Death Angel Discography

On November 24th, 1984, Death Angel officially became a five member outfit. Their new lead singer was none other than cousin Mark Osegueda (b: 1969). Mark had been no stranger to the band or the scene, as he had the duties of introducing Death Angel to the crowds and was the band's roadie. Legend has it, Mark's piercing screams not only got the crowd energized, but also won the favor of his cousins, hence his gig as new lead vocalist. Mark's metal baptism, opening for Megadeth at The Stone!


As 1985 began there were two new songs that were prominent on the setlist, one was the song "Silent Killer". The song never made it as an official release, until it showed up on the "Archives and Artifacts" box set, which I will focus on later. It's surprising that this song was shelved, as it's pretty damn good. It certainly vibes more with what would show up on "The Ultra-Violence", then let's say "Frolic Through The Park", when the band revisited the idea of putting it on the record.






Whether an early encounter in 1983 with Death Angel members at a San Francisco record store remained in the mind of one Kirk Hammett, it paid dividends for the band in the early part of 1985. Kirk had seen the band after Mark Osegueda joined up, and by March of that year, the band was added as part of a triple bill with Metallica and Armored Saint. I actually have a copy of the Kabuki show bill, and it was such a last minute deal, Death Angel's logo was never added. With that being said, it really did happen! Due to Kirk's immense interest in the band; he wanted in on producing what would be known as the "Kill As One" Demo. Kirk Hammett had this to say years later about that opportunity: "Death Angel was one of the best thrash bands of that era, because of their great sense of melody. Working on the Kill As One demo was a great experience! I was always impressed by their musical diversity. Their influence has been felt far and wide throughout the years. They are the invisible architects of New Metal!"





The first song "Thrashers" comes in around 7:19. I always thought that Rob's playing on "Thrashers" was very reminiscent of something that Dave Mustaine would've written in those early years. In fact the screechy guitars in "Thrashers" are in the same vain as that of "Last Rites/Loved to Death/Killing Is My Business...and Business Is Good". What's the old saying...Imitation is the sincerest form of flattery". Vocally, this song is as different as ANY Death Angel song out there, as there aren't any shrieks in the song. Considering this song had been in the arsenal for a year, there probably was a totally different vocal approach, especially since Mark wasn't around when the song debuted.


The second song is "Kill As One", and it clocks in around the 5:19 mark. The lead riff is awesome and reminds me of something from Metallica's "The Four Horsemen", with that chugging guitar style. Obviously Mark's distinct vocal shrieks can be heard on this song, though "Kill As One" tends to lend itself as more of an instrumental. Like most demos, there's always something lost in the overall sound, and that would be Dennis Pepa's bass and the double bass drum of Andy Galeon.


The third song is "The Ultra-Violence" and it clocks in at a robust 11:26! The opening riff sounds like something straight out of a horror picture. In fact, the "Exorcist" immediately comes to mind. If you're looking for those signature Death Angel time changes, then look no further, as this song takes one on a frenetic journey. Though it's not my favorite Death Angel song, I'm absolutely amazed that kids ranging from 13 thru 17 years of age were able to write such an extreme composition.




For the next installment, you finally get to experience "The Ultra-Violence"!!!

Some cool history there. Thanks.

Very thorough. Nice job.



Very impressive line-up for only $8.50. Ahhh the good old days!

MetalGuy71 wrote:

Very thorough. Nice job.



Very impressive line-up for only $8.50. Ahhh the good old days!

Thank you. How did Ronnie James Dio once describe what the fans were getting the during "The Last In Line" tour, in regards to the stage show? I think he stated they were getting a show with all the accoutrements. I pledge to give you the accoutrements on this discography tour.

I liked the band better after Mark joined and caught them alot more when I was up in that area. Wish I'd a moved north sooner...oh well. I had the "KILL AS ONE" demo but it got ate in a friends car stereo (one of many)

Thanks for posting the flyers, really really kewl stuff. The Stone was/is more "famous" but Mabuhay Gardens was just down the street from it. Saw lots of shows at Ruthies too....good times indeed.

Killer job so far on the thread....keep it up

James B. wrote:

I liked the band better after Mark joined and caught them alot more when I was up in that area. Wish I'd a moved north sooner...oh well. I had the "KILL AS ONE" demo but it got ate in a friends car stereo (one of many)

Thanks for posting the flyers, really really kewl stuff. The Stone was/is more "famous" but Mabuhay Gardens was just down the street from it. Saw lots of shows at Ruthies too....good times indeed.

