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'Strong Arm Of The Law' saw the young at heart singer aside Nibs Carter (bass) on the riser, thrusting a double fisting salute. It's a melodic torrent of ear candy with plenty of hooks an of jimmy page,powerful drums of john bonham and that damn heavy bass of john paul jones. Our goal is to predict if a review was positive or negative based on it's review text, to practice sentiment anlysis. We will drop all but two columns. CUMBRES BORRASCOSAS PELICULA 2011 ONLINE SUBTITULADA TORRENT Example: Device license zooming technology on a license entry does not factor already up-to date, 22, My best for the software. Con ello pasamos one indicates that way i inserted the texture is. Like a wanted for commercial use particular control, first. The possibilities and for you.

Cause thats the only way of transfering music I got. E-mail is just as dangerous unless your using own or private mail servers. Anything yahoo or msn is risky. Have you never used bittorrents to download? It's the latest craze! I wouldnt mind Gorguts - Obscura if you wanna trade anything. Last edited by Ten Ton Alien : at P Brother Dime. Will trade album for album. I got the new Tool. My email is WatkinGlen aol. GUNS L. BIG MR. Please excuse me for I currently have a terminal erection, and the only cure is midget-cunny.

Yeah, I know my list isn't all metal, but who knows, someone might want one of the non-metal one's I used to have the live extermination mp3's I can look for the cd in my archives if you don't have it. If someone told me they only had one Rush album and that album was Grace Under Pressure, I'd have to call , because clearly this person's life is in danger. Does anyone have any live Yattering?

I can't find much, and not the songs I'm looking for. I'm especially interested in the last one. I think I have this one under a different name. I've definitely seen that setlist before. Thanks, anyway. Free Big Movies Porn movie directory with tons of free movies. Free daily non nude pictures and videos of legal teen babes almost naked.

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We were asked to remove this video. Please scroll down to see other This tiny teen Nubile One is Nadia. Her petite frame is made for fucking! Contact Us. Link to Us. The Album Trading Thread. Page 5 of 5. Join Date: Apr Location: slaying all the giants Posts: 9, LucidDreamer Senior Metalhead.

Join Date: Oct Posts: Join Date: Jul Posts: 2, Quote: Originally Posted by nomad thanks mate! Originally Posted by ImBored I feel a bit arabic spending 30 minutes in the toilet. Quote: Originally Posted by nomad still down?

Originally Posted by BassBehemoth I'll take you from behind! Vomitor Metalhead. Join Date: Dec Posts: Quote: Originally Posted by Vomitor How are you all trading? Still, there are more interesting headbanging moments to be enjoyed: "Insuffisiensy Of The Hate", the violent deathster "Decision", but the rest is pretty mish-mashy ruined by the buzzy guitar sound and the raw synthesized quarrelsome vocals. The style is complex, but often intriguing progressive power metal with mere shades of thrash, especially on the good debut; it's those shades actually which produce the finest songs on those two albums: "Dead by ", "Devil Monkey's", "Evil Tears", "Kill'Em" fortunately not "all".

The music is quite quirky with cool leads and frequently changing riffs, and is closer to early Psychotic Waltz, Spastic Ink, and Juggernaut, rather than Megadeth. The demo is already on a fairly quirky dimension seeing a band not willing to follow well-trodden paths. More intense thrashy moments can be caught "Evil Tears", the short less ordinary basher "Counter Coincidence" at times, but the offbeat compositions largely exceed the more direct ones. This is speedy merciless stuff with screaming leads and vicious Mille Petrozza-like vocals.

The bonus track "Epitaph" is excellent thrash metal with great twisted riffs ala Target and Realm and more aggressive, close to death metal, vocals. Apparently it was recorded at some later stage of the band's career, a sign for much bigger things in the makings which, unfortunately, never materialised. Despite the bad sound quality and the not very high level of musicianship, this rare item is worth tracking down, especially by those who want to trace the roots of their favourite extreme music down to the very beginnings.

There's, of course, a slight doze of thrash thrown in here, enough to secure this band a place on this site. The final mixture is similar to the style displayed on the first two Exciter albums. The singer resembles John Oliva except in the cases when he goes for the high-pitched screams. The guys share their interest in drinking and beer with their German colleagues Tankard, and music-wise they aren't too far, either, recalling the Germans' more recent efforts.

One may mourn the wasted playing time where only "Thoughts Collide" tries something more stylish with echoes of mid-period Voivod so there's a lot which screams, "Canada! Then comes the dreamy quasi-balladic "Satan's Shepherd" before the closing 7. This interesting album has its moments, but the guys could have tried better by focusing more on the progressive side which here is hinted at here and there, and should be developed more fully in the future.

Metal As Hell! The vocalist is a rending throat who shouts in a tearing deathy fashion not sparing himself too much in the process. Some of the musicians are also active with the band of the former Manowar guitarist Ross the Boss. As a result the approach becomes stale way too soon for the listener to be intrigued the listless shouty angry singer not doing much to improve the situation his cleaner inclusions the closer "Remain In Mind" a bit better.

The sound quality is really bad, though, but the singer is cool with his dramatic clean delivery. Otherwise this is mild stuff with bluesy and stoner overtones as well, with one more aggressive shredder "Father Of Father" tearing the air near the end with a few more impetuous riffs. The lead guitar work is very cool, though, recalling the maestro Joe Satriani having an archaic, old school feel.

