Formed in Los Angeles in 1986 and featuring former members of Agent Steel and Abattoir, Evildead were relative latecomers to the first wave of thrash (their debut, Annihilation Of Civilization didn’t drop until 1989). However, they certainly made up for lost time and released two albums during their original tenure (that debut and sophomore effort, 1989’s The Underworld) that helped shape the genre and still sound fresh and exciting to this very day. Attesting to their staying power, each of those albums gets the reissue treatment to prove why Evildead were, and still are, so highly regarded.

Annihilation Of Civilization

You could say that 1989 was a high watermark for thrash metal. It was a year that saw key releases from established acts such Sepultura, Kreator, Xentrix, Exodus, Sodom, and Dark Angel, so any band dropping their debut was up against some stiff competition. On the strength of its songs and the energy with which it was played, Annihilation Of Civilization managed to be heard above the melee and delivered a selection of razor sharps songs that were at once technical and visceral, with a sense of danger emanating from the grooves. In fact, while many of the older bands had started to get a bit flabby and lose the plot (for clarification, check out Exodus’ cover of ‘Low Rider’ on Fabulous Disaster or Xentrix’s goofy cover of ‘Ghostbusters’) Evildead had a sound that was more in tune with the origins of thrash: this was a violent brand of music that offered no quarter and went straight in for the kill. Having said that, the individual members of Evildead brought a wealth of experience to this band and while thrash was always their bread and butter, they ensure that this is a finely nuanced album, and that becomes immediately apparent on opening shot ‘F.C.I./The Awakening’. The sound of Hell’s gates opening is followed by a skull-crushing riff that soon evolves into an all out thrasher. It makes the perfect introduction which sets the tone for the rest of the record: this is an album built upon shifting sands, and bubbles like the toxic spill that graces the cover. (And while we’re on the subject, the sleeve was painted by Ed Repka, which was always a good omen in the 1980’s.) There’s plenty of variety in terms of changes of tempo and song structure which ensures the album never becomes staid, meaning that even when the band eases of the gas (slightly) on the first half of ‘Future Shock’ they still have that pummelling quality.

A mosh pit ready album, Annihilation Of Civilization comes fully loaded with the kind of riffs that are designed to make you lose your shit (in the best possible way), the original album is bolstered by three tracks from the band’s 1987 EP, Rise Above. The title-track is a cover of the Black Flag tune, and as a note to Exodus, Xentrix, et al, this is how a song should be covered and perfectly illustrates the link between hardcore punk and thrash metal. Along with a clean master, faithful packaging makes this edition of Annihilation Of Civilization the only one you’ll ever need.

The Underworld

Fast forward two years and Evildead released their sophomore album, The Underworld. Those 24 months found plenty of change in camp Evildead with only vocalist Phil Flores and guitarist Juan Garcia remaining from the line-up who recorded their debut. The first thing that hits you about this album is that the production values have improved and the band sound a lot cleaner. While this might be an anathema to those who liked the gritty, raw nature of the debut, Evildead are far punchier with new bassist Karlos Medina having a prominent role, his basslines attacking like a heavyweight boxer throwing all sorts of neat moves (thankfully he wasn’t hazed like Jason Newsted was when he joined Metallica). Those who enjoyed the band’s debut will find a spiritual home here with cuts such as ‘Critic Cynic’ being suitably nasty and attack with force and fury. There’s the odd moment of brevity (such as the intro to ‘The ‘Hood’) but mostly this is thrash that leaps for the throat and draws blood. The band cover the Scorpions’ ‘He’s A Woman, She’s A Man’ and impart their own personality on proceedings, which is exactly as covers should be handled (and as an aside, this is much better than Exodus’ recent cover). The Underworld is the sound of a band happy in their own company which makes the staccato riffs found in the likes of ‘Labyrinth Of The Mind’ all the more powerful. It all adds up to a solid album that consolidated Evildead as one of thrash metal’s most promising bands.

In many ways Evildead were a victim of the times: coming into their prime when grunge was in its ascendency meant that the media’s attention was focused elsewhere. A Live album was released in 1992, but the band fizzled out, preferring to disband rather than pander to musical trends. However, Evildead are back in business and doing what they do best, but if you want to experience some of the best music thrash has to offer, look no further.

• Annihilation Of Civilization and The Underworld are released via SPV/Steamhammer on 27th March 2026.

Track List:

Annihilation Of Civilization:

1. F.C.I./The Awakening

2. Annihilation Of Civilization

3. Living Good

4. Future Shock

5. Holy Trails

6. Gone Shooting

7. Parricide

8. Unauthorized Exploitation

9. B.O.H.I.C.A.

Bonus Tracks:

10. Run Again

11. Sloe-Death

12. Rise Above

The Underworld:

1. Intro (Comshell 5)

2. Global Warming

3. Branded

4. Welcome To Kuwait

5. Critic/Cynic

6. The ‘Hood

7. The Underworld

8. He’s A Woman, She’s A Man

9. Process Elimination

10. Labyrinth Of The Mind

11. Reap What You Sow

Bonus Tracks:

12. Darkness (Live ‘92)

13. The ‘Hood (Live ‘92)