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						REVIEWS LIST	- G

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GACK - FIX (1993)
Ever wondered what happened to Laaz Rockit in the nineties? Well they disbanded and the members started a new band called Gack. Gack was a band that tried to fit in, a band that wanted some commercial success.

To accomplish that they started to play some type of Groove Metal with Grunge and some minor thrash tendencies. This is what you get when you crossbreed Alice in Chains with Pantera. Chunky fat guitars but mostly this is just some type of grunge rock.

I guess it was unevitable for Laaz Rockit, they changed from power metal to thrash in their early career and when the next thing shows up they wanted in on that as well. Which makes the band followers not leaders and who remembers the followers? Not many, But Laaz Rockit was at least a band that released some highly entertaining material. Gack on the other side is what you can expect, It's Michael Coons characteristic vocals over a grunge album. I never really listened to Gack before writing this review and I will probably never listen to it again, this is not my cup of tea, the nineties can keep the grunge, because I don't want it. 

⭐

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GAMMACIDE - VICTIMS OF SCIENCE (1989)

Gammacide’s only full-length “Victims of Science”, released in 1989, is an enjoyable trip of toxic and corrosive thrash metal. Gammacide was a one hit wonder in the field. They came, released a titan of an album and then dissolved like nothing happened when the variable winds of modern music blew in. When people discuss the best underground thrash metal album of the 80's, this LP is often mentioned.

Gammacide might be unknown to most metal fans out there but Victims of Science is nothing but a true underground gem. There are no goofy covers, no ballads, no jerking around. This is thrash as it was meant to be; fast, mean and highly radioactive. All played at a breakneck-speed without giving up on the almost surgical and penetrating technical riffing. If I got one complaint it must be vocalist Varnam Ponville, who sings aggressivly but he doesn't possess the most versatile nor unique voice in the genre.

The drumming is spectacularly brutal and Jamey Milford even uses blast beats at times, which is highly unusual in 80's thrash. It's filled with interesting tempo-changes that makes everything more interesting. To summarize this album I must say that this is a classic in the genre, wheter it's underground or not. Still deserves a place in the hall of fame. This is radioactive thrash metal at it's best! 

⭐⭐⭐⭐

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GOTHIC SLAM - KILLER INSTINCT (1988)

Killer instinct is the first release out of two by New Jersey thrashers Gothic Slam, formerly known as Stryker. Gothic Slam didn't stand out from the crowded metal scene but I think that Gothic Slam were a potent band with some good thrashing abilities.

Despite their lack of bringing new ideas into the music. Gothic Slam's instrumental skills stands out from the pack. Drummer Dave Chavarri is known from his time in Lääz Rockit, M.O.D. and Pro-Pain, a talented drummer. The guitar-section is build by fast and precise riffing, almost like Neighbours Overkill or like Anthrax debutalbum "Fistful of metal".

Another thing that makes Gothic Slam to stand a bit taller than a lot of their colleagues is Daniel Gomez vocals, a mid-range singer with a handful of attitude. This album was produced by Rob Hunter from NWOBHM-legends Raven. My favourite tracks on this album has to be "Skankin'", "Stand up and fight" & "Fought for death". Not many lesser known bands has impressed me as much as Gothic Slam does. Killer instinct was released in 1988 by torrid, it's an underground jewel as I see it. 

⭐⭐⭐⭐

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GOTHAM CITY - THE UNKNOWN (1984) (Review by: Per-Ola Nilsson)

Any time someone asks why the heck I spend so much time and even more money to get ultra obscure releases, this is the album I'd put on and say "this is freakin' why!". "The Unknown" is the ultimate proof that a totally unknown band can be just as good as, or even better than, their beloved Maiden and Priest platters. Cause this IS even better. "The Unknown", by the allmighty Gotham City, is the second best album of all time (next to "Painkiller" by, uhm, Judas Priest).

It has everything. Intensity, melody, outstanding musicianship and a great vocalist. And the songwriting is way more than top notch, cause every track is more or less a metal classic. "Borderline" is out of this universe. It has got so much energy, the most powerful verse you can imagine (no, you can't imagine until you've heard it!) and a godly guitar solo by Mårten Edlund. Of course it shifts with moods, but it's a great candidate for "best song in the world ever". The perfect climax after you thought it couldn't get any better after "Swords and Chains", "See How it Flyes" and "Battle Blade". 

The well known and established is beaten by the mighty fists of The Unknown. On knock out, in the first round.