There are only 5 tracks related to music the rest being spoken intros lasting for a bit less than a min. Both sides deliver as preferences could be given to the faster one which recalls their compatriots D. The end is occupied by two covers: "Messiah" Hellhammer and "Hades" Bathory , both delivered faithfully with the Bathory cover a bit superior nicely capturing the unbridled evil spirit of Quarthon's R.

The guys mix the pace relying more on friendly mid-paced riffs which suddenly get intercepted by intense fast ones. This is a diverse listen which never sounds boring, but could be even better if the computerized echo of the guitars could be reduced in the future. The lads bash well, creating numerous headbanging opportunities for the restless die of the fanbase "Jungle Mangled" , the early Metallica worship "Exitus Freefall" a sure positive occurrence.

The rest is energetic moshing shorters with "Through Ceiling to Hell" exhibiting bigger technical prowess alongside nice proficient melodic lead sections. The singer is a shouty death metal presence, intimidating the audience with his authoritative rendings. Some of the band members also shred with the retro thrashers Coldblooded Fish.

The vocals are a detraction being very hysterical shouty semi-black ones. The song which follows is truly a revelation: "The Hell We Make", which greatly speeds up, and sounds close to something Nevermore could have written. The next two songs slow down again, but increase the technicality resulting in truly inspired sections where the guitarists fully show what they are capable of.

If there had been more time spent on this project, Faustus could have turned into one of the major forces on the contemporary metal scene. The guys play with inspiration seldom letting the speed go down and will indeed "rage you all" big time. He was only 17 years old back at that time. This is probably the reason why he merely assists the other guitarist Gary Sanders who is responsible for some of the finest leads on the 80's US underground metal scene.

His guitar work is perhaps too melodic, so the style is power metal for most of the time with timid adherence to thrash reflected in a couple of more aggressive galloping riffs "Welcome Oblivion", "The Nihilist". One, however, may miss those moments enchanted by the virtuoso guitar performance which easliy overshadows the majority of the Shrapnel signings at the time, producing some of the finest classically-inclined hooks and leads.

Despite his sincere efforts, the singer can't possibly be viewed as anything more than just a capable support to the guitar players with his dramatic clean mid-ranged delivery: check out the balladic passage on "The Nihilist". The music reminds of the Belgians Chemical Breath and later period Death, but often moves into a more brutal death metal territory.

The blast-beats are quite annoying, because at times they break an otherwise nice technical passage. The vocals are brutal, low-tuned death metal ones. The songs are long, the shortest being 6-min, and are quite complex with many tempo and time changes.

The guy messes it up a bit on the very long min "The One You Hate" which is also very mild with more melodic guitars, and could even pass for a ballad on many sections. The band are best mixing nice technical riffs with more atmospheric lighter melodies without any more aggressive brutal passages: "All That I Had", "Forgotten". The songs mix faster with slower passages, but to these ears the doomy monolithic title-track goes away with all the laurels, a nice heavy semi-balladic composition.

The other highlight is the shorter more immediate straight thrasher "Infusionism" although the final "Rage" could qualify for it as well with its cool blend of hard-hitting riffs and scattered balladic moments. Otherwise the approach for most of the time is energetic and aboveboard with several songs being pure aggressive death metal "Damnation Defined", "Mental Grave" numbers. The leads are quite thin, though, and the singer is a really brutal, guttural growler. The music here is mid-paced with quite a few hard-hitting moments "Edge of Insanity", "Blind" , although the guitars have this abrasive sound which might annoy some.

There are three tender ballads which are a bit too much for such a work, recalling the Eldritch efforts in the field, and "Carved" and "Of the Things That Have Yet to Come" are ambitious takes on progressive metal, very similar to Opeth. If Eldritch do not rise up soon their last offering "Blackenday" was not that great , Holler might be better off staying with this act, whose first effort is quite promising. You won't hear the infamous Crosby screams from the Detente album: she uses a very declamatory style, not involving too much singing, but helps in creating genuine sinister atmosphere fitting perfectly to the dark brooding musical delivery.

Even the shorter more immediate thrashers "All That Remains" are decorated with those elements. Although "Toxic Voodoo" isn't as bad as some reviews on the Net suggest, it's certainly less impressive than the debut featuring a more conventional modern thrash sound with heavy death metal-ish sections. The bass work has been emphasized on, and the bass will literally blow your speakers.

The previous album didn't contain a song with the album-title, but here comes "Beyond the Veil" to open this one with smashing heavy riffs, not too far from early Celtic Frost who are an apparent influence on at least half of the album. Crosby brings some of her more intense vocals from the Detente period which work great. In the second half the songs become longer and the doomy moments, so common for the debut, settle in on some, nicely mixed with the faster sections some of which are true headbangers "Santismo" , and produce at least one genuine doom metal hymn: "U.

The closing "Worms" develops in a playful crossover fashion until the final part which is mighty crushing doom at its most shining best; those heavy guitars might make you want to hear this last part over and over the doom metal fans I mean, of course. The "Killing the Pain" EP contains three songs which sound like leftovers from the previous album. These ones sound even better: the hypnotic dark thrasher "Killing the Pain", the energetic up-tempo "Infrablack", and the awesome doom metal number of the more melodic type "Mourning Light".

The untimely death of Crosby reportedly caused by excessive drinking, R. The music has numerous cool melodic hooks, surrounded by two excellent short orchestral instrumentals, serving as an intro and an outro. The first half is a mixture of power and thrash metal recalling Morgana Lefay at times, but in the 2nd half the band switch to excellent semi-technical thrash ala Megadeth where even the vocals change into a Dave Mustaine-mode to better suit the music.

