Evil Invaders

I've been listening to Razor's early albums, since the new record, "Cycle of Contempt" hit the market. I said in my review in that album that I remembered them as a side character more than anything, they weren't one of the main bands I listened to in this genre. It's my loss. This band fucking rocks, and in reality, very few bands could compete with what Razor created in the late 80s and early 90s. Well, it took a while, but I finally realized that too, and binge-listened this band for more than 2 days. My favorite one of their records is obviously this one, which is BEYOND unbelievable. This is the metal definition of the word "badass".

The style of "Evil Invaders" is very unique, a certain prototype of speed/thrash metal. While other speed/thrash bands like Flotsam and Jetsam and Heathen tried to mix about 75% speed metal and 25% thrash metal in their music, Razor went about it the opposite way. Here, the heaviness and scratchiness of thrash metal is way more apparent than the melodies and sophistication of speed metal. And that's a great thing. It's a perfect recipe for an album that's fast as hell, heavy as a fuck, but at the same time, very catchy and melodic, and NEVER cheesy. This is pure fucking razor-sharp speed/thrash with absolutely no apologies and no mercy.

This album is their most complete one. There is not ONE average song on here, every one of them is a perfect candidate for one of the best songs in 1985. Whether it's the haulin' ass speed metal mania pieces like the title song, "Tortured Skull", with that beautifully heavy and melodic riff at about 3:46, or the more mid-paced songs, like "Instant Death", with it brutally ignorant verses, or "Cut Throat", all of these songs are just MEAN. Besides them being melodic and catchy, they are also heavy and extremely sharp. There is not ONE second of boredom or mediocrity throughout the entire damn release, man. It's crazy.

The musicianship is more than impressive. Dave Carlo's cutting, screeching riffs are more driven and overflowing with endless energy than ever before, you really feel like you could punch through a damn brick wall when you hear these riffs. Just check out the intro of the title song, and you'll see what I mean. It is remarkable how he could keep up the technicality (okay, not the most technical riffs, but extremely technical for this kind of speed) and at the same time, keep up with this pace. The leads also kick a lot of ass, with a decent amount of chaos and insanity to them, just how we like it. No mistakes made here.

But there have been no mistakes at all from the rest of the band, either. Sheepdog delivers that scratched, raspy vocal style he's been famous for magnificently, occasionally filling it with those ultra high-pitched screams. I couldn't imagine a more fitting vocalist for these instrumentals, he is really the perfect man for the job, and one of the most impressive vocalists of this era without a doubt. The percussion is shockingly amazing, even if the band is hauling ass well above the 180s in BPM, the hi-hat and ride stay crushing and Mike never gets lazy. It is actually one of the craziest drumming performances I've heard out of records that were released in 1985 and before.

A tad more than 38 minutes, and absolutely 0 seconds of mediocrity throughout the entire record. It is a true 80s classic, and the one album I think about when I hear the words "badass" or "mean". Throughout its entirety, it remains fucking heavy, there isn't one ballad on the album, these guys are true, primal metal maniacs, just the ones we, thrashers need. Razor is a remarkable band, one that never left its roots and stayed true to its name, and the best work they ever came up with this is by far this right here, "Evil Invaders". If you don't already have it, and you're a thrasher, what are you even doing with your life? Get your hands on it immediately!

Razor has made their name pretty well known in the Canadian metal scene, with hard thrashing riffs and a wide selection of great studio albums, arguably with no bad albums. The album Evil Invaders takes the idea of thrash metal and gives it a bit of a more melodic twist, sometimes veering on the edge of speed metal. To me, Evil Invaders is one of the best thrash albums of all time.

Although the riffs throughout the album remain fairly simple, they are catchy and fronted by very strong solos, not to mention Stace "Sheepdog" McLaren's gruff, masculine voice tearing throughout the entire album, being able to let out ear-piercing shrieks every now and then, something he's known for pretty well. I know I said the riffs remain fairly simple, but they sometimes speed up really fast, and I can guarantee almost every song has a pinch harmonic in there somewhere. The drums have noticeably improved from their previous attempts, and can sound quite interesting, changing tempos multiple times in one song.

The lyrical content is what you'd expect from Razor, lots of badass lines and tough guy stuff that really tie the album together for the image their going through, and that wicked cover with the "metalhead-turned-terminator" is the icing on the cake, solidifying the whole aesthetic. The majority of the songs are thrash metal orientated, but the one song "Iron Hammer" is more speed metal, but that doesn't mean its a bad song, it's actually one of the best on the album.