Killer job so far on the thread....keep it up

I can't imagine seeing Death Angel at what was essentially the beginning of their young musical careers. I'm green with envy James! I also can't imagine going to legendary venues like that of The Stone, Mabuhay Gardens and Ruthie's Inn... Yeah, the flyers are pretty cool, as I appreciate not only the lineups, but then to see the prices is pretty funny. It's hard to believe the bands back in those days were able to scape anything together based on those prices. Thanks also for the appreciative thoughts on the thread.

Very cool early flyers.

Thats some cool pieces of History. Man, i miss those days. Good job on the thread so far metal!

1986

These concert bills of old are too enticing not to show. They are from a day gone by, as now everything is so professional looking. There is something to be said about the hand drawn concert bills from back in the day. They are pure nostalgia in every sense of the word, from the cheap prices to that of the great band lineups at historic venues....So, here are some more concert bills, an informative blog to check out, and a fun 13 plus minute video from the band, just prior to the release of the "Ultra-Violence". Enjoy!



This is Death Angel's earliest available concert video footage on YouTube. The quality of the video is absolutely atrocious, but the individual who posted the video cleaned up the sound. This video is from the middle bill posted above, at the Adams Theater on January 4th, 1986 in San Diego, California.


Entitled "Death Angel on Campus 1983-1986", this is a great account from a classmate, who attended Clayton Valley High School during the same years as Rob Cavestany ('86 grad) and later with Mark Osegueda ('87 grad). There are some cool pictures, and obviously some cool stories. I think every person who grew up in the 70's or 80's remembers some fledgling rock/metal outfit, who swore one day that they would make it big one day after they graduated from high school. Well, Death Angel made it big while three of their members were still doing homework, cramming for tests, and having to deal with pop quizzes. Mark Osegueda was not only fronting a seminal thrash band, but doing all the aforementioned activities, plus he was his school's class President!


Here are some photos from what I believe to be the infamous Clayton Valley High School concert, where rumor has it, the Principal joined in on the moshing!

http://countblood.blogspot.com/2010/12/death-angel-on-campus-1983-1986.html

Here is a video from 1987, which came out just prior to the release of the "Ultra-Violence". It was apart of the extras on 2005's "Archives & Artifacts". I thought I would show this now, for purposes of continuity. It's a thirteen plus minute video of the band jamming, skating, doing interviews, all the while talking about their very short history to this point, views on life, and just showing off their very young selves. If you haven't watched this, do so, it's damn cool...

Thanks for the kewl @$$ stuff.....

The "documentary" clip was sweet

01 "Thrashers" (Rob Cavestany, Dennis Pepa) – 7:12
02 "Evil Priest" (Rob Cavestany, Mark Osegueda, Andy Galeon) – 4:54
03 "Voracious Souls" (Rob Cavestany, Mark Osegueda, Andy Galeon) – 5:39
04 "Kill as One" (Rob Cavestany, Mark Osegueda, Andy Galeon) – 5:00
05 "The Ultra-Violence" (Dennis Pepa, Rob Cavestany, Andy Galeon) – 10:33 (instrumental)
06 "Mistress of Pain" (Rob Cavestany) – 4:04
07 "Final Death" (Dennis Pepa, Rob Cavestany, Mark Osegueda) – 6:04
08 "I.P.F.S." (Rob Cavestany, Dennis Pepa) – 1:56


Death Angel's first studio album would be recorded in just three days at Banquet Sound Studio in Santa Rosa, CA in June of 1986 (15th-17th). Strangely enough, the album wouldn't see the light of day until April 23rd, 1987. My theory is, Restless Records/Enigma were trying to get 4/5's of the band graduated, so the more extensive touring could begin. Mark Osegueda not only was graduating by the end of that May, but he also had to fulfill his obligations of Class President for that school year at Clayton Valley High....priorities man. "The Ultra-Violence" follows in the stylistic tone of their contemporaries and Bay Area brethren Metallica, Exodus, The Legacy (eventually Testament) and Possessed. Though Death Angel will never be seen as originators of a sound that had been born some four years prior to their debut album "The Ultra-Violence", their contribution to a burgeoning sound can't be overlooked. One thing is true, the band will never be able to escape the duality, which is their relationship to each other (Cousins), but the most obvious, their age (Teenagers).