Apparently these guys are still looking for their own identity and with more focus on their technical side next time things would be really good. Obsession Full-length, Official Site FEARED SWEDEN These Swedes have managed to sneak under the radar somehow with four full-lengths released in rapid succession; which is strange provided that there are musicians involved here who have done service in some big names on the metal circuit: the guitarsit Ola Englund is a current member of Chris Barnes' Six Feet Under, and some of the other guys play with the retro thrashers Chainsaw, among other formations.

The style presented on "Furor Incarnatus" is a mix of thrash and death metal, strictly modern with relevant nods towards the Gothenburg legacy which come accompanied by more atmospheric Gojira-sque landscapes "Breathing Failure". There are moments when groove will "entertain" you "Vintersol" to a not very impresive effect, but the album's immersion into more atmosphere and melody with each passing song will be to anyone's delight since the guys are way more convincing when they don't have to play too fast.

Some may complain that the album loses its initial intense nature completely by the time the last two tracks hit which are edgy progressive semi-balladisms with doomy overtones; but this is more serious music which may require a few listens in order to be fully grasped. The guys know no rest and here comes another full-length in , "Vinter".

Unsurprisingly, the style is quite close to the one displayed on the preceding effort, maybe a tad more relaxed and immediate, featuring notable jumpy thrashers like "Mass Destruction". The rest is more officiant with the progressive leanings saying their word more frequently in the 2nd half the short dynamic shredder "Mylingen" another "dessert" for the headbangers.

Near the end the cuts become drowsy with a big sleeping potential acquiring dreamy balladic tendencies the closing title-track being an oblivious quiet instrumental. His gruff semi-clean tember is already here and it suits well the heavy semi-technical music which only flaw is that it never develops beyond the stomping mid-pace consequently sounding the closest to Xentrix's "Kim", but without the balladic infatuations of the latter. The guitars are sharp, and the singer is very angry unleashing a brutal low-tuned semi-shout.

Expect over-the-top intensity "The Death of Expertise" as well, on top of some near-operatic atmospherics "Trapped Spirit" and successful attempts at bombastic blackness "Drink Myself to Death" , the light-hearted shredder "Flashpoint" recalling Carcass' "Swansong", the gurgling screechy vocals also throwing the approach in the British legends' direction, the elegiac doomy epitaph "This Fucking Horror" at the end a welcome semi-respite. Industrial overtones in the form of short musicless noisy instrumentals and a couple of more technical decisions can also be caught from time to time, and surprisingly the harsh semi-black metal vocals don't sound awkward giving this work a cool meaner tone.

The problem is that once the guys settle for a particular approach, it very seldom changes throughout the album, and all tracks tend to sound samey with heavy pounding riffs in mid-pace the deviation coming in the form of a slower doomy passage or a semi-balladic melodic moment. Their more tender side is sincerely heavy metal-ish "If You Need Me" , but watch out for the closing 1-min instrumental, which is a very cool accordion tune taken from the Russian foklore heritage. The vocal performance is quite diverse trying to keep with the numerous musical nuances, and the drunken semi-clean blend acquired by the singer at the end suits well the closing mournful doomster "Corazon De Melon".

On then other hand, the apt use of folk tunes would invariably remind of the British masters Skyclad "Onwards to Jotunheim". Mentioning the dramatism, one can't bypass the excellent high-strung soaring vocals which give this recording a more bombastic colouring the man covering several pitches without straining his vocal chords. The vocals are of the expressive mid-ranged clean type and could pass for the main asset on this average recording.

The music isn't bad with a slight industrial touch, not too far from Skrew or Malhavoc but less industrial-tinged , or the second Voodoocult album. Five years later on the self-titled sophomore effort the order of the day is just average modern thrash metal.

The leads are clearly the highlight being both screamy and melodic. Pieces like "Shadows of My Life" and "Don't Close Your Eyes" try to reach the speed of light, but also tread more deeply into well trodden Gothenburg waters. The dedication to speed is admirable all over, it's just that it all begins to sound too familiar at some point regardless of the neat, professional execution.

Later on the approach gets distracted throwing itself into too many directions among which the faster escapades "Ghost Mind", "Chained Gates" by all means deliver the better. On the rest one can hear grunge, alternative, groove, and melodic hard'n heavy "Hot Line". Every song is a combination of fast aggressive and slower atmospheric passages reminiscent of both Infernal Majesty and the Germans Assorted Heap; except on the shortest material "Peaceful War" where the approach is just intense bash without much sense, with cleaner vocals; could have been recorded at a different stage Environmental Glutton Demo, Human Sickliness?

Based on the demo, the guys have done a fairly good job here, as it takes the place between "Indulgence" and "Penetration Point": it's more complex than the first, but is still too far from the technical brilliance of the second one. There are enough sharp headbanging riffs to enjoy as well as several which would require a more careful listen. The shorter tracks "Nuclear Wardance" are raging "bullets" with a shade of death metal ala Protector and they nicely alternate with the more elaborate material which also comprises the excellent diverse "Beyond Insanity".

The delivery is largely mid-tempo the band wisely dispersing cool catchy melodies around, then not very convincing semi-clean, unrehearsed vocalist hardly the main asset here. Still, he doesn't interfere that much, and may even pass for an advantage on the more energetic material "Awaken", the short speed metal outbursts "Iron Cross" and "Fractured".

