-thrash/death, maybe a tad more varied and more melodic. Still, the shadow of Dark Tranuillity ane arly In Flames can't be escaped too far and the listener can't help but feel strong currents of deja-vu while savouring this album. Make sure not to miss the lead-driven balladic deviation on the closing "Ghosts"; pure elegiac bliss.

State of Nothing Full-length, 2012
Against the Real Full-length, 2015

Official Site


Modern thrash/death played with a tinge of technicality; the guys alternate slower, pensive numbers with short raging ones the effect from the latter being a pretty squashing one since on those the guys unleash quite a bit of hell with the sparce participation of the blast-beat. Otherwise the overall approach doesn't stray too much from the so well established Swedish formula and consequently the initial element of surprise will wear out soon. Some of the musicians also play in the more classically-oriented thrash metal outfit Sniper.

To the Marrow Full-length, 2012



Based on "7", this band play modern power/thrash which relies on heavy volcanic riffs the latter not very far from touching doom ("Killzone"). Consequently the dynamic moments aren't many at all and little excitement is generated at the end the pedestrian hoarse semi-clean vocals not contributing much to it.

To the Pain Full-length, 2013
7 Full-length, 2015



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

Spazz/Toast Split, 1996


"Guitar Distortion": is it not a coincidence that two guitar wizards have decided to release all-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 little 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 three albums released so far. In the meantime, to keep himself busy, he plays in two other bands: the death metal-based Godless Rising, an excellent guitar virtuoso-inclined act, and Seeking Obscure, and also founded the black metal outfit Waxen which is virtually one man: Toby Knapp himself playing all the instruments. He never forgot about his solo career, though, and kept on releasing works under his own name: "Polarizing Lines", an almost purely instrumental effort of laid-back progressive metal shred with two more intense speed metal pieces; and "Misanthropy Divine" which is close to the Onward style, just heavier and more complex with nods to thrash (check out the awesome bonus track "Misanthropy's Reprise": technical instrumental thrashfest at its best), also featuring vocals courtesy of Dean Sternberg from Into Eternity.

"The Campaign": 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't stop wondering why so many bands keep ruining it all by including the very odd totally misplaced number in an otherwise excellent release; the examples are too many...). After you skip this non-sense, you'll come across "Reanimation", a furious black metal-laced composition with technical thrash implements and suitable husky black metal vocals. "Plutonium Race" is another all-instrumental tribute to the 90's power/speed metal scene, a very enjoyable diverse piece. The final "Lack of Inspiration" is heads-down headbanging thrash of a more ordinary nature with vocals again, a nice mosher with Bay-Area overtones. With Onward no more Knapp may focus more on his solo career now which should be only beneficial to the fans judging by the high diverse quality of the material on offer here.

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

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

Official Site


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

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

My Space


"David and Goliath": 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. The band members later played in the power metallers Mystic Alliance who appeared very soon after Tokkata became history. The band were renamed The Alliance in 1997, and produced one album ("Time", 1997) of shabby modern post-thrash.

"The Waiting": the guys didn't have to keep their fans "waiting" and here they are with a second demo the same year. The title-track opens this ambitious effort with some impressive progressive thrashing in the vein of Mekong Delta again and Target: puzzling riff-patterns, sudden time-changes, and weird twists await you for over 8-min the adventurous musical delivery topped by better, more dramatic clean vocals; it's the same singer, but his performance now is more convinciing although still playing a secondary role to the superior music exploits. "Money Rules" is another surreal speed/thrasher, a befuddling shredder second to none with atonal guitar decisions and interesting melodic deviations some of them in the lead department where the guy hits the top in the middle with a standout Alex Scholnick-like ethereal passage. Then comes the monstrous 12.5-min opus "Death Dreams (In Your Mind)" which thrashes wildly for at least half the time and there's no boring moment later the listener encountering some abstract shreds with a dirge-y reverberation; an awesome composition achieving a seldom heard symbiosis between impetuous fast-paced sections and labyrinthine bewildering ones. This is another no-brainer for the technical/progressive thrash lovers showing arguably the most talented underground heroes in Europe, and probably worldwide; the best metal outfit who never reached the official release stage, one of the most notable representatives the German progressive/technical thrash metal wave of the early/mid-90's.

David and Goliath Demo, 1991
The Waiting Demo, 1991


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


Based on the "Pointless" demo, this act serve insired progressive power/thrash which is ultimatelt marred by the very bad sound quality and the not very convincing dispassionate clean vocals. The band try hard to thrash with brains, but there's also a fair number of more immediate cuts ("The Underdog") which kind fo work better since the longer, more complex ones get lost in too many ideas which make them somewhat plodding exrcises in style and little substance with too many balladic/semi-balladic digressions.

Blinded by Darkness Demo, 1993
Pointless Demo, 1994


Hats down to Tom Angelripper that he finds time to play some music outside his main band, with whom he kept himself quite busy during the 90's. Here he entertains himself in a pattern similar to what the Tankard guys did with Tankwart: this is jolly, sung entirely in German, rock'n roll thrash not too far from Motorhead or the Sodom albums from the mid-90's. It's not heavy or brutal, but is enjoyable uplifting music, which could serve perfectly as a background on many parties. At about the same time Angelripper put up another formation with a similar sound: Desperados.
"Nunc Est Bibendum": Mr. Angelripper finds some more time to record under his own name, and the fans of his side projects (Desperados) will be happy to hear this frolic thrash'n roll which gets nicely speed metal-lish ("In Junkers Kneipe", "Wie das Glas in Meiner Hand") on occasion, but stoner/doom has been touched ("Bier") has been touched more than just now and then. The drinking party goes on unabated spiced with nice rockish tributes to rock/metal legends ("Lemmy Macht Mir Mut"; "Bon Scott Hab Ich Noch Live Gesehen"), famous metal festivals ("Auf nach Wacken"), popular German tunes ("Ein Heller und ein Batzen": remember Accept's "Fast as a Shark"), and, above all, drinking (the sing-along 90's power/speed metal hymn "Drink Doch Ene Met")!
"H.E.L.D." is the expected merry roller-coaster sung entirely in German again, full of catchy memorable hooks also accelerating on occasion (the crossover joy "Ein Bisschen Alkohol" and "Im Suff"). The rest of the tracks are more on the stomping mid-paced side, but all contain the playful dancey attitude which Angelripper has made his staple with the albums released under his own name. Watch out for "Auf Gedeih Und Verderb" near the end, a formidable (compared to the dominant material here, of course) thrash/crossover cut comprising some really heavy macabre riffs.

Ein Schoner Tag Full-length, 1995
Ein Trochen voller Gluck Full-length, 1998
Ein Straubb bunter Melodien Full-length, 1999
Ich Glaub' Nicht An Den Weihnachtsmann Full-length, 2000
Bon Scott Hab' Ich Noch Live Gesehen EP, 2004
Nunc Est Bibendum Full-length 2011
H.E.L.D. Full-Length, 2014

My Space


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

Dead City Full-length, 2001


Based on the split with Glass Coffin, this act plays old school thrash/death metal close to the Swedish field (Unleashed, Entombed, Merciless) with the odd black-ish blast-beat added. The sound quality is not very clean making the gruff death metal vocals not very audible at times.

The other split, with the black metallers Dawn of Wolves, shows no changes in style the guys producing the same death/thrashy mixture "courting" both styles sustaining a steady fast pace throughout, loosening it up a bit on the final more relaxed Motorhead-ish "Bleak".

The self-titled EP is another short (4 songs) thrash/deathy roller-coaster producing the same energetic music, this time coming closer to the more modern currents of the Swedish movement (more recent Dark Tranquillity).

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

My Space


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

Not for the Squeamish Full-length, 2010

My Space


A power trio playing modern thrashcore on the more comprehensive, melodic side of the spectre so expect mostly mid-paced riffage with a huge doom metal behemoth ("Earth Echo") thrown in the middle. The rest is playful stuff without too many thrashy merits. The singer shouts quite a bit overtaking the whole space when in action.

Tomes Full-Length, 2015

Official Site


Based on "The Necromancer", this act which not surprisingly features Tommy Concrete, a former member of the punk/thrashcore legends The Exploited, settles for a larger-than-life mixture of black, thrash and doom metal all the three genres represented on the imposing 8.5-min opener "I Feel the Power of the Devil". Later on the environment remains long and complex as the majority of the tracks easily go over the 7-min mark, but thrash metal isn't given too many chances to shine as black metal and other eclectic insertions take over to make this a larger-than-life, often quite rutal and blasting, opera Tommy shifting quite far away from the much more simplistic approach of his former colleagues.

This Can't Get Any Worse Full-Length, 2014
The Necromancer Full-Length, 2016

Official Site


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

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

Official Site


This outfit provide crunchy mid-paced modern post-thrash which shreds its way with steam-rolling guitars and aggressive deathy semi-shouty vocals. A more serious approach can be felt on the semi-balladic "In My Dreams" which also contains a nice speedy section. The rest has a heavy, but pretty peaceful tone which flops on the overlong doomy ballad "Clouded World" which is 8.5-min of sleepiness. Laid-back punkish jokes come at the end to put a finish to this not very interesting entry into the 90's groovy catalogue.

In the Course of Time... Leading to Decrease Full-Length, 1996


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 of "Reaper". The mainman Rob Graves had another project previously: the thrash metal outfit 8mm Overdose (one full-length released) who had actually changed their name from Machine (two full-lengths released), and are currently still operational under the moniker Corrupt Absolute. Here Rob is helped by the former Nunslaughter vocalist Don of the Dead.

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

Official Site


Based on "Outsold", this act play interesting modern progressive thrash which is both melodic and semi-technical both sides having enough time to evolve due to the lengthy compositions. Some cuts are of the doomy variety ("Bad Company"), but the dynamics doesn't get lost a lot there as the guys shred with conviction adhering to the casual fast-paced motif ("Rebellious Tendencies"; the intense beginning on the title-track; the closing ripper "There's Just One Escape") here and there. The overall tone is quite officiant with Nevermore coming to mind on a few moments, among other practitioners from the progressieve metal spectre. The singer is quite good with an attached clean tember never risking his voice beyond the mid-range.

On the Brink of Destruction Full-Length, 2010
Outsold Full-Length, 2014

Official Site


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 isn't stuff for headbangers although the guys sometimes spice things with more energetic tempos: "Pornochild", and their slower, almost balladic side is the more attractive one: the gothic, atmospheric "The Last Abduction", "N.N.S.B.T.". Some songs are interesting takes on technical, progressive thrash with a late-period Coroner flair: "Behemoth & Leviathan", "One". For fans of less ordinary, unconventional thrash this album is a must.
"Beast of Soil and Burden": if this isn't a pleasant surpasie, I don't know what is: underground heroes from the cold Scandinavian North are back after a lifetime of hibernation. And not only that, but the guys are determined to claim the crown which proved so elusive to them some 16 years ago. The opening "This Present Darkness" (there was no song of this title on the debut) is a great progressive power/thrasher superseded by the more officiant doomy "Universal Heaven". The ship-sinking rhythms encountered so far forebode a slightly one-dimensional affair, but comes "The Visionary" and "visionary" technical riffs are served immediately the latter having strong echoes of Coroner and Despair. "Darkness Before Justice" returns to the heavier patterns on which the guys have seemingly worked on during their dormant period since they sound quite proficient, almost as good as energetic lashers like "Rest of and Age Of Unrest" and the cool alternation between fast thrashing and quiet meditative sections titled "Ex Nihilo". "Blinding Silence" is a faster-paced progressiver influencing the closing "Ravaged Mind" which thrashes intensely in proto-up tempo manner adding another portion of more inventive technical riffage. The fans should welcome back these talented folks who may eventually stick around for longer this time and produce a few more efforts of high quality progressive power/thrash in the years to come.

...This Present Darkness... Full-Length, 1999
Beast of Soil and Burden Full-Length, 2016

Official Site


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

Breakneck Speed Full-length, 1993

Official Site


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

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

My Space


Modern thrashcore which is briskly executed with short (2-3min) tracks which are are seldom more rigorous Slayer-esque cuts ("Thamus" which even goes towards death metal) staying within the mid-paced parametres the heavy sound topped by vicious, shouty death metal vocals.

Too Late Full-Length, 2016


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

New Anatomy EP, 2011


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

"Righteous Retribution": the band join the thrash metal resurrection movement and show their relatively familiar face from their early stages serving an acceptable slab of the good old power/thrash which alternates between hard-hitting headbangers ("The Ultimate Act Of Betrayal") and more relaxed power metal hymns ("I Must Destroy") which occasionally grow into heavy doom-laden pieces ("Return Of The Gods") in the middle. "Prove Me Wrong" arrives to stir the heads with intense galloping riffs, but in the second half the approach is more on the heavier, power metal side with frolic melodies ("Rise From The Flames") galore. This effort hardly beats any of the guys' previous achievements, and may not make them major contenders for the metal throne at present; but will make a few heads nod in agreement with this faithful rendition of the old school canons.

Bastard Ballads Full-length, 1988
God's Gift Full-length, 1990
Eden-Beauty And The Beast EP, 1991
Cynical Eyes EP, 2011
Righteous Retribution Full-Length, 2013

Official Site


These Czechs play energetic retro thrash which is unfortunately obstacled by the rough sound. Otherwise this is fairly well constructed music which mixes fast and slow rhythms topped by not very appropriate gruff shouty vocals. The approach is mostly straight-forward, but there are several more quiet moments which are an "oasis" among the dominant merciless shred which comes close to Viking and Torture, and also give this effort a nice more serious "colouring".

Co Zase Mas EP, 1995


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

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

Official Site


The debut shows an act who are intent on spicing the dying retro thrash formulas with a hefty portion of doom/death. The resultant mixture has its moments, but often does it sound like an underdone slab of either isolated deathy brutalisms ("Abysmal Malevolence"), or morose monotonous doomisms ("Resort to Mortality"), or casual energizing speedy thrashisms ("Genocidal Confessions"). This isn't a very homogenous effort, but fans of the style should be able to savour the headbanging potential of cuts like "Apathetic", or the officiant pensiveness of the closer "Beyond the Veil". Worthy of mention are also the short atmospheric instrumentals scattered among the compositions.

"The Essence" tries to capture "the essence" of the band's style and as such tries to compensate for the relative lack of speed on the preceding album with the rigorous opener "Invisible Truth", pure death metal madness which carries on with a pinch of atmosphere on the following "Sinister Seduction". Expect supreme doom on the twisted gloomy "Voice of Power", the band's finest achievement. "No Rest in Peace" brings back the attack from the beginning which is missing from the dramatic title-track, but is brought back with style on the technical diverser "Cry of Madness" which indeed ends with "a cry of madness" in the form of a wild blasting exit. "Traces" is another clever piece with death metal taking the upper hand to produce a varied metal opera for about 7-min. Again there's a certain presence of short instrumentals which are very appropriately used creating an additional boost to the dramatic approach which gives both albums a fairly individualistic nature.

Beyond the Veil Full-length, 1992
The Essence Full-length, 1993



Just one guy is behind these 3 tracks of energetic Motorhead-ish speed/thrash with a few more evil blacky overtones also reflected in the good cover version of the Japanese Sabbat's "I'm Your Satan" at the end. The man sings in an evil semi-declamatory fashion not really singing much, but providing the appropriate oral assistance to this direct, simplistic barrage.

Contract Killer EP, 2012

Official Site


These Argentinian lads pull out rigorous old school thrash which lashes fiery riffs to no end those coming a bit abrasive, but appealing nonetheless. Few will be the ones to stand still on spontaneous headbangers like "Noise in the Dark" and "Al Medio de la Sien" which bring the worlds of both Slayer and the Bay-Area together. "Destino" is a more ambitious progressive thrasher with pounding technical riffs assisted by virtuoso screamy leads. "Innocence Profaned" carries on with the more technical execution, albeit on a more restrained mid-tempo base. The title-track moshes hard with reckless abandon and a few more stylish flourishes, and "The Violence Virus" is vintage raging Slayer. "Resentido" is another excellent technicaller with squashing rhythms taking turns with intricate decisions and very good melodic lead sections. All the way to the closing "Thrash un Sueño", another relentless mosher, by all means deserving its title, finishing this very cool effort with the requisite doze of high energy.

Natural Retaliation Full-Length, 2016


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

Tales of Death Compilation, 2011


There's only one person behind this project, the name Camilo Soler, who acquits himself with dark heavy riffs on a noisy background which takes away from the guitars' sharpness although the man produces some stylish moments ("The Edge Of Destruction", "To Miss The Life Is The Result": check the cool leads on this one) bordering on the technical and the headbangable. "Last Days" is a stage sweeper, a wild thrasher with a rapidfire approach, but the guy tears it loose on the brutal death-laced "Planet Of The Humans". Near the end the songs become longer with clear progressive pretensions, but one may mourn the loss of speed the closer "Alone" turning into a merry heavy metal anthem, not a very fitting finish to this vigorous effort. The man hasn't practiced a lot in the vocal department: his rough death metal tember creates noise rather than "singing" atmosphere.

Inspired for the World Demo, 1997


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

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

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

Official Site


Based on the EP, these Italians offer intelligent old school speed/thrash with sophisticated technical moments. Speed and technicality finely co-exist on almost every composition with the aggressive bashing shreds at times taking over (Suffered Life"). "Scars Remain" is a creepy bulldozer sustained in a suggestive mid-tempo for most of the time, and the final "Upset Reality" will "upset" your "reality" with a portion of nice puzzling riffs and a few intense galloping rhythms. This is a really good effort which should easily find a place on the metal scene, even with these unsuitable gruff low-tuned death metal vocals.

"The Damage Is Done" indeed; it was already done by the band's previous efforts, but this new proposition sees them strike hard once again. The guys bash without mercy producing venomous toxic crescendos along the way the approach now coming close to mid-period Death ("Spiritual Healing", in particular), but the more familiar speed/thrashy delivery appears in the middle on "Chaos Lords" although the death metal shades are preserved later on the shorter numbers near the end exhibiting a lot of power and dramatism the closing "Forced Cynicism" being a sweeping thrash/deathster with very piercing screamy leads and furious tempos. The singer now sings more comprehensively and it seems as though the musical approach has been adjusted to his brutal rendings which in this case is only a plus.

The debut is already on an admirable level music-wise the band thrashing in a clever semi-technical manner again reminding of early/mid-period Death with its sophisticated proto-deathy undercurrents which bear the more complex "Pathology" which opposes to the rest of the material the latter shorter and more dynamic among which "Illusive Tranquillity" is clearly the highlight, a cool stylish headbanger also recalling early Pestilence; with the speed/thrashing closer "Living Mannequin" a close second.