Although Razor has had a pretty consistent career, putting out solid albums on every release, Evil Invaders stands out as their magnum opus, an album without interference (unlike their previous album), and pure thrash that gets up in your face without a weak point on the album. If you like thrash metal, this is a must listen without a doubt.

Top 3 Songs: Instant Death, Iron Hammer, Legacy of Doom

Within 6 months of their debut album Razor unleashed their cult classic sophomore effort Evil Invaders in the same year 1985. A year were thrash metal exploded with new bands coming out of the woodwork in almost every single continent with the exception of obviously Antarctica. Kicking up the speed quite a bit with this one compared to Executioner's Song which dabbled around with more traditional heavy metal song structures and tempos. Evil Invaders is a raw and brash effort of pure speed metal not letting off the gas one bit aside from a slight and I mean slight break with the title track which is still pummels through at a vicious fast pace and has also become one of the prime swansongs of the entire Canadian thrash movement.

A simple and raw production highlights the bands blistering sound as Razor were never the type of band to wow you with technical riffs or fancy intros and interludes, just pure blistering speed and aggression was all it took for them to rip your face off with their brand of thrash metal. Razor possessed one of the most shrieky vocalists of the genre Stace McLaren or better known as his nickname/stage name "Sheepdog". I like to view him as the Paul Baloff of the Canadian thrash scene as he carried a similar vocal style and the band had a strict view of "posers" like Baloff did at the time with a quote on the back cover of the LP saying “we spit on those who choose to pose, we thrash with all the rest…”. Other than McLarens amazing trademark vocals guitarist Dave Carlo is relentless on this album conjuring up blazing riffs one after another creating a real menacing affair contrasting with the shrieky shouts and screams from McLaren. Carlo would drastically improve upon his rhythm and lead playing throughout future Razor releases. the rhythm section here is pretty average Mike Campagnolo's bass playing is pretty audible despite the raw dirty production the album has and drummer Mike Embro keeps the intense pacing the songs have to alright timing never letting things too off the tracks however, his drumming isn't one of the best parts of the bands sound and gets worse on future Razor releases up to his departure after 1987's Custom Killing.

The songs on here are real thrashers and are quite good despite being real samey. A lot of the tracks here sound like they are modeled after the Metallica track "Motorbreath". Obviously they are more gritty and less polished than "Motorbreath" but that seems to be the template for almost every song on Evil Invaders. It is hard to discuss the differences between each track because they are so similar to one another aside from the opening instrumental track "Nowhere Fast" as it has no vocals on it and the title track "Evil Invaders" which is remarkably catchy and my favorite track on the entire album. There really is no downsides to this record other than the songs being similar from one another but it does what it's intention is and I feel that is to be one of the fastest and rudest releases of its time and I think it captures that atmosphere quite well compared to some of the other more purely speed metal type of thrash at the time. Even the album cover gives off hints at the speedy atmosphere and the vicious vibe of this record with a cyborg hauling so much ass on a Harley that it's humanistic disguise of skin starts peeling off of it's face. Over the years Evil Invaders has become a staple release from the Canadian thrash movement that started in the mid 80's.

All in all this album is a cult classic and is one of the most identifiable albums in Razors discography and in the entire Canadian thrash movement in general. Evil Invaders along with Voivods debut War and Pain really kicked off the wave of thrash that started to surface in Canada throughout the the rest of the 80's and pretty much started the scene there in my eyes. For 1985 this is a monumental release and was much better than what some of the other thrash metal acts around the globe and even Canada were doing at the time. Evil Invaders is a must have for any thrash metal fan and if you don't know who Razor is, this is the perfect album to start with.

I remember a statement from Lars Ulrich concerning the drum sound of "Evil Invaders" and, as you all know, he is a famous expert for any kind of drum deficiencies. This God with two sticks carefully worded: "The drum sound is fuck". Not only in view of his divine status, I do not dare to contradict him. Indeed, I only hear a powerless, clicking noise that the snare drum makes sound like a cardboard which has been fatally wounded. And to add insult to injury, the album also suffers from some hastily constructed songs that do not reflect the real potential of the Canadian legend. Nevertheless, this is not a bad album and even the overall impression of the production achieves an acceptable level. We are talking about Razor and this combo was just too strong to molest us with a miserable output. And, just as an aside, it is only an unconfirmed rumour that the artwork served as inspiration for the members of the carnival club called Crimson Glory to wear their ridiculous masks.