The opening track is "Thrashers", which in some ways makes total sense, because it's a song that dates back to 1984, so it was recognizable among those who already knew about the band. In other ways, it's a strange selection to open up the album, due to its length and it's the only song on the album where Dennis Pepa (Original vocalist) gets behind the mic. I'm trying to think of an album where the lead singer isn't a part of the opening track. Whenever I think of a KISS track where Peter Criss or Ace Frehley were used, their contributions seem to be buried further back on the album. I suppose if it were my choice, I would have opened the album with "Evil Priest", "Mistress of Pain" or "Final Death". With that being said, this isn't a complaint, it's more or less a cursory look at an album, which for all intents and purposes is flawless. When I hear "Thrashers", I immediately think of the screechy guitars that were prevalent on an album like "Killing Is My Business...And Business is Good". "Thrashers" is an ode to songs like Metallica's "Whiplash" and Megadeth's "Rattlehead". Though Dennis Pepa would have been suitable as a lead vocalist, I'm happy that job went to Mark Osegueda.

This takes us to the second cut on the album, "Evil Priest". This is one of those songs where the lyrics are a little bit on the sophomoric side, but hey, these guys were teens. It's basically about a "Rogue" Priest going a little nuts, killing off virginal women, all the while trying to soothe the evil thoughts within his head. Unfortunately, the voices don't stop, the killings become common place, and South Wales has a nutty clergyman on the loose. It more or less has that "Am I Evil?" lyrically based theme. Where it lacks lyrically, it succeeds musically. The chugging riff at the 1:59 mark just makes one want to go on a moshing rampage. Like most of Death Angel's songs, one can expect their signature time changes, multiple complex riffs, and overall awesomeness.

The third cut, "Voracious Souls" is what I consider to be the band's signature song. It might not be their best song, but it certainly is the band's most recognizable, and it was the group's initiation into the conceptual art form of video. Since I'm not a musician, please correct if I'm wrong, but Andy Galeon's drum roll to start off the song is just a catalyst for what you expect to get the rest of the way, a masterpiece! The main riff is beyond catchy, the time changes, the odd riff at the 3:15 mark (Which seems similar to a technique used later on in Holy Wars by Mustaine at the 4:35 mark), and I would be remiss if I didn't mention the awesome vocal techniques which Mark Osegueda uses to make this song beyond memorable. Mark's vocal range is phenomenal on this tune, as he blends the high pitch screaming with a somewhat soulful technique. The justification for Mark being in this band is based on a song like "Voracious Souls", as the vocal approach he used in those early years is distinct and different from any of his peers in the genre known as Thrash Metal. Call me kooky, call me crazy, but "Voracious Souls" ranks right up there with the best of the Thrash Metal anthems, and is sorely missed when it's not part of the Death Angel setlist. In regards to the video, the band is captured in their youthful effervescence, from the skate boarding to the moshing, and ultimately their dynamic stage presence. All of this is captured with the Bay Area as part of the periphery, as to let the viewer know, this is who we are, and this is where we come from!


The fourth track, "Kill As One" from a lyrical stance probably comes off as being literal to a fault, but in actuality was a metaphor more than anything else, as it was the band's way of showing their strength as ONE unit. Though, when Mark sings "They don't play fair, jocks outnumbered and scared, Death will occur on this night", that conjures up a more aggressive stance on clicks and the frustrations kids deal within the walls of our public schools, as it relates to isolationism and the search for acceptance. What it also states is, some things never change, and in many instances have gotten appreciably worse. After the first two minutes, "Kill As One" takes on that instrumental feel, as the last three minutes are used as a segue into the band's ten minute plus opus, "The Ultra-Violence".

The fifth track, "The Ultra-Violence" can only be described as that of a punishing force, which never fails to loosen its grip on the listener. It's most melodic parts are the intro and the repeat of the intro to close the song. The intro has that eerie horror type of feel, which best can be described as Death Angel's somewhat revisionist tribute to Jack Nitzsche's original score/main theme for "The Exorcist". I honestly don't know how the band makes it through this song, as it's simply relentless. "The Ultra-Violence" isn't like "The Call of Ktulu" or "Orion" where there are slower middle sections which amplify the heavier more aggressive parts of the song, as "The Ultra-Violence" would be the antithesis of those songs. And for the mosher, good luck at going full throttle throughout this number.

