Death Angel Discography

Damn MIMV, this has got to be the best thread in this forum. I really hope the next one is around the bend.

I've always been a fan of the earlier material but I can't say I'm fond of Act III like the rest of the world. Anyone else feel that way? Ultra-Violence is a masterpiece.

corplhicks wrote:

Damn MIMV, this has got to be the best thread in this forum. I really hope the next one is around the bend.

I've always been a fan of the earlier material but I can't say I'm fond of Act III like the rest of the world. Anyone else feel that way? Ultra-Violence is a masterpiece.

To be honest, I did the review for "Frolic Through the Park", and nobody commented on the album, so I can't say that kept me fired up about moving forward on the thread. That being said, wow, possibly the best thread on the forum? Well thanks, that's a pretty cool compliment on your part. I've been pretty busy lately with looking for new employment, but I think I can hammer some stuff out.

Re-reading this thread makes me feel like I need to break out some old Death Angel again and take a refresher course. Unfortunatly for me, I didn't get into these guys until much later, after their mid-90's demise after reading about them on Ult's website. While I have all their albums, they aren't as familiar to me as some of the other classics of that era.

Everything I've uploaded, is essentially what is out there from Death Angel in 1988. The band actually played two shows on 07-09-1988. At the last minute they played the "Metal Attack Festival" in Eibergen in the Netherlands, and then played their second show in Amsterdam at the Paradiso later that day. The Paradiso is the infamous show, which was recorded by the bands label at the time, Enigma Records, and released two years later under the title "Fall From Grace". The band hadn't given consent to its release, and the quality is generally recognized as barely above that of an audience recorded bootleg.


Death Angel had been touring Europe for the better part of a month, and playing new songs off of "Frolic Through The Park", which most were unfamiliar with at that point, due to a distribution problem gone a muck. Mark Osegueda talks about this in an interview that he did with "Voices From the Darkside" a few years ago.


The summer of 1988, was Death Angel's baptism of Europe, and namely that which were the expansive open air festivals, such as the Roskilde Festival in Denmark and the Kuusrock Festival in Finland. This was Death Angel at the Kuusrock Festival in Oulu, Finland on 07-16-1988. Unfortunately, only a portion of this concert was shot or uploaded. Enjoy what you can get from this time period, because there isn't a whole hell of a lot of classic concert footage of Death Angel out there. Here's an excerpt also from Mark's interview with "Voices From the Darkside", as he talks about what it was like playing at those open air festivals for the first time.






The video says that it's from 1987, but it's a show from The Channel in Boston, MA on 10-13-1988, with the band headlining a tour throughout the U.S with Rigor Mortis. Unfortunately, the audio only comes out of one speaker, but the show is killer. Death Angel were a very hungry band, with a ton of energy on this night. The crowd was raucous this night, as security (or the Bear Patrol as my good friend's brother used to call them) were busy all night fending off various crowd surfers. This was a set that was cut a little short, which had the band racing through their set, due to an unknown 1:00 A.M noise ordinance. Some of the highlights are seeing Gus Pepa's lead work on "Why You Do This', Mark talking about how utterly disgusting the men's bathroom was at The Channel, Mark goofing on M.T.V. as it pertains to the network maybe showing the band's second video ("Bored"), and finally the band trying to get through "Kill As One" as the ordinance comes into effect. Maybe it's hyperbole on my part, but I think what separates heavy metal as a genre apart from other genres of music, is what occurs during the song "Kill As One". It's a cool moment, as various band members are having their sound shut down by the club, yet those who still have sound trudge on! 

Great topic and interesting read!! I'm waiting eagerly for the review of Act III. BTW one onders how DA would've sounded if their career hadn't been halted after Act III. My guess is they would've taken about the same path as Metallica: a couple of albums with less metal (or at least less thrash) style music, and then make an album which takes them back to their roots.

soulstripper666 wrote:

BTW one onders how DA would've sounded if their career hadn't been halted after Act III.

Probably like this ?

and


They were Death Angel minus singer Mark Osegueda.