Suffocated Dreams Full-length, 2008
Scars Remains EP, 2010
The Damage Is Done Full-Length, 2012

My Space


For a full-length this album has a fairly muddy sound quality which severely obstructs the band's efforts to make themselves heard which is a shame since they don't sound so bad producing heavy more elaborate power/thrash which doesn't often leave the settled mid-tempo also serving a cool acoustic ballad ("Pyramid") amongst the monotonous mid-pacers which may make the listener lose interest near the end where the sound also becomes worse with an echoing garage-like noise accompanying the guys' musical endeavours which also include a weak clean mid-ranged vocal performance.

The Apparition Full-Length, 1988

My Space


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


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

Sigils of the Ancient Ones Full-length, 2000

Official Site


This is a slightly uneven mix of retro and modern thrash metal which has quite a few classic "sparkles" (the moshers "Fuel of Hate" and "MAD", and especially the brisk explosive "Silent Death"), but for most of the time doesn't really offer anything too exciting or new moving in a predictable mid-pace with semi-sharp/semi-melodic riffs with rough proto-death metal vocals. "Thrash Attack" should have been done in a more vigorous intense manner: this is just ordinary modern semi-thrash, compensated by the jolly crossover piece "BGW" and the cool speed/thrashing closer "Dark Reckoning".
"Under Friendly Attack" offers a less "friendly attack", which is much more on the classic side this time, the riffs now biting harder leaving more lasting marks and developing more in the speedy dimensions, at least in the beginning. The 2nd half isn't as exciting the mid-pace taking over bringing the album down to the power metal fields until the arrival of the speed/thrashing winner "Pieces of Perversion". "Morbid Tranquility" is a heavy steam-roller with doom metal echoes wrapping it up along with the short closing balladic instrumental "Fallen Wolf's Revenge". All in all, there shouldn't be disappointed since the delivery isn't far from the one of the debut consequently not providing anything for one to consider this band stars of the show at present.

Dawn of War Full-Length, 2010
Under Friendly Attack Full-Length, 2012

Official Site

TORMENTA (BRAZIL, Ribeirpo Preto)

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

Tormenta EP, 2006

Official Site


Based on the "Deathless Strength" demo, this is aggressive thrash/proto-death, but much better than the messy efforts of many of their contemporaries. There are surprisingly good guitar melodies which fit perfectly into the very fast pace of the music which isn't 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


Although their EP dates back from 1992, it's 11 years later when the guys were back with a new release, this time a full-length. Based on "Combustible", the band wander through the metal spectre borrowing elements from thrash, speed, power and even classic heavy metal. Most of the time this mixture works well, and this is one of the reasons why Tormented don't sound like anyone else in particular. The only album I can think of, is After All's "Mercury Rising" which is another release of a very mixed, but also cool, nature. Towards the end the music loses its thrash appeal moving towards the heavy/power metal field.

The debut EP is pure speed/thrash, and quite intense at that. The guys don't rely on speed the whole time, but mix things up in a way similar to Destructor and Hallows Eve, although the better moments are the ones where the band thrash with no remorse: "Psycho Circus Clown", "Two Door Enclosure", where the approach will also recall Nasty Savage's "Indulgence". The singer sings in an authoritative, semi-clean fashion, and is the perfect match to the intense music coming close to Nasty Ronnie's antics on the more declamatory notes.

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

Official Site


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

Tormented Soul Full-length, 2004


The debut EP: competent Bay-Area thrash in a good energetic tempo with nice lead guitars, sharp speedy riffage, and rough semi-clean vocals. The guys thrash on with no remorse ("Remorse Is For The Weak": like the song-title says very well; it boasts a great melodic lead which will make you hum around), settling for speed metal for a while with the more melodic, but cool "Hammerhead", which also sounds more modern. After that the attack continues with the excellent "Assault From Beyond The Grave" which could be even on the Testament debut; again fine lead performance ala Alex Scholnick on this one. Furious straight thrash follows suit on "Pay The Price", before "Massacre On The Frontlines" offers again a more melodic speed metal twist; did I mention to check the supreme leads on this one as well? The end is preserved for a cover of their main influence: Testament's "Over the Wall".

"Hunger for Violence" features 3 tracks already heard on the previous EP (?!); the new material consists of 3 other songs, which are softer, with a speedy Exciter ("Hunger for Violence") feeling, or with a touch of the 80's American power metal scene ("Dead Man's Walk").
"Pulse of Terror" contains the aforementioned new material from the 2nd EP, but the rest of the songs are in a more intense thrashy manner: "No Anesthesia", the brutal deathy shredder "Pulse of Terror", the nice Bay-Areasque semi-technicaller "Messiah On Trial". Another maddening thrasher awaits you in the middle: "A Season in the Plague" (count your fillings after that!), before "Severe Enforcement" adds more complex, but not much slower, performance ala Paradox's "Heresy". "Assault from Beyond the Grave" is a great Testament-worship, a sure leftover from "The Legacy", followed by two more tracks of the more technical type: "Dismantle the World", which is a diverse slower, and "Pantheon of Lunacy" which is more dynamic and direct despite the peaceful balladic beginning. The band have done a good job here providing music well conformed with the ongoing classic trends without sounding trite and derivative.
"Prophetic Deceiver" is a really nice speedy roller-coaster with potent melodic guitars which this time stray from the Bay-Area influences and branches out into more flexible speed/thrash which is simply a wonder to listen to with the enchanting Oriental motifs ("Prophetic Deceiver") applied, or with the blistering solos ("Exile from Flesh") which appear all of a sudden. "Critical Stasis" is a fine atmospheric stomper with a faster twist, but the short "The Final Form" will rip your head off, a fierce piece with a proto-death metal flair. "Cosmic Collapse" is an entertaining closer lasting for over 6-min trying to insert more intriguing technical riffs into the already quite appetizing picture which may suffer a bit from the very shouty death metal vocals which even smell John Tardy (Obituary) on the more "emotional" moments. This is classic thrash at its absolute best and a major contender for "a thrash metal album of the year" award.
The "Phantom Time" EP starts with a great lead-driven intro before "Manifest Supremacy" starts "manifesting supremacy" with fast lashing riffs which are even more accentutated on on the shorter "Parasital Exposure". Then "Command Control" takes "control" with great melodic lead sections and raging riffs which stay around for the next "Re-encryption". The end is a cover of Metallica's "Motorbreath" done faithfully only the rough deathy vocals being the more prominent alteration.

Assault from Beyond the Grave EP, 2008
Hunger for Violence EP, 2009
Pulse of Terror Full-length, 2010
Phantom Time EP, 2013
Prophetic Deceiver Full-length, 2014

Official Site


Based on "Pro Patria", this Polish formation play modern thrash/post-thrash which mixes fast-paced shorters ("Total Chaos") with slower, longer epicers ("Orleta Lwowskie") the latter sounding like an almost different act with the doomy pace and the keyboard insertions taking over completely. Generally the focus is more on melody which is also reflected in the good leads and the nice hooks which could have benefitted by a more melodic vocalist: the throat here is strictly death metal-ish trying to sound more sentimental and mellower on the more laid-back passages.

Krew za Krew Full-length, 2009
Pro Patria Full-length, 2010
W Obronie... Full-length, 2012

My Space


Intense retro thrash with a few hardcore overtones; this is rough abrasive stuff which contains a fair amount of energy despite its dominant stomping, mid-paced nature. The riffs squash massively sometimes coming with a pinch of proto-groove, and steam-rollers like the closing "World Bomb" would be sitting pretty well even on "Burn My Eyes" or "Vulgar Display of Power". The singer delivers with his attached semi-shouty tone which isn't far from the one of Robb Flynn.

Against the Wall Full-length, 2011

Official Site


Very roughly-produced intense thrash/death which is built around relentless speedy crescendos the latter not very easy to decipher because of the awful sound quality and the really bad guttural death metal vocals. An inspired mess as a whole often reflected in long meandering compositions where death metal seems to be more widely covered. The last track is a mixture between Hellhammer's "Massacra" and Kreator's "Tormentor", the final and the only more sensible mish-mash.

Tiempos de Agonia, Tiempos de Muerte Demo, 1991


Based on the "Revenge Of Death" demo: this band play aggressive thrash metal bordering on proto-death with very raw bad undeveloped vocals. The overall sound comes as "a poor man's" Rigor Mortis; the guys play with intensity and enthusiasm, but the simplistic riffs aren't very nicely contrasted to the more stylish leads, and the bass is put so much upfront that it stifles the guitars to a big extent. Still, it isn't 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


The debut: the "violent world" we live in requires "violent" albums and here comes this one from Germany which raises the flag of (hate!) mid-period Kreator, also reflected in the band name mixed with more relaxed speed metal sections (the Angel Dust-worship "Feed With Aggression"). The loss of speed in the middle pulls the album down a bit although "Speaks Your Testament" tries to capture the effective mid-paced shredding of "People of the Lie", and succeeds in a way. The "tormented" vicious vocals are just an arms' length away from the early Mille delivery and suit fine the closing Kreator cover of... "Tormentor", of course!
"Morbid Realization" is the next chapter from the band's journey as the retro thrash idea is nicely reflected in blitzkrieg ragers like the title-track and the short direct "Comprehension Failed", or in the form of friendlier power/speed metal anthems like "Endless Emptiness" and the more diverse thrasher "Walk Past Myself". Both sides are mixed well as the guys manage to achieve good balance between them.

Violent World Full-length, 2012
Morbid Realization Full-Length, 2017

Official Site


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

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


Tormentor 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

My Space


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

Rehearsal Demo, 1989
\f0 Visions of Darkness Demo, 1989
Visions of Darkness Best of/Compilation, 2004
Hybrid Race Split, 2007
Tormentor Demo, 2011


A decenly executed mix of old school and more modern proto-groovy thrash with more brutal death-tinged vocals; the approach is mostly mid-paced without too many fast surprises. What may be a surprise, though, is the cool version of Joe Satriani's "Midnight" which is done in a faithful quiet manner the guitarist showing himself as a capable musician albeit for just under 2-min. Some of the band members previously had another act: Sleep-Walker, where the style was pretty much the same.

Demo Demo, 1995


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 of the Killjoy efforts to sing on the Necrophagia albums.

Fight, Kill, Die Demo, 2007

Official Site


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

The full-length is surprisingly more restrained the girls not pressing the pedal to the max this time coming up with cool relaxed speed/thrash which isn't a "stranger" to a few mid-paced cuts ("The Great Oppression",) and the obligatory nods to crossover ("Seven Feet Under", "Materialistic War") the latter the most energetic part of the album if, of course, we exclude the nice cover version of Kreator's "Tormentor" (but of course!) at the end which still could have been notched up a bit in the aggression department.

Thrashing Disorder EP, 2009
Operation Torment Full-Length, 2014

My Space


There is only one person in charge here, the alias Malice, and he produces cold misanthropic death/black/thrash metal which is mostly on the heavy, almost doomy at times, side with the casual throw of the more aggressive death metal-based cut ("Barbaric Overthrow"). The numbers are generally long (6-8min) and the "ominous" dark riff-patterns which are seldom interrupted by harsh raven-like semi-whispered vocals may wear out at some point also because of the very thin guitar sound and the not very original song build-up.

Into the Ominous Door Full-Length, 2013

Official Site


Two girls and a man/boy are responsible for this evil hellish black/thrash metal which brings together the two extremes of the style: the monotonous doomy music of Thorns and Khold, and the speedy antics of Bathory and Darkthrone. Both approaches alternate throughout the album with the slower tracks kind of delivering in a better way with their more proficient 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

Official Site


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


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

Official Site


A 4-track demo of crunchy post-thrash which most interesting part are the acoustic guitar sections inserted here and there. "Burn A Green Flag" is a cool industrial cut with dance potential akin to Front Line Assembly, but is still better than the established jumpy groovy boredom which is ably assisted by angry shouty vocals.

Apeman Demo, 1997


Based on "Black President", this band play intense merry-go-round old school thrash (for "black presidents" only, though) which is more on the playful side with frolic rhythms rolling from all sides and contagious rodeo-instigating gallopers ("Flesh Crawling Nightmare"). "T-Minus 10" is a thrash/crossover delight, but the 2nd half is harder with pure thrashers spraining necks with ease: "David & Goliath", "World Pieces", "Stop The Madness (Part I And II)", etc. The singer has a very cool clean high-strung tember which leads the proceedings reminding of both Jello Biafra (Dead Kennedys; too many "presidents" here today...) and Mike Muir (Suicidal Tendencies) creating additional uplifting atmosphere making this cool album a major anti-depressant.

Amsterdamn, Hellsinki Full-length, 2011
Black President Full-length, 2015

Official Site


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

Fire at Will Full-length, 2009

My Space


The first Phil Demmel's (ex-Vio-Lence) project, before Technocracy; the style is a capable mix of the Bay Area thrash, not far from later period Vio-Lence, of the late 80's/early 90's and the modern 90's thrash ala Pantera and Machine Head. Apparently Machine Head had 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


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

Sevenfold Full-length, 1996

My Space


These youngsters "thrashed and burnt", like the album-title (the debut) says so well, but before that they manage(d) to grant us with decent old school thrash with echoes of their compatriots Sacrifice. The approach here is perhaps a bit more friendly with more retouched guitars and more proficiently executed melodic leads (check the ones on "Incineratorr" which are a true wonder to listen to). "Direwolf" is a cool more thought-out number, and "Thrashcan" provides 6-min of clever semi-technical thrashing which also finds match later on the closing progressive opus "The Unholy Offspring of Lightning and Death" which "sacrifices" a lot of the hard thrashing for the sake of more atmospheric build-ups. The singer is a scary deathy semi-shouter whose rendings may be a bit on the hysterical side.
"The Infinity Complex": the imposing bass-driven intro inaugurates a really high-class display of classic progressive thrash which is way superior to the not very interesting debut, the opening "The Singularity" bemusing the listener with a cavalcade of spastic speedy, technical riffs and kind of chaotic screamy leads. "Hypochongea" is 8-min of varied progressive thrash with a pleiad of tempos and time shifts; and "Blinding the Beholder" is glorious technical speed/thrash in the best tradition of Paradox and their compatriots Vektor with smattering tempo-changes bordering on proto-death. The latter band are a clear influence on the newly acquired style by the guys as evident from "Thrashist Dictator" which disguises the clever thrashisms in the beginning with a quiet, balladic section; later on we have first-class technical thrash ala mid-period Megadeth and Vektor again which stays around for "Killed to Death", a twisted, unpredictable composition with a not very logical, still compelling though, alternation between faster and slower passages. The title-track is classic speed/thrash at its most schizophrenic with melodic/balladic quirks served in the middle; and "Celestial Warfare" is an engaging progressive thrash opus with loads of venomous, spastic riffage and shades of more brutal death metal-ish guitar work. All the way to the closing "Trial by Stone" which is another dazzling display of complex musicianship serving nearly 10-min of elaborate rifforamas, less tamed blast-beating parts, and cosmic arrangements not far from recent Vektor again and even Bal-Sagoth and Hollenthon. This is a very ambitious, encompassing recording which throws a lot of music at the fan, and the latter may need more than one listen before he/she learns to savour the delectable motifs embedded all over.

Thrash and Burn Full-Length, 2014
The Infinity Complex Full-Length, 2016

Official Site


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 metal, 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


This is quite unconventional stuff, based on the full-length debut: a weird mix of raging modern thrash, quite twisted at times, and ambient peaceful piano-driven passages which last for too long and would definitely kill the thrasher's desire to headbang since the guys take it easy, and don't bother to thrash their souls out very often although when that happens, there'll be a lot of moshing around. There's 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

Official Site


This is heavy post-thrash with stoner/doomy shades; the music isn't a total waste moving around in a less ordinary, semi-jumpy manner (check out the galloping insertions on "Alcala's Fate") the gruff semi-clean singer adding more to the seismic tone of the delivery. The middle surrenders to balladic pieces which may make one sleepy and nostalgic (why!?), but the cutting riffs on "El Toro" should put you back on track as well as the final portion of the headbanging rifforama which is the closing "Liberty".

Liberty Of Death Full-Length, 2013


Based on "Ravaged Lands", these guys offer straight-ahead classic thrash/death, quite well played, fast and energetic, with very brutal death metal growls. To these ears the slower steam-rollers seem to deliver the goods in a better way: "Asylum of the Damned", "F.F.P.O.S.", which come with loads of heavy riffs to crush your skull. The pure furious blasting death metal numbers are hard to be ignored, either: "Hieroglyphic Corpse"- a nice technical piece, which also adds vicious snarls to the picture; or the 2.5-min of Suffocation-like technical brilliance "Void of Light". "One Hundred Million Cries" is a nice try to adapt their aggressive style to a more progressive song-writing which loses a lot of the heaviness, but makes up with cool more melodic hooks. The remaining 4 tracks are much shorter, but the sharp technical riffage returns, and we have another 11-min of fast-paced technical madness, spiced with the casual pounding break, and finished with the short peaceful lead-driven instrumental "Beyond".

"Chain of Command" is even better: fabulous technical thrash/death metal which catapults the album straight to the top with the very first song: "Lycanthrope" which is a non-stop smashing technical aggressive riff-fest. Then comes "Gutless" which continues the assault started with the opener and sounds quite close to it, both in terms of brutality and technicality. "Sinners Fate" is all-out merciless thrash/death metal, still quite technical after which the music takes turn towards pure death metal, on the title-track: 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

My Space


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

Trial of Madness Demo, 1986

Fan Site


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


The EP: this trio from Mexico come up with brutal vicious thrash metal following closely the raw models from the early Brazilian metal scene: Volcano, Holocausto, Sextrash, etc. if we exclude the more stylish, short, screaming leads. The vocalist will stun you with his hysterical, high-pitched shriek, quite similar to the early Whiplash Tony delivery. Mentioning the Americans, the music on the best moments actualy recalls them ("Power and Pain"), too, although the aim here is at thrash, rather than speed metal.
The full-length debut is another concoction of raw, primitive thrash this time spiced with numerous crossover tricks, and consequently the approach isn't as aggressive anymore. The guitars are more clearly heard this time, and the singer doesn't shout/scream as annoyingly. The delivery is pretty stripped-down bordering on hardcore accompanied by chaotic leads coming out of nowhere and noisy drums which deafen the simplistic, but sincerely energetic, riffage.
"Heretic Glory" comes with a more proficient delivery although it's pretty much no-bars-held stuff the guys bashig with passion reaching "Pleasure to Kill"-esque extremity with ease with remorseless cuts like "Sacrilege" and "Catholic Intolerance" which are just on the edge of falling into a death metal territory. The marginally more complex material ("Betrayed By Faith") resembles Destruction and By War regarless of the several more abrasive hardcore allusions.

