BLIND JUSTICE is the first ever Metal band of Mike G. (NIGHTFALL, SNOWBLIND). Formed in the late 1980s, "In The Name Of Justice" is actually a full-length re-issue of the band's debut demo in 1989, and contains eleven tracks. 1989 was actually part of those pivotal years in the genre of Metal. The glam scene was full on, but Grunge lurked just around the corner. New bands were cropping up left and right, but many were destined to unfortunately be crushed. The classic NWOBHM genre and the Power Metal genre were pretty well established at this time. This is the sound presented here...a combination of traditional Heavy Metal with tinges of Power Metal. It's a decent collection of pretty straightforward songs and guitar/riff driven music. Tassos's vocals are mid-range for the most part, but he can venture into the upper ranges as well (take a listen to the opening scream in "Cursed By The Angels.")

The guitars are what are showcased for the most part. Riffs are easy listening and linear, and lead pyrotechnics accompany every track. At the time, this was really the essential part of the Metal genre, in its simplest/purist form. This is not to suggest that the music itself is "simple" or that the musicianship is lacking, because that is not the case at all. It's just reflective of the mainstream part of the genre for that timeframe. Running double bass drum lines are echoed rightly by the bass guitar strikes, holding down the rhythm and bottom end. Sometimes, harmonized guitars are heard, a-la the infamous duo of Murray & Smith from IRON MAIDEN.

Some of the highlights here include the opening anthem of "You Ain't Got The Guts," reminding you that you aren't hard enough to get up on stage and compete with BLIND JUSTICE, the dialed back beauty of "Eternal Skies," the pride and confidence of "Greek Warrior," the dirty and nasty riff in "World's Destruction," the acoustical work and background effects heard on "Kingdom Of The Gods," the heavier and more raw sound in "Hell Of The War," where those galloping triplets remind you of the great bassist Steve Harris," and the ode to the power ballad of "Master of The Wind."

There is a clear concept that runs through the album, during a time when bands took pride in this approach. We have songs about war, Gods, angels, destruction and perhaps an appeal to the four elements that power the world itself. In 1989 if you were a Metal fan, you no doubt would have liked this album, because it epitomized the sound at this time. The strength lies in the guitar work and vocals for the most part, and the lyrical content of course. As a re-issue today however, I can't imagine an appeal to a wide audience per se, save of course for fans of a classic sound. But hey, give it a listen and decide for yourself.