Register Forgot login?

© 2002-2020
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Simple Thrash Invasion - 86%

Psycho_Dome, August 3rd, 2017
Written based on this version: 2002, CD, Attic Records (Reissue, Remastered)

Yeah! Rattle your head 'till you're dead... or at least, 'till you need to go to the hospital. This album is just simply, simple no-nonsense thrash metal, which will rule the wasteland after the apocalypse. It's not to dissimilar to second wave thrashers, Forbidden, who released two colossal thrash metal albums themselves.

The album opens with the no-nonsense, 'Nowhere Fast', which is how a metal album instrumental should open–not like some contrived attempt at being progressive, but with real purpose, and then we get an array of sharp riffs, heavy drumming, and some solid low end. And, this album never lets up, delivering more riffs which could scare the life out of the Devil, himself. Add to this Stace McLaren's '20 a day' sounding, gravelly vocals, on 'Cross Me Fool', and you know that the band are not interested in acoustic intros or stupid interludes; it's all-out metal from then on.

This all-out metal has it's roots firmly placed in the new wave of British heavy metal, where songs such as 'Legacy of Doom' sound very Motörhead inspired, and the slower title track sounds very much like Judas Priest. There's also some very funky, yet aggressive, riffing being played on songs such as 'Instant Death' and 'Tortured Skull', with McLaren belting out some fiendish screams on the latter. His vocals sound like they are delivered from his gut to the back of his throat, and those unexpected screams are delivered from somewhere else–maybe hell. All of those vocals suit the tone of the riffs very well, and the lyrics are still very clear.

This album's simplicity, energy and aggression is both its strength, but also its weakness. The songs can sometimes sound the same, especially with repeated listening. I mean–the drum patterns and beats are mostly the same, and the songs are generally fast, but rarely deviate into Slayer fast territory. Maybe, a few signature changes would of made this album a little more dynamic; that's what is great about Megadeth's Killing Is My business... and Business Is Good!, which was released in the same year as this album, although, I'm now comparing Razor to Megadeth, which is a little unfair, as I've already stated that the simple thrash is what makes this album what it is. And, those good riffs never sound too repetitive because most of the song do not exceed the four minute mark. Overall, it's a really good generic thrash metal album, which sounds like Motörhead on more smoke and speed.

Rollercoaster - 71%

Felix 1666, August 22nd, 2016
Written based on this version: 1985, 12" vinyl, Roadrunner Records

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.

Revenge and a Little More - 95%

thrashhead_metalheart, January 10th, 2016

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.

Blinding speed to shed the terminator's skin. - 91%

hells_unicorn, November 23rd, 2013

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.

Instant Death Claims Another Victim! - 90%

Metal_Jaw, November 13th, 2012

"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 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.

A lifelong membership to the cyborg cyclist club - 82%

autothrall, September 3rd, 2012

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.


Primal, visceral, and fun as Hell. - 96%

Empyreal, March 29th, 2008

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 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

And goddamn did these guys invade - 95%

Gutterscream, February 18th, 2005
Written based on this version: 1985, 12" vinyl, Viper

“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)