⭐⭐⭐⭐⭐

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GOTHAM CITY - BLACK WRITS (1983)
In 1983 Gotham City released their debut six track MLP on Brute Force titled Black Writs. It was filled with wonderful music but somehow the vocals scared many listeners away as Ola has an almost talkative voice, adding to that a Swedish accent. Almost like a Swedish version of Manilla Road's Mark Shelton.

That type of quirky vocals combined with some killer heavy metal, these guys were simply born to rock hard. In 1983 Black Writs set a new standard for how Swedish heavy metal was supposed to sound, even if the band never gained any mainstream success. Sure bands like Overdrive and Axewitch were doing similar stuff. But the overall quality of Gotham City's music is one step above. And the strange occult cover art only increased the mystery that surrounded the album.

After releasing a single in 1982 and two demos, Gotham City was ready to take on the world.

But it is surely an unfair world. Gotham City should have been a band to headline the big stages because Black Writs is just so incredible compelling. Gotham City was an amazing band, they got skills that'll make bands like Iron Maiden and Judas Priest to scooch over to the passanger seat. Believe it or not, but Black Writs is one of the greatest metal albums of all time.

⭐⭐⭐⭐⭐

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GOTHAM CITY - GOTHAM CITY / KILLER ANGELS 7" (1982)

After the 1981 demo Umeå (Sweden) based Gotham City got the opportunity to release a single on Brute Force Records. This single was recorded in january and february of 1982.

The first song is the selftitled Gotham City, The greatest heavy metal song of all time and it's written by drummer Jonas Östman.

There aren't many drummers in the world that an write songs like that. The song Gotham City is intense and fast with many great riffs. Ola's voice is captivating and his laidback style of singing makes the song more straightforward and rough compared to how the song sounds when Anders Zackrisson handles the microphone on the 1983 demo.

The B-side is called Killed Angels and it's almost as good as the A-side. It was written by vocalist Ola Ohlsson and guitarist Mårten Edlund. Killer Angels has a killer main riff and it's a bit slower in tempo.

The single was pressed in 300-500 ex. So the single is incredibly rare, but there is a bootleg to be found out there. In the night they come... KILLER ANGELS!

⭐⭐⭐⭐⭐

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GRIM REAPER - ROCK YOU TO HELL (1987)

Rock You to Hell is Grim Reaper at full power, the culmination of everything they’d been building toward: bigger hooks, sharper riffs, cleaner production, and Steve Grimmett delivering some of the most iconic vocals of his career.

The album embraces a slightly more polished, late‑80s metal aesthetic, but instead of watering the band down, it amplifies their strengths. The title track is a perfect example, a massive riff, a chorus built for arenas, and a vocal performance that feels both heroic and menacing. They certainly should have been bigger by 1987. 

The whole record has a sense of confidence and swagger that wasn’t as fully formed on the earlier albums. The guitars are crisp and melodic, the solos are more intricate, and the songwriting is tighter and more focused. Yet despite the slicker production, the band never loses their identity; the NWOBHM roots are still there, just refined and elevated. Rock You to Hell stands as a high‑water mark that captures Grim Reaper at their creative peak even though the New Wave of British Heavy Metal movement was dying. Unfortunately the band would break up the following year with Steve Grimmett joining British thrash metal legends Onslaught. He would go on and record the In Search of Sanity LP with them. But that's another story. I would recommend that you check out any of the three Grim Reaper records, They all display a very competent band with one of the greatest vocalists to ever do it. So what's not to like about that? 

⭐⭐⭐⭐

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GRIM REAPER - FEAR NO EVIL (1985)

With Fear No Evil, Grim Reaper stepped forward with more confidence, more clarity, and a stronger sense of identity. The production is noticeably cleaner than the debut, giving the riffs more punch and the vocals more space to soar, but the band never loses the scrappy energy that made them stand out in the first place.

Steve Grimmett delivers one of his most commanding performances here, shifting between gritty power and dramatic highs with total control. The songwriting feels more ambitious, leaning into darker themes and more melodic structures without sacrificing the band’s straightforward heavy metal backbone. There’s a sense of momentum throughout the album, the riffs are tighter, the choruses bigger, and the pacing more deliberate. You can hear the band evolving, sharpening their craft, and pushing toward a more polished sound while still keeping one foot firmly planted in the NWOBHM tradition. Fear No Evil is the classic “second album leap,” the moment where a band proves they’re not a one‑record wonder but a force with staying power. In comparison to their debut "See You In Hell" I think that this record is more consistent but it lacks the same highs as See You In Hell. Overall I think this was a very solid follow-up to the legendary "See You In Hell".