Anyway, let's put the focus on the less convincing songs in order to close this inglorious chapter as soon as possible. The title track does not justify its prominent position, because its tedious beginning fails to create tension and the monotonous chorus hurts the flow of the song. Moreover, its background vocals intend to be demonic while only adding a sleepy note. Almost the same must be said about the mid-paced verses and the toothless chorus of "Instant Death". Only its speed part after the second chorus makes one sit up and take notice. By contrast, the aptly named "Speed Merchants" knows no comfortable rhythms, but its chorus lacks of coherence. All in all, at least these three songs do not enter the thrash metal hall of fame.

Thankfully, there are also a couple of songs that keep the album above water. I was slightly confused that the band kicks off the full-length with an instrumental. To avoid misunderstandings, "Nowhere Fast" is not an intro, but a regular song. Due to its restlessly attacking riffs, it proves evidence that an interesting configuration is able to make the vocals redundant. But this does not mean that Sheepdog's vocals do not add value to the full-length. Among other things, his animalistic screams ennoble "Cut Throat", one of the absolute highlights of "Evil Invaders". Apart from the passionate vocals, the tune distinguishes itself by its sharp riffs and the malicious chorus. (By the way, the same description fits the furious "Tortured Skull", in terms of the music as well as in terms of Sheepdog's piercing screams.) "Cross Me Fool", to mention a last example, also demonstrates that Razor do not lack the ability to write coherent, well flowing tunes that rely on a tightly designed pattern. Finally, a more or less vicious atmosphere is the common basis of all highlights of the here reviewed work. Guess it goes without saying that thrash in its pure form always needs this iota of viciousness.

At the end of the day, this album is like a rollercoaster full of ups and downs. "We spit on those who choose to pose, we thrash with all the rest", these words were printed on the back cover and there can be no doubt that the band remained loyal to this motto during the record session for "Evil Invaders". Yet even the best sub genre appears slightly powerless from time to time. Perhaps Razor really spat in the face of each and every poser, but you need better weapons than your saliva to win a war against commercialized plastic gangs such as Ratt or Cinderella. Nevertheless, and this one is for you, my dear Danish friend called Lars, "Evil Invaders" is much better than the majority of Metallica albums.

Let’s talk about one of the best speed/thrash metal albums I’ve ever heard; ‘Evil Invaders’ by Razor summons to mind elements of every great aspect of the genre. The shrieking vocals, the crunchy blistering guitar, the nonstop fast paced need for speed drumming, and a thumping bass to break your heart. A dirty production that exemplifies the raw power that Razor throws at you is enough to muddy every good fiber of your being.

If there is one thing to note about Razor is that they know how to open and close an album and that is no different story here with the thrashing opening intro Nowhere Fast that leads us into Cross Me Fool a solid example of the capabilities of the rest of the album. Though Nowhere fast did leave a little to be desired as it did feel repetitive at a few points it did its’ job well. Every stroke of the pick in Cross Me Fool tells a tale of anger. You rip and pound your flesh every time the crash hits and sure enough the song is “up your ass, right here, right now”. Sheepdog is an incredible vocalist and is on display in full force as he beats his way through your head and cuts his way out of your ears.

Carlo, M-Bro, Sheepdog, and Campagnolo work together in perfect disharmony to shred and destroy. The album doesn’t take a break. Your head bangs along the entire time, your foot never stops bouncing, and you sweat through this heated dissertation of thrash/speed metal that Dr. Razor wrote just for you. There is no hiding that these men are fans of the genre they write in as you can hear the influences of other greats such as Slayer and Metallica, which both at the time also in their sophomore albums alongside Razor. And Satan, most notably it seems to draw from the 1983 release ‘Court in the Act’ with its’ early speed metal feel. To say influence may have been the wrong word as influence seems to imply that one is a product of the other and while that may be true ‘Evil Invaders’ is its’ own great beast, it was really more of a brotherly sharing of great talent.