The band members continued their career under the Sacrament A. The singer is another reminder of the legends with his venomous shouty Tom Araya-sque baritone, the crisp sound quality another major plus. The singer can be both friendly and punkish, and gruff and angry on demand. It has everything which made the 80's scene so unforgettable: black-tinged guitars ala early Bathory and Venom, Bay Area riff-fest in the tradition of Violence and Exodus, vicious speedy guitars in the Destruction and Exumer vein, even more technical attempts bringing to mind Kreator's "Coma of Souls".

A mandatory release which hopefully won't be left without a follow-up. Most of the time the delivery is on the mid-tempo side, but there's so much style incorporated here that the listener will be quite busy to care a lot about the less elaborate moments: check out the mazey creeper "Endlager" which dark puzzling execution pretty much sums up what happens here for most of the time.

After an exhausting shredding performance the guy relaxes with a nice balladic outro called "Formalin", another excellent touch. The debut is a more experimental affair the guy concentrating on evoking mood more rather than provide any actual musical landscapes, and although some tracks "Pestessen" shred with the best out there, there's a hefty portion of electronics applied to an overwhelming industrial effect "Kante" at times. The guitars have a dissonant noisy character "Tiefenrausch" and have the tendency to become wonderfully cacophonic "Korperaufenthalt"; the creepy closer "Betonsarg" on occasion recalling early Treponem Pal and Front Line Assembly.

The bass plays a major role to the point that the guitars come secondary on quite a few times. FRANCE Mechanized, industrial thrashcore with a big dance potential, but also pretty intense at times; this isn't as bad as it may seem, even managing to come up with a few stylish melodic leads crossing the electro-metallic boogie of KMFDM with the more aggressive core-isms of Swamp Terrorists.

The expectedly synthesized vocalist doesn't interfere much leaving the organized electronic noise to overwhelm the listener, and fans of pogo-prone tunes will find their new favourite in tracks like "Dr. Red" and "Ziad", while others will listen with more care on the longer, slower, but more thrashy shredder "Vadim". Some speed metal aesthetics sneak in as well and generally the guys seldom know mercy thrashing their souls out, like on the uncompromising opener "Masked by Evil".

Later on the no-bars-held attitude comes back and the guys seldom abandon the fast downpour unleashing the odd galloping delight "No Man's Land" along the way. The closer "Illusion of Reality" is another more complex cut with numerous tempo changes still keeping the thrash assault going for most of the time.

The singer is a fitting addition with his attached high-strung semi-clean tone resembling Darren Travis Sadus. The doom and gloom carries on to even bigger proportions on "Fallen from Grace", but fortunately the aptly-titled "Saviour" comes to save the day with great galloping guitars and ultra-smashing rhythms. A great compensation is offered on the majestic Oriental "Egypt in Decay", a first-rate galloping riff-fest.

Albums of the kind were quite a rarity in the 90's, and even a decade ago this effort could have been the highlight of any year. Sadly very little information can be found about this very obscure formation who sank without a trace after that. There are stomping moments with a modern taste thrown in, but they are hardly a distraction, and serve well to bring some variation.

The guys unleash furious thrash bombs in the face of "Lawmaker" and "Defy The Divine", and slow down, but just a bit for "Rotten Domain", which also shows their melodic side. The singer is a gruff semi-shouter, who kind of fits the tedious musical delivery, which at its best touches The Black Album. The technical thrash of the Form debut has been brought here, but with a hefty doze of groove also bringing it closer to the same band's sophomore effort.

As a result the music is stylish and heavy, strictly for the modern metal fans, with meaty mid-paced guitars and suitably angry semi-shouty vocals. Later some of the band members formed Engine of Pain and carved themselves a more lasting, and still going, career. The overall sound isn't too far from Sepultura's "Arise" with touches of Slayer and Evildead on the more intense sections "Swarm in Heaven", "Tired of Life".

The music is fast-paced with a strong bass-bottom and a slightly thin guitar sound. The guys are not strangers to a more interesting technical play: the excellent instrumental "Executor", although this one is a solitary experiment. The vocals are a mix of more death metal-styled ones and Max Cavalera.

When if not now? Who if not me? The music is not very thrashy, and "Thrashophobia" doesn't deserve its title being the softest song here. Reportedly on later works the guys have "hardened" the course. He is assisted by the "drum machine" Scott Travis, who took part in "Painkiller", and had earlier been a full-time member of the Shrapnel heroes Racer X.

Halford delivers his hellish high vocals, not too far from the ones he unleashed on "Painkiller". If "Laid To Rest" doesn't make him turn the player off with its slow hypnotic doomy guitars, the next "For All Eternity" definitely will: a tender, albeit very good ballad, which Judas are yet to produce.

Halford mixed most of the songs from the debut on "Mutations", producing a worthy, but not really great, industrialized work before coming up with a new full-length, hopefully developing this undustrial direction. But no: "A Small Deadly Space" preserves the heaviness, but the music has lost speed considerably, going deeper into modern metal, acquiring a somewhat alternative sound. Thrash is almost nowhere to be found, except on isolated sections from separate songs, and even shades of grunge hello, Nirvana!

Halford sounds very restrained, sticking to cool, albeit not exceptional, mid-ranged vocals, with very few deviations, if any. Having seen that he was going nowhere with this band, Halford gave up "fighting", and put an end to Fight.

Combinations "Say It to My Face" seem to work the best with their more versatile approach the latter also accommodating a couple of more brutal sramatic deathy excursions "Reign of Terror". The vocalist fits all nuances with his passionate quarrelsome death metal-ish shouts, sittiing somewhere between early Chuck Schuldiner R.

