DEATH is a band that pushed metal to the limits of artistic purity, blending jazz and the complexity of classical music with the raw power of the genre. The tribute band, cleverly named Death To All to emphasize their mission of bringing Chuck Shuldiner's music to everyone, performed on a cold Tuesday night in the Colombian capital. The tribute band features members who participated in the most progressive, complex, and technical albums of DEATH. With the 1991 album 'Human,' Shuldiner began his improved compositions toward the standards of jazz and progressive music, a path that wouldn't end with 'Symbolic' (1995) but would culminate in the magnificent 'The Sound of Perseverance' (1998) and the even more complex projects with Control Denied. With such a stellar lineup, it was clear the concert would be unforgettable. Beyond the controversies surrounding this type of tributes, it's clear that what I wrote in the book Bienvenidos al Sabbath [Welcome to the Sabbath] remains relevant: "(...) metal will increasingly resemble symphonic music, in which performers strive for the best possible execution of classical works (...) only in the underground is the compositional level of the classics achieved; tribute bands allow us to enjoy the legacy of fallen heroes on stage, keeping their music alive beyond phonographic recordings." Those words, written more than five years ago, were fulfilled in the performance of Death To All. The remarkably Shuldiner-like vocals of Max Phelps and the renowned mastery of DiGiorgio and Hoglan, along with guitarist Bobby Koelble, faithfully recreated what a DEATH concert would have been like in the nineties. But a fundamental question arises: How can such virtuosic musicians, capable of executing Chuck Shuldiner's compositions with such precision and mastery, be so unassuming and warm? The band DEATH is among the genre's greatest, that's undeniable, even if Chuck—in his free will—decided to explore paths of greater musicality than those reached by the dogma of death metal. And it's a good thing he did, or the history of world music wouldn't have known that metal can be artistic and sophisticated, wise, and universal. One would expect, then, musicians proud of their virtuosity and therefore special, but no. The members of Death To All behave like any other death metalhead, and that comes across on stage. Conclusion: more than musicians, they are true metal fanatics. And fans of anything that is also good music, which explains that playful nod to RUSH's music that perhaps not many noticed. RUSH in death metal form. Brutal.