Every solo, every drum fill, every bass line, and every piercing scream is one more piece to the puzzle that when completed cemented Razor as one of my top five bands of all time. I’ve heard this album at least fifteen times in its entirety, and who knows how many times I’ve listened to pieces of it on mixes. Every time a track plays, by the end of it I am out of breath, sweating, and wanting more. I don’t believe this album experienced filler in any way. Perhaps an argument could be made against Iron Hammer because it does at times lack a certain speed luster that the rest of the album had but I don’t believe it was lackluster enough to be called filler.

Every track was the right length, every lyric fit, every solo worked and every drum pattern beat along just right. Just to list my personal favorites: Cut Throats, Evil Invaders, Cross Me Fool, and Speed Merchants. With no filler and only two tracks that left me wanting more, I give ‘Evil Invaders’ by Razor a 95. It is an A plus album in every way.

There could be many a chapter in the book of thrash metal devoted to the throngs that spilled out of both the U.S. and Germany in the mid-80s, while other lands that had a hand in the goings on of that time were not quite as rich with heroes. If there was one band that really pushed the envelope enough to be really noticeable from the Canadian end of things, most fingers would definitely point the way to Razor, namely their 1985 sophomore plunge into the extreme world of violent pit thrash a la "Evil Invaders". Contrary to popular opinion, the Nordic looking knockoff of The Terminator featured on the cover didn't lose half of the skin off his face from an ongoing chase scene with Linda Hamilton and Michael Biehn, but instead from the intense auditory g-force of its content.

Things start off in something of a "Kill Em' All" mode with a fading in instrumental assault on the ears replete with free time mayhem and bone-rattling turns dubbed "Nowhere Fast", and it sets a rather unique precedent that quickly distinguishes this album from its prime influences, namely Metallica and Slayer. If going by speed and intensity alone, this album definitely leans heavily towards the "Show No Mercy" brand of speed/thrashing complete with plenty of perpetual tremolo riffs and high octane drumming. But particularly on surprisingly older fashioned speeders like "Iron Hammer" there is a healthy dose of Motorhead influences thrown in, namely a principle riff set and gruff vocal approach out of Stace "Sheepdog" McLaren particularly remind of "Iron Fist".

Interestingly enough, Sheepdog's vocal approach proves to be one of the chief elements in pushing an otherwise rough and modestly produced thrasher into the stratosphere. He tends to resemble a slightly drunker and sloppier version of James Hetfield circa "Ride The Lightning", though also possessing a truly vile and glass shattering banshee wail that is employed fairly often, upstaging even Araya in terms of intensity and finding itself in a similar space that was occupied by Blitz Ellsworth during his most intense moments on "Feel The Fire". This isn't to say that the guitar work of Dave Carlo is a slouch behind Razor's vocal impresario, though his soloing style tends to fall back on an earlier, post-NWOBHM approach that isn't quite as flashy as Hammett or as chaotic as King, though clear elements of both are being employed.

Like with any classic album, it's fairly easy to just get sucked in by the overall experience of the album and not really bother picking apart any of the individual songs, yet at times there are very divergent influences that interplay with each other quite auspiciously. Much of the album is relegated to warp speed cruisers after the mold of "Tortured Skull" and "Legacy Of Doom" where the riff work tends to be more of a blur and it gets difficult to keep one's head attached at the neck. However, there are occasional respites on a few of these songs before the vertebrae destruction continues, including a nice Iron Maiden inspired mid-tempo riff set on "Evil Invaders" and a slightly slower swinging riff set on "Instant Death". The person who seems relegated to supporting member through much of this thrill ride is bassist Mike Campagnolo, who occasionally get some time in the sun, but opts for a less flashy approach than that of Cliff Burton while taking some of his timbre ideas from him simultaneously.

Despite it's somewhat low-fidelity production character, which isn't really all that more raw than the Overkill debut, this marks a fairly significant shift away from the early speed metal character that typified the earlier 80s, to almost the same degree that Slayer's "Hell Awaits" did, though tonally speaking this doesn't go so far as to flirt with early death metal the way said album did, let alone their fellow Canadians' Infernal Majesty's trailblazing debut would. This definitely marks a clear evolution that paved the way for the wild intensity that came in the next year with Dark Angel, Kreator, Destruction and Slayer's seminal offerings, but more importantly, it's a killer slab of metal that should be in the collection of any and all self-respecting thrash fanatics, young and old alike.