Well, this sounds neither as a "fight" nor as a "delight" Just Read the Contract. Later on the album never loses steam although a couple of more moderate proto-modern breaks ala Annihilator can be caught here and there "Speeding Slut". The 2nd half is actually the inferior one with a more accentuated modern sound and slower songs which better suit the angry semi-shouty singer.

There's certain intriguing guitar work at play "Exposed" , but it soon gets lost in the majority of more ordinary groovy riffs. This is a jumpy melodic affair not far from early Helmet, also mixing it up in the vocal department with angry semi-hardcore and melodic vocals. There are no surprises except for the aggressive thrashers "Undesired" and "The Wise One" thrown in the middle, the latter also reminding of the aggro-thrash of early Pantera. Depending on the taste, some may find the cool acoustic ballad "Silent Echoes Of Death" near the end another highlight.

Still, the guys do a better job in Ironsword where some of them are also involved, and in Moonspell with whom this band has quite a few ties member-wise. The cleaner vocals are here again and play a more prominent role, in this case still for the better. As a whole the band have softened a bit, willing to explore their mellower side which should be a good thing as long as the guys don't forget where they have come from The harder moments pack a punch boasting heavy pounding riffs, but the more melodic ones aren't quite appealing also coming with a slight alternative flavour.

The music never speeds up beyond the mid-pace, and the singer is hardly an asset with his unemotional semi-clean delivery. Expect also catchy hard'n heavy merry-go-rounders "Begins from There" and retro speed metal outtakes War Robs All" , the singer staying the course with a detached mid-ranged semi-declamatory baritone.

There follows a string of longer complex technical thrashers where speed is not the order of the day anymore, and every track is a great combination of smashing technical riffage and up-tempo, more straight sections: check out every song, but the best example of the description above would be the superb "Break Down" which provides genuine headbanging moments among the heavy complex delivery.

This offering is by no means bad; it's a non-stop headbanging riff-fest, this time featuring not only all-out speedy songs, but also mid-paced numbers "Coma Divine" which are graced by quite stylish semi-technical guitar work. The debut EP shows the band sticking more to the death metal formula coming with a sound quite close to the Swedish school, but more interesting with nice melodic guitars and occasional technical licks. The music is surprisingly restrained with no fast sections, just a few up-tempo ones; the rhythm guitar is all over the place again in a Bolt Thrower-like manner leaving not much room for the leads, but it does a fine job giving the music a genuine atmospheric colouring.

In other words, expect all the staple tools of the guys' arsenal to be lined-up here, with "Chaos Unity" providing the desirable melo-death leanings, winking at the Swedish canons for a change. The singer semi-recites in a clear forceful manner, and his attached antics get the message through.

The more serious tone of the first two songs is replaced by heads-down thrash on "Riddle of the Sands" which comes mixed with soaring epic melodies on the following "A Faerie Forlorn", which is vintage early Falconer with a thrashy twist. The flag of thrash is raised high till the end, with the Hallows Eve cover of "Plunging to Medadeath" near the end making things even more aggressive, stifling the softer epic tunes springing up here and there.

The singer delivers with his comprehensive gruff semi-death metal tember, which still leaves something to be desired in the melodic department. The debut starts with the intense speedster "The Adder At Your Chest", but later on the acceleration gets decreased, still remaining hard-hitting, although the overall approach stays closer to power metal, with one good , albeit a bit overlong, ballad "Stormclouds" included.

Time for some epic cheesiness with the 7-min opus "The Healing" which still holds several speedy surprises in the middle. Two more heavy pounders follow suit, before the bombastic cover of Death's "Evil Dead" shatters your reality to pieces, preceding the actual closer, "Iemer Mere Owe", a 4-min tender ballad sung in German. When the following title-track continues in the same smashing spirit, one may finally hear the guys serving full-throttle thrash all the way, and indeed, even though "Breathe My Sorrow" slows down, is a sure-handed stomping thrashterpiece.

The ton riffs remain throughout, and although the speed has been sacrificed quite a bit, this is hardly a complaint the solid, occasionally hectic, mid-paced guitars delivering on all counts. The most pleasant surprises, however, have been preserved for the end: "Who Am I? The singer is a forceful semi-declamator who pulls out a comprehensive gruff tember capably assisting the very good music without actually singing too much.

On "Way of the Accursed" the band continue marching on with their staple seismic steam-rolling riffs suddenly branching out into dynamic headbanging, also quite technical, thrash on "Replace God Conceal The Beast ". After that the mid-tempo thundering "carnage" settles in and stays till the end not offering much variety. If this approach was effective on the debut, now another work of exactly the same style just doesn't do the trick anymore.

The band are more than equipped to carve a niche for themselves, but there wouldn't be much excitement for the fans to look there too often. The former side clearly leads the show also reflected in a couple of short bursting numbers those coming with a pinch of hardcore "Short Life Song"; yes, this one is indeed "short": just above 1-min. This is a cool effort with strong headbanging qualitites which will keep the fans happy all over also due to the very clear sound quality.

Some modern groove sneaks in with the aptly-titled "Break the Barriers", and later on more modern thrashisms "Prejudice", "Die or Die, Guaranteed" come to the surface, a tendency also strengthened by the noisy abrasive production.

The main vocalist has a clean, alternative tember, but his indifferent antics are "rudely" broken by very brutal low-tuned deathy insertions. The guys thrash with conviction, also adding the necessary doze of atmosphere on the more laid-back material, like on the excellent dreamy gothic-like "Memories".

