The Thrash Metal Guide

Copyright (c) 2007 THE THRASH METAL GUIDE

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

G.I.S.M. (JAPAN)

Based on "Detestation", this is a raw, simplistic, but effective mix of early thrash/crossover and Celtic Frost (considering the time of release). The album offers a fairly brutal for its time sound, and can definitely be considered one of the more extreme early recordings; the music is not very fast, but keeps a good tempo throughout, and the vocals are really aggressive, being low, semi-death (yes, indeed!) ones, sounding like a more vicious Tom G. Warrior. The punk atmosphere is still present, but delivered in a much more brutal way. There are some classic heavy metal tunes thrown in, which reportedly increased on the band's second full-length release. While Loudness were pleasing the metal crowds with their radio-friendly hard'n heavy anthems, this band were laying the foundations for far more exreme sounds to come in the future...

Detestation Full-length, 1984
M.A.N. Full-length, 1987
Sonicrime Therapy Full-length, 2001

G.O.D. (HONDURAS)

Honduras is not a very hot place for metal; that's why this band comes as a complete surprise. The guys have done a very good job; this is first-class technical power/thrash obviously influenced by Helstar's "Nosferatu". The guitar work is stunning: great solos, twin-guitar melodies ala Iron Maiden, and stupendous technical riffs. The music is mostly up-tempo, never very fast and aggressive, and the fine dual lead guitar lines are all over the place, as well the galloping rhythm, all nicely displayed on the instrumental opener "Facing The Omnipotent". The compositions are in the 5-7min range, and are filled with various, sometimes a bit unexpected, but utterly compelling, time changes; at times the sound moves towards more intense speed/thrash ("Scavengers", "Driven By Hate"), at times it excels in technical riffage ("Skeptic's D.N.A."). "Metal Empire" is a masterpiece of technical/progressive thrash, the closer of this album, a complex opus, which is a conglomerate of moods and memorable guitar hooks: some quite sharp and jumpy, others with a great doze of melody. The singer is yet to catch up with the music, though: his mid-ranged, semi-clean tone lacks the dramatism and emotion which are mandatory for this kind of music.
The "Raising Decay" demo already shows a band fully equipped to do some damage on a larger than Latin America scale. An even better piece of news is that the demo and the full-length share only one track ("Catastrophic Fate", which in the album is actually added as a bonus track), so fans of the band can enjoy 7 whole songs not heard before. "The New Age" nicely introduces the technical guitars and the virtuous twin melodies, although it never speeds up, being heavy and mid-tempo. "Remaining in Darkness" is a compelling listen with its numerous melodic twists and guitar virtuoso sections, which completely overshadow the very flat vocal performance; not much fast thrashing here, either. "Catastrophic Fate", already heard on the full-length, is a great speedy thrasher in the spirit of Paradox's "Heresy". The speed remains for "Inorganic Environment", which combined with the immaculate technical delivery and the constantly changing melodic hooks, stands for the highlight. "Decibel" is an instrumental-only piece, another fine display of high level musicianship concentrating more on the leads. "Burning the Flag" is full-on speed/thrash with again the leads taking a central part. "Victim of Denial" is sinister galloping power/thrash ala Helstar, which despite its undeniable qualities pales before the excellent progressive closer "G.O.D.", which well deservedly carries the band name, thrashig in an awesome technical mid to up-tempo fashion for about 8-min, leaving the lead performance a bit behind, which was good since up to this point the lead guitarists have been given more than enough space to perform, "stealing the show" from the others. If we exclude the very weak vocals, which are simply laughable and impotent for most of the time, and the very thin guitar sound which creates at times quite a screamy atmosphere during some lead sections, everything else is close to perfect, and this demo sounds almost as convincing as the full-length, stepping back probably only in the vocal department.

Burning the Flag Single, 1997
Raising Decay Demo, 1998
Incandescent Full-length, 2002

G.T.I. (FRANCE)

Based on "One Thousand Blasting Words", this band come up with a run-of-the-mill thrash/death concoction, which is suddenly "broken" by insertions (or samples) from other styles, much more melodic than metal, and are too many; interesting, but too contrasting to the furious riffs, which often go into blast-beats without warning. Some of the melodic breaks are not too bad, actually, and are directly taken from the Cynic, or Atheist textbooks; it's too sad that the guitar work is much inferior to the one of those two legendary acts. "Serum" is a nice atmospheric, slow instrumental track, possibly the highlight here, maybe because it's devoid of the awful hysterical shouts of the singer. Worth of note is that all the 11 songs start with an "S"; there could be some great concept behind the lyrics?!

Utopia City Full-length, 2004
One Thousand Blasting Words Full-length, 2006

GABISH (JAPAN)

This very little known, but worthy band offers quite good energetic, but not very aggressive thrash, topped by vicious, hoarse vocals with a black-ish vibe. This is old school stuff, with nice bass work and stylish leads (the riff-work is of the more standard type): check out the great "Flash Back". Shades of the German wave could be heard ("Bottom Head", featuring some nice rolling riffs ala Destruction), as well as a really fine nod to early Celtic Frost ("Complently"), but otherwise this band don't sound like anyone else, mainly because the lead guitar, with a unique sound of its own, takes a considerable space from the album, making it an engaging and original listen. The speed increases on the last 3 songs, showing the more intense side of this nice little gem.

The End Of The World Full-length, 1994

GACK (USA)

This band are virtually all Laaz Rockit members minus the drummer, who here comes from Defiance. The old school veterans have obviously gotten tired with the scene, and the style here is firmly in the modern 90's thrash vein ala Pantera; shades of "Nothing Sacred" can still be heard, but they're not too many, and despite the aggressive sound on this album, Gack couldn't be classified any higher than just another run-of-the-mill modern 90's thrash band.

Fix full-length, 1993

GALLOWS PRIDE (USA)

Two songs of fast instrumental-only thrash obviously "courting" Slayer's "Reign in Blood" with a few surprisingly lyrical melodic deviations; not bad although it's clear that it was just a rehearsal for more serious efforts which never came about.

Demo Demo, 1989

GAMA BOMB (IRELAND)

The Irish thrash metal scene has never been the most prolific in the world, but from time to time some quality music has come from there through the years (Moral Crusade, Cursed Earth, to name a few). With bands like Gama Bomb things look quite promising right now. The music is speedy (but not very) thrash with an American power metal flavour recalling Helstar, Liege Lord, Attacker, the Canadians Anvil, the Agent Steel debut. The vocals still need some working on, because this Lemmy-like style doesn't really fit the sound. Reportedly, the band have had some hardcore influences on their demos similar to Nuclear Assault, but here they could hardly be heard. It seems as though British/Irish thrash metal is starting to pull itself together again.
"Citizen Brain" is a smashing follow-up, showing the band in fine form to produce some great headbanging thrash again. These are 15 tracks of heads-down retro thrash; no shades of American power metal this time, just in-your-face thrash aggression, which could only be compared to Razor's "Shotgun Justice", or Vio-Lence's "Eternal Nightmare", or the Swedes F.K.U., of the more recent acts; a thrash masterpiece which will surely be in many top tens for 2008, and may even top up quite a few of them.
"Tales From the Grave in Space" returns to the more speed metal-based patterns from the debut, but is a full-fledged metal entertainment from beginning to end. The guys play fast and tight, without forgetting about the more melodic side of things which mostly springs up on the lead sections. The singer traditionally does a good job with his levelled mid-ranged semi-clean tone, this time unleashing his high screams more often, but always at the appropriate time. Seldom can one hear an effort so fully dedicated to speed in the new millennium, either in a more thrashy ("Apocalypse 1997", "Return to Blood Castle"), more 80's speed metal-like ("Skeletron", "Slam Anthem"), or even a sincere crossover ("Mussolini Mosh") manner. By the way, the whole album can be downloaded for free from the Earache website.
Wow, the guys know no rest, and just a few months after the release of their 3rd full-length here comes a brand new 5-song EP to please the fans of classic speed/thrash. High-speed antics await you here delivered with an early Hirax-like intensity also reflected in the relatively short length of the songs (the 44-sec thrash/crossover explosion "Deep Red").

Survival of the fastest full-length, 2005
Citizen Brain Full-length, 2008
Tales From the Grave in Space Full-length, 2009
Half Cut EP, 2010

GAME OVER (SOUTH KOREA)

No, this is not a Nuclear Assault-influenced thrash/crossover, like some of you may think reading the band name, but is just your average 90's post-thrash with mild riffs, bad synthesized vocals, a couple of faster hardcore moments and funky passages, and one cool heavy doom ballad at the end: "Hypocrite".
Game Over Full-Length, 1996

GAMMACIDE (USA)

Good aggressive thrash which combines the fury of Slayer and Dark Angel with more technical riffage; pretty much one of its kind in those days. This is a monolithic wall of aggression which never breaks and even hardens the course at times: the furious blast-beats on "Shock Treatment" and "Gutter Rats". The 4-song demo could have been the rehearsal for another fine brutal slab of thrash/death, although the sound here more often smells death metal, and will probably remind you of the French Massacra as well. The technical riffs are more often present, and the overall guitar sound is heavier and faster, making this little gem a really intense listen. With the death/thrash mixtures being quite fashionable at that time, this band could have made quite an impression on the scene with their uncompromising, but also quite technical delivery.

Victims of science full-length, 1989
Demo Demo, 1991

GANG (FRANCE)

The band's works of the 90's are weak blends of modern post-thrash and classic heavy metal; nothing in common with thrash metal. Their more recent efforts add more intense riffage, but the music remains in the post-thrash camp, coming close to more recent Annihilator on the best moments. "Dead Of Alive" is by far the band's finest hour, which in their case means your average modern-ish power/thrash mixed with some faster moments ala Motorhead and early Exciter, marred by a couple of heavy, but not that impressive ballads.

Gang Full-length, 1993
Unknown But Surely Evil Full-length, 1995
Piece Of War Full-length, 2002
Dead Of Alive Full-length, 2007

GANGRENA GASOSA (BRAZIL)

Based on the debut, this band play a more aggressive form of thrash/crossover, going well beyond the more restrained attempts in this genre made by their compatriots Ratos De Porao. This music is more varied featuring some rap and even samba moments, bringing the band's sound at times closer to Rage Against The Machine and Biohazard.

Welcome to terreiro full-length, 1993
Smells like a tenda spiríta full-length, 2000
6/6/6 EP, 2006

GARDARIKA (RUSSIA)

Melodic progressive power/thrash which emphasizes on melody more than on technicality, but the most inspired moments bring the sound not far from their compatriots Valkyria. The album offers faster headbanging numbers, mellow heavy/power-based ones, more complex eclectic ones, and more. The music is not flashy, but flows nicely, seldom causing the listener to scratch his head, and the singer is quite a nice addition, with his levelled mid-ranged melodic voice.

Kupava Full-Length, 2008

GARDEN WALL (ITALY)

This unique progressive metal act, who have whole 6 full-length albums in their discography, have given their tribute to the more unusual side of thrash on this one. The guys indulge in long, sprawling songs, where a lot of things happen, but there is seldom a dull moment, except for a few overlong balladic sections. Here those sections are put to the minimum, and this album is a masterpiece of intricate, twisted thrash. "Lead" is a great progressive thrasher, with brilliant surreal riffs, and some aggressive, speedy moments, and, of course, the obligatory hallucinogenic slower passage in the middle. "Hatred" is slower and more melodic, relying on heavy, less intricate riffs and longer quiet sections. "Anniversary" follows the same formula, but "Bisturi" is wondeful, abstract progressive thrash with its balladic parts, twisted, swirling riffs, entwined with lyrical, peaceful passages, mid-tempo to slow, but utterly compelling. With "Deinococcus Radiodurans" the more aggressive, faster thrashing returns, but the arrangements remain quite complex and eclectic. "Obsession" is a more immediate, again more energetic technical thrasher, with a surreal atmospheric middle break. "Christmas Eve" is the only more conventional track, with heavy, more straight riffs, but the next "Negation of Becoming" largely compensates for that, bringing the music back to the very technical level, although the approach on this one is slow, with more emphasis on abstract and more melodic melodies. The closing "Dreams Slayer" is not a very distant departure, and is an amalgam of straight thrashy riffs and some illogical musical decisions, still quite intriguing and vortex-like. On their other works the band insert the odd more aggressive passage, but this is their only effort which belongs here.

Forget the Colours Full-length, 2002

GARDY-LOO (USA)

This act was founded by the former Nasty Savage members after that band's split-up; the same ones who later formed Lowbrow and Lordes Werre, here also helped by the Hellwitch guitarist Andy "Turd Man" Adcock. On "Stool Sample", which opens with a lead-riven variation of "Yankee Doodle Dandy", they entertain themselves with playful unpretentious thrash/crossover sharing quite a bit from the humorous aesthetics of S.O.D.'s "Speak English or Die" and Lawnmower Deth. The numbers are mixtures of fast sharp riffs and melodic punkish passages. Some are outrageously fast ("Virgin"), others are pure punk joys ("Serial Killer"), but the majority are varied crossover affairs with numerous touches included.