"Executioner's Song" must've popped pretty well with the headbangin' masses, because in the same year, 1985, Razor let loose with yet another array of skull-melting tunes in the indispensable "Evil Invaders". Razor's sophomore effort marks a change in sound; the fun- time speed metal of the debut is largely replaced with a loud, gritty streetwise thrash metal attack. Back it up with a meaner, meatier guitar tone and more evil vocals from Sheepdog and you have THE Canadian cult classic thrash record.

While the production is heavier and clearer than that of the debut (I love this record's guitar tone), it still suffers from a quality that bogged down that album: reverb. There's an obnoxious hiss to some of Sheepdog's vocals, echo to the guitars, and an at times near-unbearable hissing from the cymbals and snare which, thanks to M-Bro's suddenly sloppy style, we hear A LOT.

Most of the group make due with this issue nicely, though. Sheepdog's gruff, but happy-go-lucky vox of the debut has morphed into something more sinister here; his lower-end growls now sound meaner and more punishing, while his infamous bird-of-prey shrieking is on full effect, permeating each song with a balanced breakfast of aggression! Mortal ears are not ready for the Shriek of the Sheepdog! Dave Carlo goes ballistic with a new, more fearsome series of riffs, each more memorable than the last and nicely trumping his already well-done performance on "Executioner's Song". Mike Campagnolo's bass is more noticeable and hard-hitting than on the debut, though he typically just flows along with the guitar. In all fairness though, he also has a couple good show-off moments scattered about, my favorite being the intro of "Iron Hammer". Easily our low point of the evening is M-Bro's drumming. THE FUCK, MAN? His skills weren't great as it was on the debut, now here he's somehow worse, over-depending on double bass and smacking the hell outta the snare and cymbals over and fucking over! "Double bass, snare hit, cymbal-tap"...wash, rinse, fucking repeat. Good fuck, man!

Well, after bitching about the lame duck drumming and aggravating production, do I have anything nice to say about "Evil Invaders"? Yes, actually. Save for like, what two songs, this album royally kicks puny mortal anus. Closing track "Thrashdance" lacks some of the rest of the album's vigor and riffage, while "Cross Me Fool" is little more than decent and otherwise is not too notable. Everything else...watch the hell out!

We start off strong with the brutal, catchy, and frankly underrated instrumental "Nowhere Fast". Fan favorites like the cool battering ram speeder "Iron Hammer" and the brutal tempo-changing "Cut Throat" are worthwhile riff-fests loaded with more attitude than a fire-breathing Tasmanian devil with syphilis...on a bad day! The short, punchy "Instant Death" comes armed with a lethal main riff and lyrics weaving a tale of mankind dying by our technological advances. "That's what ya get!". Then we have the stomping, vicious title track which attacks with catchy mid-paced verses and a chorus, but then gets fast as hell come verse and solo time. I also love "Speed Merchants" for coming with some of Sheepdog's best shrieks on the album, not mention more catchy, brutal speed riffs and entertaining lyrics woven about the insanity of the fans themselves.

Overall, the repetitious drum work and reverb-filled production get to be a bit much at times, but it's not nearly enough to kill the overall quality of the individual songs, nor will it bog down the talented efforts of Dave Carlo and Sheepdog. Enjoy the cult classic "Evil Invaders"; unrelenting, entertaining classic speed-thrash, the Canadian way.

On its surface, 1985 might have seemed like a pretty bustling year for Canadian speedsters Razor, debuting not just one, but two full-length albums over the span of several months. However, there are some notable stylistic differences between the two which distinguish them from one another, and while my own personal preference runs towards their underrated speed metal opus Executioner's Song, it was Evil Invaders which would ultimately define the band's future path into a more ballistic squad of urban thrash commandos, abandoning some of the sheer speed and heavy metal dirt of the Armed and Dangerous EP to carve out a niche in the emergent thrash aggression; a course of development that was not merely an aping of the Bay Area and German sounds, but more of a brutal parallel.