After the speedy crescendos in the beginning, the band gradually abandons the more aggressive delivery, settling in the 2nd half for softer mid-paced patterns with power and post-thrashy tendencies. This is slightly uneven, but still delivering the goods, effort which shows Doherty still walking in the shadow of his former act, in this case for the better.

A few classic leanings can be heard, and the guys try to timidly speed up here and there, but those attempts remain unfinished due to a lack of space, or a lack of talent? Still, the headbanging potential of all-out speedsters like "Vortex", or the ripping headache-causer "Relief of Beliefs" can't be denied; neither can the more serious progressive leanings on the still quite intense "The Larcenist".

Regardless, there's a lot of clumsy grooving to be encountered, more or less aprropriate, especially on several overlong min tracks which may pull back some of the more intolerant fans. Before that one will encounter several mellower moments the latter mostly reflected on the interesting 8-min progressive opus "Vengeance" which is vintage surreal spacey Mastodon at some point. The ZZ Top cover at the end of "Just Got Paid" is a nice addition with its more vivid merry rhythms seeing the guys dissipating the boredom for a bit.

Please, note the nice melodic deviations on "No Stop Now" which cling towards the ballad, again in tone with what's happening around. The dynamics remains, though, as there's hardly a really dragging moment here "Beneath Us" showing how a mid-paced can sound energetic and intense the whole time, with the closer "Black Out" notching it up again towards Headbangersland wrapping on the album with panache.

Purer less frantic takes on the crossover idea like "Deadly Fate" also deliver the band stirring a cool entertaining pogo for most of the time. The vocals are typical shouty death metal ones with a sparce participation of a cool clean dark baritone akin to Fernando Ribeiro Moonspell. The vocals aren't bad at all with an assured gruff tone supporting the main semi-clean mid-levelled blend which gets broken at times with the occasional high-pitched scream.

This is a really promising beginning which should catapult the band into the upper front of the rising thrash stars from Italy. The musicians also have other projects: the classic thrash formation Violence Spread, and the death metal cohort Nimroth.

The full-length is another fairly cool effort now serving a thin semi-technical edge the opening "Gane Arrabbiato Rabid Dog ", "Human. Fast-paced compositions alternate with more moderate ones with a touch of power metal the aggressive shouty death metal vocals never changing. The style clings between Overdose and early Holocausto the crossover shades also reminding of Ratos de Porao. The sound quality isn't good at all and the messy wall of guitars is at times not easy to decipher.

The music is quite dynamic, though, with a regular alternation between faster and slower passages the former working much better coming with an appropriate death metal shade boldly going over the edge with the ultra-brutal grinding closer "Unworthy", which isn't exactly "unworthy", but still The singer is a rending shouter who would easily suit any death metal or hardcore outfit.

The music takes a slower, almost doomy edge sometimes, but there's no speed lost, especially on death-laced numbers like "Pandemic" and "2Faced". To keep their music from sounding monotonous, the guys speed up at times, or slow down to doom-metal dimensions both deviations can be heard on "He Set His Captives Free".

Things get rough on more intense pieces: the full-on thrasher "Warhammer", but most of the time the music is along the lines of early Helstar, Liege Lord, and Exciter. The singer provides the desirable emotional overtones with his forceful clean tember which nicely occupies the "nomansland" between the high and the mid-registers.

Vitus-like moodiness. The music is cool staying mostly in the mid-paced range. The guys like covering different veterans from all walks of the metal scene: Burzum, Judas Priest, Thin Lizzy, etc. This isn't fun of the headbanging type, but is for the lovers of more thoughtout progressive music. Both sides alternate till the end which comes with the nice dark galloping piece "Path Of Hope" which nicely captures both the energy and the darkness from which this effort has aplenty.

The songs which follow are much longer, though, and will remind you of Necronomicon's "Apocalyptic Nightmare", and, respectively, Destruction's "Infernal Overkill". The generally fast tempo is often intercepted by more clever stomping passages, both sides executed very well topped by mean Schmier-like vocals. The sound quality is very clear making the guitars cut pretty sharply, mostly in a direct stripped-down manner which never sound annoying despite the relatively lengthy min compositions.

The full-length serves vintage old school thrash as the only pull back may be the screechy witch-lie black metal vocals. The music delivers on all counts, though, the soaring fast-paced roller-coaster "MacabraCondenacion" raising the spirits sky-high, the equally vitriolic "Inquisitor" stirring additional moshpits, the marginally more vicious proto-deathy "PesadillaSiniestra" shooting more aggressive biting riffs.

With 15 tracks included in this album, one could easily find some waste, like the nu metal-ish "Fatal Hesitation", for example, or the semi-acoustic "Burial to Shroud". Actually, the keyboards play a major role here decorating at least half of the songs creating a nice "duel" with the stylish melodic leads. The singer has a not very convincing gruff low-tuned death metal tember, and it's good that he's missing from the cool haunting intro and outro. The band crush with seismic riffs and more elaborate progressive structures the overall approach recalling Sanctuary's "Into the Mirror Black", early Nevermore, and the Swedes Pathos.

There aren't any temptations at a more speedy performance: this is pensive mid-paced to doomy music there's one ballad as well: "Passengers Theme" with fairly intense shreds: check out the dramatic crescendos on "In Response To Light", the sinister galloping riffage on "Astonishing Synopsis", or the wild proto-grooves on the bonus track at the end "Transmission Lane". The singer is an able assistance with his deep passionate clean delivery. Some of the guys were previously members of the death metallers Bloodsky and the classic heavy metal formation Mindcrime.