Souls of the Hole EP, 2008
Race Against Hangover Full-length, 2011
Heretic Glory Full-Length, 2017



Based on "Vesania", this act indulges in modern thrash/death which gets oddly complex at times without holding onto those moments for too long, ending up sounding pretty ordinary in the long run with sudden unexpected shreds of technicality (the bombastic deathster "La Gran Mentira") thrown in here and there. Still, the guys thrash admirably ("Yin-Yang") creating a lot of dynamics, even adding the odd more classic riff (the Bay-Areasque "Tortura") on occasion. The vocalist is a rough death metal gruffer who takes quite a lot of space, trying to sound authoritative and intelligible to mixed results.
"Hado": the Intro is a sheer delight with melodic stylish guitars warming up the audience, and the band try hard to provide similar entertainment later on with the melodic technical thrasher "Proyecto De Muerte" and the more diverse shredder "Su Ley" which serves great melodic Oriental hooks on top of some delectable technical decisions. The title-track gallops with the finest once again the band really finding their stride later on with the excellent dramatic thrash/deathster "Acepta El Golpe" and the more moderate semi-technical thrasher "Tu Reflejo". This offering sounds way more appetizing than the debut seeing the guys improving in almost every department except for the not very pleasant rough shouty, death metal vocals.

Vesania Full-length, 2000
Ego Full-length, 2003
Hado Full-Length, 2016

My Space


The debut: a power trio from Greece which specializes in retro speed/thrash, crossing several influences. The opener "No Escape You're Dead" is vintage early Whiplash, a fast headbanger, but the very next "Sick Dreams" is already a different story, a heavy dramatic steam-roller with vague technical allusions, and a maddening speedy outro. "Torture" has no choice, but to be a standout piece, and it doesn't disappoint with its straight fast riffage, a major headbanger. "Warthrash" carries on in the same merciless vein, but "Psychopath" is a seismic proto-doomster, leaving the damage for the following "Natural Born Killers" which is uplifting speed/crossover with a slight surrealistic Voivod flair. "Inside Hell" is all-out thrash, a song taken directly from Destruction's "Sentence of Death"; and "Born Lived And Died" is another aggressive proto-death offering with a few more relaxed crossover sections. The last two songs would be a bit of a disappointment with their laid-back gothic-laced delivery, the closing "My Friend Has Left" alone being a melancholic Katatonia-sque piece, purely instrumental. There isn't much coherence to be witnessed here as though the band are not sure whether they want to be a full-time thrash metal outfit; but when the guys step on the pedal, they deliver no worse than the aforementioned acts.
"In Thrash... ...We Trust": we, too, guys so we should be happy with what you have to offer... And indeed, fans of the debut will rejoice as now the band sound even closer to Destruction (their more recent works) as well the Schmier side-project Headhunter on the mellower material ("Pay In Pain"). The abrasive sound, whether intentional or not, kind of impedes the proceedings not giving a big edge to the guiatrs which serve something more intriguing on "Intrinsic Sadness", but the rest is strictly for the German Holy Three and their clones excluding bad rosk-ish jokes like "Fucked And Hacked".

Rotten System Full-length, 2011
In Thrash... ...We Trust Full-Length, 2016

My Space


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

Official Site


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

Winter Pale EP, 2011


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

The full-length introduces a "random" singer who's on the intense shouty side still holding a few melodic surprises along the way. The "random" musical delivery is now more simplistic and more modern the guys notching up the guitars' edge a bit, but not varying the approach too much sounding like the next modern thrash outfit nowadays. The tempos alternate the whole time, but the cliched decisions are just too many to make this music really stand out.

Random Perspectives Of Reality Demo, 2010
Random Augmentation Full-Length, 2014

Official Site


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

"The Unholy Spell" is a bit rougher, but offers the same frantic fusion of the two styles with more nods to death metal probably, and after a few listens you may find that the guitar work is even more intriguing than the one on "Pandemonuim", with more choppy and crunchy rhythms, to the point that some songs can easily be placed in the technical thrash/death metal field: the excellent speedy "Spiritual Cancer" in the best tradition of the French Massacra; the Morbid Angel-esque "Abduction Was The Case". The speed and brutality come too much on tracks like the raging "The Host" which still offers loads of technical riffs, but "Welcome Home (The House Of Eternal Night)" is a very welcome home... sorry, break, being a much calmer speed/thrash metal number, followed by another full-fledged, but more aggressive thrasher: "Under The Wings Of The Empire". The bonus track at the end is a live recording of one of their earliest songs: "A Soul in Hell".
"Hellbound" bears no surprises: a frenetic, occasionally technical mix of thrash and death metal this time paying tribute to thrash metal more. Seldom does the music go into furious death metal territories ("The Fall of Man") although there are short blast-beat sections on almost every track. "Cyberwar" is a very cool classic thrasher, and the closing title-track is a nice take on a more serious progressive song-writing with good melodic guitar work.

"AEquilibrium" is an expected wild amalgam of thrash and death metal favouring more death metal for a change from its predecessor, and as such the furious blasts have been increased present on every track to mixed impressions. The music is pretty fast with the heavy pounder "Storms" and the atmospheric gothic-tinged "The Spirit Never Dies" being the exceptions (the latter finishes in a brisk speedy manner, though, with nice melodic leads assisting). The more clever technical leanings hinted at on previous releases spring up on "Black Sun" which is a nice energetic more intriguing thrasher.
"Esquadro de Tortura" pours tones of aggression from the very opener "No Escape from Hell" which is an explosive thrasher its ferocity ably translated on the next "Pull the Trigger" and "Patria Livre". "Wardance" is an excellent progressive piece with numerous tempo acrobatics including a few less controlled blast-beats. The more ambitious delivery stays around for "Architecture of Pain" which shreds with passion and a strong sense of technicality. "Never Surrender" eventually touches death metal in the beginning before it turns into a beautiful melodic symphony with great melodic leads and some epic touches. The niceties continue with another more technically-inclined number, "In the Slaughterhouse", and the curious technical/progressive oddity "Conspiracy of Silence" which is an unusual blend of spasmodic speedy passages bordering on hardcore, brutal death metal sweeps, and more elegant cleverly-concocted breaks. The tiring execution of these cuts leaves the band more relaxed near the end with the direct lasher "Nothing to Declare" ("nothing to declare" here, really; just stripped-down violent bash), and the brilliant short elegiac instrumental "For the Countless Dead". But there's no end to ambition, and here comes the closer "Fear to the World" which is another less ordinary composition with a wide gamut of tempos and moods recalling more recent Paradox. The bonus track "A Soul in Hell" is a more immediate headbanger further nailing this album's prospective reputation as the band's magnum opus.
"Far Beyond Existence": the vigorous mosh from the previous instalments has been preserved here the band moshing out without much restraint regardless of the songs' length the average of which is 6-min. The speed has been reduced to an extent for the more laid-back playful "Steady Hands", but the rest often goes towards death metal due to the brutal ways of execution the title-track one of the fuller tributes to the good old thrash with its pounding stomping rhythms. "Torture in Progress" is a bluesy, progressive, doomy all-instrumental jam session placed at the end with a bunch of guest musicians.

Shivering Full-length, 1995
Asylum Of Shadows Full-length, 1999
The Unholy Spell Full-length, 2001
Pandemonium Full-length, 2003
Hellbound Full-length, 2007
AEquilibrium Full-length, 2010
Esquadro de Tortura Full-Length, 2013
Possessed by Horror EP, 2015
Return of Evil EP, 2016
Far Beyond Existence Full-length, 2017

Official Site


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

"The Flames Of Purification" shows that the band fans have no reasons to worry, and the comeback period is equally as compelling as the early one. The style is again quite intense thrash/death, at times straight and to the point ("Into The Labyrinth"), at times carrying a 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 isn't very fast or aggressive, and is more faithful to thrash than death metal. One of their major influences Sadus are honoured with the fierce cover of "Sadus Attack".

The debut is already an interesting listen combining mid-period Sadus with early Death to a fairly positive effect. The guys start moshing from the very first track ("Arachnophobia") which is a wild shredder with proto-death overtones. "Insane" is a curious piece with creepy twisted doomy riffs and several more intense galloping rhythms in the second half. "Evil Confession" is vintage Sadus, an aggressive fierce piece with great leads. The title-track is an ambitious progressive composition with complex technical musicianship ala Pestilence and Atheist and again, brilliant melodic lead guitars which are on a pretty high level the whole time. "Into My Own" is a stomping heavy thrasher with a few more intriguing hooks near the end. "Twilight Zone" is an outstanding technical instrumental, a compelling mix of technical and fast raging riffs; but "Back To Reality" will bring you "back to reality" being fast harsh stripped-down thrash/death metal, the sound getting a bit rawer for the closer "Demoniac Possession" which is a cool faithful cover of the Chilean thrash/death metal veterans Pentagram.
The EP will glue you to the player from the very beginning with the great 1-min lead-driven intro "Dimensi=n Cero" which is "rudely" interrupted by the aggressive thrash/death ripper "C=digo de Destruccion" which is vintage "Spiritual Healing". The infatuation with that Death album carries on with the more technical "Bestia Omnipotente", and the more speed metal-based "Guerrero Apocalfptico". "Santa Inquisicion" is a furious technical deathster with a few slower pounding sections, and "Kingdom of the Dark" follows it closely being a bit slower and more straight-forward. The leads here are not as striking sticking to short screaming, not very melodic, pyrotechnics.
Although not releasing albums on a very regular basis, this act is easily one of the most impressive representatives of the genre in South America, producing an effortless blend of the extreme and the technical ranking right beside masters of the craft like Sadus, Death, Pestilence, Atheist, Messiah, etc.
The debut split with the French death metal outfit Misanthrope is four songs of fast, intense thrash/death, ripping tight stuff clingng more towards death metal perhaps, with Sadus again a pretty close soundalike. A pretty good beginning for the band boasting a fairly good sound quality, crisp guitars, and a touch of technicality here and there.

"Torturer": the back are back from their 10-year hibernating period with a double album, and the fan can't possibly be any happier. CD1: the opener "Guerras" is smashing heads-down retro thrash, opening the way for the death metal "carnage" which the following "Matando Angeles" serves with gusto. "Black Riders Attack" is a polished speed/thrash "attack", but its intensity is absorbed by the epic quasi-doomster "Fighting For All" which is a new addition to the guys' repertoire with several more dynamic passages. Finally time for something more technical with the short stylish shredders "Bitacora Del Torturador" and "Death Smells Silence", before the closer "Screaming from the Deep of Sea" wraps it up with panache being an encompassing progressive death metal saga carved by brutal technical death escapades.

CD2: we have a different approach here with the opening "Te Ajusticiare" being a creepy, doomy semi-technicaller. Then comes "Destructores De La Vida" which is a glorious thrash/deathing speedster; however, the continuation would be a bit of a surprise the band again choosing the atmospheric doomy field to explore on the sprawling 8.5-min opus "Desperate!". Progressive death metal rules supreme on the next "Mente Asesina" this cut boosted by a few atmospheric keyboard sweeps. A doomy break is taken again with the short instrumental "Ascencion", and this break extends for another 7-min thanks to the closing "Libertad (Q.E.P.D)" which is an epic hymn involving clean singing as opposed to the main gruff forceful, shouty death metal vocals; this is a lyrical balladic composition which may scare the band's hard-core fans, but will enchant numerous others who will wonder at the guys' wide palette and a stack of original ideas which may eventually lead them out of the thrash/death metal realm. Only time will tell...
"Conjuro IV"; the guys have "conjured" another opus which sees them thrashing with a lot of vigour once again easily entering the realm of death metal on brutal shredders like "Bestial Invocation" and "Twisting". The approach remains pretty much the same throughout with slower, more atmospheric passages scattered around, but that's it from the more diverse sector as the band have decided to bash without remorse leaving the more original idead from the preceding double opus behind, with only the short "Ralco" serving something more technical and less standard.

Hater of Mankind/Kingdom of the Dark Split, 1991
Oppressed By The Force Full-length, 1992
Los Ultimos Tiempos EP, 1995
Rise From the Ashes Full-length, 2000
The Flames Of Purification Full-length, 2003
Torturer Full-Length, 2013
Conjuro IV Full-Length, 2016

Official Site


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
Official Site


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

Piedmont BM Assault Demo, 2009

My Space


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

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


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

Kolonc EP, 2008
Antiego Full-length, 2011

My Space


The band's debut is decent melodic thrash/power metal in the classic mould. It begins with the intense stomper "Orco" which pretty much sets the tone for the whole album; the latter develops in a solid mid-pace, with not many exceptions to the rule: "Depravado" is a cool speedster in the vein or early Metallica, including in the lead department where the guy shreds no worse than Kirk Hammett himself (remember "The Four Horsemen" and "Hit the Lights"). later on there are ballads, both heavy and more tender, but be prepared for one more piece of aggression: the short immediate "...Come Una Iena".

By the time of their 2nd full-length they have apparently lost interest in classic metal and have gone head-over-heels into modern 90's post-thrash. "Transumanza" comes after a long hiatus, and is a big embarrassement, with almost no traces of thrash metal, opting for bland and utterly unappealing modern groovy metal, a total waste of time for the thrash metal fan.

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

Official Site


Based on "Erased", this outfit, which consists of just two musicians plus a drum machine, indulge in quite good classic semi-technical thrash/death which starts raging from the get-go with the stylish hectic shredder "Monolith of Departure", the intens erifforamas reaching nearly progressive dimensions. "Awake the Brute" is direct and more concrete, but "Frontier" is a more stylish pounder with technical staccato rhythms the latter replaced by more brutal bash on the entertaining rager "Soul Divided". "Below-Erased" is an ambitious atmospheric progressiver gradually building momentum until the headbanging fest reaches a fever pitch towards the middle; watch out for a portion of smattering technical "skirmishes" later, making this composition a sheer highlight except in the vocal department where the guy just rends his lungs without any care. "Towards the Blackstorm (Under the Sign of Black Metal)" is a lashing proto-deathster, no traces of black metal here save for a brief hyper-blasting moment in the middle; and "Another Kingdom" wraps it on with moody stomping decisions and more intricate vortexes, another one of the many pleasant surprises served here by this curious duo.
"Endscape 6" is a gothic industrial extravaganza similar to The Project Hate and Vomitron, with not much thrash or death metal present. Interesting dark, atmospheric stuff, only of an entirely diferent nature.

Vengeance Full-length, 1999
From Wars Full-length, 2001
Annihilhate Full-length, 2002
Erased Full-length, 2004
The Fifth Vision of Promésea Full-length, 2009
Endscape 6 Full-length, 2012

Official Site


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

Total Annihilation EP, 2008
84 Full-length, 2010

Official Site


This is modern/classic thrash/death metal with shouty, hardcore-ish vocals. The band play at a steady morose mid-pace recalling the Germans Warpath and partly Cerebral Fix, the monolithic wall of sound occasionally "dispersed" by the odd more energetic crossover cut ("Redemption", "Rape"; the headbanging sections on "Slaves Of Order"). The attractive steam-roller qualities of the album wear thin before the end, though, since the delivery is quite samey all over despite its resemblances to Bolt Thrower (check out the excellent atmospheric "haunters" "Parish" and especially the lengthy doomy opus "Well of Madness" at the end), the rhythm guitar possessing the same characteristic melodic tone so typical for the Brits. This isn't bad, albeit a bit inconsistent, and with a little refinement, both music and vocal-wise, these guys could make themselves heard on both the thrash and death metal scenes.
"The Pound of Flesh" is the next in line steam-roller from the band's discography and although some more dynamic numbers have been provided (the death metal-flavoured "Haunted", the excellent chaotic technicaller "Synthesis of Human Failure" (!)), this "beast" is more on the battle-like, doomy side of the spectre. The vocals are now more refined with a more expressive death metal tone without the annoying hardcore disspipations heard earlier.

Well Of Madness Full-length, 2010
The Pound of Flesh Full-Length, 2015

Official Site


Based on "Secreto de Estado", these Spaniards pull out ordinary modern post-thrash which has its energetic merits ("Corrupcion"), but generally develops in a crushing mid-tempo the rhythm-section not very exciting, but passable especially when it gets jumpy and hardcore-ish (the closing "Defensores De La Paz"). The singer semi-shouts in an attached authoritative manner at times plainly reciting reaching almost rappy dimensions.

"Ciudad Matadero", or rather, "Slaughter City" which is the English version of the aforementioned album, doesn't quite reinvent the wheel, but provides a more interesting spin on the old now 90's post-thrash which in this particular case arrives with shades of headbanging ("The Call", the excellent galloping shredders "Asphyxia" and "Take Much More") to dissipate the groovy fun established for most of the time which sometimes is served with a hefty doze of good melodies ("Soul In Pain"). "Lost In the Space and Time" is a merry crossover arouser alleviating the pain from the several brutal grinding passages on the next "Serial Killer" which ensures the wide appeal of this otherwise not very pretentious recording.

El Lado Oscuro Full-length, 1998
Secreto de Estado Full-length, 2002
Demonios Full-length, 2004
La Muerte Os Har\'e1 Libres.... Full-length, 2007
Santa Muerte Full-length, 2011
Ciudad Matadero Full-Length, 2014

Official Site


Based on the "Insanity of June" demo this act have managed to carve a trail for themselves in the underground as one of the first purveyors of the death metal idea in the Scandinavia, mixed with the still ruling thrash. The style isn't pure bash, but come swith a sophisticated semi-technical edge (the hectic Atheist-esque "Crack", the chaotic brutalizer "Useles Fuckin' Escape"). "Black Mirror" is a more moderate galloper with some brilliant technical decisions; and "Sliced By My Wife" is a relatively more orthodox headbanger. "Religious Vomit" is violent death metal chaos, nothing sophisticated here; but "Total Death" brings back the more intelligent shreds along with short, chaotic lead sections. "Beasty Warriors" is the last aggressive proto-deathster, before "Has Time Come" wraps it up with raw, unpolished thrash ala Possessed's "Seven Churches". This a really curious effort also boasting intense shouty death metal vocals. Later the band members changed their name to Seance and entered the death metal arena on a full-time basis, while others remained afloat as Satanic Slaughter for the release of four relevant black/thrash/death metal hybrids in the late-90s'/early-00's before splitting up.

Total Death Demo, 1987
Insanity of June Demo, 1988
Promo Tape Demo, 1989


Based on the EP, these Colombians are not exact Destruction-worshippers, like the title suggests, but blast out in an aggressive thrash/deathy manner "courting" "old dogs" like Protector and Agressor. The music is relentlessly fast slowing down for the sinister cut "Armies of Death" which is followed by the Sepultura cover of "Antichrist" from the Brazilians' debut split with Overdose here turned into violent bash and not very easily recognizable.

