Back Cover of Razor’s mighty Evil Invaders!

Darkthrone’s 2007 composition, Canadian Metal, framed what so many of us have long known — Canadian Metal is without peer.

So many phenomenal bands from that scene — Voivod, Infernal Majesty, Blasphemy, Slaughter, Exciter, Piledriver, Voor and well, you get the idea.

And then there’s Razor’s 1985 masterpiece, Evil Invaders. The focus for today. A benchmark release, from a frozen landscape of benchmark releases.

  1. Opening with an instrumental is always a vulgar display of power. Any band willing to make that grand declaration warrants attention. Nowhere Fast successfully sets the tone for the course of the album. Those chunky, palm…

True story…


It sounds killer. That burly bass tone, those more Thrash-Metal-than-thou roto-tom rolls, that zipper-esque guitar tone and Angelripper’s inimitable voice. It’s a heavy record, with a bleak aura. Not a typical representation of mid to late 80s Thrash Metal, despite being an effective expression of it.


They elected to evolve. I worship at the altar of the Bestial-Black-Death-War-Fago-Metal altar as much as the next guy, but where were they going to go after Obsessed By Cruelty? If you think of contemporary bands that make album after album in effectively the same current, (Revenge, Proclamation, Morbosidad, Blasphemophagher…

Image By Hieronymus Bosch — LINK. Public Domain, LINK

In no specific order.


Question: Did anyone write greater riffs than Tom G Warrior on Morbid Tales and Emperor’s Return?

Answer: No.


Tom G Warrior, or Satanic Slaughter as he was known in his Hellhammer guise, reimagined Venom’s Novocastrian calamity, transforming their primitive battery into an approximate primordial art form.

I know it’s proper to refer to Cronos and co as Geordies, but Novocastrian sounds infinitely cooler and decidedly more absurd when referencing Venom. Faster and over the top! Aaaaarghhh!


H.R. Giger provided artwork for the band. The sleeve design of To Mega Therion, equally iconic as…

Does Nirvana owe a debt to Celtic Frost?

If you’ve ever studied the cover of Tom G. Warrior’s autobiography ‘Are You Morbid’, you may have noticed the hype quote is attributed to Kurt Cobain. For those who don’t have the book within arms reach, the citation reads, “A big influence.” — Kurt Cobain, Nirvana.

Venom — Possessed Poster, 1985.

Venom’s Possessed and the case for what might have been.

There’s a narrative, running through my mind. It involves some band. I’m gonna say it’s Metallica. That may or may not be correct, but let’s not let the truth get in the way of a good story.

The telling of this tale — let’s say it was Kirk Hammett relaying this event. Metallica write a bunch of songs. They are proud as punch of those songs. They rehearse, they demo, they rehearse some more… you get the idea.

Enter Rick Rubin. Rick’s the guy that made a whole slew of…

The Hellacopters circa 1996.

And by Record Industry, I mean vinyl!

In the vinyl records twilight hours, a saviour arose. It’s name? The Hellactopters.

‘The future belongs to the analog loyalists. Fuck digital.’ — Steve Albini*

Cast your mind back, back to earliest of the 1990s, where the mainstream music outlets had eliminated their stores of vinyl, filling their shelves instead with the more commercially viable Compact Disc technology — almost a decade old by this time.

The mainstream labels concluded that by marketing the Compact Disc format, that they could gouge music fans for an additional 33% on the purchase price of a…

I said Charlie, man were in hell! He said yeah ain’t it groovy?

The Powder Monkeys were a phenomenal rock ‘n roll band. And I mean rock ’n’ roll in its most quintessential, Australian form.

Their debut studio LP, Smashed On A Knee, released in 1994, was their creative pinnacle. Granted, they wrote some exceptional songs beyond this record, but as far as a collection of songs, presented sonically and sequentially to best advance the band’s intention, this was it.

The leading quote in this piece was an anecdote from one of Charles Manson’s acolytes. He recalls a scene where…

Another interview from the vaults.

I wasn’t as interested in what Death were doing by the time their sixth record rolled around, but that’s not to suggest it isn’t a technical triumph and extremely well executed.

Talking to Chuck Schuldiner was a trip. Enigmatic, enthusiastic and engaging. I remember feeling quite elated after our discussion, though the printed text feels a little mundane in hindsight. My ability to write a cohesive review, worse. See beneath the interview for my 1995 thoughts on Symbolic.

Metal Masters, Australian Glossy, 1995.

Death is synonymous with extreme music. From their conception in the pioneering stages of underground metal, through…

Jase of Spades

I'm in love with Rock 'n' Roll, it satisfies my soul.

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