Stool Sample Full-length, 1993
Perverts on Parade Full-length, 1997
Socially Unacceptable Full-length, 2001

GARGOYLE (JAPAN)

This is an interesting band who play straight-forward speed/thrash for most of the time, but on every album there are a couple of very offbeat, eclectic tracks which one either learns to like, or learns to hate for their non-thrash, and sometimes even non-metal, nature. Let's take the debut "Misogi", for example: it begins with the smashing thrashing delight "Destroy", and if the guys had carried on in the same spirit, there would have been hardly a single band to dispute their leadership on the Japanese thrash scene; it lasts for nearly 7-min, and will leave you tired with headbanging. "Bala Åkån Vara" is close to hardcore/punk, alternating melodic with very fast sections. Then things get back to normal, with a couple of intense thrashing numbers, until the completely non-metal, pointless "Certain Feel". After it whatever comes will not be as satisfying, although some tracks are crushing thrashers, not far behind the opener, but one should always watch out for the next melodic deviation (two more come later). Almost every subsequent album follows the same pattern, mixing contrasting styles, and perhaps this is the reason why this band are not mentioned right beside truer to thrash metal acts like Outrage, Jurassic Jade, Ground Zero, Doom, etc.
"Kuromitten" is the staple for the band amalgam of styles, quite dynamic and diverse, with at least half the tracks intense speed/thrashers clinging more towards speed metal. The mellower songs now have more edge and never slip into melodic wankery; even the ballad "Kaze no Shiro" is quite good and heavy. The lead guitar work is traditionally on a high level, and Kiba sings in a lower-pitched less melodic manner without adhering to the higher registers too much.

Misogi full-length, 1989
Furebumi full-length, 1990
Kaikoroku ep, 1992
Aratama full-length, 1992
Tenron full-length, 1993
Tsuki no toge full-length, 1994
Natural full-length, 1995
Gaia full-length, 1998
Junrein EP, 1998
Fuuin (~who in~) full-length, 2000
Future drug full-length, 2001
Wa full-length, 2002
Bushin battle gargoyle ep, 2002
Kemonoichi full-length, 2003
Ronpu full-length, 2005
Kuromitten Full-length, 2009

GARGOYLE (USA)

This is a unique band simply because at that time very few bands managed to achieve the same level of intensity. It's beyond me how these guys never became big as they deserved to be, much more than 90% of those who did after them. Slayer's "Show No Mercy" played faster with a more aggressive attitude is what the band offer us, and it gets better and more brutal with each song. From the two demos "Violence Is Golden" arguably contains the better and faster material, boasting also a clearer production.

Unleashed demo, 1985
Violence is golden demo, 1985

GARLIC BOYS (JAPAN)

This not very known outside their homeland band have been one of the stalwarts on the punk/hardcore scene in Japan, but one day have decided to challenge their thrash metal colleagues, and have done a nice job on these two albums. Elements from their punk/hardcore career are present, of course, but only sparingly, and both efforts are commendable thrash works, energetic and up-tempo most of the time, with some stylish guitar work, reminiscent of Voivod (both their early and mid-period), mostly on "Psycho Thrash", but often does the music take a more playful attitude recalling Motorhead and Exciter. On the shortest songs (1-2min) the guys go straight into grindcore, but fortunately these moments are not that many. "Smegmania" contains the faster and more aggressive material, and hardcore is more frequently present, bringing the sound close to early Prong and Suicidal Tendencies at times.

Psycho Thrash Full-Length
Smegmania Full-Length

GARLIKDE'TH (NORWAY)

Based on the Compilation, which actually contains the two demos released before that, this very obscure act play dark atmospheric thrash/death with very bad amateurish hoarse vocals. The music otherwise is not completely without merits, coming as a more accessible version of early Messiah, and the leads are particularly good. The pace is moderate, with some cool exceptions: "Fuck The Hand", the jolly crossover "Salvation". "Kiss The Goat" is a nice, almost surreal take on chaotic technical thrash.

First Demon Demo, 1990
Load Error Demo, 1991
While God Sleeps Best of/Compilation, 2007

GASCHAMBER (USA)

It shouldn't take so long for these guys to produce a follow-up, because from one of the promising American thrash metal bands of the new millennium, they might remain just a one-album wonder, and it would be a pity. Their debut is smashing thrash along the lines of Violence's "Eternal Nightmare" and Slayer's "Reign In Blood". Hopefully the band will wake up for another hit soon.

Gaschamber full-length, 2002

GASPANIC (JAPAN)

This act is the brainchild of just two people, who offer a modern thrash/death hybrid of the mid-paced type. The music traditionally for the japanese scene has its quite a few quirky moments, like the peaceful passages accompanied by acoustic guitars and keyboards, the sudden fast outbursts, the heavy doom-laden riffs, and more. The deep emotional clean vocals which assist the main semi-hardcore ones, are quite weird as well, but in a captivating listenable way, recalling the ones of David Dando from the British doom masters Eterne. There are industrial shades, too, and as a whole the regular thrash fan may not find his favourites here, since the concentration is on atmosphere and mood, rather than speed and sharpness.

Step on The Gas Demo, 2004

GATE (POLAND)

Based on "Machinacje", these guys (and a girl, who is listed as the singer although to these ears the vocals are handled by a male throat, or...) offer friendly melodic thrash with a shade of crossover, which starts in a very tender manner with "Lepiej jak Ptak", but quickly gains inertia with the more intense headbanger "Mechaniczne Pszczoly". At this point the album sounded quite classic, but later begin the slower semi-groovy, even stoner-sounding tracks, and it's near the end when the guys remember to thrash with more edge, on "Uciekaj", which is still more of a thrash/crossover piece. Nothing to lose your sleep over as a whole, quite an uneven effort, completely lacking edge on at least half of the tracks.

W Duchu Niewinna Full-length, 1995
Dziki Full-length, 2001
Machinacje Full-length, 2008

GATES OF HELL (PORTUGAL)

Based on the first demo: crushing steam-rolling Bolt Thrower-like stuff, mixing mid-paced with faster passages, plus a few groovy moments. The music is dynamic, providing several parts for the headbangers, too.

Demo Demo, 2009
Rehersal Demo, 2009

GEHENNAH (SWEDEN)

A black/thrash metal band heavily influenced by Venom; the music is heavier than the one of the Brits, but it has a very uplifting, cheerful quality typical for the works of another British band- yes, you guessed right: Motorhead. The band's music could very well serve for the background of some metal party.

Hardrocker full-length, 1995
King of the sidewalk full-length, 1996
Decibel rebel full-length, 1997
10 years of fucked up behaviour EP, 2003

GEISHA GONER (POLAND)

A good technical thrash metal band; their style is choppy with numerous tempo changes and at times the longer tracks start to lose coherence, but the stylish guitar work saves the day. “Hunting For The Human” increases the complexity considerably, introducing numerous elements outside the thrash metal field, but at the same time contains some really aggressive tracks: “Dreams” (the only one of its kind here), also with a cool technical edge. The music becomes too avantgarde at times, bringing to mind Voivod even, but never degenerates into the insipid post-thrash the Canadians started playing at some stage. Another reference point would be the mid-works of their compatriots Wolf Spider, but here the music is slower, and more choppy. The headbanging moments are few, but the elaborate song-structures will keep you on the alert all the time. The only downpoint is the hard’n heavy number “Good Bye, Goner, Good Bye” near the end (yeah, it would be indeed good-bye, and even farewell, if you keep on playing crap like that). There is nice funky bass work; the vocals on both albums are of the aggressive semi-death metal type, seldom interrupted by more melodic, clean ones (on the second one).

Catching Broadness Full-Length, 1992
Hunting For The Human Full-Length, 1994

GENERATION (USA)

Industrial thrash which has its intense ala Ministry and Skrew moments, but relies too much on electronic samples and noises to pull it through; the thrashy riffs settle well on the short intense "Believe in Miracles" and the speed/thrash/industrial wonder "Chemikill", but the other material is too overpacked with non-thrash, and even non-metal elements to be a satisfying listen.

Brutal Reality Full-Length, 1993

GENESIS OF AGGRESSION (POLAND)

One would hardly trace the "genesis of aggression" with this one; this is laid-back, melodic thrash, which could be considered quite a phenomenon, having a distinctive groovy sound, which just a few years later would revolutionize the music scene big time. This is not the angry thrash of Exhorder and Pantera; this stuff was later further developed on the Metallica Black Album, the works of Flotsam & Jetsam and Anthrax in the 90's, 90's Chastain as well, and many others. "Empty Gestures" speeds up, bringing forward more classic-sounding riffs, with a certain Metallica-vibe, resemblances with the Americans also strengthened further by the good James Hetfield-like vocals. The focus is clearly not on intensity: there are 3 ballads, one of which ("Weakness") has nice heavy riffs, and even the most aggressive tracks ("Under Age") come with a playful, optimistic attitude. This is the first real precursor to the 90's modern wave in thrash, and as such this band deserve to be much better known.

Disappointment Full-length, 1989

GENETIC WISDOM (HOLLAND)

This band are the continuation of the techno-thrashers Sacrosanct, but the music here is slightly modernized and probably less adventurous. The debut is the more ambitious one, with clear pretensions for the tag "progressive thrash", with long, complex songs where a lot of things happen, but the band never forget to insert the necessary amount of fast riffage; the music is closer to the works of late 80's Metallica than to the last Sacrosanct offering, but is effective and almost as good, even including one monstrous semi-ballad: the 9-min "Psycho Love", both a dreamy and a heavy number. The other material is by no means worse: the more immediate energetic, with a very good bass support thrasher "Perseverance Kills The Game", which still holds some surprises along the way for the technical metal fans; the progressive smasher "Why Don’t You" which develops as a ballad in the beginning, and remains quite doomy and slow, relying on heavy meaty riffs; the cool mid-paced headbanger "Unfortunate Childhood", which offers fine complex passages and straight headbanging ones. The best, however, comes with "Afraid Of Life": an exemplary technical/progressive composition, which lashes in a mid-paced fashion with great technical riffs for about 8-min, before "Inside The Triangle Of Death" speeds up, but not much, retaining the technical edge, also exceeding in the lead department. "Visual Fastfood" is pretty close in spirit to the preceding one, being another fairly good technical mid-tempo thrasher. "Radical Hatred" is vintage late 80's Metallica, and is the fastest track here- a headbanging fest at its finest, graced by a catchy memorable chorus. With this album the band almost filled in the gap left after the Sacrosanct split-up, although it remained to be seen how long the guys would be able to resist the 90's trends.

The follow-up is more immediate with shorter songs, less technical approach, and the modern tendencies have already sneaked into the band's potent sound, now producing less striking results. The songs are much shorter, with less technicality involved, still preserving some intriguing shade, as well as the staple heavy riffage, felt on hard-hitting modern thrashers, like "Too Good to Be True", or the steam-roller "Intentions Rule the World", which also scores high in the technical department, not without the strong bass performance. "Dedicated" even speeds up for a while, but it's "Mirror Images" which is the real revelation, with the fast-paced rhythm, sounding like pure 80's thrash. Later on another delightful piece comes: "Dragons to Slay", which thrashes in a more classic, energetic manner, before the final "Face the Facts" exits the album with some more light-hearted crossover riffs. Far from a disappointment, this effort saw the band slowly adjusting to the new fashion, but this process was left unfinished, since they split up soon after that.

The Fear Dimension Full-Length, 1993
Humanity On Parole Full-Length, 1994

GENETICA (ARGENTINA)

The band's style is a direct take on Machine Head's softer period (1999-2004); this is melodic, groovy thrash which occasionally moves towards stoner/doom: "Odio", or a more aggressive sound ala "Vulgar Display of Power": "LLegar". Oh, and there is one romantic ballad at the end for the lovers: "Hermano Mio".

Golpe Maldito Full-Length, 2006

GENETICIDE (USA)

This band's line-up includes Doug- the drummer who later joined Fear of God. Although the songs on this demo are short, within the 2-2.5min range, the guys manage to come up with a mix of four styles: thrash, hardcore, death metal and even grindcore. This is quite a wild mixture, and might not be to everyone's taste.