Don't misunderstand me, the sheer velocity and the vocal inflection between the first two records were close enough that the band could easily interchange songs in any set list and satisfy the same crowd of followers, but unlike their countrymen Exciter, whose evolution never really veered away from the primal speed/power metal sphere, Razor made a quick career course correction which they continued to hone until their 'artistic' peak, 1988's unforgettable, chainsaw wielding Violent Restitution, a record so swollen with violent, ripping acceleration and pent up, everyman gallantry that it's one of the best in its entire field. Of course, while Evil Invaders is a much beloved record in the underground, due largely to its formative and 'cult' placement in the thrash pantheon, I constantly find myself comparing it to that later effort, and that has somewhat crippled my appreciation. For all its strengths, this sophomore feels like a foreshadowing of that stronger effort to come, and on a song to song basis, it also fell short of Executioner's Song. Tracks like "City of Damnation", "Fast and Loud", and "Take This Torch", among many others on the debut, have resonated with me for decades, whereas this song gets substantially less airplay beyond a handful of cuts.

Nonetheless, Evil Invaders is feral and fun, as any of the Razor albums with Stace 'Sheepgod' McLaren fronting Dave Carlo's monstrous riffing section. For me, it was this duo that really 'made' the band's style something special. While competent, and even consistent, the later records with the Bob Reid vocals have never had a fraction of the same charm. McLaren's delivery is basically a blunt barking (thus the nickname) in a low to mid-register, which occasionally veers off into screaming, like those nasty bits in the bridge of "Legacy of Doom". He's not incapable of carrying a melody, but the emphasis here is always on percussive intonation that brings the music straight to the butcher block. To the dingy city streets. Cigarette-smogged nightclubs. Vomit-strewn drunk tank jail cells. Paired with Carlo's blustering, chunky tone, which moves so quickly that the distortion almost feels like it can't catch up here, you've got a pretty destructive foundation for some flying axe handles, stage dives and body slams in the audience. Though the band's sheer dexterity was roughly on par with Exodus, Destruction, Slayer and other titans of the time, the inebriated grime of this record reminds me more of the first two Venom records, the Indestroy debut, Hallows Eve or fellow Canadian scum Piledriver.

"Evil Invaders" itself is one of tracks I most enjoy here, opening with a pretty filthy mid-paced stock speed metal riff before picking up frenzy with its splattered, thrashing verses that almost exhibit a modicum of crossover influence. "Iron Hammer" is the band's own "Iron Fist", or "Iron Dogs" (Exciter), or "Iron Gang" (Voivod), with some punk-injected bass lines setting up a frothing, vicious frenzy. Other favorites include the mighty "Cut Throat" and the excellent "Tortured Skull", both of which are loaded with the sorts of ferocious, adept riffing passages that would later dominate Violent Restitution. Carlo's speed picking is simply intense throughout, with pretty powerful muting skills, so I can imagine the guy must have had quite the crushing grip. The leads harbor that same wild-as-fuck aesthetic that bands like Slayer had helped pioneer, never all that memorable, but suited to the raucous songwriting; and drummer 'M-Bro' is likewise a beast, laying out the splashes and crashes with a raw, hardcore pile-up fervor. The one instrument which doesn't always shine is the bass, since it often just sort of subsists on the guitar progressions, but there are points where he's given his time to stand alone.

There are a handful of weaker tracks throughout the album which definitely limited its value, not the least of which is the opening mosh instrumental "Nowhere Fast" (another strategy the band would refine for the far better Violent Restitution and its intro "The Marshall Arts"), or the closer "Thrashdance" which has a less interesting riff count than its neighbors. Ultimately, though, if you're looking for speed and abuse, I won't deny that this hits paydirt. Not my favorite of their works, clearly, but strong enough that I'd place only its predecessor and Violent Restitution above it. Razor makes the slight, but successful transition here to a more lethal level of muscle and hostility, providing a burlier atmosphere than Executioner's Song, but to some degree losing some of those killer choruses that lashed themselves to your ears. A damn good record for the '80s thrasher to cherish with its Terminator-inspired cover, but not nearly as amazing as its high cult status might lead one to believe.

-autothrall
http://www.fromthedustreturned.com

There's something very gratifying about such simplistic, bashing music. Razor are a Canadian thrashing machine from waaaay back in the '80s, and this was their sophomore effort, and it fucking rules. There's nothing modernistic or trendy about Evil Invaders, as it is more or less the antithesis of what is widely considered "good music" - it's raw, dirty, grimy stuff with a razor-sharp, crunchy guitar tone and a yammering, punk-ish style of vocals that fit the music like a glove. The solos are fast, sloppy, and shredding and the song structures are basic and bare-boned, but the clincher here is...it all works! This is one of the most completely and utterly METAL albums I've heard in a long time! It's music that the average Joe would be completely repulsed by, yet I fucking love it.