Lost in Dark Single, 2008
Total War Single, 2009
Warfare Noise Demo, 2011

My Space


The bassist from the legends Adem Aleksei Prusov is in action here; otherwise this is modern thrash/death which doesn't serve anything that hasn't been heard countless times before: pleasant melodic guitars, meandering progressive passages, and a "brutal-melodic" vocal duel. The lack of speed is another pullback: the listener will just get bored at some stage experiencing this feelgood, but ultimately predictable music.

Madkind Full-Length, 2015

Official Site


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


This is intense lashing retro thrash with a very good sound quality which suddenly switches onto much mellower gothic atmosphere on "Gotta Live Your Life" for a bit. The vocalist is a guttural death metal semi-shouter fitting both approaches without sounding very expressive or dramatic.

More Aggressive/More Pain EP, 1995


"Total Violence" is the order of the day on the full-length the guys eager to hammer you into oblivion often calling death metal for help (check the furious blast-beats on the opening "Disease Disorder Death"). "Toxic Death" continues with more stylized thrashing bordering on the semi-technical; and "Trapped in the Moment of Death" is the progressive foreclosure with its ballaidc beginning before some impetuosu thrashing starts out of nowhere only to be superseded by the quiet ending. "Guess Who's Next" is a brutal thrash/deathster with a few progressive quirks, and "False Friends" is a "false" semi-ballad misleading with its calm beginning before another portion of vitriolic old school thrash ensues. More headbanging "beauties" later in the face of "Storm the Front" and the sweeping "Acid Rain" the eventful rifforama brought to its logical conclusion on the closing "Violence Is the Way of Life", a cool speed/thrasher with fiery blitzkrieg riffs. The singer is a gruff semi-shouter who mostly semi-recites not very comprehensively.

Storm the Front EP, 2012
Violence Is The Way Of Life! Full-Length, 2016

Official Site


A merry unpretentious blend of retro thrash/crossover and more groovy modern post-thrash which also inserts a few mellower heavy/power metal moments as well as more impressive sterile mechanized exercises in Meshuggah-esque thrash. Later on one will come across punk and hardcore on a couple of cuts to which the gruff semi-clean vocals fit quite well. Well, I think that you should at least once listen to this... :)

Never Listen To This Full-Length, 2016


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

Day Before The End Full-length, 2005

Official Site


This outfit indulge in retro thrash which is usually right as rain regardless of the lengthy compositions some of which are heavy semi-ballads ("Past"). Hard thrashing, like n "In the Name of Free Art", is thrown in-between, but its amount doesn't suffice t disperse the dark, brooding atmosphere created by dominant heavy material. The vocalist has a gruff semi-shouty/semi-clean tember which he replaces at times with a cleaner throat on the more romantic passages.

Trumpet Flower Full-Length, 2016



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

Chrysalis 21 Full-length, 1994
Un EP, 1997


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

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

Lichtbringer Full-length, 1996
VSterchen 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
ThronrSuber Full-length, 2008

Official Site


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


This Chilean trio play an appetizing mixture of thrash and death metal which is more on the corrosive, hardcore-ish side of the hybrid also reflected in the very short song length (2-3min). The final "Totten" goes towards less bridled grindcore "pastures" as though to ensure this effort's wild nature.

Destruidos EP, 2016

Official Site


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

One of the finest metal albums of the new millennium, "Where Moth and Rust Destroy" is by far the band's crowning achievement with Marty Friedman, and Bruce Franklin from Trouble on board. Everything here clicks: from the magnificent opening multi-layered progressive thrash opus "Where Moth and Rust Destroy" to the creepy doom metal masterpiece at the end "In Death We Rise", this album will blow you away with outstanding musicianship. Certainly, Friedman has a big contribution to its greatness providing the superb lead guitar performance on all compositions. If the previous release has its fillers here and there, this one is perfection all the way: a major testament for the band's willingness to play an important role during the genre's renaissance.

The band aren't the most regular presence on the scene, but after the awesome start of the millennium with 2 outstanding albums, this inexplicable disappearance is finally put an end to with "Antiseptic Bloodbath". So is this album a worthy chapter of their catalogue? Well, to some extent it is. The complexity of the previous 2 efforts is immediately felt on the engaging opener "Chart Of The Elements (Lincchostbllis)" which is a progressive power/thrasher of the moody type. "Antiseptic Bloodbath" is a much more energetic cut thrashing hard with an imposing proto-deathy edge. "The Maiden Who Slept In The Glass Coffin" starts as a doomy sleeper, something which the guys also know how to do well, but the melodic lead sections and the uplifting rhythmic patterns show up out of nowhere and things get back to normal. "Chamunda Temple Stampede" is a modern groovy filler, the only seeming flaw here, and the following "Flowering Cadaver" is just an atmospheric balladic cut. The balladic impact continues further on "shadowing" most of the songs which don't have too much from the progressive diversity of the band's previous material. The closer "Fed By Ravens, Eaten By Vultures" is a really nice more serious progressive composition with various nuances accumulated appropriately on top of each other among which the creepy doom-laden thrashisms seem to work the best.
"Onward to Freedom": the whole Christian metal constellation has been summoned to help the guys get out of this abonimable creative cul de sac... The result is "sweet", not without the help of none other than Michael Sweet from Stryper who opens the album, laid-back music which is pure heavy metal for most of the time. Later on we have Chris Poland (ex-Megadeth), Marty Friedman again, Bruce Franklin again, along other more or less expected stars from more or less related to metal fields. The thrash metal fan will run away, and fast; for the others this may contain some appeal if they're in the mood for... I don't know what.

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
Antiseptic Bloodbath Full-length, 2012
Onward to Freedom Full-Length, 2014

Official Site


Based on the debut, this obscure entity provide retro power/thrash with a woman behind the mike, the name Gena McClure. Gena pulls out emotional, albeit quite hoarse Dawn Crosby(R.I.P.)-sque performance. The music by all means has a bite: check out the raging galloper "Stone Cold Heart", or the heavy stomper "Hound of Heaven". The delivery gets a bit soft in the middle with the heavy rocker "Free" thrown in, but the band carry on with the thrashing in the second half with "Time Ran Out" and the really brutal headbanger "Lights". "Let Go" "lets go" off the speed being a cool semi-ballad, and the final "Sacrifice of the Lamb" speed/thrashes again in a more restrained manner with heavy passages intercepting the fast-paced crescendos. This is a nice surprise from the US underground showing an act who may have survived the ugly 90's with another classic-prone effort.

Against All Evil Full-length, 1992
Death by Sin Full-length, 1998

Official Site


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

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

My Space


Enjoyable old school black/thrash metal influenced by Bathory, Sodom, Kreator, etc; all the albums are in the same easy to swallow, accessible simplistic vein, with plenty of catchy rhythms for the fans to enjoy and headbang to. All the music is performed by just one man, whose name is Joel Grind, who has also taken part in recordings with the similarly-styled Japanese acts Barbatos and Abigail, among others from the US scene.

The "Gravelord" EP is 3 tracks of playful rockish thrash with bold ventures into punk/hardcore, and even hard rock on the Motorhead-ish "Suicide Eye".

"Conjure and Command" is another commendable slab of intense old school thrash which rips from the get-go with the short and to-the-point "Judgement Awaits You". Joel Grind and Co. remember to slow down from time to time: the heavy shredder "Red Winter"; the doomy "sleeper "I Am Disease", but it's lashers like "In The Depths (Of Your Mind)", "Nowhere To Run", and especially the Slayer-esque mosher "Revelations" which will make the fans' day big time.
"Chemistry of Consciousness": the fans were going to abandon hope that Joel Grind would return to his main projects with his constant involvement with other musicians around the metal globe; but here he is with the next chapter from the band's career, and he sounds as convincing as ever producing the familiar from previous recordings old school barrage based on uplifting speed/thrashy boogie (check out the Motorhead-ish joy "Acid Fuzz") which hardens the course ("Rat Eater"; the proto-deathy brutalizer "Salvation is Waiting") on occasion. "Mkultra" is a crusty curiosity which is close to being the highlight with its abrasive surreal aura which also gets nicely translated on the next "I Serve...". Some hardcore sneaks in the 2nd half "killed" by death... sorry, by the bonus track "Wargasm" which is a sludgy doomster with again a strong crusty edge.

Evil Never Dies Full-length, 2003
Hell on Earth Full-length, 2005
An Overdose Of Death... Full-length, 2008
Gravelord EP, 2009
Conjure and Command Full-length, 2011
Chemistry of Consciousness Full-Length, 2013

Official Site


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

Official Site


This is classic "toxic" thrash which knows no mercy or sophistication also "courting" crossover on a couple of milder numbers ("Always Mine"). Brutal Slayer-esque explosions ("Post War") take turns with mellower, more hardcore-prone cuts ("Predominance Of Hate") all the way to the closer "End Of The World", a more serious and longer speed/thrasher which twists and turns on an urgent, blitzkrieg base retaining the roller-coaster nature of this upretentious recording.

End of the World Full-Length, 2016

Official Site


This young outfit, who were previously known as The Ruin, serve quite cool retro thrash which brings both speed and technicality to the fore on the excellent opener "Immolation". Things remain on a high level on the following "Seat Of Corruption", another brisk technicaller, and the title-track is a handsome technical headbanger with a nice chorus and virtuous, almost classical, execution. "The Human Condition" is built around heavy, pounding rhythms slowing down the proceedings, but comes the short ripping "Rampage", and the situation goes back to normal not without the help of several less tamed blast-beats. "...Of What Lies Beneath" goes back to the more technical patters, a top-notch instrumental piece "flirting" with death metal for a bit. "Lord Of Pandemonium" thrashes with style with various tempos alternating within among the precise technical shredding. "Alcoholocaust" is an all-out speedster abandoning the more technical execution to an extent; and the final "Toxic Ruin" is a prime technical thrashterpiece adding plenty of stylish riffs scattered among the brisk speedy arrangements, making this album one of the most pleasant surprises of the year 2016.

Subterranean Terror Full-Length, 2016

Official Site


Based on "TWENTYLASTCENTURY", this act serve decent old school thrash which seldom relies on speed, and seems well content with bumpy mid-pacers like "Immobilized & Paralysed" and "1986", the peace broken sparsely by short more active inclusions ("366ICK Days"). "Evil Presence" is a nice diverse power/thrasher, but the rest is more on the simplistic side conducted by the throaty hardcore-ish vocals.

Toxic Shock EP, 2012
Daily Demons Full-length, 2013

Official Site


The band's debut carries on the speed/thrash metal legacy of Angel Dust and Exumer, and is easily their finest achievement. This is blistering, blitzkrieg speed/thrash from beginning to end; the opening "Breakout" will give you a clue what to expect: fast riff assault from all sides. Later the compositions become longer, but the approach is the same with very little deviations ("Overloaded" is the only song which tries to escape from the merciless formula with more melodic slower riffs, and ends up sounding quite appealing), producing immortal hymns, like "Mad Sounds", "Raging Speed" (which title best describes the music on the whole album), among others.
"Welcome Home Near Dark" starts in the same fashion with the fast-paced "Behind The Guillotine", but it inserts technical "ornamentations" and introduces a new singer whose semi-death/semi-hardcore vocals are hardly the most appropriate style for this kind of music; as a result we have stuff which is closer to the early efforts of Erosion rather than the band's debut. And here comes "Change From Reality" (a song of this title is not included on the debut) which brings the change with it towards a slower and more technical sound. "Dragons Eye" speeds up again this time supported by fine melodic hooks and an attempt at a catchy chorus ruined by the gruff vocals. "World Power Rules" and "True Insanity" are enjoyable headbangers preceding the heavy monster "One End": a great mid to up-tempo number with great punishing technical riffs which finally match the aggressive vocal delivery. Later on another exercise in more technical thrash shows up: "Termination", followed by the good closer "The Challenge", a fine piece of pure heads-down speed metal.

"Between Good and Evil" starts traditionally quite impressively with the speed/thrash aggressor "Mental Mutilation" which comes with even more brutal and vicious vocals than on the previous work. Still the music is thrash metal all the way with no traces of death, and "Suffocation" is a very good up-tempo thrasher followed by the shorter explosive "Terror". "Choose Your Way" breaks the pattern a bit in the beginning with more melodic and slower riffs, but starts thrashing with no mercy not long after that. No more surprises of the kind, and till the end we have a relentless thrash attack, not too far from the one on the debut; "What Dwells Within" is a stylish closer adding cool semi-technical licks to the overall picture which remained the band's swansong.

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

Vibrations of Doom


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

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


This formation serve fast blitzkrieg old school thrash withh venomous semi-shouty deathy vocals. Early Kreator seems to be the closest soundalike although the lads here add the odd more varied element like the quiet, balladidc beginning on "Dying Forest". The three unreleased tracks at the end are with a better sound quality and more stylish riffage, probably recorded at a later stage.

First Second of Suicide Demo, 1992



Based on "Virtual Existence", these Mexicans provide minimalistic old school thrash which breaks above ground thanks to the high-strung pitchy vocals and the decent attempts at more complex, progressive trash (the title-track). "Lethal Exposure" thrashes hard leading a pack of lengthy, moderately complex headbangers among which "Dead Alive" is the highlight with its stylish technical riff-patterns. "Killer Drones" is another song worth mentioning with its subtle melodic undercurrents which match every bit of the way the one son the closing diverse, 7.5-min opus "Apocalyptic Nightmare... The Day After".

Radioactive Extermination Full-length, 2016
Virtual Existence Full-length, 2016

Official Site


This Serbian trio pulls out retro thrash of the Germanic type with, of course, the early Kreator style embraced very tight (the name betrays their influences big time), and never let loose, maybe only on the lower-pitched black-ish vocals. Expect 4 ultra-fast numbers with a very fuzzy guitar sound, constant bashing, one-dimensional hollow drumming, and very screechy leads, which may drill your mind if listened on a more regular basis.

"Torment" (these guys' whole life apparently revolves around Kreator) is based on the 4 songs from the demo which now come with a better sound quality, and are more appealing ably assisted by the 5 new tracks which are in a similar blitzkrieg vein, very fast thrashers with a pinch of proto-death coming as a more brutal version of "Pleasure to Kill". This isn't bad at all, actually, having a lot of energy played at a ridiculously fast pace easily going over the approach of speed heroes like Fastkill and Expulsion. This is the reason why some may get tired listening to this album on regular terms because of its constant fast downpour seldom relieved by the odd heavier break, or the stylish deviation into more technical speed/thrash: the excellent "Against The Cross", which simply cries for a follow-up (hopefully the band are aware of those "cries"). This effort can not possibly finish without a tribute to the guys' idols, and here comes a vicious brutal version of "Flag of Hate" at the end to wrap this merciless maddening stuff up in a logical manner showing a band dedicated to leave a really "toxic trace" on the contemporary metal scene.
The "The Chapel of Insanity" EP is another extreme affair the guys reaching the speed barriers with ease with the odd technical flair flashed before the bemused listener's eyes which becomes only more evident on the final song which is a cover version of Sadus' "Through the Eyes of Greed" from "A Vision of Misery"; the number is stylistically sustained in the same extreme technical death/thrashy vein as the original wrapping things up in style and containing enough promises for another fulfilling full-length before the end of the world.

Slaughter Demo, 2009
Torment Full-length, 2011
The Chapel of Insanity EP, 2012

My Space


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

Mundo Doente Demo, 2010

My Space


The debut: this "toxic waltz" is sustained in an energetic Germanic fashion the main difference coming from the gruff deathy vocals which are not bad at all, by the way, helped by the casual shouty chorus. Otherwise the delivery is more on the melodic side Headhunter coming to mind more often, and more recent Paradox on the more exciting "toxic" material ("Toxic Hell"; the intense speed/thrashing delight "Suicide Squad"). The guys really pull it off in the 2nd half which comprises the more aggressive pieces, like the short headbanger "Green" and the manic lashing closer "Obsession to Kill".
"From a Distant View" is another speed/thrashing roller-coaster the guys moshing out with no remorse the fast-paced engine "flirting" with the progressive and the more melodic on "Blindness" (check out the leads on this one), and generally finding a good balance between the sharp riffage and the more lyrical delivery the latter also producing another melodc "oasis" on the otherwise impetuous "From a Distant View". "Off to the Red" boasts breathtaking Oriental leads, and "Secret War" is the only more direct cut without any flourishes. "Eternal Aftermath" is a more laid-back instrumental with mid-paced sections roaming around, but the final "Mass Atrocity" is the expected fast-paced epitaph to this entertaining tribute to the old school.

Decades of Pain Full-Length, 2014
From a Distant View Full-Length, 2016

Official Site


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

The EP is more on the simplistic bashing side the band coming out with all the guns blazing to produce brutal retro thrash with death metal stepping in on quite a few times. Melodic leads come out of nowhere to create some confusion rather than anything else with their much more proficient execution which stays around for the final "Guerra Eterna", a song already heard on the last demo, and clearly the highlight with the diverse closer "Promovendo Holocausto" not too far behind with its more clever, and arguably more sophisticated, delivery.

Executpo Demo, 2006
Guerra Eterna Demo, 2007
The Return Of The Toxic EP, 2011

My Space


The EP: this duo provide rough-sounding retro thrash with low-tuned sinister deathy vocals. The approach clings between Slayer and early Dorsal Atlantica and Holocausto except for the closing "Desechos Corrosivos" which is a happier cut with shades of power/speed metal.
The full-length clings more towards the happy-go-lucky sound of mid-period Sacrifice and despite the short length of the songs (1-3min) one can come across a couple of formidable thrashers ("El Último Sobreviviente Vivo", "VxUxTx") plus the obligatory excursions into less serious crossover/hardcore ("Del Oriba").

Violencia En Las Calles EP, 2011
No Hay Lugar Para Los Débiles Full-Length, 2016

Official Site


Based on the full-length, these folks specialize in wild retro thrash with covert hardcore tendencies. There's no mercy here, the guys lashing fiery riffs trying to match the intensity of "Reign in Blood", but the tasteful application of melodies ("Masas de Odio") keeps the away from the purely bashing pack. The vocalist is a semi-shouty/semi-cleaner possessing the requisite dramatic range never degenerating to senile, angry rendings.

Egoismo Autodestructivo EP, 2014
Ahogados en Contaminacion Full-length, 2016

Official Site


This is the good old speed/proto-thrash familiar from the works of Vectom, early Living Death, Warrant, early Running Wild, etc. The production is suitably raw recalling those early days to the point of nostalgy, and the musicianship isn't on a very high level comprising simple direct guitar patterns with a playful vibe, short screamy leads, and not a bad bass bottom which is everywhere following the guitars unerringly. The closer "Evil Night" is a longer epic power/speed/thrasher where the guys continue their boogie with the odd slower insertion. The singer is an acceptable semi-cleaner who shows his better singing abilities at times, but prefers to semi-recite in a steady mid-ranged fashion reminiscent of Don Doty (the first Dark Angel singer). The musicians involved here also play in the power/speed metal heroes X-Arm, and the thrash/crossover/doom metal hybriders Letargia.