Circle of Insult Demo, 1988

GENGHIS KHAN (USA)

Fairly good power/thrash, coming as a more thrashy Sanctuary, or Attacker, with a dark, haunting sound, created by the heavy stylish guitar work. The tempo is mostly mid-paced, but "The Pillars of R'Leyh" is a nice galloping thrasher (remember Attacker's "Second Coming"). Like this wasn't enough, but then comes "Perish & Die" which will catch you absolutely unprepared with its uncompromising, aggressive sound: thrashing madness at its best The guys are masters of the more lyrical side of metal as well, shown with the brilliant acoustic ballad "The Passage". The vocals are just great, being slightly hoarse, semi-clean, high-pitched, sometimes to the point of screech-iness, but very well suited to the music at play.

The Passage Demo, 1989

GENITAL DEFORMITIES (UK)

On their only album these guys mix the stomping rhythms of early Celtic Frost with thrash/crossover. The sinister death metal vocals do not suit the music very well; otherwise this is not too bad, with the Celtic Frost influenced sections working better.

Shag Nasty ! Full-length, 1989

GENOA (JAPAN)

This EP, which actually contains 11 whole songs (but more than half of them barely go over the 1-min range), is pure thrash/crossover happiness, quite intense and aggressive at times ("What a Wonderful Life! Ha!!", "Devil Thrasher"), even smelling grind-core ("Monthly's Guest") with harsh, vicious vocals which fit the sound quite well.

What A Wonderful Life!Ha!! EP, 1988

GENOCIDE (USA, Chicago)

A fine demo of American power/thrash along the lines of Helstar and Griffin. Nice clean, soaring vocals and cool melodic guitar lines are the highlight here. "Imminent Impact" shows the band well able to handle some more aggressive thrash ala Exodus (and has apparently influenced that band title-wise: their 1989 album) and Dark Angel. The follower "Mercenary of Evil" is vintage Helstar which beats most of the tracks from that band's same year's "Remnants of War". "Bloody Mess" is a fine heavy, mid-paced smasher with a fine atmospheric, doomy ending.

Demo Demo, 1986

GENOCIDE (USA, Flint MI)

Raw, messy, noisy and quite brutal thrash from a band who would later write some important pages from metal history under the name of Repulsion. At least on these three demos these guys show no promise at all for better things to come with their very amateurish musicianship.

Toxic metal demo, 1984
Violent death demo, 1985
The stench of burning death demo, 1986

GENOCÍDIO (BRAZIL)

A very good and long-running band on the Brazilian metal scene, Genocidio started like many other bands from the same country imitating early Sepultura. Then their raw approach developed into death metal with gothic influences in the mid 90's. Then the guys really messed it up with the very weak "One Of Them..."- uninspired and highly derivative modernized, industrial death metal with influences from where the hell. However, it was all forgiven after the godly "Rebellion", one of the finest thrash/death metal albums of the past ten years: a stellar album with tight, fast, technical play not heard in a long time. No more experiments from now on (hopefully!).

Genocídio ep, 1987
Depression full-length, 1990
Hoctaedrom full-length, 1993
Posthumous full-length, 1996
One of them... Full-length, 1999
Rebellion full-length, 2002
Hiatus EP, 2007

GENÖCIDE (USA)

Thrash/crossover, quite decent, but not of the sharp, hard-hitting type, somewhat reminiscent of D.R.I., but the music here is more melodic, with a more open punk-ish attitude, and a certain Motorhead and Exciter shade in the guitar sound ("Sociopath"). The good thing is that there is a variety in the approach: it's not only speedy numbers which one can find here, but there are some slower ones, only that the little sharpness which the guitars have on these songs it almost disappears.

Submit to Genöcide Full-length, 1987

GEORGE HARRISON (RUSSIA)

This band have nothing to do with The Beatles, neither music or member-wise, despite the name. Even if the guys are fascinated with the Beatles' member, at least their music doesn't show it anywhere; this is very fast, well-played hardcore-ish thrash reminiscent of Wehrmacht and Spazztic Blurr. The band offer several vocal styles, but rest assured that this is the same band all over. There's no room for quiet moments here, this is heads-down headbanging attack. This album is actually the band's complete discography, so you won't be missing a single track produced by them once you get ahold of it.

Fist Two Years Full-Length, 2005

GERONIMO (DENMARK)

Helmet, Pro-Pain and Rage Against the Machine shake hands here, so expect nothing more than the prototypical 90's groovy stuff, spiced by awful moments of rap ("Bones and Tombstones"), alternative, plus the obligatory heavier Pantera-sque breaks ("A Ride to the Dark").

Peace to the Chief EP, 1995

GERYON (USA)

Based on the full-length: modern thrash/death, borrowing heavily from the more recent trends on the US metal scene (the so-called NWOAHM wave): God Forbid and Chimaira, above all. This is not bad, as the guys keep a good balance between aggression and melody, the latter really striking on quite a few times, especially in the lead section, where the guy really knows what he's doing. Some Swedish influences are inevitable, on the faster material, which is more appealing than the slower and somewhat one-dimensional rest, where the music considerably abandons the more aggressive patterns. Not a bad start for the band, and at least locally the guys have all the potential to play a more vital role in the development of the US scene in the future.

Mother Fuckin' Revolutionary Metal EP, 2007
Aspirations of a Great Demise Full-length, 2008

GHORD (FRANCE)

Thrash/death of the modern variety, which is far from the high models from the same country from the early 90's. The music is mostly mid-paced, and despite some more brutal moments ("Blasphemy", "Bloodsuckers"), it doesn't really pack a punch, often coming accompanied by gothic tunes and cool acoustic passages (the ending of "I'm Your Butcher"). The closer "Sublime Disasters" deserves to be mentioned, too, mixing aggressive and pounding riffs, reminding of the glorious heritage of the French thrash/death metal scene.

Underworld in Mourning Full-length, 2007

GHOST GUARD (FINLAND)

Based on the debut EP, this act plays modern thrash/death metal, dynamic and staying closer to thrash with a few grinding passages and two cool variations on moody slower thrash at the end, resembling Slayer's late-80's period with a modern twist. The band members take part in umerous other bands: the black metal masters Enochian Crescent, the death metal outfits Wings and Cartilage, etc.

Throw the First Rock EP, 2005
Hate Yourself Dead EP, 2006
Hollow Be Thy Name Full-length, 2007

GHOST STORY (USA)

Ghost Story were founded by Chris Baker- the man who was part of the great Atheist, and presently has another very good technical thrash/death project: Gnostic (see the review on the same page a few lines below). Based on the "Seeds of Destruction" demo, this band play good fast-paced thrash metal, bearing resemblances to the Angel Dust debut and Paradox. "Circle of Fear" takes a heavier, more aggressive approach, featuring nice technical riffs without losing the speed. Hopefully this was a warm-up for their later efforts.

Seeds of Destruction Demo, 1989
The Image And Reality Demo, 1990
Ghost Story Demo, 2003

GHOST TOWER (USA)

This is the new band of Matt Preston, whose previous band was Dungeon Beast (also reviewed here), with which he released a solitary demo in 2005. His new formation offers a more diverse sound, which apart from thrash, aims at the power, and even progressive metal audience. "Red Harvest" is a laid-back power/thrasher with some progressive tendencies, which are not fully developed, because of the song's relative short length (4.5-min). "Sable Beldam" is longer and more satisfying, thrashing with more power and speed. "Curse of the Black Blood" is a cool direct mid-tempo power/thrash number, followed by the short acoustic closer "Ghostly Whispers". The sound quality is not great, and the singer doesn't do a very good job with his flat, thin, kind of one-dimensional melodic delivery; "he" is actually a "she", and is Preston's girl-friend, but the remark remains nonetheless: more power and guts added to the singing could have been better.

Ghost Tower Demo, 2008

GHOSTRIDER (ITALY)

Raw, mostly mid-paced black/thrash not far from the early efforts of Sodom and Bathory; there is some less serious, almost punk-ish attitude on some moments, especially on the vocals which are slightly reminiscent of Quorthon (R.I.P.), but more evil and less developed. The band later went onto much bigger fame under the name Necrodeath.

Rehearsal Demo, 1984
The Exorcist Demo, 1984
Mayhemic Destruction Demo, 1985

GHOUL (USA)

Started as a side project for two members of the death metallers Impaled, Ghoul quickly became a full-time band. The music has a death metal flavour, but is much more thrash with a nod to the German school as well as a certain doze of Carcass put inside. This is a really cool band who offer a nice deviation from the sea of modern death/thrash metal acts.

We came for the dead full-length, 2002
Maniaxe full-length, 2003
Splatterthrash full-length, 2006

GHOUL-CULT (NORWAY)

Classic thrash: a combination of early Celtic Frost and Sodom; the Celtic Frost-inspired sections work better, the culmination being the very cool atmospheric, experimental track "Trionfo Della Morte", which has a strong "Into the Pandemonium" spirit (could have been writen by the Swiss- kidding, of course). Some more intense death metal passages could be heard here and there. The vocals are very fitting to the music, being a vicious blend of the two Tom's in thrash: G. Warrior and Angelripper (hey, I forgot Vetterli (Coroner); but he is Tommy).

Ghoul-Cult Full-length, 2004

GHOULUNATICS (CANADA)

Based on "King of the Undead", this band offers heavy groovy post-thrash, which is not stale, but adds the obligatory more up-tempo moments, and those are the times when the music starts smelling hardcore.

Mystralengine Full-length, 1996
Carving Into You Full-length, 1998
King of the Undead Full-length, 2001
Sabacthany Full-length, 2004
Cryogénie Full-length, 2006

GIAN (FINLAND)

Based on the 2009 demo, this act pulls out your average modern thrash which is both fast and mid-tempo, the faster parts coming close to hardcore ("War Hero"). Some of the guys can also be seen in the melodic heavy metal formation Madhatter.

Scream Your Lungs Out Demo, 2006
Aggression Unleashed Demo, 2006
Pain and Pleasure Demo, 2007
Demo Demo, 2009

GILOTYNA (POLAND)

A blend of classic and modern thrash (more modern) of the mid-tempo heavy type with death-ish vocals and a nice 5-min "Instrumental", recalling Metallica's instrumental pieces of the 80's ("The Call of Khtullu", in particular).

Germinal Demo, 1996

GIORNESTO (USA)

Excellent speed/thrash which on the fastest parts touches the Forbidden and the Vio-lence debuts quite a bit, but there are songs which are slower, "decorated" with original, maybe epic elements, which bring the sound close to the Swiss Drifter, for example. But even on the slower tracks the guys add some fast elements; there's no speed lost here. The vocals are quite high, but very suitable, and will remind you of all the high-pitched screamers on the field at the time: early Warrel Dane, John Cyriis, Mike Sanders, etc.

Virgin Eater Demo, 1987

GLACIAL FEAR (ITALY)

Based on "Atlasphere: the Burning Circle": the band's style is slow-ish, progressively tinged thrash/death metal with acoustic parts, keyboards, abstract female vocals, etc. The sound reminds of the French progressive death metal band Symbyosis at times; a fairly intriguing listen.

"Fetish Parade" shows the band in a very different light: the music is not slow anymore, and death metal is nowhere to be heard. The overall approach is quite close to mid-90's Voivod, being stylish dry, creepy industrialized thrash with a progressive edge. The riffs are jumpy and technical, and in this aspect will strongly remind you of the obscure one album-wonder Blood from the Soul (featuring the legendary Shane Embury (Napalm Death, Lock Up, Brujeria, etc), and Mirai Kawashima (Sigh, Necrophagia)). The singer is a dead ringer for Eric Forrest, maybe with a more shouty blend. There is no speed at display here, and the pace quickly jumps from more up-tempo moments to slower ones; "Misanthropic Hacker" is the only song which contains cheerful, direct fast-paced riffs, mixed with some twisted avantgarde decisions, both in the vocal (clean synthesized vocals) and the music department, and could be considered the highlight here. "Antartica" is a nice progressive eclectic thrasher, not far from the bolder attempts at the style made by the Eric Forrest's new formation E-Force. The remaining 3 tracks are shorter, but the complexity is no less big, as the closer "The Fetish Parade" finds some time for faster, more intense riffage, among the discordant, spacey, mechanical riffage. Fans of the genre's classic period will not be very happy with this one, but those who love the modern technical twist given to the style by acts like Obliveon, Meshuggah, 90's Voivod and Baghead, may find their new heroes.

Secrets at the steam forest EP, 1993
Atlasphere: The Burning Circle EP, 1995
Frames full-length, 1997
3 Song Promo EP, 1999
Fetish Parade Full-Length, 2000
Illmatic EP, 2004
Filthy Planet Full-Length, 2007

GLADIATOR

A 5-song EP of cool black/thrash, nicely mixing the atmospheric creepy mid-pace of acts like Barathrum and Thorns, with faster-paced guitars in the vein of the Portuguese Alastor and the Germans Nocturnal. "Tales Of The Macabre" is slower sinister doomy thrash, and "Pleasure Of The Underworld" is 9-min of constantly changing furious thrashing with funereal doomy passages, quite interesting, including also a catchy power metal chorus. The final "Cabeza De Motor" is 1-min of jolly punk/crossover.