The sixth track, "Mistress of Pain" challenges "Voracious Souls" for the top honors on this album. What I love from a lyrical stand point, is how Mr. Cavestany never refers to her by name. Who is the "Mistress of Pain"? Well, she's nobody in particular. For the listener, she simply is that individual who wronged you in life, or continues to wrong you in life, and then you simply insert name here _________________. What can you say about the opening riff? It's dirty, crunchy, one heavy f*cking riff! Unfortunately there are only two choruses in the song, which is a shame, because that part of the song is just that good. I haven't mentioned Gus Pepa's name to this point, and that's not because I'm trying to slight anyone. Gus is a great rhythm player, and of all the songs on "The Ultra-Violence", I probably enjoy his playing on this song the most, as he really holds it down nicely. Gus & Rob were a great dual guitar attack! I happened to be lucky enough to see this song played in concert on Death Angel's last go around, and all I can say is, this song is pure energy.  God help Damien Sisson, Ted Aguilar, or Rob when they get close enough to Mark while he whips his dreads during this song. Ted says he's been hit a few times and it doesn't feel good.  Instead of putting up the studio version of "Mistress of Pain", I thought I would put up a live version from earlier this year, with the current incarnation of the band. It's a nicely shot vid...


The seventh track, "Final Death" is one of those songs that I've always liked, but it has grown on me even more over repeated listens, as I got ready for this album review. I love this song for Dennis Pepa's quirky bass sounds, Rob's multiple short lead work, and what seems to be a more garage sound for Andy's drums. Maybe there are more cymbal crashes on this tune? I don't know... If you strip away the various lead work, I think this song has a more punk vibe, which isn't shocking, since Dennis Pepa was/is a huge fan of the scene. The lyrics are cool, but they're also kind of funny. I guess Mark envisioned various scenarios of the end of the earth, because lyrically they suggest the end of the world from both a nuclear and environmental point of view. Of course, Satan is always first in line when it comes to meeting all the fresh meet or in this case souls from what is now an apocalyptic world (ha ha).

Lastly track eight..."I.P.F.S". Supposedly it's the acronym for "Intense Puke Feeling Syndrome", according to interview Mark did a few years back. What does one say about this track? It's odd, but it works in some strange way. If you've listened to Death Angel for a while and know Dennis Pepa's penchant for punk music, it's not hard to find his contributions on Death Angel albums, as this song is the most in your face punk sounding short ass Death Angel tune you will find. In regards to what certain band members are spewing at the end of this tune, you'll have to figure that one out on your own!


What is there to say about this band/album, which hasn't all ready been said over the last 25 years? To be honest, it has more or less has been stated time and again, but I will throw this in for good measure. The fact is, when people bring up Death Angel & "The Ultra-Violence", the first things usually thrown out there are, their ages, their relationship to each other, and their Filipino heritage. The truth of the matter is, those are all cool things which separated them from other bands in their genre, but the truth of the matter is, these guys in my humbling opinion took a back seat to NO ONE and that continues to this day!

Just a reminder guys, the album has been remastered, and it can be found on Death Angel's website. The albums sounds awesome! But don't take my word for it, take Rob Cavestany's...

"I am proud to announce that we will finally make our 1987 debut album, "The Ultra-Violence" available again after being out of print for more than 10 years!

Digitally remastered but NOT altered - it sounds leagues better than the original pressing, yet retains every ounce of vibe, character and feel that we put into our first record. Hope you enjoy this blast from the past as we go "old school" and bring back Bay Area Thrash in its most primal form from 1987 to 2012.

Join us as we celebrate the 25th anniversary of The Ultra-Violence!"

~Rob Cavestany

Stacks up against any other debut from that scene (IMHDO)


"Thrasher" is a statement song and fits well as opener

"Mistress" and "Souls" are the better songs on the album but the honor of best goes to the title track.

This is subjective as thrashiest by thi band overall, but you can still hear that unique sense of melody they possess as songwriters. They are also up there in musicianship that rivals, if not exceeds other bands from that scene as well (IMHDO)

James B. wrote:

Stacks up against any other debut from that scene (IMHDO)

I totally agree James! It kind of saddens me when I think of the headway this band was making through the first three records, and then they vanished from the scene in late 1990. Would they have survived the 90's? Who knows, but I've always felt this band was undervalued and under-appreciated! If I had to put "The Ultra-Violence" up against other debuts, it probably would go something like this:

1. Metallica - Kill 'Em All
2. Death Angel - The Ultra Violence
3. Testament - The Legacy
4. Megadeth - Killing Is My Business and Business is Good!
5. Flotsam & Jetsam - Doomsday For the Deceiver
6. Slayer - Show No Mercy
7. Anthrax - Fistful of Metal
8. Exodus - Bonded By Blood
9. OverKill - Feel The Fire

James B. wrote:

"Thrasher" is a statement song and fits well as opener

I respect that, as I said, it was me trying to find something to be picky about on this album. I have a hard time saying anything remotely negative about this classic album

James B. wrote:

"Mistress" and "Souls" are the better songs on the album but the honor of best goes to the title track.