Speed 'n Heavy Full-Length, 2005


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". Three more splashing intense technical speed/thrashers await you after that.

"Think This" takes a more complex progressive approach decreasing the sharp technical edge, but coming with some fine progressive thrash metal tracks ("Black and White", "Technical Arrogance") where a lot of things occur some of which are not strictly related to the thrash metal roster. The songs are generally longer and more elaborate as the short ones have both their faster ("Greed") and more light-hearted ("Out on the Tiles") moments including the ballad "There Stood The Fence" which is a very cool lyrical, atmospheric proposition. Despite the less immediate nature of this work, it is another stellar effort which, unfortunately, remained the band's last "temptation".
"In Humanity": rumours about an eventual third opus from the progressive thrash legends has been circling around for quite some time, and these three cuts are the result of that. They were intended as a pre-release, or a teaser of some sorts, but three years later it's still all we've got from the Toxik camp. It would be a pity if the fanbase is left with only those three to hear since the band display more of their inimitable wizardry "Too Late" showing that it's never "too late" for the good old technical/progressive thrashims, this cut a most intense dramatic speedster with cool bass implements and Sanders' staple high-strung emotional vocals. The bigger intricacy is left for "Program Insertion" which start immediately with a portion of virtuoso leads which give way to bizarre twisting riffage the latter going even beyond the guys' previous complex exploits, a serpentine masterpiece second to none. "Crooked Crosses" is another weird twister with great melodic tunes as well and surreal headbanging rhythms, a super-technical mid-break, and eccentric rifforamas circling around before a more straight-forward speedy passage wraps up this very eventful cavalcade.
Three songs, three masterpieces; the band even sounding more convincing and more puzzling than before. So one can only hope that the full-length will hit the shores worldwide very soon... Three years passed and still some hope has been left...
"Breaking Class": obviously there won't be a new Toxik full-length as the guys keep releasing a new material under shorter formats, including the EP here which contains another three pieces. The delivery this time isn't as adventurous "Stand Up" being a semi-technical shredder with a scarily modern vibe, but the title-track is a dynamic speedster recalling the debut with a few brilliant twisted atonal decisions which stand for the highlight alongside a couple of virtuoso guitar pyrotechnics. "Psyop" is a jumpy, jarring progressiver with a wide array of time and tempo changes moving towards the sophomore style-wise adding a portion of great dazzling leads as well as several puzzling riff-formulas which come dramatically decorated. The promo material is better and closer to the vintage Toxik delivery, and it would be interesting to hear what the guys would be able to cook if they decide to mix both approaches under one roof in the days to come...

World Circus Full-length, 1988
Think This Full-length, 1989
In Humanity Promo, 2014
Breaking Class EP, 2017

Official Site


This is fast intense classic thrash/proto-death which, after the initial "assault" (the ripping opener "Thrashforces Of Evil"), settles down for less aggressive music with the German speed metal school paid special attention. The situation threatens to go over the edge on the manic shredder "TerrorSexSlaughter", but mote melodic reliefs, like the crossover joy "D-Beat Destruktor" and the closing epic power/thrasher "Highway Warrior", are provided to ensure the fun to go without any "victims". The singer offers a harsh drunken semi-shout which goes well with the incessant dynamic barrage.

Happy Fukking Holocaust EP, 2007
Demo Demo, 2012

Official Site


3 songs of "bombastic" retro thrash along the lines of early Hirax with short tracks coming with a pinch of crossover and a really buzzy sound quality which is a particular detriment to the expressive shouty vocals which at times desperately try to deafen the noisy guitar background. This is fast no-gimmicks stuff without any pretensions at a bigger musicianship.

Virus Bomb Demo, 2009



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

Toxik Karizma Full-length, 1995


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

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

My Space


Based on the demo, this act specialize in raw bashing thrash of the old school which is pretty wild and chaotic, but the final outcome is more on the listenable side. The band try something more thought-out at some point ("Broken Hope") where brutal mosh is mixed with slow stomping passages, a "therapy" which works slightly better on the following "Fatal Frustration". The singer is an attached semi-shouter with a light melodic blend semi-reciting for most of the time, but providing the requisite intense vocal support.

Black Dawn Full-Length, 1993
Raw Demo, 1997

Official Site


This young act pull out fresh energetic classic speed/thrash which shares some of the early Metallica vibe ("Vicious Life"), but there's a fair number of mid-pacers roaming around their value partially cancelled by the more dynamic material ("Manipulator", the jumpy shredder "The Shepherd"). The vocalist does a very good job with his emotional diverse tember covering several octaves including a few piercing Halford-esque screams.

Black Sheep Full-Length, 2016

Official Site


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

Official Site


This very good band offer quite an original technical sound with Despair and Midas Touch being relatively close soundalikes: a fine combination of more abstract, almost progressive tracks and more direct headbangers are featured here. The title-track 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 of Manilla Road's thrashy period. Such exercises in more complex metal are nowhere to be found later, and the other songs are shorter more immediate, but still quite technical and interesting: check out the hectic and stylish "Two Wishes" which combines aggressive riffage with genuine technical tunes, or the sharp technical thrasher "Wings of Death" which sounds like something that 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 two numbers ("Deface", "The 7th Journey") before straying nicely into calmer semi-balladic waters ("Alternate Reality"), and at the end into excellent technical thrash on the title-track which is a twisted piece in the Coroner vein.
The "Disparity Of Views" demo is whole eight tracks, and the good sound quality makes it sound like a real official release. The approach is the expected from the band mixture of stylish more technical and stripped direct pieces as the more experimental spirit is finely displayed on clever mind-scratchers like the title-track and the stylish headbangers "Act of Contrition" and "Invisible Bracelets". "Protect Yourself" is more on the relaxed thrash/crossover side, and "Heretic" is a clever complex piece with spinning riffs and some interesting melodic digressions in the second half. The final "A Part of Hell" is intense bash of the semi-technical variety giving a strong additional energetic boost to this fairly cool effort.

Aphorisms EP, 1989
Misanthropy Full-length, 1991
Disparity Of Views Demo, 1994
Cloned EP, 1995


The demo: 3 songs of crunchy speedy classic thrash which follows the early Metallica paths spicing things up with the odd moshing hook ala Anthrax. The guys have the encessary amount of proficiency to pull it off even adding a few more technical hooks on "Season of Lies" and on the excellent ripping closer "Toxic Murder" which should be an example to follow on subsequent releases. The vocalist isn't that good, though, shouting in a somewhat hysterical fashion apparently the weak link in the band who definitely needs more time spent in the studio to come on track with the better music.
The EP tries to conquer a more brutal ground by clinging a bit towards death metal; still, the initial flaws remain, like the awful shouting singer and the sloppy production which makes the guitars hiss unpleasantly for at least half the time. Descent Into Madness\rdblquote is a surprisingly stylish headbanger rising out of the mess, and Self-Destruction\rdblquote is a short 2-min basher which will lift the spirits high with its unbridled, maddening delivery which is seemingly contagious since the remaining two cuts are another example of fast-paced brutal musicianship.

No More Room Demo, 2012
Self-Destruction EP, 2015



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's a lot of atmosphere created, mostly of the dark, gloomy type. The music is not fast, but stays within the mid-paced confines, sometimes descending to doom metal territories. "Doom Predictions", contrary to the title, is the fastest song, and the only one which actually speeds up (if we exclude the death metal-ish brutal sections from "Mausoleum"). The closing instrumental "Tales from Beyond" gives a chance to the bass player to show his skills, but near the end the lead guitar takes the upper hand again, for the umpteenth 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: "QuT 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

Official Site


Based on the "Licuado de Sesos" demo, this Mexican trio indulge in bashing old school thrash which doesn't hide its fascination with the brutal Morbid Saint and Recipients of Death-like delivery only that the Mexicans often go into a proto-death metal territory. Still, "Cabron Suicida" is a cool intense piece of pounding volcanic metal sustained in the best tradition of Sacred Reich's "The American Way". The vocals are shouty and expressive having an appropriate deathy blend on the higher tones.

Pre Demo Demo, 2011
Licuado de Sesos Demo, 2012



Based on "Nace/Sufre/Muere", these Mexicans pull out intense dynamic modern thrash with shouty death metal vocals. There are a few dramatic death metal elements ("Zelsius") to be savoured, but the good thrashy tone is seldom broken with cool headbangers like "La Ira Del Pueblo" and "Sangre Salada" roaming around.

Primer Ataque Full-length, 2012
Nace/Sufre/Muere Full-length, 2015

Official Site


Jumpy modern post-thrash which is too friendly-sounding to really impress the hard-boiled thrash metal fan. The established mid-pace is seldom broken, and the brutal death metal vocalist can't possibly fit into this very mild musical scenery.

Zuna Full-Length, 2008
Flue Full-Length, 2016

Official Site


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

Tracedawn Full-length, 2008

Official Site


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

My Space


Based on "Dead Man Walking", this act pull out modern thrash/death with aggressive semi-shouty death metal vocals. Things become nicely classic on "Doomed To Metal" and the title-track, but there's stomp and groove to be heard later in the second half ("Old School", "Pain Is My Religion"). Still, the exit is worthy with a short string of direct energetic tracks the closer "Planet Thrash" being an optimistic thrashcorer with a slight industrial "sting".
"No Restraint" actually shows some restraint the band now thrashing with less vigour and in a much more linear fashion the slower material ("Pain Is My Religion") now sounding more attractive due to some death metal dramatism present. The rest represents the band's staple concrete semi-bashing delivery without any deviations: a simplistic quasi-industrial sound with covert shades of groove

To Reign Supreme Full-length, 2011
Dead Man Walking Full-length, 2012
No Restraint Full-length, 2016

Official Site


Three songs of laid-back power/speed/thrash with a few more interesting, quirky moments (the excellent bass-dominated shredder "Deep Hate"); the sound quality is awful and does a lot of gamage to the guys' efforts which also include alternative clean singing.

Tragic Performance Demo, 1990


Based on "Savage Tales from the Spineless", this band play the staple merry-go-round modern/classic thrash hybrid which has become quite common nowadays. "Toxic Knockout" is a cool more technical offering, but the rest seldom leaves the trite formula of catchy, melodic guitars which become a tad harsher on more energetic cuts like "Paperdoll (My Will Be Done)". The vocalist is a semi-clean semi-shouter who does a decent job with his more attached delivery. The band was previously known as Alice in Wonderland, but they only managed to release three demos.
"Judas Evangelion" comes with a slightly more sterile sound and a bigger number of mellower, not as energetic tracks ("Evangelion", "Ov Lambs and Snakes") which still mix well with the more intense material ("Cult", "The Pessimist") the blend assisted by the vocalist who shouts more this time, toning it down for the more lyrical deviations ("Shame of Satori").

Dead Again Full-length, 2010
Savage Tales from the Spineless Full-length, 2015
Judas Evangelion Full-length, 2017

Official Site


Modern power/thrash is on offer here which marches forward in a steady mid-pace occasionally "injecting" a doze of more intense riffage ("Deadbeat Beatdown"), but relaxed semi-balladic sleepers ("Rabid Psychotic Relapse") are also provided amply. After an uneventful string of tracks comes the closer "Feed Them Bullets" to rudely awake with its furious death-laced riffs the apt vocal assistance all over provided by a good clean mid-ranged throat which starts quarrelling on that same closer in a way no worse than Phil Anselmo.

Traits of the Sick Full-Length, 2013

Official Site


Another "thrash command", previously known as Premature Burial, springs up from Germany and their dedication to the retro sound is admirable although there's nothing one hasn't heard many times before although the nostalgic tears are quaranteed with memories of the Exumer debut, Toxic Shock, early Deathrow, etc. The approach is quite intense with hyper-speedsters being served those never jumping over the death metal border; even on the deathily titled "Death Division" things stay under control. "Spiritual Warfare" brings some melodic digressions which are well implemented into the speed/thrashy "carnage" which surrounds them. "Traitor" is another explosion as relative mercy is shown on the following "Raising Hell" and the more complex shredder "Temples of Doom" after it. One will be so absorbed in mosh here that he/she would hardly think of how familiar this all is; so infectiously headbangable this album is. Some of the band members are also involved in the death/thrash metal formation Dark Assault.
"Venomizer" isn't a sloucher, and the fans will rejoice again succumbing to this roller-coaster of retro thrash which features some definitive headbanging hymns: "Toxic Death", "Lords of Lust", the rigorous title-track, etc. A few tracks towards the end ("Chemical Violator") slacken a bit towards more relaxed thrash crossover, but the biting delivery from the debut is pretty much intact the band serving their "venomous" old school sound with little remorse.

Thrash Command Full-Length, 2012
Venomizer Full-Length, 2015

Official Site


Modern thrash with some death metal influences; the music is mostly mid-paced and melodic ruined a bit by the inexpressive shouty deathy vocals. The final instrumental "Day One" tries to bring a more complex tone to the album with its sprawling dreamy passages, and succeeds with its surreal guitar approach, haunting unobtrusive keyboard tunes, and consistent heavy riff background: a tendency the guys should try to elaborate on in the future.

Scorching The Surface Of Infinity Full-Length, 2012


A more ambitious take on the thrash/death hybrid which doesn't shy away from the odd more brutal hyper-blast, not to mention the cool progressive leanings ("Order unto Chaos") incorporated at times. "Sacrifacial Massacre" also introduces the winds of black metal, and "Transmogrify" is an excellent progressive thrash/deathster with inspired technical fretwork among the shorter, more aggressive cuts ("Nuclear Blast Radius"). Some of the musicians also take part in another hybrid outfit: the black/thrashers Horde of Anachron.

Globomination Full-Length, 2015

Official Site


Opening a debut effort with a cover is hardly the wisest choice, even if you pull it well, like is the case with these Chileans who pay their tribute to Slayer with the faithful cover of "Postmortem" in the beginning, ruined only by the forced unrehearsed death metal vocals. They follow up with the short blitzkrieger "Slave of The Freedom" and with the more controlled basher "Spectrum Of Satan", both modelled after Slayer showing an act devoted to their North American peers almost exclusively without doing anything too original or innovative.

Chileno Brutality Promo, 2010



These Polish "traktors" steam-roll forward in a confident classic fashion thrashing the fields with their hard-hitting delivery ala early Deathrow, Atomica and Violator. The headbangers will get tired moshing around the guys seldom leaving the speed to drop beyond the up-tempo racing with the speed of light with "rockets" like "I'll Laugh Last" and the ambitiously-titled "Professors of Metal" which shows where the guys are aiming at. For a "dessert" comes a cover version of one of the real "professors of metal": Razor's "Take This Torch" played with maximum intensity with only the more optimistic higher-pitched vocals differing from the original delivery.

Fast and Loud Full-Length, 2013



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 nice balladic moment; the mellow hard'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

My Space


This formation offer rough modern thrashcore which suddenly gets ornated by vociferous saxophone additions. Those additions don't really work sounding awkward on the pretty simplistic, semi-amateurish guitar background which is further spoilt by the hoarse quarrelsome vocals.

Inchin-ielain Mapu Demo, 2011



The debut: this Spanish outfit indulge in energetic old school speed/thrash which lashes out with passion providing numerous headbanging moments along the way which only disappear on the slower pensive mid-pacer "Dissipated By Oblivion" and the soft speed/power metal hymn "In The Wings Of The Night". The short "The Secret Trial" is a cool attempt at a more technical play, and the closing "Path Of Life" is a long more complex cut with hard thrashing passages and more melodic progressive ones taking turns in a sure-handed Manticora-sque way. The singer is by all means an asset with his melodic high-strung tember which he holds in the high parametres mostly to a positive soaring effect.
"Spiritless" doesn't stray too much from the chosen old school path although the album opens with the more progressive-ornated title-track before the guys suddenly reduce the speed for a string of cuts until the arrival of "Scavenger Crow" which nicely reminds of the Paradox more recent exploits. "Unknown Confusion" thrashes hard with reckless abandon, but "Hidden Scar" is equally as convincing with its atmospheric, semi-balladic undercurrents. "Hollow Stare" follows a similar pattern, but livens up in the second half with a portion of galloping rhythms. "Hunt To Kill" restores the headbanging madness, but the band's desire to make this effort as lyrical as possible brings a full-fledged ballad ("Time Is Over") to the fore just before the final "The Attraction Remains" shows more teeth with marginally more dynamic, mid-tempo performance. As a whole the band have become more laid-back as though looking for a more atmospheric, not necessarily thrash-fixated, style probably trying to attract more fans from other walks of metal.

Catalepsy Full-Length, 2013
Spiritless Full-Length, 2016

Official Site


The lyrical quiet intro doesn't promise hard abrasive modern post-thrash which ensues after it sticking to a tank-like mid-pace with several more relaxed balladic deviations ("Bad News, Good Stuff"). The delivery inevitably acquires some doomy character on the closing "Enigma" which fits better the rough semi-shouty vocals.

Wrath Among the Dead Full-length, 2012

Official Site


This obscure German band offer cool classic thrash with a Bay-Area flair (think Metallica adn Testament, above all). The music is both straight (on the shorter tracks) and technical (on the longer ones). Both sides are equally as appealing as to these ears the more technical one seems to deliver the better where the guys let their musical prowess loose, creating 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's also time for one speed/power metal 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 metal wave which was in full swing in Germany at the same time.

Talking to Fools Full-Length, 1992


The good old thrash/crossover is brought again in the form of short compulsive tracks which borrow from Agnostic Front, D.R.I., Gang Green and all the stars of the 80's crossover show. Don't expect any quiet moments or any sophistication here: this is pure bash for most of the time topped by brutal shouty hardcore vocals.

Power Vomit Demo, 2011

Official Site


These folks "terrorize" the fans "tranquilly" with their modern brand of abrasive mechanized thrash which moves forward in a heavy mid-paced manner inevitably reaching balladic proportions ("Bringer of Pain") which also grow into slower dimensions on the next 2 compositions. Consequently, the initial positive impression goes out the window since till the end the band simply groove and blues the tile-track at the end serving a small elusive portion of energy as though to justify the sinister title. The singer sings in a more attached for the style fashion, and his antics may pass for the highlight.

Killzone Full-Length, 2014

Official Site


This Canadian trio may scare you with the album-title, but as a matter of fact there's no trance or any electronics here; what one will come across here is just plain Annihilator worship the guys following the more recent path of the Jeff Waters gang unerringly producing a decent modern mix of power, thrash and groove which is at its peak when the guys unleash some admirable galloping riffs ("The Threat") those even carrying the flavour of the 80's American scene (remember Attacker's "Second Coming"). Unfortunately, the band's desire to be modern prevents this effort from being a full-blooded entertainment with too many clumsy unexciting proto-groovy moments in the 2nd half. The singer isn't totally bad with his attached clean performance which lacks a very big range, but is suitable for the not very eventful musical landscape.