Sounds of the Antichrist EP, 2007

GLADIATOR (BRAZIL)

This album contains energetic, but pretty derivative 80's thrash recalling the Bay Area bands, mixed with some moshy riffs ala Anthrax. The leads are particularly stylish, somewhat not fitting to the otherwise ordinary nature of the music, and the bass work sometimes packs a punch, but the Brazilian metal scene, even at that time, had better works to offer.

Dreadful Dreams Full-length, 1992

GLADIATOR (SLOVAKIA)

The band's debut is pure Sepultura worship (think "Arise" and "Beneath the Remains"). "Profitable Losses" is a good intense opener, with a slight death metal edge. "Bastard Death" walks the same line, introducing some slower, heavy riffs. The remaining tracks follow the pattern pretty closely, with slight "detours": "Morbid Murdering", which is slower, but is an almost pure death metal number, with nice, semi-technical riffs, and the closing "Useless Child", which for most of the time is heavy, pounding, in the tradition of late 80's Slayer, before the final fast-paced part.

"Made Of Pain" is even better, simply because the band have moved away a bit from the Sepultura influence, but have only won in the process, as their style now has a more individual face, although it will still remind you of many heroes from the 80's: Slayer (above all), Devastation, Vio-Lence, etc. The music is not all-out speed and intensity anymore, and "Sound Of Deep Silence" is a cool mid-paced smasher. Their more aggressive side is the more attractive one, though, and furious pieces, like "Warsouls", "No Fate" and "Debtor Of Rest" will break your necks in no time. "My World" is a slightly awkward melodic, modern-sounding track, not that illogical, considering the future direction the guys took very soon after this one, but the short ball of aggression "Your World" and the closer "For All Gods" will apologize big time for this one. The latter even brings back some of the death metal intensity from the debut, along with a few fine technical moments. However, the 90's were calling for a change, and the band, albeit staying true to the retro sound for a while, were tempted to try something more modern, and the very next year they took a U-turn from thrash, having released 8 full-lengths so far of not really impressive modern heavy metal, spiced with big dozes of grunge and groove.

Designation full-length, 1992
Made of pain full-length, 1993

GLÖSTER GLADIATTOR (COLOMBIA)

2 songs of typical South American raw thrash, fast-paced, with a fuzzy guitar sound, and chaotic, illogical song-structures, which could have been an influence on the technical metal scene later (ha ha- kidding, of course!).

Glöster Gladiattor Single, 1987

GNILIE KAKTUSI (RUSSIA)

An awkward mix of thrash/death, a bit of grind, and odd balladic passages; the leads are starkly contrasting to the often impenetrable wall of sound "ably" assisted by the ultra brutal low growls. The guitar sound is very abrasive making the riffs barely heard. There is a strange avantgarde feeling to this mess also aggravated by the operatic atmospheric sections which touch early Katatonia and Tristitia, but the guys have to rehearse more to make this strangely appealing mish-mash more coherent and listenable.

Krupica Full-Length, 2008

GNOSTIC (USA)

Gnostic are virtually the whole Atheist line-up without Kelly Shaefer. The style recalls this band's early efforts, but the concentration is more on thrash metal this time, with great technical/progressive sections and vortex-like, twisted riffs, plus some slight modern "updates". "Mind Lock" is the only mitigated failure here, where the band moves into a more conventional progressive territory with melodic guitars, recalling Spastik Ink. The only thing which could be a kind of distraction, are the hardcore vocals. With Atheist reportedly back in the game with the original line-up, the future of this band is uncertain.
A new Atheist album is yet to appear, but here comes "Engineering The Rule", which will keep the fans of technical thrash/death satisfied. The hardcore vocals remain, but the music goes one level up, producing some gorgeous twisted stuff in the best tradition of the first two Atheist albums, the Norwegians Extol, the French Droys. "Visceral" will exhaust you, in case of you are determined to follow the numerous twists and turns in the "scenario". The traditional staple Atheist sudden hectic switches are already here, but later things get more interesting, with the brilliant "Isolate Gravity", which introduces excellent both technical and melodic leads, and a never-ending accumulation of riff after riff to a head-spinning effect. Something more conventional must by all means come, to relieve "the pain", and "Sleeping Ground" could be considered one, with its more straight-forward headbanging sections, although it will leave you gaping at some point, with a couple of ultra-technical riffs. Melody and technicality intercept in an inimitable way on "Engineering the Rule", which jumps high and low, without sounding too aggressive or fast, before "Wall of Lies" calms down with a more direct play, bringing some jazzy breaks to the front. "Life, Suffering" leaves plenty of room for the drummer to show his skills, although at this point he has proven his worth, with outstanding drumming on every song. The closing "Splinters of Change" comes with all the guns blazing to offer some fast-paced thrash/death, and show the band's more straight side, which up to this point was very hard to feel; it still remains quite a technical feast, with the mind-blowing leads and the super-twisted ending. This is a wonder to listen to, with seldom a more perfect "marriage" of melody and technicality to be heard, and if the band keep on doing such a good job in the future, there would hardly be any need in an Atheist comeback release...

Splinters of Change Demo, 2005
Isolate Gravity Demo, 2006
Engineering The Rule Full-length, 2009

GOAT MESSIAH (SWITZERLAND)

Based on the "Alliance Helvetia" split, this infernal trio mixes early Germanic speed/thrash ("Obey") with a more aggressive blasting stuff ala Ravage and Defleshed. The singer is intriguing with his semi-clean higher tember recalling a not very sober Sean Killian (Vio-Lence).

Goatwatchers United - Satans Goats Tribute Split, 2003
Don't Burn the Witch... Split, 2006
Alliance Helvetia Split, 2008

GOATSODOMIZER (SWEDEN)

Based on the "This Mean War" 3-song demo, this band play mid-paced, bass-dominated retro thrash, more on the melodic side, but cool enough; bears shades of early Celtic Frost, Barathrum, the Italians Doomsword on the slower moments, some battle atmosphere as well.

This Mean War Demo, 2000
Rapin' My Graveyard Demo, 2002

GOBLIN (PORTUGAL)

Boring 90's post-thrash, jumping from the 90's Flotsams to the Black Album in no time, seldom providing more intense heavy riffage, without forgetting about Pantera and Machine Head along the way. The compositions are longer for the style, but rest assured that you won't miss anything inbteresting; there are 3 whole ballads, and they are well done, compared to the unimpressive rest, especially the closing "So Distant Now", which distantly echoes Skid Row's "Quicksand Jesus" from "Slave to the Grind".

Goblin Full-length, 1997

GOD (SWEDEN)

This is the same band as the one which follows, but without the BC. It features two members of the technical thrashers Agretator who here are content enough to come up with more ordinary riffs. The music is quite aggressive, even bordering on death metal (the opener "Eternal War"), but this is quite misleading, as the rest has a certain slower, almost doomy edge which, mixed with the thrashy guitars, creates an interesting sound. See the next review to find out about the band's future metamorphosis.

Four Wise Men Demo, 1988

GOD BC (SWEDEN)

Excellent crossover/thrash close to another Swedish band- The Krixhjälters, and Rumble Militia; nice, catchy songs with good melodies and some surprisingly technical riffs. "Allergy 'Ell" is a great energetic opener, boasting some stylish technical moments, mixed with more direct riffs. "Drunk on Wine" introduces the jolly, up-lifting crossover spirit, and "Viking Tales" is an evil, Celtic Frost-like stomping number, followed by the cool short instrumental "Also the Deaf Have Ears". At this point the guys have walked all over the metal spectre, and logically they go back from where they started, with the intense thrasher "Marianne". They remain there, actually, for one more song, and "The Light" is first-rate technical thrash, with nice tempo changes, amd some more simplistic leads. "Saints" slows down once again, and could pass for the most melodic track here, cancelled by the much more aggressive "Love of Messiah", which provides a fine technical ending. "S.N.A.", the album closer, is a doomy dark short instrumental, sounding like a variation of the funeral march.

Eargasms in Eden Full-Length, 1989

GOD INC (NORWAY)

Modern death/thrash metal with some unexpected semi-clean vocals; the music is a blend of groovy dragging tunes and some brutal, fast sections.

Demo Demo, 2005

GOD'S SECOND SON (GERMANY)

Energetic mix of classic and modern thrash, with bad shouty hardcore vocals; the album offers both speedy ("God's Second Son") and slower, pounding tracks ("Tha Perfect Murda"). Some jolly, crossover tunes ("Away") can also be heard. The 2nd half offers longer, slower songs, a not very impressive tendency, finished with the overlong dragging "The Very End" (could have been better, this end, especially if it's the very one, guys...).

Planta 4 Full-Length, 2008

GODS WILL BE DONE (GERMANY)

Good intense old school thrash ala Vio-Lence and Exodus; "High on Hate" is an explosive opener, but later the guys spice things up with some slower moments added to the other songs, until the pure aggression returns with the closing "Near Death Experience"- a smashing headbanger, recalling also Sacred Reich's "Ignorance". The singer will take you in the same direction, with his gruff, Phil Rind-like vocals.

Gods Will Be Done Demo, 2006

GODFEAR (UK)

Based on "The Empty", this act plays dynamic aggro-thrash akin to Pantera, maybe a bit more laid-back and playful at times. "Wall of Facade" is a nice mix of doomy riffs and much faster intense thrashy ones, but the rest very seldom leaves the so well established at the time groovy formula, except, of course, the closer "Glory (Forever)" which is a very cool tender ballad. The guys were previously known as Transcendence under which name they only released one demo in 1992 of classic heavy/progressive metal.

Know God? Full-length, 1994
The Empty Full-length, 1995
Pound for Pound Full-length, 1999

GODSEND (UK)

This is virtually the continuation of Sabbat, the last attempt of Andy Sneap, along with his other colleague from Sabbat Wayne Banks, to remain a musician, before moving onto the other side of the music spectre. Well, he could have tried harder, since this is just a little more original take on the modern 90's sound, still containing remnants from the 80's, staying in the mid-tempo, slowing down to create more atmosphere, and actually succeeeding, like on the cool dark creepoy thrasher "Mindflying". "Nothing To Declare" is a cool energetic more classically-oriented number, sounding not too far from the last two Testament efforts. "Fiction" could have been left out, being a not very impressive acoustic ballad.

Godsend EP, 1994

GODSENT HUMANS (USA)

Melodic thrash/crossover with some modern thrash elements and hard rock tunes.

Liberty or death full-length, 1992

GODSIZE (NORWAY)

Based on the full-length debut, these guys pull out a dull, boring blend of modern and some classic thrash, trying to emulate the patterns of the Black Album for most of the time, leading to not very good results. The music lacks an edge, even acquires some dancing tendencies: "Down And Out" (shame, isn't it). "Chains" comes splashing in the middle, and is a total surprise, introducing finally some headbanging riffs. Apparently from this point on the guys will keep on thrashing, to the classic thrash fans' delight, and "Hero" turns to be another cool retro thrasher. Unfortunately that's all from the more classic sector, since "Dancing" (as you see, there will be a lot of dancing here) is the next flat groovy filler, slightly compensated by the more energetic closer "Fearless".

Death Before Dishonor Full-length, 1999
Steet-Leveled EP, 2001

GODSLAVE (GERMANY)

This is the band previously known as Slavery, under which name they only managed to release one demo (the guys also have another death metal project: Icon). Based on the EP, this band pull out cool classic speed/thrash, which crosses the two influences from both sides of the Atlantic in a seamless way, as well as super fast with crushing mid-tempo riffs (check out "Slaves To The Black"). No slow moments on the speed/thrashing killer "Wings Of Wrath", which will split your head, or on the brilliant Angel Dust-esque "Dead Reckoning", which is also full speed ahead. Only on "Where The Sun Sleeps" the band relies on a heavy slower pace (apparently not willing to wake the Sun up), but the riffage there is genuinely sinister and heavy with fine doom passages.

Bound By Chains Full-length, 2008
Out of the Ashes EP, 2008

GODZILLA (DENMARK)

4 songs of The Black Album-inspired post-thrash, but much less interesting with elements of groove as well as a few classic throw-ins, again more in the late-80's Metallica vein. The singer is semi-angry adding the odd melodic pitch which woud have suited better the not very hard-hitting nature of the music.