For Death Angel, the year 1990 in many ways was synonymous with Charles Dickens “A Tale of Two Cities” famous opening line, “It was the best of times, it was the worst of times”. On the one hand, Death Angel was quickly establishing themselves as a force within the genre known as thrash. While on the other hand, the band was a victim of the heavy handedness, which was Geffen records and the band’s management. Naivety within the business model which is the music industry, along with the almost fatal injuries of Andy Galeon in late 1990, derailed what was the youthful energy which had been Death Angel. By 1991 the band was no more. Mark Osegueda literally disappeared from the music industry, and by all accounts was reclusive for the better part of eight years. He switched coasts, and sought out education as his refuge. Rob, Dennis, and Andy would eventually resurface in The Organization. Gus left not only the music industry, but left the country for the Philippines. It’s funny how art imitates life, as the third act is a model often used in writing for what is known as the resolution. For years, it looked like “Act III” was Death Angel’s resolution…



The opening track “Seemingly Endless Time” begins with waves washing up on the shore line and this feeling of serenity. It’s the calm before the storm effect, which many producers have used as a means to make heavier ~ aggressive albums sound more menacing. Though I’m not a fan of over produced albums, it seems to work here. In that first twenty seconds, the listener is indoctrinated into what Death Angel sounds like with a greater production budget, as Max Norman would take over the helm. The sound is slicker, but the brutality still exists. “Act III” by all accounts is “Frolic through the Park” part II, as elements of funk, punk, and thrash are intertwined to create a sound not found among their contemporaries. Though much of the album is steeped in wonderful vocal harmonies, “Seemingly Endless Time” sets the trend. In a weird way, Death Angel from a metal perspective, are my 5th Dimension, Lady Antebellum, The Spinners, Fleetwood Mac and various Doo-Wop groups, whom I love. From a lyrical standpoint, “Seemingly Endless Time” is hauntingly prophetic, as the band would be no more within a year’s time.  

The second track “Stop” has these wonderful time signature changes, with what I believe is the best chorus on the album, and one of my favorites in all of the thrash metal genre. The backup vocals or harmonies of Death Angel are second to none as well. Mark Osegueda goes from singing to talking in these hushed tones, which always worked so well on these early Death Angel offerings. Even though I still really like him as a vocalist, I enjoyed his vocal approach much more in the earlier days of Death Angel. “Stop” is not only my favorite song on “Act III”, but it’s easily in my top five of their catalog.  


The third track, “Veil of Deception” is a brave two and one half minute number to showcase the real talent of the band. I’m guessing listeners were shocked when the band never stopped playing their acoustics for the electric. Though there were points in “Frolic Through the Park”, especially with songs such as “Open Up”, where the band clearly was going against the grain, “Veil of Deception” is the band embarking on a musical dirge, akin to “Tangerine” by Led Zeppelin, “In Search of the Peace of Mind” by the Scorpions or “Before the Dawn” by Judas Priest. “Veil of Deception” was Rob Cavestany’s earliest foray into the world of acoustics and intelligent lyrical compositions, which would be showcased much later down the road with his 2006 solo effort “Lines On the Road.”

The importance of the fourth track “The Organization” can’t be overstated enough. It served its purpose on two fronts. It’s not only a great song, but it would become a future band name, but I will get to that in future installments. “The Organization”, like that of “Stop” has these great time signature changes chock- full of wonderful riffs. I would be remiss if I didn’t mention Andy Galeon on this song, as not only is he a co-writer on “The Organization”, but his playing is beyond tight. It’s hard to believe this young man was only seventeen when this album was recorded, as he plays like a seasoned veteran throughout “Act III”.

The fifth track “Discontinued” is a song that could’ve easily shown up on “Frolic Through the Park”. Though there’s no mistaking “Discontinued” as a metal song, it has that all too familiar funk feel, with a little punk mixed in for good measure. Andy and Dennis have their signature writing styles all over this number. “Discontinued” is easily that song where the band goes all over the map. It’s this type of non-formulaic approach that was setting Death Angel apart from their contemporaries.