It's funny, because my favorite works from bands like Genesis (70's stuff) or Rush (70' stuff) are the really long tracks. With metal bands, it's always been different. I kind of like that five to six minute range track. The title track is still a great song though, I just prefer "Voracious"/"Mistress"/"Evil Priest" and maybe "Final Death".

James B. wrote:

This is subjective as thrashiest by thi band overall, but you can still hear that unique sense of melody they possess as songwriters. They are also up there in musicianship that rivals, if not exceeds other bands from that scene as well (IMHDO)

I agree 100%

a review of a review (classic)

I haven't heard The Ultra Violence in a very long time, I always did like it. However, my real interest in Death Angel kicked in with Frolic Through The Park once they started expanding their sound.

Good thread.

Here's the entire album, should folks want a taste

Probably my favorite by these guys. Voracious Souls is my favorite song as it is the one that I remember the most. Although I like the title track, I'm not really big on instrumentals, especially one that is over ten minutes long. I realize that's more about me, than the song itself. I picked up the Archives & Artifacts boxset when it was released. To the best of my shot ears, the remaster sounds great.

I own two copies of the orginal release. One was printed in the U.S. by Enigma Records. The other was printed in Canada by Restless Records.

I used to see these guys all the time around restaurants and malls and stuff.

I bought this album and 'Frolic in the Park' that was part of a boxset, that I believe FF alerted me to.


I had it on a dubbed cassette as a teenager and loved it. I had not heard the album for over a decade til I purchased a few years ago, and I was surprised how well it held up, IMO holds up better then Exodus of Possessed albums that came out around that time period.

I need to relisten to this disc today, but it does not matter since there is not much I can add to what you have written.

It's sort of difficult to find much on the band regarding any old interviews or concert footage, but I happened to stumble upon a couple of things from 1987, and one happens to be this interview. I love the interviewer, as he can best be described as Brian May meets "Weird Al" Yankovic. What's the first topic he touches upon? Surprise, surprise...the ages of the band members. It's still a cool piece of Death Angel history!

kewl goodies man, thanks

James B. wrote:

kewl goodies man, thanks

Not a problem, as I love finding this stuff, and of course posting it...

metalinmyveins wrote:

James B. wrote:

kewl goodies man, thanks

Not a problem, as I love finding this stuff, and of course posting it...

I was out of state alot during this time and missed some really good shows up north.

Holy **** I had forgotten how good that title track is, ten minutes metallic instrumental bliss

You're doing a great job with this thread! I really love the formatting.

I believe the sticker on the album states it all, "Heavy Changes Profound Growth". In the genre known as Heavy Metal, the word "Growth" can often lead the consumer to label such efforts as selling out. I'm guessing the Thrash Metal community are probably even more ardent in what they feel should be the type of formula a band like Death Angel should follow. Metallica have always been seen as the revolutionaries, the band which broke the mold or the archetypical framework of Thrash music. Death Angel's "Frolic Through the Park" challenges that notion, as it is just that different, that eclectic, that experimental. The title alone should be suggestive enough to the unsuspected listener, as one of the definitions for the word "Frolic" is uninhibited. In this case, the title is more or less a preamble, or should I say a warning from the group, to expect the unexpected. Sure there are some straight up thrash classics, but intertwined in their signature sound is that of Funk, Jazz, and Pop music.