Godzilla EP, 1995

GOJIRA (FRANCE)

One of the better bands of recent days who offer a potent mix of modern 90's thrash, death metal, doom and even a slight shade of hardcore. Their first two albums are more concentrated on death metal, but there is a certain feel of 90's Sepultura as well (think "Chaos AD"), Meshuggah, Mastodon, late period Massacra, and more. The guitar work is really intriguing on quite a few times, bringing the sound close to progressive metal, but of the heavier and more intense type. There are not any fast songs, the music is mostly mid-paced with crunchy, chugging riffs. "From Mars To Sirius" could be considered the band's magnum opus at this stage; it's less heavy and more diverse, introducing more thrash, among the other aforementioned influences, and is truly a compelling listen. Despite the high quality of the material released so far, it seems as though the guys' finest hour is yet to come: one of the leading, and best French metal bands these days.
"The Way Of All Flesh" offers a heavy, less complex sound, with the guys steadily refusing to speed up, although stompers like "A Sight to Behold" and "Yama's Messengers" (this one introduces the first faster sections) will give you a headache with their intense riffage. "Adoration for None" is a fine combination of technical and direct, speedy guitars, and despite its relative short length, compared to the other longer numbers, is very close to being the highlight on the album. "All the Tears" comes crushing down with some really aggressive delivery, and is quite a worthy slab of more complex thrash/death. "The Art of Dying" takes advantage of the gained inertia, and hits the top in the progressive category, with the wide gamut of moods and tempos covered during its 10-min. "Esoteric Surgery" is a cool dark technical thrasher ala Meshuggah, followed by the even better "Vacuity": another fine display of "aggression-meets-technicality". "Wolf Down the Earth" is the band's tribute to the doom metal scene, served with an industrial twist. "The Way of All Flesh" is not the best possible closer, continuing the doom theme from the previous song, but failing to capture the spirit of the earlier material. This work by no means beats "From Mars To Sirius", but is not too far behind.

Terra Incognita Full-length, 2000
Maciste All Inferno EP, 2003
The Link Full-length, 2003
From Mars To Sirius Full-length, 2005
The Way Of All Flesh Full-length, 2008

GOLERS (CANADA)

Based on "Backwoods Messages", this band plays edgy thrash/crossover, often lashing out in a pure thrash metal fashion in the 1st half, with very screechy hysterical vocals, mixed with more conventional lower-tuned death metal ones. Both are an awkward choice for the music, which is not bad at all, and offers a non-stop headbanging fest with fast sharp guitars, opening the "pandora box" of mosh quite wide with the first 4 songs, before "Motorskills" switches onto slower punkcore. "Grindstoned Cowboys" is on the other extreme, being very violent deadly grind, whcih stays around for the next headcore/grindcore mix "Original Goler", which also "flirts" with the opening and closing theme from Iron Maiden's "The Trooper". More surprises wait along the way: "Grand Design"- a brutal death metal number, and another grinding attack: "Charged". As a whole the 2nd half is more varied and way more aggressive showing a band having hard time controlling themselves, for better or worse.

South Mountain Style Full-length, 1999
Second Generation Full-length, 2004
Backwoods Messages Full-length, 2008

GOLGOTHA (USA, Arizona)

Based on the "Perception" 4-song EP, this band pulls out heavy thrash, which borrows both from the classic and the 90's scene, with James Hetfield-like vocals, maybe more hoarse, and less intelligible. The music also recalls Metallica, and more particularly their heavier, more technical late-80's period ("Pathetic", "Living in a Lie").
"Day of the Oppressed" is heavier and more modern-sounding, but also more boring sticking to mid-paced repetitive heavy riffs spiced with stylish but short leads. "Native" is the best song, a cool intense headbanger, with the energetic closer "Pushed" a close second, but this is too little to make this effort even an average one. The Hetfield-like vocals remain, but their tone here is even harsher with a shade of hardcore.

Cynicism EP, 1994
Perception EP, 1995
Day of the Oppressed Full-length, 1996

GOLGOTHA (USA, Louisiana)

This band is the early incarnation of the the sludge doomsters Acid Bath. Here the guys thrash quite impressively, with the obligatory slower sections, suggesting at the future transition. The music is quite heavy, with crushing riffs, not much speed involved, with some of the finest doom/thrash mixtures ever composed: "Apocalyptic Sunshine", "Reactor Number 4", "Love Eats Its Own". Often it is all-out thrash, more of the up-tempo variety: the excellent dynamic "Cradled In The Arms Of Death"; the brilliant dark technical "Fingerpaintings Of The Insane": a haunting masterpiece with aggressive mid-paced riffage; the furious death-tinged "Nothingness"; the raging riff-fest "What Color Is Death". On the other side we have "Blood Of God": pure doom at its finest. The style is close to the Manilla Road more thrashy period (think "Out of the Abyss", above all), but these guys have done a better job here- no kidding. Dax Riggs has one of the most emotional, deep voices in metal, and his dark, gothic delivery here can seldom be matched; occasonally does he adhere to his unholy death-growls and shrieks, which later took a bigger part from the Acid Bath works. Not that Acid Bath are a bad band; it's just that with this act the guys could have had a much bigger appeal on the scene.

Demo Demo, 1991

GOMORA (CROATIA)

These Croatians are proud to have Jejo Perkovic in their midst: the drummer who helped Leif Edling in both Abstrakt Algebra and Candlemass. The style of this act clings between doom and modern thrash, but the fuzzy guitar sound is hardly an asset. Perkovic does a good job behind the drums, but the others are not anywhere near the professionalism of his colleagues from the Swedish acts, especially the singer who does the biggest damage, with his gruff, raw tember, which could be much better suited to some death metal band. The tempo is seldom above the mid-pace, but on the other hand seldom really slows down. As a result we have a clumsy attempt at blending two contrasting genres, also borrowing from gothic ("Agony") and dark wave ala Sisters of Mercy ("Ocean Of Emotions"). It's not a total waste, and when it holds onto thrash more, sounds quite cool ("Tears Of Children", "Metamorphosis").

She Full-length, 1997

GOMORRAN KANE (FINLAND)

Ordinary mid-paced moderh thrash metal, slightly reminding of the more recent Mokoma works.

Demo Demo,2005

GOMORRHA (GERMANY)

Based on the "Thrashing Madness" demo, this band are more speed/thrash metal-inclined rather than being an example of the more brutal side of the genre, like they apparently thought they were. This is a mix of speed and thrash metal reminiscent of early Helloween and Warrant; a touch of brutality is given by the death-metal styled vocals. The very bad sound quality and the fuzzy guitar sound will prevent you from getting a good listening experience.

Thrashing Madness Demo, 1987
Still Insane Demo, 1989
Doomed Man Demo, 1991
Beyond Believe Demo, 1992

GONE WITHOUT TRACE (USA)

Heavy thrash, with some classic moments ("No One Will Remember") thrown in, with a solid doze of hardcore; the album starts intensely, but little by little loses the edge and the speed, settling down for heavy tedious mid-paced riffage. It's kind of not surprising that after this one the guys had "gone without a trace"...

Gone Without Trace Full-Length, 2004

GONOBA (SLOVENIA)

This young Slovenian act offers quite typical modern thrash/death with a Swedish flavour sustained in a fast pace with the obligatory melodic licks, quite close to Dark Tranquillity. The music is full of energy and the guitar work is not bad, but this can be said about many other modern thrash/death practitioners nowadays. Some of the band members make attempts at more classic-sounding thrash with their other project Crossbreed.

Chains of Ignorance Full-length, 2009

GOOD VIBRATIONS (GERMANY)

Based on the "Bratfett" demo, these guys play traditional thrash/crossover, at times intense and fast, at others mild and jolly; the only part which never changes is the brutal semi-death metal vocals, not the very best choice for such kind of music.

Good Vibrations Demo, 1994
Beam me Up Demo, 1997
Bratfett Demo, 2008

GOOSEFLESH (SWEDEN)

The full-length shows a band who tread the well-trodden paths of the groovy heritage of the 90's; the music is not very hard or fast, relying mostly on retouched riffs ala mid-period Machine Head and GZR. Sometimes the sound boldly jumps the stoner wagon, and one may mistaken a couple of sections for a Down album ("Controller" and others). The lack of dynamics is the reason for this effort to wear thin very quickly, so unless you are a die-hard (with a vengeance) fan of the 90's trends, there is no way you would stand this boring tedious stuff till the end.

Welcome To Suffer Age EP, 1998
Chemical Garden Full-length, 1999

GORE (USA)

Based on the "Massacre of Humanity" demo, this is thrash/crossover along the lines of The Accused and Crumbsuckers.

Stem the Bloodbath Demo, 1986
Massacre of Humanity Demo, 1987

GORTIA (THAILAND)

Based on the EP, this is a mix of black and thrash; the guitars are firmly in the thrash camp, and the black metal shades come in the form of some atmospheric, keyboard-driven passages. This is enjoyable energetic, mid-paced thrash in the first half, and quite brutal and vicious in the second one, where some brutal blast-beats are implemented alongside the intense thrashy riffage.

Faith Demo, 1999
Total Depravicy EP, 2003
Promo Demo, 2003

GOSPEL OF THE HORNS (AUSTRALIA)

This band were formed by Howitser- a former singer of one of the leading Australian metal acts in recent years Destroyer 666. The style is not miles away from that band's, being a furious mixture of black, death and thrash metal with a clear old school sound. These guys are a bit more aggressive, sticking to the formula without adding any more melodic epic elements which sneaked into the Destroyers' sound on later releases, and are perhaps more death/black-oriented.

Monuments of Impurity EP, 1998
Eve of the Conqueror EP, 2000
A Call To Arms Full-length, 2002
Realm of The Damned Full-length, 2007

GOTHA (ITALY)

Based on the "Italian Thrash Assault" demo, this band play classic thrash which hesitates between mid-paced, gothic-tinged numbers ("The Darkest Sleep") and faster, more aggressive ones ("Thrashing Souls"). The final result is not very appealing, with a muddy sound quality, raw, undeveloped guitar work, and gruff, death-ish vocals, which awkwardly change into cleaner ones to better suit those more melodic, gothic sections ("Welcome to My Destruction").

Promo Demo, 2000
Take Your Soul Demo, 2002
Thrasherized Full-length, 2004
Promo Demo, 2005
Italian Thrash Assault Demo, 2006

GOTHIC SLAM (USA)

Good entertaining thrash of the more melodic, uplifting type; the leads are quite good, and most of the time the pace is energetic, without being too fast, resembling the Metallica debut on the faster moments, and early Megadeth on the other ones. The debut allows some power metal elements to sneak through in the second half, whereas the follow-up is more aggressive, with a better guitar work.

Killer Instinct Full-Length, 1988
Just A Face In The Crowd Full-Length, 1989

Vibrations of Doom

GOTHIC VOX (BRAZIL)

These guys offer non-standard dark, mostly mid-paced thrash, with hardcore vocals, sounding quite close to Tommy Victor. The sound is still classic, and will remind you of Fear of God on the best moments (the very good hypnotic opener "Lapse"), but the funky sections ala Mordred and Re-Animator (check out "Grind Of Tears") don't serve the band right. There are moments when the music takes a more playful, crossover attitude ("One Day To Understand"), and moments when some straight classic thrash passages could be caught ("Beyond Help"), but not for long. The band change the moods too often to create a coherent sound, switching to doom/gothic, hardcore, adding acoustic and violin parts, losing focus for a while on some songs. The album has its cool moments, but as a whole doesn't hold water for long.

Supplicamentum Full-length, 1991

GOTHICA (RUSSIA)

The band name is misleading, as the music has nothing to do with gothic, but is heads-down classic thrash, and not too bad at that. The tempo is energetic, but never too fast, and the guitar work is excellent, albeit not very sharp, relying more on melody, maybe too much at times. The first half is thrash metal all over, with the riffs recalling even the mighty Kruiz at times. But the tracks in the second half, like the semi-ballad "Escape", or the album closer "Doroga na Berlin (The Way to Berlin)", which is actually a cover version of an old Russian military song from World War II, here turned into a cool thrash/crossover number, slow down and shift away from thrash a bit. There is also a half-min instrumental called "Ode to Van Halen" and believe it or not, the guitar wizardry displayed there is not miles away from the one of Eddie Van Halen himself. The guys have by all means "created thrash", but could have put more effort into it.

Creating Thrash Full-Length, 2003

GOZERK (SPAIN)

Aggressive modern groovy thrash/death with industrial overtones, chaotic arrangements and awful synthesized vocals; the tempo is mid to slow with sudden totally misplaced grinding parts, where the sound goes head-over-heels into the Australians The Berzerker territory. To talk about separate tracks would be a bit difficult, since everything comes as one thick impenetrable wall of sound.

Go Berzerk EP, 2009

GRAABEIN (NORWAY)

The band's style throughout the EP's is mostly black metal of different varieties (at times recalling Marduk, at times-Khold), but on "Hell Is Here" one can hear some pounding thrashy riffs ala Barathrum or Celtic Frost. Certainly the black metal fans will find more to like here.

