Bloodthirsty! Vile! Hate filled! Those are just three words that come to mind when I think of Evilheart’s newest release, “Quinquaginta”. Hailing from Mexico, these satanic Hispanics have been inducing head banging for sixteen murderous years and their latest release ensures that they have no intention of slowing down.
Despite having a slightly lackluster band name, Evilheart brings it hard on “Quinquaginta” with a sound that coalesces the classic reverberations of Brazilian masters, Krisiun, with the technical prowess of Morbid Angel, and the melodic undertones of early Hypocrisy. The album plays seamlessly, with one song flowing into the next in perfect harmony. Adrian Urias’ often thrashy solos break up routine in-between songs and avoid monotony and repetition. In songs like “Misanthropic Decree”, however, you’d think you were listening to some guitar worship, tech death shit. But the real stand out feature on this album is Rodolfo Rogers expert drumming.
Perfectly executed blast beats attack listeners within the first few notes of “Perfection Collapsed”, and peak in songs like “Rebellion”. Despite injecting an abundance of blasts into an already full, “wall of sound” so to speak, Rogers manages to keep the drumming tasteful and never overbearing throughout the album. I’m sure we can all think of at least one band that only knows how to do blasts. This is not that band. Of course, Jorge Millan sickening growls provide the perfect accompaniment to a killer, classic death metal album. And that’s what this is; death metal. No fucking tech, brutal, goregrind, Neandercore, or other bullshit hashtags used by pimply faced internet metal heads, music reviewers (like myself), or fifteen year old YouTube commenters who want to sound underground. No, this is strictly death metal, in the vein of Florida’s finest and Brazil’s most ruthless……except, it came out in Mexico.
As I stated earlier, this album seems to flow effortlessly from one song to the next. The title track, Quinquaginta, however is unique for several reasons. At 9:47 minutes long, it’s notably the longest track on the album. A magnum opus of sorts, this song employs orchestral elements, using piano and violin to enhance the sound. Don’t worry, though. We haven’t entered into symphonic territory yet. This song is still tough as ever, like a caveman biting into a half raw gazelle carcass. A definite hit, Evilheart’s “Quinquaginta” is circle pit waiting to happen. If this band isn’t already in your repertoire, add them immediately. You won’t be disappointed.