The death metal-prone tracks "A Devil's Miracle" dominate the scenery with short balladic dramas "Soliloque" spicing the hyper-active proceedings, the vicious black metal vocals bringing the proceedings in the vicinity of more recent Cradle of Filth and Dimmu Borgir. Thrash squeezes itself amongst the brutal escapades, but apart from the short "Imperial Pestilence" and the more moderately performed closer "Wrahthful", it doesn't receive too much playing time.

An intriguing element are the cleaner, more attached vocals which give an officiant, symphonic lustre to this larger-than-life opera. The other track which will strike a cord is the fine progressive thrasher "The Great Stillness Silence " which offers quite a few twists during its nearly 8-min remaining heavy and intense with sharp, but also melodic, guitars.

The guys obviously have fun pulling out those cool optimistic rhythms which this time offer nothing new, but will remind of many old time practitioners like Exciter, early Metallica, Vectom, Warrant Germany , etc. It can hardly pass for full-fledged thrash for most of the time, and it's good that the band found the right way some four years later on the sophomore release The "Silent Summoner" demo is really good stuff since the band have changed the approach for the better by epitomizing a more complex sound with richer more technical arrangements and a bigger diversity.

Then comes a little joke with a nod to Manowar with "Gloves of Metal" delivered in just over a minute. The singer has acquired a lower-tuned tone and has become a tad more melodic which again is another improvement. The sound quality is quite good and the singer has a cool high-strung clean timbre reminiscent of David Wayne R.

More immediate bash arrives with the remorseless "Two Thousand W. The music is mid-tempo with memorable choruses, good clean semi-high vocals, cool solos, and more. Some tracks carry the playful rock-ish attitude: "The Agony", but rest assured that this is nothing like Guns'n Roses or Ratt. The pace is again mid for most of the time, but the hard lashing riffs will guarantee good time to both power and thrash metal fans.

The guys were sure-handedly moving towards the full-length sector, but with the swiftly-changing musical tastes at the time their style became obsolete before they managed to reach this stage. The music here is quite similar to the one displayed on the only Sentinel Beast album, but while Debbie Gunn was a great addition to the energetic music on the latter, here the singer isn't that impressive singing in a clean unemotional tember without changing the pitch a lot.

The tracks are long, and some of them are moderately complex and intriguing. The change from speedy to slower, almost doomy at times parts, is done proficiently with more concentration on speed. Mentioning speed, it is speed metal which takes the upper hand most of the time, and as such this short effort is really engaging, coming quite close music-wise to the last couple of Exciter albums. This is so expertly done that the only logical next step would be a very good full-length with those five songs here serving as a strong base.

His modern death metal vocals are mixed with the clean ones which he had already mastered so well. There is a room for improvement, like, for example, the black metal sections which could be left out for the future, in case of Vintersorg gathers enough courage to venture into thrash metal territory again.

Vintersorg provides a wide gamut of singing styles, but to these ears his black metal grunts aren't very pleasant on the milder music background. Actually this band is a one-man project, whose name is Benny HSgglund, and Vintersorg has been invited to provide the vocals on both albums, so this isn't Vintersorg's own act. Whatever the shade added, the band never lose their vision from sight thrashing with passion the vigorous music ably assisted by expressive angry hardcore vocals.

The songs are all short "bullets" seldom flashing something less conventional the semi-technical hooks on "Blow Out" boldly blasting out "Fake" whenever possible. The brutal very fast moments are very few, but the music jumps from slow to faster sections the whole time, the most shining "diamond" being the closing "Chaospawner - Part I One Thousand Years After " which is stand-out speedy intense thrash with fine melodic keyboard "decorations".

The music is dynamic, featuring both melody and heaviness, both capably mixed on almost every song. The other mix, between the very angry hardcore shouts and the clean alternative vocals, doesn't work all the time, the latter being the much better side, a potent reminder of Burton Bell Fear Factory , Dax Riggs Acid Bath , and Nick Holmes Paradise Lost.

The singer is the prototypical semi-shouter whose rendings are sometimes difficult to decipher. There are moments when the style slightly reminds of early Helloween, mixed with the early efforts of Destruction. Near the middle the album loses steam, featuring slower and slightly unfocused tracks, and only partially captures the high-speed aesthetics of the first half later on, maybe because of the inclusion of another more melodic number: the Motorhead-influenced "A Noite do Seifador".

The sound is a bit hollow, though, especially the one of the drums. The guys do a cover version of Slayer's "Evil Has No Boundaries" although their style has little to do with this band. The only complaint comes from the very buzzy guitar sound which considerably takes away from the sharpness, and the vocals which this time have tried to add an "improvement" in the form of a high hysterical shout which makes them sound even worse.

If one manages to go over the constant buzz of the guitars, he should be able to enjoy this decent take on the good old speed metal with hints at thrash "courting" the German school, above all. The guys are also occupied with the black metallers Kabarah, and the classic heavy metal formation Raw Raze.

The compositions are lengthy min although nothing too technical takes place, "Nightmare Apocalypse" abandoning the initial speedy approach for the sake of stomping doom-laden arrangements, but there's no speed lost later with vigorous moshers like "Souls of Unclean" flying from all sides. The closing "Nightstalker" is an underwhelming heavy metal frolicer misusing the screechy rending vocals which simply don't belong on a soft hymn like this.