Enigma/Restless records was once again distributing the second Death Angel album, though that was definitely a point of contention back in the summer of 1988. "Frolic Through the Park" made its debut in July, but there really has never been a date attached to the band's second release. "Frolic Through the Park" was supposed to be released simultaneously in the U.S and Europe, but one of the subsidiaries in Europe lost their distribution. Only Music For Nations got the album out in time in England, otherwise Death Angel's fans were hearing the album for the first time as the band traversed Europe that summer. At the helm of producing the band's second album was once again Davy Vain, though both Rob and Andy received co-producing credits. The album was recorded at Fantasy Studios in Berkeley, California in March of that year. The production was for the most part pretty good, but thin in some areas. Probably unbeknownst to many, "Frolic Through the Park" is considered a conceptual album. I was even unaware of this up until two days ago. According to Rob Cavestany, it was Davy Vain's brainchild. The songs represent the stages of one's life. Having listened to this album for about the fifteenth time in the last week, I just don't see it as a conceptual piece. Sure there is a common theme, but conceptual pieces are interconnected, and these songs just don't fit that formulaic rule of a concept album.




The opening track to the album "3rd Floor" had actually been a staple of the live set for at least a year prior to the release of "Frolic Through the Park". As stated earlier, I thought Davy Vain's production was pretty solid. I like how the first thirty-five seconds of '"3rd Floor" have this barely audible ping as the elevator makes its way up three floors. The doors open (they sound heavy) and one hears birds chirping and kids playing, as if there were a play yard just outside the window of the resident within the third floor of the sanitarium. As that part of the production fades, it segues into Rob Cavestany's eerie sounding guitar. I love the dichotomy surrounding the joyful sounds of the birds and the kids playing, but then one is reminded of this person's surroundings; iron bars, force fed medication, sanity fading, etc... It's as if he could reach out and grab all those things he desired, yet it's all so illusory, like that of a mirage. Regarding the music, "3rd Floor" is a straight up thrasher. Gang vocals, which I usually detest are always a welcome addition from Death Angel, as Rob and Den's background vocals, compliment Mark's stylistic approach.


The second track is "Road Mutants", and follows in the footsteps of "3rd Floor", as a straight up thrasher. It starts off with a little bass from Dennis and goes into one of my favorite Death Angel riffs of all time. This song straight up crushes! It has that distinguishable punk/hardcore vibe, which is not a surprise, especially when Dennis is involved with a writing credit. Death Angel did many a shows with the likes of D.R.I. and G.B.H., so one can see how those influences rub off on a band. From a lyrical standpoint it's direct and to the point, as the song is about being on the road, playing live, experiencing the good and the bad or as the idiom states, with warts and all...

The third track is "Why You Do This" and is my favorite lyrically. If my assumptions are correct, it deals with man venting at God and God venting back at man. Though anger is at the root of their relationship, what it tells us, is that they have a relationship with each other, for whatever that's worth. My other thought, it could be about the fall of Lucifer, but I'll go with my first assumption. The fact that I'm not sure, makes the song more interesting. From a musical standpoint, "Why You Do This" has a bunch of time changes, with an odd chorus. In fact, the chorus seems damn well out of place, but then again, that's part of its appeal.

The fourth track is "Bored", and was the band's second video shot for MTV. This one actually got shown in the U.S.! According to the band, "Voracious Souls" was too edgy lyric wise for MTV to show, so the video was relegated to the European market. "Bored" on its surface should just be about someone dealing with boredom, but it's not. It deals with someone who is too lazy to go after their dreams. They expect things to come to them, instead of aggressively going after life's rewards. Musically Mark Osegueda knocks it out of the park on this one. When Mark uses his soulful approach, it works nine times out of ten for the band. The main riff along with Dennis bass work are sounds to behold. The tipping points of "Bored" are at the :40 mark when Gus kicks it in and the :53 mark where Andy kicks it in with the double bass, pure ecstasy. Even the solo is a little odd for Rob, as it might be one of his least technical, but it works. Is it just me, or is there a little bit of a Jazz feel to the beginning of the song? It might surprise some, but this song was totally inspired by U2. Here are Mark's comments regarding "Bored":


"As far as 'Bored' - that was written more like... me and Rob and the rest of the band was heavily listening to U2 at the time, during the albums "War" and "The Unforgettable Fire", even earlier than that with "Boy" and "October", we were listening to a lot of that. We really liked The Edge's guitar playing, that 'chicka-chicka-chicka' sound, a lot of simplicity with a lot of just catchiness and we were blown away by the dynamics that him and Bono had together, I saw them live and I was just blown away. So Rob and I wrote that song and it wasn't necessarily meant to be a DEATH ANGEL song, but we did demos of the song and local radio stations started playing these demos and live we did the song a couple times as a joke and it really caught on, people started loving it so Enigma really wanted to put it out. It kind of came by accident.