Transe Metal Machine Full-Length, 2011

Official Site


A modern brand of the good old thrash with ripping riffs in the beginning, addictive melodies bordering on melo-death, and semi-shouty/semi-clean vocals. Epic tunes can be heard on "Fallen Away", but the blues and the ballad incorporated on the 8.5-min opus "Catharsis" are too much to bear, and later on the inertia is irrevocably lost with a string of heavy stompers where doom and the semi-ballad shake hands to a not very positive effect.

War upon Me Full-Length, 2016

Official Site


Based on "Refusal", this act, which is the brainchild of just one musician (Todd Pope), plays heavy classic thrash with very brutal, but comprehensive, death metal growls, and very abrasive guitars which still surprisingly carry the requisite melodic edge. The man seldom speeds up preferring to crush with 10-ton riffs in mid-pace with the odd doom/gothic decoration ("Burden Of The World"; the nice atmospheric orchestral instrumental "Spiritual Bissection").

State of Decay Full-length, 2001
Refusal Full-length, 2002
Beneath the Blood EP, 2005
Destroyed Full-length, 2006
Destroyed With Blood Full-length, 2006
A Trilogy of Destruction EP, 2007

Official Site


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

Official Site


This is 2 tracks of intense retro thrash which offers both speed and more quiet passages the latter coming with nice lead guitar work and a touch of progressive ("Cerdos de Azul"). The sound quality is good and the singer, who is a female, by the way, is convinvcing with her forceful mean semi-clean antics often assisted by her male colleagues on the sudden shouty choruses. Some of the band members also take part in the heavy metal act Aura Azul.

...De Sangre Y Represi=n... Demo, 2012

Official Site


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

Official Site


This obscure effort is all about frolic, but intense, thrash/crossover which can be more aggressive on occasion, but generally this is fun stuff with very good bass work and indifferent semi-shouty vocals. The tracks are expectedly short (1-2min) and are inevitably "graced" by spasmodic grindy blasts from time to time.

Cold World Full-Length, 1988


Based on the "As Tides Change" demo, this act offers derivative melodic Swedish thrash metal which doesn't lack energy and heavy riff-work, but refuses to bring anything more unusual sticking to painfully familiar patterns; maybe the harsh black metal vocals could be considered something out of the ordinary for this kind of music... Some of the band members play similar, maybe a bit more classic-sounding, thrash/death metal in Unforgiven.

Escape the Plagues Demo, 2010
As Tides Change Demo, 2010

My Space


This is a really pleasant surprise (the debut): from the dark ages of 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 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
Communion of Blood Full-Length, 2010

Official Site


3 guys from New Jersey make quite a bit of noise here which is pure hardcore for at least half the time. The tracks are very short (1-2min), but some are not far from Slayer at their most brutal even: check out the brutal "Powertrip" and "Useless War". "One Foot In The Grave" clings towards the death metal side, and the closing "Phantasmal Chaos" is another brutal, almost grinding, "chaos" finishing this really intense listening experience with aplomb. The singer shouts and screams his way in the utmost rending fashion managing to match the extreme, unbridled character of the music.

Holy Ride EP, 2008

Official Site


State-of-the-art progressive thrash which easily reaches Voivod's "Killing Technology" on the best moments, simply because this music is very technical, and edgier than the one of the Canadians. The vocals are the only downpoint sounding quite indifferent and slightly sterile, recalling Denis "Snake" Belanger's vocals on "Nothingface" and beyond. This is an unforgettable technical riff-fest with a great bass-bottom and twisted guitars which also strongly recall the works of Mekong Delta and Target from around the same time. The time-changes are mind blowing, and the sound never jumps onto the more aggressive wagon. The last track "Complications", which richly desrves its title, 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 having 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; but one never knows...).
The 90's post-thrash movement actually started in the late-80's, but its initial face was way different from the more familiar, angry one known from the "outrages" of Slaughter, Pantera, and Machine Head. It began with Voivod's ephemeral "Dimension Hatross" so it was no surprise that the other albums/acts followed it closely both in terms of execution and atmosphere (Omnitron, Wrathchild America, DBC, Calhoun Conquer, to name those who managed to reach the full-length stage). Since this unusual approach was not very easy to execute properly, few were those who followed, but the band here should be mentioned as the one used to do it in the best way.
"Mouthful of Buildings" is a "mouthful" of quirky, surreal, atonal, dissonant riff-patterns which have as much to do with metal as with jazz or funk. Whichever label one wants to put to this album, it remains a gem of original song-writing which stands right next to the aforementioned Voivod work as one of the most innovative takes on thrash/post-thrash ever composed. With 3 numbers from the demo serving as the backbone, the ultimately strange aura of this recording is guaranteed and the 6 new tracks complement it greatly. The bass work is stupendous bearing resemblance to Les Claypool (Primus) himself, but its omnipresence never stands on the way of the guitars which are only missing on the short spacey instrumental "Circusuitry". The peaceful, almost non-thrashy, quirkiness is "broken" on "Organism" which speeds up in a robotic mechanical manner and puts thrash forward again with a solid doze of surreality which becomes hypnotic by the end. "Frappe Glove" is bizarre funky avantgardism, still quite captivating, preceding the technical labyrinth unleashed on the final "Feed My Senses" which is a complex, not very easy to swallow, blend of fast discordant rhythms and abstract slower passages which overlap each other in a very logical fashion till the sterile shredding fast-paced end. The dispassionate wave-ish vocals seem the perfect choice for this otherworldly music which one may find hard to believe that it had come out of the hands of three totally unknown teenagers from Reston, Virginia among whom only the drummer was ever seen in another band later (Dreadnot, another very good avantgarde metal band). Fans of the offbeat, left-hand-path side of the genre simply can't miss this: this is how "Nothingface" should have sounded if the Canadian masters hadn't gone completely spaced out...

Threatened Fears Demo, 1988br> Mouthful of Buildings Full-Length, 1989

Official Site


A 2-song ("Stench of Holiness") of intense hardcore-ish thrash with interesting varied vocals the main being forced semi-shouty ones, but there are clean epic inclusions ("Liar in the Fire") ala Isengard. Alas, the music hardly deserves them being simplistic direct lashing with a few slower breaks.

The "December Reaper" EP is longer (five tracks), but contains the same uncompromising thrash/crossover with the direct, in-your-face delivery and the angry shouty vocals. The approach approaches hardcore on the very short numbers, which is to be expected, and at the end there is a cover of one of their major influences S.O.D.: "Kill Yourself" from the Americans' cult album "Speak English or Die".

Stench of Holiness EP, 2010
December Reaper EP, 2011

Official Site


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 grindcore on later works, to attempts at a more serious song-writing on the last two albums.
"Decadencia En La Modernidad" is a consistent offering seeing the guys delivering decent thrash/death metal mixing fast, almost grinding, sections with much slower ones. The latter are kind of more, and the guys' more proficient side clearly shows in the song-structures and the lead guitar peformance. The approach hesitates between the old school (the short death/thrasher "Envilecido Por Las Inquidades") and the modern trends (the melo-death affair "Las Oraciones Caen Al Desfiladero"), with the brutal low-tuned death metal vocals omnipresent. Epic, melodic flirtations spring up in the 2nd half: the long heavy ballad "Decadencia En La Modernidad", which boasts the finest leads on the album; the lyrical, semi-acoustic closer "El EdTn Est\'df Llorando"; which pull the album towards the more romantic side, with the singer replacing his guttural tember with a subdued, whispered tone, giving the finish an atmospheric, gothic colouring. Some of the musicians toil on a regular basis under the name Ultratumba, where the style is doom/death.
"Indestructible" concentrates on power/thrash almost exclusively, but the raw sound and the awful unrehearsed death metal vocals would be a big impediment for the listener. The delivery is much more melodic than the one on the band's previous recordings, but this album is hardly their finest achievement, neither are the several cover versions which can be found within: Fleetwood Mac's "Green Manalishi", also done by Judas Priest, in a more subdued than the Brits tone and consequently more faithful to the original; AC/DC's "TNT", again done quite close to the original; and Black Sabbath's "Children of the Grave", the best of the three with a nice galloping spirit. The original material is quite uneven ranging from intense speed/thrashers to laid-back semi-balladic variations with a hard'n heavy shade the closing "Lapidas Sin Epitafios" being a dark doomster with a thin death metal edge.
"Clasicos" is another larger-than-life amalgam the band inserting anything which has come through their heads during the recording process: classic heavy/power metal, doom, speed metal, thrash/crossover, ballad, all this served with a strong classic flavour the latter only dissipated by the harsh guttural death metal vocals and the slightly noisy edge of the guitars. The band stray further away from their more brutal past and one wouldn't be surprised hearing a full-blooded claSsic heavy metal record coming from their camp in the near future.

"Peregrinacion A La Cabeza de Cristo" is a more coherent effort, but in this case not for the better. This is modern post-thrash which drags painfully with repetitive groovy riffs and a very annoying buzzy sound quality, and even more irritating very low-tuned death metal vocals. "El Ojo De La Providencia" seems to be the only "light in the tunnel" being a high-octane doomster, closely followed by the excellent balladic instrumental "La Sonrisa De Dania"; and by the more dynamic closer "El Tiempo Para Arrepentirse" which also dooms with the finest at some stage. The rest is skippable, to put it mildly, and will disappoint the band's fans big time.

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\'a6os Ondeando La Bandera Del Metal Full-length, 2007
Odyssey In The Flesh Full-length, 2008
Decadencia En La Modernidad Full-length, 2011
Indestructible Full-length, 2012
Cl\'e1sicos Full-Length, 2013
Peregrinacion A La Cabeza de Cristo Full-Length, 2014

Official Site


Very good modern "transparent" 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 more technical implements ("Unparallelled") which will remind you of Megadeth, among others.

Mutual Assured Destruction Demo, 2005

Official Site


Based on "Terror Divine", this band plays abrasive modern thrash/death metal which is pretty aggressive and fast in the 1st half, with several stomping doomy interludes ala Mindrot which grow into a whole composition in the middle: the sinister industrialized doomster "Generation Buk". "Newborn Eyes, Newborn Hell" is another creepy number with shades of black metal, and overall the 2nd half is much slower the guys experimenting with other styles, industrial leading the pack giving "birth" to the sprawling gothic/doom closer "Monothony" which actually deserves its title seldom changing the hypnotic doomy main riff.

Virushuman Full-length, 2005
Terror Divine Full-length, 2009

Official Site


Based on the debut, this act provide a standout mix of thrash and death metal which is creepy and technical in a strange individual way with a slight shade of later-period Death and Nocturnus. This is beautifully-constructed music with expert musicianship present all over, cutting meandering riffs, blazing leads, and expressive shouty death metal vocals the latter also reminiscent of Death's Chuck Schuldiner (R.I.P.). "Dying" is a supreme surreal shredder in the best tradition of Theory in Practice as the headbanging side is left for the shorter material among which "Gods (False Answer II)" is a blast with its ripping galloping rhythms, and "Sorrow" is a purer death metal cut with less controlled proto-blasts. "ABT" notches up the surreality near the end with a cavalcade of stunning riff-patterns which will make their compatriots Continuo Renacer and Unreal Overflows stand still and listen. This is a sheer gem of some brilliant thrash/death which is hard to come by even nowadays.

"Dimensions" is another excellent effort with a bigger concentration on the speed with a more accentuated melodic flair which is at times wonderfully Oriental. The leads hit the top on "Right to Die" which is a nice progressive cut, and "The Last Day" will be paradise for the headbangers who will jump with joy on it as well as on the galloping "Two Sides". The closing "Innocent" wraps it up with a portion of more complex arrangements which were overall missing from the album its more immediate nature arguably less attractive than the one of the debut. Still, few will complain listening to this effortlessly flowing music which beats almost everything created on the Spanish thrash/death metal scene in the 90's.

Behind Full-length, 1996
Dimensions Full-length, 1998

My Space


4 Pedro's, although the band is listed as Swedish, two of whom are also members of the thrash legends Merciless, are responsible for this capable blend of the modern trends and the classic school which boasts several really compulsive headbangers (the furious opener "Hatefuel", "Devided", the excellent Slayer-worship at the end "Nightmare", which also comes slightly death-tinged). The vocals are of the shouty type recalling more recent Tom Araya which lose their power a bit on the more laid- back material.

Hijos De La Chingada Full-length, 2011



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.
The "Awake" EP is a similar concoction of thrash, hardcore, and sludge, this time very seldom blasting out with passion, adhering more to slower, sludgecore sections.

Trash Talk Full-Length, 2008
Awake EP, 2011


Based on "Built To Last", this act offers a thrash-laced crossover very close to late-80's/early-90's Suicidal Tendencies. So expect merry-go-round tunes spiced with more aggressive thrashy rhythms topped by vocals which have the hoarse carefree blend of Mike Muir, with all the typical for the genre "possessions" ("Skatin' For Fun") and appropriate cover versions (The Exploited's "No Forgiveness").

Pride And No Prejudice Full-length, 2006
Built To Last Full-length, 2009

My Space


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 isn't a "stranger" to 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

Official Site


A very good technical thrash metal 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 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 just one album.

Breaking Through the Ranks Full-length, 1993


An obscure surprise from the very deep German underground; what we have here is fairly cool progressive power/thrash which shows its ambitious nature from the very first cut "Trashure Island", a prime shredder aka Paradox and S.D.I. the song also ennhanced by a memorable sing-along chorus. "Intoxication" is a bit clumsy semi-ballad, but "Electric Rain" livens up with cool vivid rhythms. "Pleasing Pissing" is a merry speedster, and "Messenger" is the other longer and more serious number thrashing harder with the sing-along chorus applied again, this time to a more optimistic, drunken effect. The closing "Down In The Basement" is a nice blend of doomy riffs and fast-paced crescendos finishing this curiosity in a diverse, not very easy to predict manner.

Trashure Island Demo, 1993


Competently played retro thrash/death with brutal death metal vocals with a shade of Chris Barnes; the tempos switch the whole time the short material holding the faster surprises which often go for the blasts without any warning. Still, the music shares both styles even touching the more technical department towards the end which "courts" death metal more. The guys are also active under the name Spiritual (one demo released so far) where the style is purer death metal.

Verde Amarelo Azul E Preto Full-Length, 2008


Based on the "Interna-Mente" demo, this band play modern post-thrash, typical for the time stuff, with jumpy rhythms aplenty and a few more technical breaks ("Interna-Mente") which could have developed further. The delivery is laid-back with heavy mid-paced riffs topped by warm clean mid-ranged vocals.

Trauma Demo, 1994
Interna-Mente Demo, 1996


Based on the debut demo, this act play dynamic, vivid retro thrash which isn't very speedy, but "Statue" will by all means make you move around, and the closing "Trauma" will pleasantly surprise you with nearly 9-min of intricate, mid-paced thrash with interesting funky implements on top of some inspired hard-hitting, steam-rolling shreds. The band later was transformed into Alterhate, but only survived for a solitary demo ("Error Code [destroy]") in 2004.

Garden of Vanity Demo, 1998
Believer Will Be Lost... Demo, 1999
Grip of Frost Full-length, 2000


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 very occasional aggro-moments ala Pantera ("Reality Is"), but they only add to the heaviness of the album. Another reminder that this is a work of more 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

My Space


Based on "Cuentos no Resolutivos", this outfit provide playful post-thrash with a less serious crossover edge at times. The tracks are short, within the 2-3min range, and don't lack dynamics despite the frequent presence of the trademark for the style groovy jumpy riffs. At the time when classic thrash was slowly waking up for some more action, this effort could have been made with more speed added: now these memorable, but painfully predictable, patterns may wear thin before the end not without the help of the not very impressive unmelodic semi-shouty singer.

Destino Oscuro Full-length, 1994
Cuentos no Resolutivos Full-length, 1998


This Italian "virus" is heavy progressive power/thrash with plenty of atmosphere as the settled peaceful mid-tempo is seldom broken. "Che Senso Ha" is a really captivating progressive composition with nice melodic tunes the intentions partly ruined by the gruff semi-clean vocals which lack emotion and depth to pull it through. "Viaggio" attempts something more melancholic and gothic-tinged, and "Cio Che Siamo" is a cool more dynamic closer with sharper riffage bordering on full-blooded thrash.

Virus Full-Length, 1998


This is cool minimalistic modern thrash mixed with a solid doze of sludge and doom metal. The unlikely mixture works admirably entwined in long stretching, but fairly intriguing, compositions which, despite their prevalent slow character would enchant the listener with its hypnotic riffs and meandering more quiet breaks. Sudden unexpected, fast-paced passages come out of nowhere, but their significance is merely passing and is even ignored on the excellent cover of Black Sabbath's "Electric Funeral". Although the doom metal lovers will be the happiest with this, one should give a ear or two to this unusual stylish music which may acquire a thrashier "face" in the future.

7 Eyes of a Crow Full-Length, 2012

Official Site


Not very imaginative modern thrash/death with the band's Swedish counterparts from the Gothenburg school a major influence alongside their compatriots Mokoma. Like the latter the guys fall into the very lyrical traps exiting the genre more than just now and then, producing a light-hearted feelgood slab of metal for the tender side of the metal fanbase with a more serious progressive approach ala Amorphis also felt at times.

Keskella Pimeytta Full-Length, 2016

Official Site


Bashing brutal thrash with echoes of Slayer and the Mexicans Mortuary losing it a bit on the more death metal-laced moments (the blast-beats on "Ignorancia"); the guys know no sophistication and play at the utmost speed at times still their delivery not losing its comprehensive appeal even slowing down at the end on the merry-go-rounder "Tormentor" which, with a bigger stretch of the imagination, one can recognize the Slayer song from "Show no Mercy", not covered very successfully, also due to the bad shouty semi-death metal vocals.

Holocausto Nuclear Demo, 2011


This band was a side project of Steve Buschart, a future member of the heavy/thrashers Motive. The music on this one is cool classic thrash of the heavy mid-paced variety, with implements in the vein of early Celtic Frost and Slaughter, thrown in here and there. It's not stale at all, and nods to the doom/stoner scene ("No Tongue") can also be caught in the guitar department. "When You Die" inserts 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 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 ones, but the crushing music largely compensates for this flaw.
The demo is ten whole songs long neither of which is included in the full-length (except two featured in the latter as live bonus tracks). The music is very close to the one on the full-length being heavy mid-tempo thrash this time with stronger doom overtones, and a few modern throw-ins. The riffs are a bit mellower carrying more melody ("Somatic"), also in the lead department. The vocals are more unpleasant with a more accentuated gruff death metal semi-shout.