Simplicity of genocide EP, 2003
Kampklar EP, 2003
Hell is here EP, 2004
Black unholy thrash metal EP, 2005
Howl EP, 2006

GRAAF (GERMANY)

An interesting retro-sounding mix of progressive, power and thrash; the music often changes the pace, starting with the faster "Lucky, Again" before moving onto crunchy mid-paced thrash on "Decay". The progressive tendencies are increased with "Find Out What", which is a more moderate power/thrash piece, but the intensity and speed are back on "Misery" and "Even" which are nice blends of technical though-out riffs and more immediate faster ones. "Crying in the Night" is a sudden switch to hard-hitting up-tempo thrash, which moshes out in a heavy mid-tempo fashion, influencing a couple of following songs. "Busy People" brings back the speed recalling the band's compatriots Warrant. And finally one tribute to the modern scene in the form of the groovy post-thrashy "Die", which is hardly the most-fitting closer to this enjoyable reminder of the glorious 80's.

Graaf Full-Length, 1994

GRAFF SPEE (URUGUAY)

This is typical for the South American scene brutal, raw thrash/black/death metal (based on the debut) which is not miles away from their Brazilian counterparts: Sextrash, Sarcofago, Vulcano; but here the music is better, and has this surreal twisted character which at times recalls Morbid Angel, and despite the awful sound quality, some stylish parts could be distinguished. The demo is surprisingly much better both music and production-wise, but the band's sound has completely moved into the death metal realm by then.

Reincarnation Full-length, 1989
Mother Fucker Demo, 1992

GRAIN (USA)

Based on "The Abyss": these guys pull out heavy Pantera-sque angry thrash, but refuse to speed up like their apparent idols, opting instead for a more radio-friendly approach on some tracks, bordering on stoner/doom. The guitar sound is crushingly heavy, and this album could have been a major hit 13-14 years ago. Still steam-rollers like "The Real Shit" and "Calling In Favors" can not completely fall into oblivion, but rest assured that they are fully compensated by numerous mellow moments.

Open Your Eyes Full-length, 2003
The Business End EP, 2005
The Abyss Full-length, 2006

GRANDEUR ET DECADENCE (POLAND)

Based on the 2nd demo, this is mostly black metal with touches of thrash in the guitar department, sounding like a lesser version of Enslaved. There are no too many fast, brutal sections, and the guys rely quite a lot on sprawling, slightly epic melodies, but with a more fuzzy, and undeveloped sound. There are some good ideas thrown in, but it needs a lot of work to put them in a really good shape.

Demo CD-R Demo, 2006
Demo Demo, 2007

GRAPHIC VIOLENCE (USA)

This is good classic thrash which at times could be quite hard-hitting and intense (the opener "Evil") in the best tradition of Slayer, at times more laid-back, mixing power and thrash ("Future Daze") ala early Laaz Rockit, at times coming up with some clever technical guitars ("Solitude"). The headbanging, Slayer-esque numbers predominate, so not a fan would waste his time with this very obscure, but commendable release.

Graphic Violence Full-length, 1997

GRAVE FORSAKEN (AUSTRALIA)

Based on "This Day Forth", these guys play pretty decent retro thrash of the less hard-hiting variety, pleasant and feelgood. The longer opener "No News… Ain’t Good News" kind of misleads with its soft power metal approach, but the music soon starts to bite, with two faster-paced thrashers. Two moderate power/thrashers follow suit, a situation saved by "Death Undone" which is much more aggressive, with a proto-death origin. "Holy Blood" thrashes with no mercy after that, but the closing "Affluenza" is another long boring exercise in mellow power/thrash, leaving this album hanging between the "average" and "below average" line.

Grave Forsaken EP, 2005
Beside the River of Blood Full-length, 2006
Horror and Sadness EP, 2007
Destined For Ascension Full-length, 2008
This Day Forth Full-length, 2009

GRAVEHAMMER (SWEDEN)

Fast vicious black/thrash using early Bathory as a base; short simplistic tracks with brutal abrasive vocals, pretty basic and quite noisy as well.

Morbid Obscurity Demo, 2007

GRAVEHILL (USA)

Bashttp://www.myspace.com/gravehammersweed on the on the 2-song "Metal of Death" demo, this band offers a mix of black and thrash, quite energetic. The music is closer to thrash, but the singer is an evil black metal rasper.
"Rites of the Pentagram" is a cool debut, which adds some death metal to the black/thrash blend, making it more appealing and more aggressive. The speed-based numbers are more, the tendency started with the very 1st song: "Rites of the Pentagram", which is cool energetic thrash/proto-death. "Decibel Ritual" sees death metal added, and is a much more brutal track. "Bloodsoaked" is classic black/thrash at its best, with slower and faster passages taking turn within, and it's on "Pissing on Your Grave" when the first depressing doomy riffs can be heard; hello, Khold and Barathrum!; the 2nd part is a pleasant turn to bombastic speed/thrash. "The Luciferian Mark" is a mid-paced stomper, no switches to a faster play here; neither are there any on the similarly-sounding "By Scourge & Wrath". So the speed is gone, only to re-appear on the brisk intense shredder "A Celebration of Wounds", which picks some death metal aggression ala Death later on. "Reckoning" is the short acoustic instrumental "rest, after which the guys take no prisoners, with the furious death metal explosion "One Million Dead & Counting"; a slow doomy interlude graces it at the end, but it only serves to aggravate the impact from the brutal ultra-fast riffage.

Metal of Death EP, 2007
Metal of Death/Advocation of Murder and Suicide E.P. EP, 2008
Rites of the Pentagram Full-length, 2009

GRAVENLOCH (USA)

Death/thrash/speed of the classic school with an epic atmosphere, and a couple of furious black metal blasts; surprisingly this mix works, and enough room has been left for the thrash riffs to develop, although on the longer songs ("Gravenloch") the cocktail becomes too big, with certain elements of cheesy power/speed metal also present. Still, cool galloping speed/thrashing delights like "Insurgent Incursion", "Descent Into Hades" or the excellent closer "Mechanized" are hard to be ignored, neither are more melodic crossover-based, but equally as energetic ones ("This Is Metal", although the light-hearted speed/power deviation could have been spared). "Never To See The Light Of Day" is a more laid-back epic number with a nice balladic intro, and "Hordes Of Damnation" is actually the only more brutal death metal-based track, featuring raging blasts mixed with cool melodic hooks recalling more recent Destroyer 666.

Gravenloch Full-length, 2009

GRAVEWÜRM (USA)

Based on the "Carnivorous Monarchy" EP, this band offers a depressive cocktail of doom, black and thrash, calling to mind early Celtic Frost, Barathrum, Khold, and the Germans Warhammer. Don't expect any fast headbanging parts, except for a while on the slightly more dynamic "Killing Machine" at the end; this is sleepy minimalistic stuff with very underground "funereal" snarly vocals.
"Into Battle" contains the same ultimately depressing stuff which now sounds even closer to the bleak "landscapes" "drawn" by Khold including in the vocal department where the singer is a low-tuned whispering snarler sounding like one of the few vampires survived through the years. With an impressive number of 21 songs featured, it should be no wonder the presence of a couple of more dynamic tracks which come with a strong shade of early Bathory although they are hardly enough to alter the gloomy misanthropic atmosphere created by the doomy black/thrash delivery of the rest.

W.A.R.B.E.A.S.T. EP, 2000
Ancient Storms of War Full-length, 2000
The Bestial Hordes EP, 2002
Dark Souls of Hell Full-length, 2002
Carnivorous Monarchy EP, 2003
Into Battle Full-length, 2003
Under the Banner of War Full-length, 2005
Funeral Empire Full-length, 2009

GRAYSTEN (GERMANY)

A small obscure effort from the guys who later made a more lasting impression under the name Scornage. The style here hesitates between heavy pounding classic thrash and the modern trends, and edns somwhere on the way from Defiance's "Beyond Recognition" to Cyclone Temple's "My Friend Lonely", with a softer power metal edge added ("Why?"). The short energetic closer "Evil Dust" will invigorate you with its speedy tempo, but the rest is mid-paced and repetitive with the subdued muffled semi-clean vocals not helping much.

Walk your Walk EP, 1993

GREAT AWAKENING (USA)

The name of the game is retro thrash for the upteenth time this millennium, and these young thrashers do a good job resurrecting the old classic sound of the 80's. The band give a more aggressive edge (the title song) to their sound, which comes up here and there, but the majority of the tracks are long, with clever, but not overtly technical riffs, recalling Metallica- both their early, and late 80's period, as well as the Germans Paradox: the more speedy material ("Hypocrisy", "War Mentality"). The pace is energetic throughout, with short mid-paced, and even balladic ("War Mentality" again) sections, with fine guitar work, accentuated by the really nice, melodic leads. The singer gives a solid performance with his angry, semi-clean tember giving the desirable dramatic decoration to the songs.

Thrash Till You Die! Full-Length, 2008

GRENOUER (RUSSIA)

The band's first two efforts are good technical death metal with shades of Death and Pestilence, but with more aggressive guitar work. "The Order Of Folly" abandons the technical play for some more uplifting thrash/death'n roll not too far from Entombed or Hearse. "Presence Of War" switches onto war-like death metal ala Bolt Thrower and the sound is decidedly slower, almost epic at times. Their new album is modern, industrialized thrash/death not too far from Fear Factory or Scarve.

Border Of Misty Times full-length, 1996
Gravehead full-length, 1999
The Odour O' Folly full-length, 2001
Presence With War full-length, 2004
Try ep, 2006
Lifelong days full-length, 2007

GREYSTAR (USA)

This is the brainchild of just one man: Tanus Greystar, who pulls out diverse stuff, built on a solid thrash base. "Can't Stop (Runnin)" is a cool melodic crossover/thrasher, with some stoner doom overtones, after which the 9-min long song with the clear message "Fuck You Jesus" comes forward, offering more of the same, but lasting for a longer time, and with a more aggressive edge. "Life Preserver" has little to do with thrash, with stoner/doom taking over, although the brutal low-tuned death metal vocals are hardly the best choice for this kind of music. "Manripper" finally starts thrashing hard, and it was high time, since I can see quite a few thrash fans having abandoned the album by that stage, lasting again for about 9-min. This track provides some intense headbanging moments, which increase for the next "Undestined to Die", which offers some quite cool guitar performance (something which can not really be said about the other songs), including some lead pyrotechnics, and one would definitely get the feeling that this guy has wasted his time earlier on, trying not very successfully to bring two contrasting styles together. "Warriors of the New Dawn" once again circles around the 9-min range, but for most of the time is a satisfying mid-tempo thrasher, ruined by the bad gruff death metal vocals, which are particuarly bad here (not that they ever sounded cool on the other material). Far from flawless, this effort delivers the goods in the second half, and a second release could have honed the guy's approach, but this remains his only offering at this point.

The New Dawn Full-length, 2000

GRIEF OF WAR (JAPAN)

A smashing debut of fast-paced old school thrash, which will make you headbang for days. It's not all out speed all the time, although the first two tracks will sweep you away with their fast, sharp riffs. "Sown by Hatred" introduces some slower, heavy riffs with an Oriental touch, and is a cool break, because after that the assault continues with full force, with another couple of brilliant thrashers until "Eternal Curse", which is more power metal-based, and more melodic, but delivers the goods, with its slightly epic atmosphere. The other three remaining tracks show no mercy, returning to the heads-down intense thrashing. This album is a nice companion piece to Ritual Carnage same year's "I Infidel", and is almost as good. Hopefully these guys are still active: it would be unforgivable to give up after such a great first effort.
The guys should make the gaps between albums smaller if they want to keep their status, which is very well deserved, judging by "Worship". This is very well executed old school thrash attack, which starts confidently with the brisk headbanger "Crack Of Doom". "Disorder" comes next, and breaks the intensity with its calmer mid-paced approach. "Captured Soul Eternity" captures the essence of 80's speed/thrash better than whole full-lengths, but apparently there will be an alternation between fast and slow songs here, since "New Kind Of Wicked" is less dynamic and much more melodic. "Revolt" comes splashing to produce another slab of aggressive thrash, and "Built My Brain" is a pleasant surprise, breaking the "fast-slow" alternation with good energetic riffs; some more peaceful passages are thrown in, carrying a genuine technical/progressive shade. "Worship" and "Into the Void" are speedy thrashers, leaving room for the elaborate progressive "Midnight Sun", which abandons the speed, offering a more thought-out material ala late-period Death. No speed "lost" on the closing "Lost", showing the band well able to win themselves a place on the very front row, and not only in Japan.