What we have here is very well executed old school thrash metal along the lines of early Destruction and Exumer's "Possessed by Fire". The music is faster, and will also remind you of the Japanese Fastkill. This is great thrashing riffest with touches of the Scandinavian black metal scene still present, but not to an annoying extent. The production is raw recalling the good old days. Thrash metal plays a second fiddle here and major thrashterpieces like the closing "Gateway To The Birth Of Lunacy" are not a very frequent occurrence this time.

Fast and slow numbers alternate throughout the melodic hooks not bad, but hardly very memorable excluding the inspired lead section on "Cruel Intentions", and the more engaging progressive thrashing on "Rain-a Single Drop Can Flood the Ocean". The singer is a shouty deathy throat, but his rendings are intelligible. The dual vocal attack consisting of raw guttural and hysterical screechy histrionics is nothing special, but suits the relatively pedestrian nature of this recording.

The debut is decidedly the more simplistic and more diverse affair the band providing a not very convincing conglomerate of power, speed and just a little bit of thrash the delivery also bringing Nasty Savage's first offering to mind. The galloping epic "Beware Of The Dogs Of War" will also remind of other US heroes from around the same time like Omen and Jag Panzer while the elegiac doomy hymn "Isolation" is vintage early Manilla Road, all the three styles coming nicely combined on the final sweeping epic "Gwedolin".

The vocals have moved towards the brutal shouty death metal perimetre, abandoning their forceful semi-declamatory swagger of old. Watch out for the more technical, stylish thrashisms on "Red Terror" and for the more carefully plotted mid-pacer "Acid Rain". The assault on the senses is remorseless the guys bashing with the utmost intensity, with all-out headbangers like "Trust the Liar" and "Sea of Blood" shot in quick succession.

Short rough hardcore fillers "Initium", "Trapped into Your Nightmare" don't add up much to the positive impression created elsewhere, especially with the third part of the "Legend" trilogy serving some expertly crafted progressive thrash, the highlight on this varied, but confidently constructed recording.

Remnants from the band's violent past "Pollution Attack", "Savage Brains" can easily be found, though, as well as more cleverly executed numbers the quirky unpredictable shredder "Shadows" which make this album a mildly entertaining listen, and one of the better adaptation works from the 90's. The guys thrash with passion at times, mostly on the slower cuts "Liquid Illusions" which weigh quite a bit with steam-roller riffs and dramatic arrangements.

Near the end the guys abandon the faster parametres and the music takes off towards nicer proto-doomy waters with ultra-heavy riffage the "darkness" dissipated by the more energetic closer "Car Mrazomor" which provides the more vivid galloping moment from time to time. The singer is a suitable clean mid-ranger who tries something scary and deathy on the final track.

This is a cool effort which shows that thrash doesn't have to be constantly fast in order to be fully satisfying. The first demo contains the more aggressive and faster material, and will stun you with its steel technical riffage and the very high level of musicianship. The singer has a cool mid-paced melodic tember, if we exclude his attempts to scream like a banshee.

The demo would probably leave you asking for more, since it's only 4 songs the first one doesn't count, being a very short intro. If you want to satisfy your hunger for more of the same, "Humaniced" might surprise you; here the intensity is more controlled, and the speed has been reduced, replaced by stronger bass work and more complex song-structures. The guitar sound is heavier, pounding, and despite some up-tempo sections thrown in, the final result is almost as good.

The singer has a more trained voice this time, but lacks emotion and variety. The music has become even more melodic now being a mix of thrash, speed and power metal. The album starts ambitiously with the progressive complexity of "Gods, Priests, Charlatans", which quite well blends fast thrashy passages, vortex-like twists and balladic breaks.

The music too often strays into balladic waters which is compensated by the odd heavy doomy section "Armagedon" which in its turn comes accompanied by the casual brutal death metal growl. The compositions are quite long, the closer alone lasting for more than min, but there's not much happening, just intense edgy riffs taking turns with sprawling one-dimensional balladic passages.

The girl behind the mike does a good job unleashing a melodic attached mid-ranged tone. The debut demo is a much more amateurish affair the girls not having honed their "weapons" so well yet. Still, the inspiration is there and the title-track is a rousing headbanger wiht an evil Venom-esue flavour. The leads are quite cool, melodic and soaring, and are possibly the highlight.

Most of the guys are also involved in the melodic death metal formation Everlost the style presented here not far from the one of the other band whose line-up also includes the guitar maestro Andrey Smirnov also UDO, Blaze Bayley, Master, Shadow Host, etc. Flashover are one of the better ones with their aggressive old school sound reminding of No Return's "Contamination Rises".

The Brazilians' style is a tad less aggressive featuring playful, semi-joke songs "Die Die" , but when they thrash, they take no prisoners, the smashing opening title-track, the aggressive Slayer-esque "Dogs Of War", the speed killer "Wrong Place Wrong Time" all songs from "Land of Cannibals".

Considerable hardcore flavour "This Life" sneaks in at every opportunity, and surprisingly these are the more timid moments where the guys don't lash with all the guns blazing, even inserting a healthy amount of groove "Infamous Country" into the proceedings which definitely win from the presence of the dynamic speedster "Incorporating The Pain" and the more playful crossover-ish "Under World".

After this hyper-active climax the seismic reverberations on the proto-doomy "Soundcheck of Evil" sound like a logical aftermath, but expect just a little mercy from the closing "Pain and Hate", a remastered, more sophisticated and more proficient version of the short outrageous brutalizer from the debut.

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