I also remember Beavis and Butthead (Animated show that aired on MTV.) making fun of Grim Reaper but those posers have no idea what real metal is all about. Because Grim Reaper were incredibly talented, especially in the vocal department. Recommended!

⭐⭐⭐⭐

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GRIM REAPER - SEE YOU IN HELL (1983)

Grim Reaper’s debut See You in Hell is one of the purest distillations of early‑80s British heavy metal grit, a record that sounds like it was forged in a garage, sharpened onstage, and unleashed with nothing but hunger and conviction.

The production is raw in the best possible way: the guitars have that jagged NWOBHM bite, the drums thump with a live‑room echo, and Steve Grimmett’s voice slices through everything with a mix of power, desperation, and theatrical flair. Steve is really one of the greatest vocalists of all time, certainly on my top 10 list of all time. May he rest in peace. The title track became a cult anthem for a reason,  it’s simple, pounding, and instantly memorable. The deeper cuts show a band that understood dynamics and mood even at this early stage.

There’s a sense of earnestness running through the whole album; Grim Reaper weren’t trying to be flashy or reinvent the wheel, they were trying to hit hard, write strong hooks, and deliver metal with heart. That sincerity, combined with Grimmett’s unmistakable vocals, gives the album a timeless charm. It’s rough, unpolished, and absolutely essential for anyone who loves the raw edge of the NWOBHM era.

Grim Reaper is one of my favourite NWOBHM bands, and what really sets them apart is how consistently strong their early catalog is. All three full‑length albums they released hold a remarkably similar level of quality, each one carrying the same blend of sharp riffs, powerful vocals, and that unmistakable melodic heaviness the band was known for. Instead of peaking early or dropping off after a single classic, they delivered a trio of records that feel unified in spirit and execution, making their discography one of the most solid and reliable runs to come out of the NWOBHM movement. Highly recommended!

⭐⭐⭐⭐⭐

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GRINDER - NOTHING IS SACRED (1991) (Review by: Per-Ola Nilsson)

Grinder was a german band, today perhaps best known for being the band where Grave Digger-drummer Stefan Arnold started his carrer. Most spoken of is their debut album "Dawn for the Living" (1988), which I have never heard.

Under surveilence here is their third full length-offering "Nothing Is Sacred", released in 1991. Grinder is quite typical for a late eighties/early nineties band I guess. I would like to compare them too the swiss band Poltergeist, vocalist Adrian actually reminds a bit of Andre Greider, with some ties to contemporary english bands like D.A.M. and Slammer as well.

This may not be a very special album neither quality- nor stylewise, but for fans of aforementioned sound/bands it is sure worth checking out. Solid melodic thrash. "Hymn for the Isolated" is a good up tempo song, "Dear mr. Sinister" has great speed and tremendous rhythm guitar work, while "None of the Brighter" also stands out, with a tremendous guitar lead. Nothing for the history books perhaps, but surely a gem for the thrashoholic. 

⭐⭐⭐

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GRINDER - DAWN FOR THE LIVING (1988)

Grinder was a third or fourth tier German thrash band, don't get me wrong, the band was actually quite talented but there were just so many talented bands in Germany in the late eighties that a quite potent band such as Grinder fell deep into the depths of obscurity. Grinder album-debuted in 1988 with this album entitled Dawn For the Living which was released through No Remorse Records.

The album was produced by Kalle Trapp of Karo Studios a solid producer who worked with bands such as Kreator, Blind Guardian, Saxon and a bunch of german thrash bands, but his work here on Dawn for the Living can best be described as being on the low-budget side of things, still very audible instruments but a bit on the dirty and dry side. Grinder's sound was like a mixture of Living Death, Risk and Tankard. With some gritty and fast guitars that often goes into gallop mode.

We're presented with some real hectic thrash and mid-tempo seems to be a word that Grinder doesn't understand. I must also push the vocals by Adrian Hahn, he reminds me very much of Andreas 'Gerre' Geremia of Tankard at times but with more melodic approach to the songs. Grinder's lyrics on the otherhand had a more sinister edge to them compared to Tankard. Grinder doesn't necessarily bring anything new or original to the table but their enthusiastic blend of speed and thrash are at times enjoyable even if the songs are more or less similar to each other with the exception of the rather rediculous F.O.A.D..The album ends on a low note but overall Grinder can still be proud over their debut album but the scene was just so flooded by 1988 so it was practically impossible for a new act like Grinder to establish themselves more than what they did. Still Grinder delivers some good meat and potatoes thrash here. 

⭐⭐⭐

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