A Mounting Crisis... As Their Fury Got Released Full-length, 2005
Worship Full-Length, 2009

GRIM FORCE (JAPAN)

This band again has something in common with the thrash metal greats Ritual carnage, in this case the guitarist (who also sings here) Katsuyuki Nakabayashi. His side band offers good thrash of the old school, obviously influenced by the Bay-Area scene. "Lunatic" is an impressive intense opener, with heavy, energetic riffs, and not very pleasant hardcore vocals. "God Cries! World Dies!" will catch you unprepared, with its furious, aggressive delivery: a mighty headbanger, which thrashes with no mercy for about 3-min. "World Of Chaos" is a slightly different story, being slower, but quite heavy. "The Sin Of The Blaackest Dye" is another fine slab of more aggressive thrashing, followed by similarly styled tracks, until the last one: "Struggle", which is a nice technical piece in the vein of late 80's Metallica, still full with energy, finished with a very stylish slower, doomy ending. This is a sure-handed debut of well executed Bay-Area thrash, which will have to wait (I hope not for long), until Nakabayashi finds some more time outside his main band, to see its follow-up.

Circulation To Conclusion Full-Length, 2000

GRIMLOCK (AUSTRALIA)

This young Australian formation offers an entertaining mix of thrash and the dark gothic post-death metal sound of Sentenced's "Amok". Although the predominant tempo is mid-paced, the guys have added some fairly cool speedy numbers ("Burden Of Reality", and especially the furious speed killer at the end "Mental Balance"), which thrash quite intensely. Moments of the kind are not very frequent, but the heavy stomping riffs, combined with the melodic hooks, and some softer crossover tracks ("Before"), make this album a welcome addition to the scene. Don't get too critical over songs like the stoner/doom metal delight "The Shadow", or the Black Album-influenced "Sleep" (check out the James Hetfield-like vocals on this one as well): they come served with the desirable energetic tone.

XVI Full-length, 2006

GRIMLOCK (USA)

Heavy pounding thrash with a technical edge is offered on this very obscure effort which shares some of the dry impassionate aesthetics of Metallica's "...And Justice for All", without forgetting about the more speedy delivery ("Don't Disturb The Dead") from time to time. Still, the heavy steam-roller section is the dominant force providing a cool mid-pace which, although not changing much, is a good listen. The singer has an interesting deep semi-clean voice who shows both his more aggressive gruffer and more pleasant melodic side the latter particularly good on the closing semi-ballad "Imaginary Friend".

Neurotic Facade Balance of the Soul Full-length, 1991

GRIMORIUM VERUM (EQUADOR)

Laid-back gothic-tinged thrash metal with bad black-ish vocals which can hardly be heard for most of the time; after a couple of mid-paced sleepers along the lines of mid, late-90's Rotting Christ, the guys hit the mark with more energetic music clinging more towards the early German models except for the last two numbers where all hell breaks loose with ultra fast brutal riffs and grinding tempos. Two more acts emerge from this one: Narcosis and Alcoholic Rites, both playing retro thrash with a shade of black (the latter).

Grimorium Verum Full-length, 2008

GRIN (GERMANY)

Based on "Decision 120", this band plays modern mechanical thrash with early Meshuggah being an obvious influence, as well as the Canadians Obliveon. The music has its twists and turns, and is probably more complex than the one of the two aforementioned bands, as is evident from the labyrinthine opener "Decision 120". The sound becomes more attractive when the guys unleash more speed and aggression, without losing the technicality: the great dynamic technical thrashterpiece "Doomed". The same pattern is preserved for another technical greatness: "Genom", which is a textbook of modern technical thrash, effortlessly switching tempos, reaching "Mental Vortex" heights on quite a few times; one would hardly feel when those 8.5-min have passed. "Paradox" is a shorter, but equally as complex whirlwind of riffs and moods, and the following "Shadow" is the only not as elaborate composition, relying mostly on heavy smashing, more direct riffs. "Splitting Personality" is a heavy form of progressive/technical thrash, which is kind of underwhelming, since despite the cool intriguing start, fails to evoke the eerie complex atmosphere of the earlier material.

L.P.M. EP, 1999
Decision 120 Full-length, 2001

GRINDER (GERMANY)

One of the less known German speed/thrash metal bands; "Dawn For The Living" is a smashing debut in the vein of Iron Angel and Paradox; great speedy music, featuring some of the finest thrashers around: the fast & furious "Obsession", the pounding heavy "Dawn For The Living", the speed metal delight with an early Helloween shade "Magician". "Frozen Hatred" offers a heavier, more technical approach, but is the only one of its kind, among the speed/thrashing pieces. The album ends with the lightning-speed killer "Traitor" and the cool crossover speedster "F.O.A.D.".

"Dead End" is another impressive offering, but the heavier, more technical song-writing, which was only slightly hinted at on the debut, now has taken the upper hand, and as a result this album sounds quite close to Flotsam & Jetsam's "No Place For Disgrace". Some speed has been sacrificed, which could be considered a drawback to some extent. After the first longer and more complex tracks, the music becomes a bit more dynamic and enjoyable, and tracks like "The Blade Is Back" and "Just Another Scar" bring back the sound from the debut, but with heavier guitar work. The longer songs return in the 2nd half, this time including one good semi-ballad: "Why?" (I don't know- pun intended). "Train Raid" is a light-hearted speedy punk-ish number, contrasting to the crushing thrashing closer "Unlock The Morgue", an intense piece, graced by a very good bass bottom.

"Nothing Is Sacred" is the band's most melodic effort, which actually moves back towards the fast patterns from the debut, but the guitars are less edgy, although songs like "The Spirit of Violence" and "Nothing Is Sacred" thrash with full force. After them the sound slows down for a while, but the songs become more catchy: the nice power metal number "None Of The Birghter Days", which has a very memorable chorus. The modern groovy "Pavement Tango" could have been left out, as well as the jolly crossover "The Nothing Song" (it's nothing, really, believe me/them).

Dawn For The Living Full-Length, 1988
Dead End Full-Length, 1989
The 1st EP EP, 1990
Nothing Is Sacred Full-Length, 1991

GRINDNECKS (SWEDEN)

Based on the "Terror Rising" demo, this band unleashes wild modern thrash/death metal, not very fast, but with heavy jumpy riffs, some inevitable Gothenburg melodies, and one jolly thrash/crossover piece: "Twentyfour Seven (Fuck The Heaven Sent)", with a more brutal twist at the end.

Terror Rising Demo, 2004
460 from Hell Demo, 2005

GRINROTH (HOLLAND)

The Unholy Promo reveals an "unholy" band unleashing an "unholy" mix of black, thrash and death metal. The music is at times semi-technical, drawing resemblances to Morbid Angel mixed with black ("Vendetta"), at times it's heavy and pounding ala Immolation ("Forsaken"); at other times it's cool atmospheric epic black/thrash ("We are not alone").

Live in Leeuwarden on 16-11-2003 Live album, 2003
Unholy Promo Demo, 2005

GRIP (USA)

Although the opener "Get Out Of My Yard" may raise the hopes high that this would be another "survivor" from the classic era with its energetic retro approach, the band will soon put an end to these hopes with the other much less interesting material which faithfully follows the 90's groovy trends adding the odd stoner/doom twist at times. "Demons" at the end thrashes in a faster manner recalling "Never to Reveal" from Flotsam & Jetsam's "Quatro", but that's all one will get from this pretty pedestrian effort.

Grip Full-length, 1994

GRIP INC. (USA)

Grip Inc were formed by Dave Lombardo and Waldemar Sorychta (Despair), and quickly rose to the upper echelons of the 90's thrash metal movement. Style-wise the music sounds neither like Despair nor Slayer, taking a clearly modern approach, but with a considerable atmospheric/technical twist- a style perfectly displayed on the band's first two efforts, especially on the incredible "Nemesis": one of the finest thrash metal works of the 90's. "Solidify" saw the band flirting with the modern groovy sound, and was a letdown. After a long, 5-year break the band were back with another strong release, hopefully not the last one, having in mind that their singer had a one-album spell with the Germans Squealer, and Lombardo is busy working again with his old colleagues from Slayer.

The Power Of Inner Strength full-length, 1995
Nemesis full-length, 1997
Solidify full-length, 1999
Incorporated full-length, 2004

GROM O'TORIC (GERMANY)

Old school speed/thrash metal in the vein of early Overkill and early Metallica; the musicianship is below par, and the modern elements "inserted" do not work well combined with the other music.

No Change Without Revolution Demo, 2004

GROPE (DENMARK)

This band were formed by two members of the one-album wonder Pixie Killers. However, if you expect some bombasting classic thrash, look elsewhere because this new formation is pure modern groovy thrash metal very close to Pantera and the likes; not bad, but pretty generic. Their later works move towards stoner/doom.

Primates full-length, 1994
Soul pieces ep, 1995
The fury full-length, 1996
Desert storm full-length, 1997
Intercooler full-length, 1999
If you were my dog full-length, 2002

GROSS MISCONDUCT (CANADA)

Another good newcomer from the technical metal scene in Canada; the band's style recalls late period Death and the Polish Sceptic, but is more aggressive and more thrashy, with frequent adherence to blast-beats where shades of Suffocation could clearly be heard, and by no means less technical. Chuck Schuldiner (R.I.P.) is an obvious influence on the guitarists, so expect some great leads and mighty technical riffage.

The Process of Indoctrination Full-length, 2007

GROUND CONTROL (ITALY)

Thrashy power metal sounding like less classy Eidolon or the Germans Mystic Prophecy. Some classic heavy metal tunes are involved, too. An interesting slower version of Anthrax's "Metal Thrashing Mad" finishes this not really impressive release.

Insanity full-length, 2006

GROUND INCH (GERMANY)

Typical modern thrash metal very close to the more recent Machine Head works with soulful, blue-sy moments ("Black Universe" from the 2nd demo).

Ground inch demo, 2002
Come get some demo, 2003

GROUND ZERO (JAPAN)

A standout band whose style is close to Destruction and Hydra Vein, with some stupendous technical passages and a few great melodic lines. "Gate Of Death" is an impressive debut with a heavier and a tighter sound, compared to the more speed metal-based EP. The vocals are a bit rough for the style, mixing hardcore and semi-death metal tones. The music is energetic, and occasionally quite speedy (the excellent aggressive "Gate Of Death"). "Strange Shadow" is another highlight, with its fast, but technical riffs. "Suicide" brings forward more melody, reminding of the more catchy style of the EP. With a couple of more albums of that calibre Ground Zero could have been one of the stars of the show worldwide, but they never recorded again.

Etherealize EP, 1986
Gate Of Death Full-Length, 1987

Vibrations of Doom

GROUND ZERO SYSTEM (NORWAY)

The industrial/thrash/death mixtures are getting more and more fashionable in Norway, so it wouldn't be a surprise if they overtake the black metal scene some day. Based on "Molotov", this band play industrial thrash/death, which lacks the energy and originality of acts like Fear Factory or Meshuggah, and some dance sections ala KMFDM will make quite a few of you frown ("DEKAYNY"), especially when you hear the very melodic vocals there. "Hasten the End of Days" reminds of the excellent Nefilim's "Zoon", but the rest is just a more aggressive version of the German industrial practitioners Ooomph, or later period Misery Loves Co. (Sweden).

Newropa EP, 2006
Molotov Full-length, 2008

GSA (DENMARK)

The full-length offers heavy mid-paced power/thrash metal still having something classic left, but the modern tendencies are more than obvious although the guys' sticking to the semi-balladic patterns don't give them enough room to develop. Still, there are quite a few heavy riffs to be encountered which in the middle grow into a couple of almost pure/semi-balladic doomsters.
The EP "E" is the better offering, faster and more thrashy, at least in the beginning with the brisk headbanging opener "Evil Light". Neither of the remaining songs reach this intensity, but they liven up here and there with the odd more dynamic section never falling into the doomy "traps", also trying to avoid the modern ones, but with less success.

The Madness Serene Full-length, 1996
E EP, 1997

GUARDIAN (POLAND)

The band's first two demos are furious black/thrash/proto-death, quite fast and intense, but the musicianship is not on a very high level, and is similar to the one on Necrodeath's "Into the Macabre", but the music of the Poles is faster and more vicious. The second demo actually shows the guys pulling themselves together, and there are some more stylish guitars to be heard, but the aggression reaches the extremes: songs like "Okrutna Rzej" are pure death metal rage, brutal as hell (this song seems to be a remake of a song from the first demo, although the original is 6-min, whereas the remake is half as long, and is 10 times as brutal). The vocals are very scary and brutal black metal shrieks. This is easily one of the most intense recordings released in Europe in the late 80's; has to be heard to be believed.