Why, you ask?

It's simple - Razor just know how to thrash and they get right to the point. No bullshit interludes, no ballads, no intros or outros, no flirting with other genres, nothing. They simply went into the studio and punched out a short, sweet, and to the point album of ballsy, gritty, thrashing insanity without even looking back to make sure they were doing everything perfectly. If you're a fan of metal as I am, then you should be able to easily understand this sort of concept. It's all so concise and straightforward that it's really hard to criticize it, and if you try you'd likely only be criticizing it for the things that are GOOD about it - it's simplicity and it's vicious, throat-ripping mentality.

Standout tracks? The whole album is great as it more or less all sounds the same, being thoroughly consistent all the way through. The title track is probably the best, followed by the longest song here in the pulverizing "Tortured Skull" and the instrumental opener is a fantastic way to start off the album - it will get you headbanging straight away, exactly like any opener for this sort of music should do.

Razor's music will never be well-liked by the non-metal community, but that just makes it all the better; a treasure that is all ours and one that we'll never have to give up to the mainstream masses. This is the essence of metal, and I can't see why someone who likes thrash metal or heavy metal in general in the slightest would object to Razor or Evil Invaders. Essential.

Originally written for http://www.metalcrypt.com

“we spit on those who choose to pose, we thrash with all the rest…”

Anyone on the US east coast remember the U68 Power Hour? U68 was a UHF channel that would only come in clearly if you were doing a headstand in the bathtub with one sock on, but that was usual for most UHF channels. Why bother, right? Well, if you didn't have cable tv back then, not only were there a lousy eight channels to choose from back, one late hour every Friday night there was a program featuring metal videos, and three or four of the ones it played were those for underground bands, which would become my first video tastes of Voivod, Slayer, Exodus, and this band called Razor. “Evil Invaders” blew me away; the timidly unassuming start, Stace “sheepdog” McLaren growling and screaming through a long mop of blonde hair, the vehement pace…that December I got the album for Christmas.

As one of the world's more prevalent thrash acts, Canada’s Razor never compromised their sound, never changed it for something newer or more hip, and are one of the most respected of their genre. With the now-rare ’84 ep Armed and Dangerous, the thousand or so who heard it (only around that many were pressed) either shunned the disc for more glam practices or were galvanized to seek out their next year offering Executioner’s Song. This is actually their third release, a second for '85, and they were still just getting started. They are one of the few bands I can say I am a fan of all the way through their career, and Stace McLaren is one of the best, most intense screamers you’ll ever hear.

Evil Invaders kicks off with “Nowhere Fast”, an instrumental of heatedly-picked aggression that leads into the more ominous “Cross Me Fool”, a strong moderate pacer showcasing McLaren’s rumbling, intimidating vox with lyrics that more or less depict his life (he was well known for brawling and jail time). Bruiser "Legacy of Doom", another high rent track, wears no badge of subtlety or paladin honor within its three+ minutes of treachery. The title cut is one of their best and most known tracks, with its slow to roll start that erupts into an tumultuous, take-no-prisoner gait which growls its way to an unassumingly simple chorus, completing one of metal's finest songs, thrash or not.

Side two is where you’ll find the bulk of McLaren's renown, enraged hawk screams, at least one in each track with those in the furious “Speed Merchants” and irate “Tortured Skull” killing nearby animals. “Instant Death” with its pledging metallic message, the more mid-paced slasher “Cut Throat”, “Iron Hammer” with its downward grind of a chorus, and especially underrated “Thrashdance” are all hostile destructors centering around Dave Carlo’s non-stop rhythmic rippage and, of course, the screamer. "Thrashdance", in what could’ve been a legit thrash anthem, rips and snorts through some great riff and structural changes as well as a chorus marking the track's final exclamation point.

Evil Invaders is a prime Razor lp for new fans to cut their teeth on for both songwriting terror and production grit via Toronto's Phase One Studios. A pretty close second is the more light-hearted, yet still monster thrasher Violent Restitution from '88, which should be reviewed sometime in the next hundred years or so.

I pledge: to keep it alive
I promise: metal will thrive
I swear: myself to the cause
I'll teach: all the metal laws...

(somewhat rewritten 8/5/17)