Travail Demo, 1994
Translation Full-length, 1996


This opus exhibits complex progressive power/thrash; an obviously talented band who should really think about replacing the very unsuitable death metal singer. The music delivers in a very complex, at times disorienting and even overwhelming, way starting with the very ambitious, but interesting 11-min opener "A Dubious Honour" which hypnotic mid-paced exploits get translated well later on the ensuing numbers. "Memento Mori" starts thrashing harder again without offering any speedy, but 2King Of The Dead City" is already a consummate headbanger even reaching progressive death metal heights at some stage. "Vigilante" is an effective creepy composition where the gruff vocals are challenged by better cleaner ones. "Song Of Shards" is another larger-than-life opus with numerous influences embebbed within; and "The Death Of Art" is an officiant doomy piece cancelled by the more dynamic rhythms of the following "Against The Tide". The more peaceful delivery returns for the closing "A Poem Of War", an engaging blend of ballad, progressive, and a bit of thrash which hypnotizes the listener for another 10-min. There's a lot of music to be savoured here, and in the end a lot of metal fans should be able to find something to like here.

Dark Above, Sun Below Full-Length, 2016

Official Site


Based on the full-length: this trio pulls out complex progressive metal with thrashy overtones which on the longer compositions sounds quite appealing ("Travesty"), but there's a fair number of shorter tracks where the eclecticism goes over the top with too many styles "courted": black, death, alternative, grunge, doom, jazz, funk, etc. It will puzzle the listener quite often, for better or worse, but as a whole this wide amalgam misses the plot more than just now and then.
"Dark Above, Sun Below" continues with the complex repertoire of the band who should really think about replacing the very unsuitable death metal singer. The music delivers in a slightly better way this time, though, starting with the very ambitious, but interesting 11-min opener "A Dubious Honour" which hypnotic mid-paced exploits get translated well later on the ensuing numbers. "Memento Mori" starts thrashing harder again without offering any speedy, but "King Of The Dead City" is already a consummate headbanger even reaching progressive death metal heights at some stage. "Vigilante" is an effective creepy composition where the gruff vocals are challenged by better cleaner ones. "Song Of Shards" is another larger-than-life opus with numerous influences embebbed within; and "The Death Of Art" is an officiant doomy piece cancelled by the more dynamic rhythms of the following "Against The Tide". The more peaceful delivery returns for the closing "A Poem Of War", an engaging blend of ballad, progressive, and a bit of thrash which hypnotizes the listener for another 10-min. There's a lot of music to be savoured here, and in the end a lot of metal fans should be able to find something to like here.

Travesty EP, 2005
Adverse Effects Full-length, 2006
Dark Above, Sun Below Full-Length, 2016

Official Site


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 heads-down 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 isn't 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 three songs are previously recorded and have a dirtier sound which still isn't an obstacle for the listener to distinguish pretty decent American speed/thrash metal, nice reminders of the glorious 80's.

A Reclamation of Power EP, 2009

My Space


Based on the "Tomb of Mankind" demo, this act play heavy stomping retro thrash in the vein of Cerebral Fix plus the obligatory more intense cut: the title-track which is Slayer-esque aggression all the way through. The singer shouts in a vicious forced manner rending his throat to the maximum. The band are now known under the name Architorture with one demo and one EP released at this stage.

Tomb of Mankind Demo, 2008
Skeleton Transformer Demo, 2008

Official Site


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", the title-track) 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


The debut demo: an excellent effort coming in the middle of the aggro-thrash fever to blow your socks off with compelling technical riffs, something pretty unusual for the mid-90's. This is pure classic stuff, very well-executed with hectic tempos, complex riffs, technical leads of the semi-screaming type, and very good dramatic clean vocals. The guys change pace, and the overall approach will remind you of the early technical exploits from the US scene (Ulysses Siren, Have Mercy). The band pull out two elaborate technical thrashers before settling for more straight speed/thrash metal on the Forbidden debut-worships "Crawl Back In Your Hole" and "The Freak Show". "Resession In Progression" is a slower more technical stomper with a faster twist at the end, and "Shadow Of Machine" hits the top with its complex structure, clever guitar decisions, and the nice balladic break. "More Than Meets The Eye" is a 1-min closing track of the fast technical kind which delivers although it leaves a certain aftertaste sounding like a draft for something more complete, which never materialized. Certainly, music of the kind, despite its undeniable qualities, could hardly impress anyone at that time so it should come as no surprise the guys' disappearance after this effort.

More than Meets the Eye Demo, 1994
Resession In Progression Demo, 1995


Two songs of dynamic power/thrash along the lines of their compatriots Toranaga; so expect a few vigorous gallops and several intense mid-paced shreds the music cavalcade assisted by attached semi-clean vocals which aren't very melodic, but suit the moderate musical proceedings. In the new millennium after the reformation in 2009 the band took the progressive metal path for the release of three full-lenghts.

Path of No Return EP, 1992

Official Site


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". Moments of early Slayer (in the vocal department, too) and the Dark Angel debut could also be felt. The music varies nicely from faster to quite heavy crushing ones topped by cool short leads.

Trial of War Demo, 1987
Demo Demo, 1989


This is fast thrashcore with casual proto-death overtones also coming from the raw shouty vocals which try to overtake the space "quarrelling" with the noisy buzzy guitars to no avail. The guys never drop the intensity down lashing out with a clinical sterile guitar edge which may place the approach more on the modern side despite the sincere old school attitude displayed all over.

Mmx-d Demo, 2010



Based on the full-length, this hugely talented formation come up with stae-of-the-art technical/progressive speed/thrash which wastes no time perplexing the listener from the get-go with the multi-faceted opener "Into The Gateway"; the base is quite fast for most of the time, and the delivery on "Shrapnel Surroundings" becomes too labyrinthine to be followed without a guide... kidding, of course, but the guys are clearly aiming at the thinking side of the metal audience, and those are the ones who will embrace mind-scratchers like "Corpratocracy" (ignore the quiet balladic into on this one) which thrashes hard with spinning, overlapping riffs and swiirling semi-lead passages. "Agenda 21" is hectic highly-stylized thrashism which twists and turns in least expected ways without calling speed for help a lot. However, the band are reluctant to go through the motions without bashing hard, and the fast-paced formulas are brought back right after on "Burning The Pendulum" and the complex cacophonic speedster "Under The Elusive Sky". "Battle Beneath The Skull" relies more on dramatic crescendos leaving the bigger dynamcis for the closing "Aridscape" which speeds/thrashes ahead with a solid portion of vitriolic super-technical riffage the latter carrying this grand effort to the very high echelons of the thrash metal circuit at present, and not only. If this is just the beginning for this band, then one should expect a lot of marvellous exploits from them in the future...
The EP is more than an audacious beginning for these auteurs who shred like demented on the opening "Conjurments of Destruction" making this cut a most shining example of their flamboyant, also highly energetic style the musical panorama aptly guided by the very good high-strung clean singer. "Disvoltaic Age" comes crushing with fast lashing guitars which weave maddening technical vortexes with memories of Toxik, Terrahsphere and Midas Touch. Crazy technical rifforamas which grow into "E.S.T.", another feast for the ears with its spiral-like rhythms and impetuous gallops in the second half. "Embryonic Uprisal" also relies on the aforementioned gallops to pull it through, but later on the band unleash a cavalcade of dramatic intricacy which cold put even acts like Deathrow and Realm to shame. The final "Releasing The Alliance" is no sloucher, either, moshing in a more moderate mid-paced fashion, another portion of intimidating steel gallops lying in wait in the middle, before the band start thrashing with the utmost intensity and virtuous melodies floating around in quick succession, the guys ambushing the listener further with undecipherable technical riff-formulas until a section of screamy leads comes to the rescue. This is nothing short of outstanding the band creating one of the most impressive displays of musical complexity on the scene in the new millennium.

Acidic Demise EP, 2013
Justified Atrocities Full-length, 2016

Official Site


This German outfit specialize in intense melodic modern thrash/death where the guitarists try to show all their skills fairly early filling the first couple of cuts with loads of classical elements. Ironically, they seem to have depleted their arsenal with those since at some stage the delivery becomes very ordinary and remains this way until the arrival of "Nihil" which is the highlight here, a nice dynamic technicaller. A confusing, unfocused effort as a whole sounding as though the band have recorded various section at different times, a presumption also prompted by the difference in the sound quality between separate tracks. Some of the musicians also play with the death/thrashers Entorx.

Throw Full-Length, 2011

Official Site


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 faster headbanging ones. The vocals have this meaner black-ish tone, and the lead guitar work is particularly good.
"Homoflyba 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 "Homoflyba 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 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)".
"A Falakon Belnl" is another speedy affair more clinging towards thrash again recalling late-80's Kreator quite a bit including in the vicious screamy vocal department. Sparce "moments of clarity" can be heard: "Nyugat Longja" which is a mid-paced offering with a maddening proto-death finish; but the rest is wild thrash, both extreme and controlled aggression served in big dozes. The speed of light is easily reached on the lightning speedster "Hetedik (VTgs) menedTk)" and especially on the insane shredder "Alomlato", and a few other numbers aren't too far behind the only more dragging moment being the dramatic mid-pacer "Add Meg...". The final "Vad Szabadsug" is another merciless piece which will seriously sprain your neck, another proof that this effort is truly one of the finest releases of the genre to ever come out of Hungary. If "Pleasure to Kill" would be remastered by Mille and Co. nowadays with a boosted guitar sound and a modern production, this is how it would sound like... a pure classic thrash metal fan's pleasure.

Elveszve Demo Demo, 2001
Homoflyba Menet EP, 2003
Thrashtamentum EP, 2005
A Falakon Belnl Full-length, 2008

Official Site


Based on "5.8", these guys offer cool dark progressive power/thrash metal with nice clean mid-ranged vocals. "Disembodied" smashes with heavy doomy, but at the same time 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 riffs, 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") both vocal and guitar harmony-wise, and as a whole there's not much thrash metal 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 been fully developed at this stage yet.
"Rebirth" is a heavy steam-roller which marches on with formidalbe volcanic riffs which at times gallop with the best ("Reaching the End"), at others pull out admirable technical riffs ("Ride for War") with a sinister shade. Romantic moments like the semi-balladic "Where is Home" are a rarity, so are remastered versions of an old material (the final "The Hunted") which in this case is served almost unaltered, maybe with a subtly accentuated more thrashy edge.

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

Official Site


These Aussies deliver heavy groovy modern thrash which isn't stale and trite, but offers a few more intriguing riffs, like on the opening "War Audio" and the twisted doomster "Life of Agony". "Ego Fuck" is an interesting ballad, and "Bleed" later is a creepy strange proto-doom metal cut, but the whole album has this unfinished aura as though the guys were not intent in making a full-time career out of this music, but just sat down one day and came up with this...

Scarification Full-Length, 1995


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 the Canadians Exciter to mind. In the more intense sections one could hear early Destruction riffs, too.
The EP is a further elaboration on the music already heard on the demo; early Exciter-worship, 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

Official Site


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

My Space


The demo: this act is the continuation of the thrash/crossover formation Atakke. The guys have become more aggressive here opting for a more brutal death metal-laced sound, and generally there's a lot of mindless bashing on this short effort which awkwardly gets mixed with some crossover/hardcore "remnants" the only more sensible moments being the intense melodic death metal cut "War to Wage" at the end. The rest is quite messy both music and vocal-wise.
The full-length features more controlled barrage the guys trying to balance between rigorous brutal proto-deathsters ("Lay the Earth to Rest") and battle-instigating epic steam-rollers ("Deterrence and Retribution") ala Bolt Thrower. The latter side seems to be taking more room with the varied stomper "Waking Terror" leading the pack there although cuts like the short furious title-track try to disrupt the heavy monolithic "idyll" which is finished by the excellent doomy instrumental "Desolation", another stylish nod to the mentioned British legends.

Demo Demo, 2011
Peace Is Forfeit Full-length, 2017

Official Site


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 pure stoner/doom compositions present: "Untouchable". Don't bother...

Bitch Full-Length


Based on "Anti Image", this formation indulge in a not veyr even mix between groovy post-thrash and less bridled hardcore. The order of the day is far from originality, and it's kin dof sad the that the energy from the beginning hasn't been so well translated later where the delivery becomes too sluggish and plodding.

Tiff & Liberation of Ego EP, 2007
We Are Cowboys Full-length, 2011
Siapa Suruh Datang Jakarta Full-length, 2013
Anti Image Full-length, 2015

Official Site


Based on "Affective Arousal", this Latvian sextet pulls out predictable modern thrash which is both groovy and melo-deathy both sides alternating throughout, both graced by heavy sharp riffs and forceful angry vocals.

Methodistortion Full-length, 2005
Affective Arousal Full-length, 2011

Official Site


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 isn't too dissimilar with a few modern throw-ins.

Bezumie Deystvitelnosti Demo, 1994

Official Site


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") aren't as striking being more standard. Suddenly will one come across pure galloping thrash delights ("Prisi=n Racial"), or explosive Slayer-esque ones ("Sentencia"), with also nods to the Slayer late-80's period ("Enjambres De Obsesion").

Prision Racial Full-length, 1996


This is weird, but captivating, abstract progressive proto-thrash which is based around surreal signatures and heavy, at times dissonant riffs, which shares some of the twisted genius of mid-period Voivod (circa "Killing Technology" & "Dimension Hatross"), but the music on offer here is less dynamic at times adhering to hypnotic guitars with a genuine industrial vibe which makes the guys pioneers in the industrial metal genre right beside Ministry. The fastest tracks are shorter and mid-paced at best, whereas on the other extreme we have the mechanical doomster "Low Man". The singer has the perfect dispassonate robotic voice pulling out an interesting semi-declamatory performance. Later the band incorporated those industrial elements more fully and became one of the stalwarts on the industrial metal scene worldwide although their appeal diminished in the late-90's due to the more dancey approach they took to the style on their last album.

Treponem Pal Full-Length, 1989


Based on the first demo (both demos only share the title, no tracks), this band play modern thrash/death metal which has its own face brought mostly by stylish technical riffs ("Loss for Words", which isn't an Iron Maiden cover). "Skinfection" is a very good epic thrash opus, graced by cool emotional clean vocals which accompany the main 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

Official Site


Expect your average modern, generally fast-paced, thrash with a few classic references (the headbanging Bay-Area delight "Drag You to Hell"). The band know their craft and the guitars cut like a knife aptly boosted by the production which also gives advantage to the stylish melodic leads. The singer delivers with his forceful semi-clean tone trying to emit more passion with the casual semi-shout.

Trial By Terror EP, 2012


The debut: a typical modern thrash offering with both metalcore and more technical leanings, but the guys are too lazy to put more speed into the proceedings the overall pace being mid with rhythmic jumps, melodic leads, and the staple gruff-melodic vocal duel.

"In the Shadow of Swords" is already a blend of thrash and death metal, again on the modern side, but the technical approach has been increased resulting in jumpy mid-tempo sections which are plagued by too much groove at times to strike a cord. At least one number comes with all the guns blazing: "All the Promises", an explosive later-period Death worship, an immaculate shredder with some great hooks. It's a pity that this example isn't followed later although the Judas Priest cover of "Jawbreaker" at the end is not bad at all delivered with panache and an appropriate modern spirit the leads being particularly good. The clean vocal participation is more frequent now, but this singing side is better giving an elusive emotional aura to the album.

Witness To The Downfall Full-Length, 2011
In the Shadow of Swords Full-Length, 2013

Official Site


A very good 4-track EP of progressive power/thrash with several more intense death metal insertions; the guys prefer the longer, epic arrangements, so all the compositions are long with technical and aggressive sections intercepting each other the whole time, assisted by cool melodic hooks. "The Warning" features a very cool doomy intro and outro, whereas "Crematoria" is a more dynamic thrashy piece. Still, the dominant tone is pretty officiant with doom metal taking the upper hand on quite a few times, supported by the very good clean vocalist, whose high-pitches are particularly effective, both emotional and foreboding. This is a compelling, engaging listen owing a lot to the Swedish scene: Hexenhaus' "Dejavoodoo", Pathos, Memento Mori; the Greeks Heathendom and the Americans Execrator as well. There are several genuinely original ideas here which would be a strong backbone for an eventual full-length.

Into The Night EP, 2011

Official Site


A nice little effort springs up from the dark mid-90's to offer good classic doomy power/thrash metal. The music is mid-tempo clinging more towards power metal with a nice bass bottom and good clean high-strung vocals. "Trials & Tribulations" is a cool dark crusher with progressive arrangements recalling Sanctuary's "Into the Mirror Black", and stands for the highlight, with the excellent doomy ballad "Outkast" a close second where the singer truly shines. Make sure not to miss the odd cover version of Richie Valens's "La Bamba" near the end which, alas, is made in a clumsy power metal spirit lacking the vigour and spontaneity of the original, and may be considered a drawback.
"The Aftermath of Lies": the guys are back from the dead with a brand new opus, and they haven't forgotten how to play some really cool old school power/thrash as evident from the vigorous opener "Oblivious". Most of the epic swagger of the older material comes back with "Conflict" and the rousing title-track, and this is the dominant tone for this effort the band not very interested in exploring their thrashy nature "Cause And Effect" being the other more aggressive shredder. Otherwise everything else is perfectly in place including the very good clean dramatic vocals and the heavy sharp riffs; it's just that this is the good old US power metal for most of the time.

Trials & Tribulations Full-length, 1995
The Aftermath of Lies Full-Length, 2016

Official Site


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 style: Massacra, Aggressor, Loudblast. This is heavy, but also quite brutal at times, stuff featuring 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

Official Site


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

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


This outfit undulges in modern power/thrash which at its more stripped and direct ("The Succubus") can make quite a few heads bang with passion. Things are also attractive in the other sector where long, more elaborate compositions belong: "Chemistry Arrives", which is a seamless blend between raging thrash with classic overtones and heavy, dramatic sections; "The Warrior Mentality", which relies on more technical riffage and a few captivating melodic tunes. "Below" is the underachiever here, a dragging uneventful groover lasting for nearly 7-min, and although later on the guys never flop this way, the remaining material kind of loses its initial sparkle including the closing 9-min opus "The World's Greatest Cynic" which thrashes harder here and there, but most of the time develops like a pensive progressive piece. The two vocal syles don't leave a very positive impression, either: one is of the clean, alternative kind; the other is a pure brutal low deathy growl, both intercepting each other at the last appropriate time. There are bright ideas here, and more coherence and consistency for the future would only put the band on a higher level.
"Tales" serves another portion of "tales" which are epic-decorated sustained in a not very dynamic mid-tempo in the 1st half the sudden faster outbreaks ("Insectoid") not carrying a lot of charge either. "The Butterfly Effect" has a more positive "effect", though, with its intense speedy passages which grow into the dramatic hectic semi-technicaller "From Funeral to Funeral". "Horror" is an unexpected technical thrash/deathster its jumpy aesthetics partly influencing the following "King of Ithaca". Near the end the guys lose it bringing back some of the groove from the debut indulging in not very exciting rifforamas with a thin progressive edge on the closing dreamer "That Bleakest Shore".