Guardian Demo, 1988
Resurrection on Beastliness Mental Demo, 1989
Mind Of Darkness Demo, 1991

GUERRA TOTAL (COLOMBIA)

Based on the debut demo, this act plays classic speed/thrash ala early Whiplash and Alastor (Portugal). The music hits hard at times, at times it's melodic and soaring, at others is pure speed metal ala the early German trends ("Odio (Sinfonía De La Venganza)"). "Metal Holocaust" is a slightly softer number paying tribute to the 90's power/speed metal scene, but there is seldom speed lost on this cool effort where only the singer may disappoint a bit perhaps with his semi-clean semi-declamatory delivery. theg ys take part in various other projects around Colombia: the thrash/death metal act Necronslaught, the black/thrash metallers Eternal Dark, etc.

Tormento Nuclear Demo, 2008
Zombie Thrash Horror EP, 2009
Guerra Total / Eternal Drak Split, 2010
Nuklear Metalkoholik Attack Split, 2010
NUKLEAR ZOMBIE DIVISION Full-length, 2010

GUERRERO ETERNO (PERU)

Based on the "Autodestruccion" demo, this Peruvian trio plays energetic classic thrash metal with a slightly muddy guitar sound which makes the leads sound too screamy, and an overall approach not too far from "Bonded by Blood", with the sloser "Carreteras de Sangre" adding more intense Germanic (think early Kreatort, Toxic Shock) riffage. The impact would be bigger if the guitars can be heard more clearly in the future, and if the singer manages to subside this growling death metal tember by at least trying to semi-sing at times.

Dia del Jucio Demo, 2004
Autodestruccion Demo, 2008

GUERRILLA (GERMANY)

Modern death/thrash metal with interesting riffs and proficient lead guitar work; "Red Moon Rising" from "On Target" is an 8-min masterpiece which will put many progressive metal bands to shame. Although highlights like that are not too many, these guys easily stick out of the pack. The music on "No Inch Back" is more aggressive and simplistic, but is closer to thrash, and the vocals take a more unpleasant tone, mixing hardcore with death metal vocals, with the rare addition of semi-clean ones ("Greed").
"Kickstart Revolution" is a commendable slab of modern thrash akin to Dew-Scented and early The Haunted, although the Germans are fonder of melodic breaks, and the tempo varies more being mid to up-tempo. At least half of the songs are heads-down headbanging thrashers ("Shatter The Swastika" comes served with proto-death elements), being superior to the rest which is slightly monotonous and soft clinging towards power/thrash on the mellower numbers, and this time the gruff vocals are intercepted by cleaner ones from time to time. Unfortunately highlights from the ranks of "Red Moon Rising" are not present, and the music never leaves the well established modern thrash formula, for better or worse. By the way, the whole album can be downloaded for free from the band's Myspace page.

Breed Us, Feed Us, Weed Us! EP, 1998
On Target Full-Length, 2001
No Inch Back Full-Length, 2004
Kickstart Revolution Full-length, 2010

GUIDED CRADLE (CZECH)

Thrash/crossover with death metal vocals (based on "You Will Not Survive"); up-tempo, moderately intense guitar work in the vein of D.R.I. and a few varied longer tracks ("Hold The Line") which offer more than just one-dimensional bashing, something which happens quite often on the other songs. Pure hardcore outbursts are a rarity ("Fucking Americans"), but are not excluded, as well as slower heavy doomy high-octane closers ("Killing Floor"), which partially make up for the lost speed with a very fast middle break.

Guided Cradle Full-length, 2005
You Will Not Survive Full-length, 2007

GUILLOTINE (BRAZIL)

A nice debut of classic aggressive thrash similar to late-80's Kreator and the Swedes Hypnosia; this band slow down at times for heavier, but by no means less impressive songs. "Soul of Heavy Metal" might shock you in the beginning sounding like a heavy metal hymn ala Accept or Judas Priest, but then a wall of fury rises and it turns into another mighty thrasher. On the other hand, "Sodomized in Hell" introduces some more intense, death-ish elements into the sound. Watch out for the hidden track which is combined with the last one: a very faithful, and a good version of Death's "Defensive Personality".
The "DEATHRASHEAVY" EP follows the patterns established on the debut, although to these ears the riffs come too retouched at times, making some moments more melodic, especially those on the Motorhead cover of "Sacrifice" at the end.

Metal in Veins EP, 2006
Metal in the Vein Full-length, 2007
DEATHRASHEAVY EP, 2009

GUILLOTINE (RUSSIA)

"Voy" is good intense fast-paced thrash, which comes as a more diverse version of Master's "With the Noose Around the Neck". The album opens in a merciless vicious fashion ala early Incubus and the Swedes Merciless with the deadly "Vse Protiv Menya", but the sound moves towards the German speed/thrash metal field with the next "Deti Podzemeliy". "Legion Smerti" deviates into epic power/thrash, a clumsy doomy song. "Ballada" is exactly that: an acoustic balladic instrumental, and one may start to wonder whether there will be any more speed/thrash later on. Yes, there will be: "Sklep" is heads-down retro thrash, but "Ved'ma" again "flirts" with the softer power/thrash formula, saved by the faster 2nd half. "Chyorniy Gertsog" provides less dynamic mid-tempo thrash in the beginning, before it switches onto intense thrash later. The final "Voy" well deservedly carries the album-title, thrashing far and wide for more than 7-min. This is a cool obscure entry from Russia, which places this act right beside their more famous colleagues from Master, Kruiz, Mortifer, Shah, etc.

Voy Full-length, 1992
Confession of a Blasphemer Full-length, 1994

GUILLOTINE (SWEDEN)

This band is a side project for two members from the power metallers Nocturnal Rites and two from Persuader, who wanted to give a way to their "darker", more aggressive side. This is well done old school German thrash in the Kreator tradition, with a touch of the early German speed metal scene (Heloween, Vectom, Warrant); fast, aggressive riffs attack you from beginning to end. There is no much variety, and all the songs tend to merge into one another, but the sheer intensity of the material will surely keep you entertained.
"Blood Money": 11 years later the guys have found some time again to record under the Guillotine name. There's no change of course music-wise, as this is straight continuation of the debut: fast-paced Germanic speed/thrash, this time spiced with some slower tracks ("Insanity", "Dying World"), which come directly from Kreator's "Outcast". "Madness" is a nice short lead-driven interlude, but the rest is a good reminder of the heydays of thrash metal.

Under The Guillotine full-length, 1997
Blood Money Full-Length, 2008

GUILLOTINE (USA, Los Angeles, CA)

A below average thrash/crossover band who actually sound more hardcore than thrash most of the time, and with the throw of some punk-ish elements here and there the thrash metal fan knows that he should stay away from this.

Bring Down The Curtain Full-Length, 1989

Vibrations of Doom

GUILLOTINE (USA, Manassass, Virginia )

Interesting stuff, mixing old school power and thrash metal with black-ish vocals; there are some folk melodies here present as well. Surprisingly this mix works well, and it would be interesting to see how far these guys can reach.

Off With Their Heads EP, 2005

GUILTHEE (HUNGARY)

This band play groovy thrash, without any surprises, mid-paced, with some death metal vocals coming through, apparently to help the not very convincing hardcore-ish ones. Despite the predictable nature of the music at display here, some intriguing guitar work can still be caught ("The Ghost of Denying").

The Ghost Of Denying Demo, 2007
The Three Knot Lane Demo, 2007

GUMO MANIACS (GERMANY)

Excellent retro speed/thrash which mixes the dominating speedy antics with more laid-back ones ("Graveyard Fantasies", "Logarithm"); still, those can not stand on the way on high-speed explosions like "Invert The Cross" or "Ashes To Ashes", which will break your neck. A few stylish melodic "decorations" can be heard ("Priest Of Lucifer"), as well as clever technical ones ("Strike Of Death"), but generally there's no speed lost on this entertainig reminder of the good old 80's. The singer Daniel Reiß also takes part in the black/thrashers Thargos, and he also plays guitar for the Finnish classic heavy metallers Wizzard.

Priest of Lucifer Full-length, 2009

GUNJAH (GERMANY)

This is a decent mix of the classic and the modern sound jumping from energetic headbanging passages to heavier semi-groovy ones. The former are by far the more attractive side often coming with more intriguing semi-technical riffs ("Gun"). The jumpiness and the funky playfulness of some songs will also remind you of Mordred's "In This Life".

Heredity Full-Length, 1993

GURD (SWITZERLAND)

This band was formed by V.O. Pulver- one of the legends of Swiss thrash metal having taken part in many of the big names on the scene: Messiah, Poltergeist, Carrion. With the coming of the modern trends in metal in the 90's, he decided to follow them closely, and the band's style is prototypical modern groovy thrash akin to Pantera and Machine Head.

Addicted full-length, 1995
Urd full-length, 1995
D-fect full-length, 1996
D-fect the remixes full-length, 1997
Down the drain full-length, 1998
Bedlam full-length, 2000
Encounter full-length, 2003
Bang! Full-length, 2006

GUST OF ANGER (LATVIA)

Groovy thrash simlar to Pantera with shouted, hardcore-ish vocals.

Natural Hostility Full-length, 2002

GUTLOCK (GERMANY)

A bit uneven mixture of fast, furious thrash/death of the modern type, and some heavy groovy riffage; in other words, this band brings you all the modern trends in metal; not that it's very bad: it's just that the guys are way better thrashing without any gimmicks ("Falling"), but the rest is a mish-mash of speedy guitars, stomping groovy sections, melodic gothic passages, and some clean vocals, as opposed to the main death metal shouts.

In Conclusion The Abstinence Full-length, 2005
Demo EP Demo, 2007

GUTTED (USA)

This band features three brothers and apart from that a cool heavy fusion of thrash and death metal in the classic mould, mid to up-tempo, with nice crunchy riffs.

Bleed For Us To Live Full-Length, 1994
Gutted Full-Length, 1997

GWAR (USA)

This band have made quite a name for themselves mainly because of their outrageous live performances where the guys do all kinds of "atrocities" dressed in their "out of this earth" costumes. The music has always been secondary when talking about Gwar and indeed, it doesn't give many reasons to be discussed too much; it is simplistic, mid-paced thrash akin to Carnivore, spiced up with hardcore and punk, plus the use of instruments like accordions, flutes, violins, etc. The musicianship is not very high, but on the last three albums some big change must have taken place: the guitar work is much tighter and more aggressive, the sound is decidedly thrashy (something which one couldn't say about much of their older material), and there are some really ambitious songs. Apparently the guys have decided to show to the world that music is what they are meant to do in the first place.
"Lust in Space" is quite a mixed affair, with the guys pulling out quite an amalgam of styles (power, heavy, thrash, hardcore, punk, etc.) among which the power metal-based ones seem to work the best ("The Price of Peace", "Make a Child Cry"). It would certainly not put too many smiles on the thrash metal fan's face, but is enjoyable and crossover enough to please a wider spectre of metal maniacs.

Hell-O Full-Length, 1988
Scumdogs Of The Universe Full-Length, 1990
America Must Be Destroyed Full-Length, 1992
This Toilet Earth Full-Length, 1994
The Road Behind Ep, 1994
Ragnarök Full-Length, 1995
Carnival Of Chaos Full-Length, 1997
We Kill Everything Full-Length, 1999
Violence Has Arrived Full-Length, 2001
War Party Full-Length, 2004
Beyond Hell Full-Length, 2006
Lust in Space Full-length, 2009

GWRANDO (SPAIN)

Interesting dark, gothic thrash with orchestral decorations; the music delivers the goods, and is a stylish blend of hard-hitting faster riffs and slower, atmospheric ones. The main vocals, which are not very convincing, gruff ones, are ably supported by a pleiad of backing ones, which spring up all the time out of nowhere, and create a lot of dramatism. Tracks like "Fallen Angel" are mighty more straight thrashers, whereas other like "Extreme Aggression" (which doesn't really deserve its title) are more on the atmospheric, sprawling side. "Silver Wings" is a great ballad, with nice leads, which are otherwise pretty ordinary on the rest of the material; this ballad, despite its undeniable qualities, influences the following compositions which never capture the intensity of the preceding ones. "Warlike Lord Of Pagan Land" remains in the melodic confines, being a cool quiet atmospheric instrumental. With "On A River Of Blood" the album returns greatly to more aggressive territories, and later on "Doubts" offers a really compelling mix of crushing riffs and epic-tinged melodies. The closer "Adage" is a fine, stylish melodic instrumental, with a marvellous acoustic guitar.

Gwrando Full-Length, 2008

GXSXD (JAPAN)

Late 80's Slayer (their heavier and slower period) meets death metal; the vocals are strictly in the death metal camp, but the music, with a few exceptions, is thrash: mid-paced and heavy with the occasional blast-beat.

God Send Death Full-Length, 2006

copyright (c) 2007 the thrash metal guide