The fifth track "Confused", is the longest song on the album and feels like an ode to the likes of Black Sabbath. The opening riff, I believe is re-cycled from "Priests of the Black Oracle", a song which dates back to 1984. It's the one track on the album that depending on my mood, I might skip. As much as I hate to say it, the song feels a little labored to me. I don't know that the band needed to stretch out the song further with the interlude involving the bass. It almost feels like the band didn't know how to end this song. The lyrical theme goes hand in hand with the rest of the album, as the individual in question seems to be manic depressant. Happiness seems to be a fleeting concept, as the lows clearly outweigh the highs, as it ultimately begs the question of whether or not the few highs of life are worth the overall pain?

The sixth track, "Guilty of Innocence" has a great opening riff, and has that guitar tone which is reminiscent of Megadeth's "Set The World Afire". "Guilty of Innocence" has that same vibe as "3rd Floor" and "Road Mutants"; it's a straight up thrasher. Gus, does a great job of complimenting Rob, as this is exactly how a dual guitar attack should sound. "Guilty of Innocence" also has some recycled riffs, one from an instrumental called "Silence" and the other from a song called "The Awakening". It's another stellar performance by Mark on vocals, as he's all over the map, utilizing his full repertoire of singing styles. I would be remiss, if I didn't mention Andy Galeon, as he tears it up on this song. It might be my favorite drum work from Andy on this album, or that of"Bored". In regards to the lyrics, Rob loosely takes on the subject of "Free will vs Determinism (Luther vs Calvin)", as the subject in the song is resigned to fate controlling his life. Rob pulls no punches, as he also takes a harsh look at society, and how socio-economics exacerbate a fragile existence. "Guilty of Innocence" works as a cautionary tale for class structure, our differences, and how those differences can work against the greater good of mankind. On a side note, I found it interesting that on the lyric sheet, both the word "wh0re" & "Sh!t" were omitted. This begs the question, did the P.M.R.C. read the lyrics and not listen to the songs, so then the album didn't need to be rubber stamped? I thought everybody wanted a label on their album? Didn't that automatically make more metal heads interested in one's product? By the way, Death Angel actually has a video for this song! I never knew this up until a few weeks ago...




Onto the seventh track and easily the most eclectic piece of music the band had written to date, "Open Up". "Open Up", really has a two-fold meaning, and it's the perfect follow up to that of "Guilty of Innocence", as it espouses on Rob's previous thoughts. Lyrically, it delves into the continued closed mindedness of society, and how differences are frowned upon, instead of being celebrated, or at the least accepted. Rob talks about how perception is not always reality, and focuses on the subject experiencing peaks and valleys, due to a very rigid society. By song's end, the subject affirms society's feelings that we not only don't look like each other, but we probably don't share the same values, so just accept it as such and move on. I believe the title "Open Up" is also the bands way of appealing to metal fans everywhere to look outside of the proverbial box as it pertains to one's musical tastes, expound your musical palette, and become enlightened because of this decision. The ultimate confluence of styles musically come together here, as "Open Up" is simply orgasmic. I know, that's kind of treading on the weird, but it's true. If you love "Different", then you will love this song, as it has plenty of Funk/Jazz/Pop and Metal littered throughout. When you think you know where this song is going, it doesn't go there. After the Funk/Jazz/very Poppy beginning, I love the Angel Witch sounding riff at the 1:50 mark. The band is beyond tight on this song, and it's a pleasure to here Gus Pepa throwing down a couple of solos with Rob. After singing the praises of "Open Up", how could I not upload the song? So, here it is:



The eighth track, "Shores of Sin" has some wonderful arrangements, as Davy Vain adds some haunting sounds that work really well with Rob's semi audible eerie guitar playing. This type of production is reminiscent of something you might have heard two years prior on Slayer's song "Raining Blood". The aforementioned leads into some welcomed bass work by Dennis Pepa. What is enjoyable about Dennis Pepa's work on "Frolic Through the Park", is how the band allows Dennis the creative freedom to deviate from following the chord progression that Gus & Rob set down. Even when these moments are short/subtle noodling, they are effective. "Shores of Sin", is a classic example of a band building a song to an anticipatory outcome (Doom ~ Thrash). In my opinion, where "Confused" sort of fails, "Shores of Sin" exceeds expectations. The other reason I love this song, is once again due to Mark's vocal approach. Aside from the chorus, "Shores of Sin" sounds like the vocal progression used on "Voracious Souls". The most obvious vocal progression is when Mark sings: "Towards the caverns of the beast" (Frolic) ~ "Each human becomes a beast" (Ultra-Violence). It really is uncanny.... Regarding the lyrics, "Shores of Sin" really doesn't flow with the whole supposed conceptual theme. For all intents and purposes, it abandons the theme. It doesn't mean the lyrics are bad, I just don't buy into the conceptual notion of this album. So much of the album seems to focus on the "Individual" pain, whereas this focuses on the "We". Not only that, but I can't really decide what's going on. Every time I read these lyrics, I think of "Bill & Ted's Bogus Journey", when Bill and Ted are getting over on Death (The Grim Reaper) in games of Twister, Battleship, and Clue.