Elder Lore/The Dark Arts Full-Length, 2012
Tales Full-Length, 2013

Official Site


Based on "Coma Dance Core", these guys specialize in modern post-thrash of the creepy minimalistic kind with abrasive guitars, funky/jazzy variations, semi-technical sleepers ala Prong ("Direction"), occasional stylish explorations in post-apocalyptic technical thrash ("A Zero-sum Game") ala mid-90's Voivod, or discordant chaotic, but strangely listenable, abstract pieces ("Chain") in the vein of Treponem Pal. Unfortunately, displays of bad taste aren't spared, like the very dreamy spacey 8-min ballad "But Why" (yes, indeed, guys, why!?), for example. Still, fans of the mechanized robotic side of the genre will by all means be entertained by this intriguing futuristic blend topped by cold indifferent gruff vocals.
"Personal Zone" is a very "personal zone" for the band who again indulge in their minimalistic eclectic landscapes which should have no problems finding a dedicated fanbase among the industrial metal lovers, above all, who may find their new hymn in "I'll Pray For You", an unnerving shredder "marrying" Ministry and Prong in an everlasting bond. "Control Of Decay" is a stylish balladic ambient experimentalism, quite a surprise, the "oasis" amidst the cold mechanical domination. Another robotic "monster" arrives later, the title-track, which marches on with dispassionate sterile guitars again recalling Treponem Pal; before cold twisted thrashing ala the Japanese Doom comes served as a finishing touch on the final "Worms Of Premonition". This is a fairly original listen, and it would take a bit of time for one to fully understand it, but the listener would more likely be rewarded for the invested time in the end.
The demo is the first step of the band into the music field, and it's obvious that at this early stage they were just a bit more than mere noisemongers with a penchant for wild thrash/death bash which makes sense at times, actually, and some appetizing melodies can be caught (the excellent balladic break the title-track, for example). "Gibel Bogov" is quite a stylish technicaller which gives a big boost to the remainder which also features the wild proto-deathster "Ne Budem Vinit", the technical shredder "Krovavie Bukvi", and the hectic Atheist-worship "Volchica". The sound quality is too shabby making the guitars inordinately screamy.
"Face of Industry" is a modern industrial progressive thrash masterpiece, a statement made immediately with the brilliant Treponem Pal-esque opener "Acceleration of Temporality", a volcanic hallucinogenic shredder which sets the tone for the dense industrial miasma that follows. Expect robotic stompers ("S.E.B. (Systematic Error Brain)"), hypnotic mechanical doomsters ("Leprophesy"), weird seismic shredders ("Vae Belligerentis"), and everything in-between. "No Fear, No Pain" is another glorious reminder of he aforementioned French titans with its futuristic atmosphere, and "The Road Not Taken (Jimm Beam)" is a more optimistic frolicer its merry mood clouded by the doom-laden opus "Recovery Impossible". The guys continue to expand the bondaries of what's possible within the metal confines, and as such remain one of the most original practitioners from the Big Country.

Sluga Diavola Demo, 1992
Amnesia EP, 1994
Nothing Sweet As Suffering Full-length, 1994
Hatechild Full-length, 1995
Sheila Full-length, 1998
Coma Dance Core Full-length, 2010
Personal Zone Full-length, 2015
Face of Industry Full-Length, 2017

Official Site


Pleasant feelgod thrash which crosses the old school with the modern trends recalling more recent Paradox on the better moments. There's some cheesiness sneaking in echoing the 90's power/speed metal scene also reflected in several balladic moments (the tender 5.5-min ballad "Insanity"), but few will complain on the energetic speedster "Open Your Eyes". Still, at least half of the album develops in a not very interesting merry mid-paced fashion sounding like a lesser Perzonal War. The singer tries the hardest and his attached melodic antics are the highlight.

Stranger Full-Length, 2014

Official Site


This is modern, generally mid-tempo, thrash with a few jumpy decisions and really brutal deathy vocals which are interrupted by melodic clean ones at the most inappropriate times. Otherwise the music isn't terribly bad if we exclude the several dragging, slower passages. The riffs are pretty sharp, their cutting qualities more evident on the more technical piece "Cracks In The Hourglass".

Bound At Birth EP, 2011


Pull the "trigger" , and you'll get a portion of "mekanical", but also quite energetic at times, modern post-thrash/thrash which tries to be choppy and not very predictable its less ordinary character also aggravated by the cool clean vocals served as a "companion" to the harsh deathy ones. "Never" is a curious progressive saga which sadly abandons the more forceful fast-paced approach for the sake of more abstract build-ups which later can be heard in other songs reaching the culmination on the 11-min closer "The Return Of The Kraken" which is a sleepy pensive extravaganza without any clear highlights.

Trigger Mekanizm Full-Length, 2014

Official Site


There's very little information about this band on the net, but the "Best Of" compilation which is in circulation, displays a really good outfit with a style varying from power metal ala Metal Church ("Bone Crusher") to pure high-octane American power/speed metal numbers in the Omen, Helstar vein ("Trigger Zone 88X"), to awesome sophisticated technical thrash ala Forbidden and Megadeth ("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
Bone Crusher Compilation, 2009

Fan Site


This young outfit offer aggressive classic thrash/death with deep guttural death metal vocals. The production is a bit messy with bad hollow-sounding drums being the main detriment, and stands on the way of the musicians who still play on unperturbed changing the pace on those short (2-3min) numbers where hysterical screechy vocals also appear to stifle the main ones. "Abandonment" is a cool semi-technical cut, and "Digital Magic" is an ambitious 11-min progressiver with clever arrangements and cool twisted decisions.

Embyronic Forms Full-Length, 2015

Official Site


This is dark gloomy retro thrash which "benefits" from the raw production quality sounding like a recording from the early/mid-80's with the same bashing aesthetics like the early works of Whiplash and Possessed. The music gradually starts to acquire more sensible dimensions ("In The Shadow Of Paramount Deng Xiaoping") in the middle with more melodic tunes and more elaborate arrangements: check out the progressive doom/thrasher "Half Mile Square". Near the end the less merciful "attack" returns the guys pouring fiery riffs all over pulling out one more stylish track at the end: "Cut Down The Tall Trees" which exits the album with a pile of steam-roller riffs on a dramatic base. The singer doesn't really shine with his low-tuned death-ish semi-recitals which are barely audible for most of the time.

The Genocide Manual Full-Length, 2011


Based on "More than a New Life", this act provides derivative one-dimensional groovy post-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. Some of the band members also keep themselves busy with the modern death metal outfit Puritan.
"Evora" is a similar "animal" if we exclude the few more aggressive thrashy outbursts ("Darkest Before Dawn") which bring the necessary dynamics and even a touch of technicality, probably influenced by the more visionary musical delivery. The final result is more impressive overall the intensity seldom dropping in the 2nd half despite the several steam-rolling passages which come served with a pinch of doom.

Suffocated Breed Full-length, 1999
More than a new Life Full-length, 2001
Opositpo Full-length, 2003
666 Corporation Full-length, 2006
Evora Full-Length, 2009

Official Site


A not very known demo of heavy proto-groovy post-thrash/post-death which rolls forward with volcanic mid-tempo riffage which doesn't change too much throughout assisted by gruff semi-death/semi-shouty vocals, interestingly recalling the most renowned attempt at the style, Massacra's "Sick", predating it with two whole years.

Demo Demo, 1992


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 cool technical guitar work recalling the Canadians Obliveon's later period, and Voivod's 90's works with Eric Forrest.
The "Witness Of A Dead Creation" demo, for example, is the most aggressive offering the band thrashing with style on the mechanical shredder "The Revolutionist" which remains the most interesting composition here, the others being kind of clumsy with repetitive mid-tempo guitars and not many exciting deviations. The singer isn't bad, though, with his emotional deep Peter Steele-sque (R.I.P.) baritone.

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

Official Site


Based on the 1992 demo, these folks deliver a rough blend of classic speed/thrash and modern 90's groove the former side by all means the more appealing one with ripping energizers like "Aleman" and "No Creo Que Pase De Hoy" amply provided on top of several more thought-out attempts ("Corfani") at semi-progressive song-writing. The vocals are hoarse shouty semi-clean ones and at times create quite a bit of noise.

Demo Demo, 1992
Los Tigres Demo, 1994


This is the new band of Metallic Kitty- the girl who sings for Decadence, ably supported by the "one man band" Ronnie Bergerstshl (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 metal, 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's ornated by gothic melodies.

Black Lies Full-length, 2008

My Space


Simplistic, slightly abrasive speed/thrashy barrage, definitely on the old school side of the spectre with meanish deathy, subdued vocals. "Fuck the System" is a raging headbanger with overt both proto-death metal and hardcore tendencies, and "Salam Metal Head Nusantara" is an officiant stomping anthem predating the soaring melodic histrionics on "Pejuang Merah Putih".

Threat of Life Full-Length, 2016

Official Site


This band's line-up included a future member of the progressive power/thrashers Trizna (see the review a few lines below). The music on this one is more conventional despite the impressive length of the songs (the shortest one is 5-min long). There are 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 cool heavy guitar work. The vocals are worth mentioning being nice clean mid-ranged with this characteristic semi-high blend at times, also characteristic of Kipelov from Aria.

World Devil Full-Length, 1989


A young act who play dynamic speed/thrashing metal which also has its black metal side (the hyper-blasts on Zivot Ispod Obrnutog Krsta\rdblquote ) as well as a few more aggressive death metal passages (the short brutalizer Fullmoon Over Transylvania\rdblquote ). Some thrash metal fans may not be able to stand through this very diverse album trying to find the thrash connection in it which always comes disguised under a heavy wall of black/death aggression. There's a lot of melody inserted as well (check out the closing epicer Triumphant\rdblquote ) which contrasts with the brutal shouty death metal vocals. Some of the musicians also take part in another similar black/thrash metal outfit, Manic Disease.

Herald the Unsung Full-Length, 2014

Official Site


Fast intense thrash of the old school with super-vicious black metal vocals which rather resemble a dog barking, but are strangely effective. The music is pretty close to Slayer, being fast and tight, with "Lunatic Asylum" moving up the aggression scale towards proto-death metal drawing resemblences to Hellwitch and Merciless.

Lunatic Asylum Demo, 2009

My Space


Trivium are perhaps the thrashiest of the wave of NWOAHM 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 an obvious 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 more strongly: "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-track 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 metal.
"In Waves" returns to the more simplistic delivery of the band's earlier material, and as such this effort has more bite even reaching a death metal intensity at times ("Dusk Dismantled"; the brutal shredder "Shattering The Skies Above") although tracks of the kind should have been more with an album of whole 18 compositions. The majority of the songs develop in a predictable mid-pace with the obligatory melodic hooks the pedestrian delivery saved by the very good soulful vocals which are unnecessarily intercepted by rough death metal ones.
"Vengeance Falls" is pretty much in a similar vein keeping with the band's staple delivery without crossing any borders adventure-wise. Consequently the samey mid-paced approach may not be the most entertaining listen in the world despite the obvious cutting edge of the guitars and the undeniable composition qualities. "Incineration: The Broken World" is a more complicated number, and the closing "Skulls...We Are 138" is a suprising raging thrasher which is... a Misfits cover that raises the adrenaline high instead of wrapping it up in the expected way.
"Silence in the Snow" has a more officiant, epic aura and consequently hard thrashing is hardly the order of the day the album exuding a consistent, monolithic feel with a lot of memorable melodies. Still, the somewhat calm mid-paced delivery dullens the senses and if the fan isn't frequently brought to tears on the numerous catchy sing-along choruses, then this recording is simply not for him/her: there isn't much thrash here, if any at all, its other undisputable merits not considered.
"The Sin and The Sentence" is a more aggressive recording than its predecessor the guys attempting something overtly thrashy at the beginning (the title-track, "Beyond Oblivion"), and although later on they mix things up again one can't deny the moshing potential of "Betrayer" ot the steam-rolling seismicity of "The Wretchedness Inside". "Sever The Hand" is another excellent thrasher, vintage classic mosh which was missing from the band's repertoire even during their very early days; and the ending is preserved for a couple of more serious progressive pieces: the symphonic shredder "The Revanchist", and the varied bouncy grrover "Thrown Into The Fire".

Trivium EP, 2003
Ember to Inferno Full-length, 2003
Ascendancy Full-length, 2005
The Crusade Full-length, 2006
Shogun Full-Length, 2008
In Waves Full-length, 2011
Vengeance Falls Full-Length, 2013
Silence in the Snow Full-Length, 2015
The Sin and The Sentence Full-length, 2017

Official Site


This band appeared at the same time with End Zone, and both played classy progressive power/thrash metal. Trizna are the less adventurous with lighter melodies and an overall more melodic sound. The "Out of Step" EP is a nice beginning 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!).
"Need For Speed" is a joke, a soft heavy metal charade with other inappropriate covers, including another ABBA one ("The Winner Takes It All") plus a Tina Turner one of "Simply the Best", thrown in. The thrash metal purists should avoid at all costs...
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 Full-Length, 1995
Need For Speed Full-length, 1996
Vertical Horizon Full-length, 2004


Based on the single, this act pulls out fast blitzkrieg speed/thrash very similar to the early Hirax albums. Two short 2,2.5-min tracks await you here offering direct fast riffage also touching Slayer on the more aggressive leanings.

Tromaniak Demo, 2009
Night of the Chicken Dead Single, 2010

My Space


This demo offers retro thrash with ultra-brutal death metal vocals; a not very capable mixture which has the necessary amount of energy music-wise, despite the frequent stetches towards more moody, Celtic Frost-like tunes ("Especimen"). The 2nd half is more varied the guys inserting the odd proto-groovy moment ("Irak") ala Pro-Pain, losing the intensity a bit.

Demo Demo, 2010


This Bulgarian trio gives both a doomy and more thrashy twist to the 90's post-thrash movement, resulting in a monotonous, unimaginative sound on a buzzy guitar background, topped by gruff semi-clean vocals. This is relatively peaceful stuff, slow-ish to mid-tempo, and would probably attract the doom metal crowds, above all.

Nosht (Night) Full-length, 1995


Based on the debut demo, this act specialize in ordinary modern post-thrash which is not a very dignified position having in mind that it provides a meeting place for musicians from the most famous Belgian thrash metal acts: Decadence, Channel Zero, Cyclone, Death Squad, etc. including the bass guru Pablos Alvarez. Apart from the really muddy sound quality there are other impediments along the way: the vocals are badly shouty without a shade of melody, the delivery is sustained in a perennial mid-tempo which just tires at some stage; the riffs are repetitive without any imagination put into their production. One may not be interested in checking out the full-length based on the uninspired performance here.
The "Angry" demo is just a 3-songer the band doing a much better job not really sounding "angrier" than the first time, but notching it up the speed scale with the excellent classic-sounding "Why" before the meditative mid-pacer "The Dangerous Old One" intervenes with its calmer riffage leaving the lead-laden delivery for the last "Little People" which is the only less exciting moment here. The production is much better, too, the guitars having a particularly clear edge with a sharp expressive tone.
The "Bite into Life" demo is a better offering with much better production and better guitar work although the approach is pretty much the same, crunchy mid-paced post-thrash, but the music kind of has more "bite" ("into life", I suppose) and more edge recalling mid-period Prong even managing to raise "the flag" of classic speed/thrash on the closing "Let's Burn The Flag Of Hate" which is a major ripper without many relations to Kreator music-wise, with a few creepy doomy breaks. Now one may show interest in checking out the full-length...

Alone Demo, 1996
Angry Demo, 1998
Bite into Life Demo, 2002
Moneycracy Full-length, 2006

Official Site


Heavy crushing thrash metal offering 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 metal which would hardly impress the more hard-boiled thrash metal fans.

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

Official Site


A 3-song demo of underground pristine thrash with rending death metal vocals; this is chaotic messy stuff obviously influenced by Hellhammer, played in a sleepy slow tempo bordering on doom/death most of the time the amateurish music further ruined by the guttural low-tuned death metal vocals.

Demo Demo, 2011


Rough, abrasive modern thrash with an expressive hardcore flair; the intensity reaches Slayer-esque proportions at times ("Infekcija"), but the band aren't only interested in pummeling the listener to a pulp, but vary the approach with more relaxed numbers ("Morgas") which contrast with the prevalent frolic bash which turns to merry crossover on the final "Duok i Snuki". The vocalist is a passable hardcore-ish semi-shouter who even tries to actually sing at times.

Alkoholikai Zudikai Full-Length, 2016

Official Site


Based on the EP, these folks pull out intense thrash with echoes of both Cerebral Fix and Hellbastard so expect some crossover as well as heavy volcanic rhythms; even some jumpy quirky moments on "UGG" with a technical potential. Despite the short songs' length, the band manage to create quite a few nice sections with a lot of dynamics "roaming" around including a few really brutal moments with proto-deathy overtones. The singer mostly shouts forcefully, but his antics are well suited to the musical barrage.

Nictophobic EP, 1988
Truce Full-length, 1990
Salespitch for the Masses Full-Length, 2010

My Space


This is heavy modern post-thrash with a brutal death metal throat. The approach is at times soulful and playful ("Blues From Hell"), at others it's thrashier with more punch and bite ("Road To Kill"). Watch out for the lyrical psychedelic ballad at the end "Time"; The Doors at their most vintage.

I Truck on the First Date Full-Length, 2016

Official Site


A more energetic version of the 90's aggro-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.
"Nyi Foame" by no means breaks new ground, dragging in a samey groovy, post-thrashy manner (not much of it here), this time even more toothless, this mild stuff really starkly contrasting with the ultra-brutal death metal vocals. One shouldn't be bothered with this on any level, unless he/she is a diehard for the conventional and derivative side of the 90's trends.

Taraf Nation Full-Length, 2008
Nyi Foame Full-Length, 2011


Intense aggressive thrashcore which comes with a less ordinary for the style crusty vibe, and with a more brutal deathy edge (the title-track; the abrasive headbanger "Human Skin") at times. The delivery is pretty one-dimensional, though, and the band never bother to change the up-tempo merging the whole album into one big moshing melee topped by expressive deathy Tom G. Warrior-esque vocals.

The Riot Goes On Full-Length, 2016

Official Site


Based on the full-length, this formation specialize in first-class modern thrash which starts with the brilliant Coroner-esque technicaller "Determin