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Evildeados Becomos Terroros - 78%

bayern, April 17th, 2019

Yeah, with this short-lived stint the Evildead crew embraced the Spanish language whole-heartedly which wasn’t such a big surprise probably as most of the band members are of a Mexican descent. They also refused to give the bad new groove a full go, at least on the album under scrutiny here. As Evildead the guys stayed firmly in the classic metal roster, with a few minor temptations from the excellent sophomore, and even the farewell gesture that was the “Terror” demo contained few genuine numetal contaminants.

The title of said demo was upgraded to the name of the new formation who hit in 1997 with this opus here, with all the three cuts from the demo lined-up. A major performer from the Evildead stunt is missing, though, the singer Phil Flores that is, although the vocal bravado of Karlos Medina, the bass player and the new throat, comes close to Flores’ angry shouts/semi-shouts, maybe higher-pitched and more attached. The musical approach, however, bears few resemblances to the Evildead repertoire excluding those three cuts from the mentioned demo, namely the crushing steam-roller “Dia de los Muertos”, the sprightly stylish Bay-Areasque shredder "Humano", and the solid mid-paced retro thrasher "Immortal".

The remainder is persistently sustained in a heavy, pounding mid-tempo manner which starts wearing thin at some stage since there’s barely a shade of fast-pacedness, the groove occupying quite a bit of space without sounding extremely annoying and overbearing. Once the listener adjusts to this steady but not very eventful soundscape, he/she may start finding bits and pieces to like, like the more lyrical semi-balladic “Sierra Madre” or the vivid diverse shredder “El Viento” which even smells retro canons for a bit. The highlight on this elephantine wall of sound is surprisingly not one of the numbers from the demo but "Freedom Town", a fabulous hectic technical instrumental that can easily beat half of the material from “The Underworld”, an unheralded appearance and a truly stylish touch.

Not a complete throwaway, neither by classic nor modern standards, this effort has its cross-over charm and is by no means the most loyal to the 90’s recording out there. Musical adventurism was a foregone conclusion, it’s never been very high on the guys’ list to begin with, and the band didn’t find it too necessary to carry on with the “old school advocates” stance now that they were Terrorists, not Evildead worshippers. A decent if not extraordinary cross-breeder they produced here, one that doesn’t quite reach up to the higher standards from the previous formation’s catalogue, but one that can be given a try by both classic and new school lovers, without terror… sorry, fear.

The self-titled EP which followed a few months later delved deeper into the groove but still preserved some surprises for the classic metal generation, largely reflected in the two covers (Metallica's "Jump in the Fire" and Iron Maiden's "Total Eclipse") featured. And that was it; the government terminated the activities of this terrorist group, frustrated by their esoterically decoded-in-Spanish messages. However, they allowed the guys to reform as Evildead in the new millennium, first in 2008 for a 4-year spell that only produced one track (“Blasphemy Divine”), and more recently in 2016… no fruit to be tasted yet, but I’m pretty sure the band haven’t forgotten their brief terrorist past, and their admirable hybridization skills.