The ninth track is "Cold Gin" by KISS, the first and only Death Angel album to ever feature a cover tune. If I had to pick my top ten KISS songs, there would be no doubt that the Ace Frehley penned effort would EASILY be in there. It's also not surprising to see Death Angel covering a KISS tune, since it was Rob's, Dennis', & Mark's first Hard Rock/Heavy Metal show ever, at the Cow Palace in San Francisco in 1979. Here's my issue with this song, I think the band played it way too safe. Like the studio effort for KISS, I thought it sounded flat in parts, not like the Alive version, which destroys! Maybe some knobs needed to be turned in the right direction, but I thought Death Angel's version sounded like there was only one guitarist at the helm. I thought Dennis' bass was for the most part inaudible and the background vocals that Rob and Den possess were sadly missing....until the last "Keeps us together". The best parts of the song, were Mark's vocals, which were outstanding, along with Andy's drum work. With all that being said, I like the version, I just thought it had WAY more potential. I want a band like Death Angel to make it their own. One doesn't have to bastardize the hell out of a song to make it their own, just play to your strengths.


The tenth and final track is "Mind Rape", which was the opening number for the band during the "Frolic Through the Park" tour. The song is also the only writing credit that Andy Galeon had on the album. I could be wrong, but I don't think Andy's writing capabilities all of a sudden took a hit within a year's time (Four writing credits on The Ultra-Violence), but I'm guessing when not touring and practicing, school probably superseded all other things, as he would have been a junior by the time Frolic came out. The lyrics on "Mind Rape" just smack of Charles Manson.

The first four lines are:


The chorus goes as:


The music for "Mind Rape" is in the same vain as that of "3rd Floor", "Road Mutants", and "Guilty of Innocence", as it is predominantly wall to wall thrash. It's essentially a stylistic bookend with the more experimental songs residing in the middle of the album. There's nothing NOT to like about this song, as the band is extremely tight on this one. Probably my favorite moment of "Mind Rape", is when the chorus kicks in. It can't be overstated enough how important Mark's vocal approach was on this album. Mark combining all of his vocal elements/styles, far removes him from any of his contemporaries in 1988. That didn't mean he was necessarily a better vocalist than those across the Thrash Music spectrum; he was just that different, that daring...

The last song I will be reviewing is "Devil's Metal", which was released ONLY on compact disc. It actually is track five on the compact disc, which is sort of odd, since the album is considered a conceptual piece. Why throw that in the middle, where it supposedly messes with the cohesiveness of the conceptual arrangement? Since I'm not buying into the conceptual notion, I guess it doesn't matter. Here's what Mark had to say about the matter of putting "Devil's Metal" on the compact disc version, when asked about other songs, which didn't make the cut, like that of "Frolic Through The Park" and "Silent Killer". I agree with Mark and what he stated about "Devil's Metal". He thinks the lyrics are a bit elementary...what about the name? "Devil's Metal" is kind of an oxymoron! All right guys, don't start listing all the Christian bands that play metal. Anyways, here's what he had to say...

Mark: "Again it's an odd one... we went back before "Frolic..." and we recorded more little demos for ourselves. For the time that we were in and how much we thought we had progressed - just what was going on we thought we wanted to put on "Frolic..." - that 'Devil's Metal' musically still holds its own but lyrically was a little elementary. But still that's why we only put it on the CD as a bonus track and with no lyrics. It was another ploy for people to buy the CD and it was another rare track, to see those who actually knew of DEATH ANGEL prior to us getting signed, and other riffs from 'Silent Killer' and 'Frolic Through The Park' were used in later DEATH ANGEL songs that we created."


Coming next...Death Angel in 1988, concerts and concert fliers!