Before there was “Nothing Else Matters” or “Return to Serenity”, there was the sixth track on “Act III”, titled “Room With a View”. If “Veil of Deception” didn’t freak out many of the masses, then “Room With a View” did, as any preconceived notions of what this band should sound like were dismissed with this offering. As a nineteen year old listener, I probably fell into the category of lunkhead metal fan, who questioned this type of song. It wouldn’t be until years later where I would finally be able to appreciate the idea of a musician taking their non-metal influences and incorporating that musical dynamic into a song. These musical endeavors by bands such as Death Angel tended to incite a very derisive response from their often dictatorial fan base, who would quickly label that band as sellouts…

As much as I love Mark Osegueda as the vocalist for Death Angel, Rob Cavestany really does a great job on his limited duties as lead vocalist, as he alternates with Mark on the seventh track “Stagnant”. Once again there is that ever present funk feel, which means Andy Galeon has his signature style all over this tune. This song is so kick ass, because it once again goes all over the place. There’s no formulaic rule to it, it’s just fun! The background vocals ~ harmonies on this song might quite possibly be Death Angel at their best, as I think the chorus so clearly illustrates. “Stagnant” is one of those songs that just gets better with repeated listening’s. If there was a song that I would introduce to a non-thrash metal fan, it very well might be this one.


The eighth track “Ex-TC” has what I consider one of the most peculiar beginnings, as it sounds like there’s been some sort of editing snafu within the studio and the beginning of the song was chopped off, sort of like the ending to Black Sabbath’s “Hole In the Sky.” Though not a bad song by any means, it doesn’t get repeated listening's like many of the other tracks on this album. “Ex-TC” has that vibe like that of “Stop” and is one of the few songs with a solo from Gus Pepa, as he splits leads with Rob on this particular tune.

“Disturbing the Peace”, the ninth track, sounds like something that might have been a left over from the “Ultra-Violence”. It’s a straight up thrash song, minus the funk influences which can be found throughout this album, though it does have some of that ever present punk vibe to it. It also has a nice thick bass sound from Dennis, which is fairly evident from the get go. Though I like the album version of this song, I think the live version is much more punishing. Unfortunately, this song is rarely played live.


The tenth and final track “Falling Asleep” also sounds like a song that could have been left over from the “Ultra-Violence” days. For the most part "Falling Asleep" delivers, except for the “Rockabye baby” part in the middle of the song. It’s probably one of those shortsighted ideas that Max Norman thought would be cool, which really didn’t work out in the end. Hence, it’s the last song on the album.


....next, life after Death Angel! The Organization

What a weekend here at HOM. Painkiller does a top 100 list, Dark Horseman is back in action, and MIMV is back at the Death Angel discog. Another solid entry, brother.

I gotta say Act III is my least favorite album of theirs and a bit overrated. I find the lack of abrasion and the slick production to be a deficit. However, few can disagree that the songwriting is tight here--I almost wish it could be re-recorded with the tones and timbres of Dream Calls for Blood.

On another note, I had the pleasure of seeing them a year ago here in Fresno. One of the best concerts I've ever attended; the band was tight and Mark was spot on. God his voice has become so marvelous. Surprisingly, no Act III numbers were performed, but I was happy to hear Bored and a few from Ultra-Violence.

1990














This was a show captured by German T.V at the Theaterfabrik in Munich, Germany 05-27-1990. It's impossible to find just about anything from 1990 involving Death Angel, so enjoy. I've always thoughts these guys were an unbelievable band to watch live, especially when they were just teenagers and just barely into their 20's. They had this great aesthetic quality to them. Andy and Dennis were the skaters, so they looked the part of it on stage, both wearing tube socks. Not that I remember wearing tube socks past maybe the year 1983, but I love the visual that Dennis Pepa provides here. Then you have Rob Cavestany, who enjoyed wearing a head band and shorts over sweats. Does anyone here remember doing that? I actually have to admit it, there was a time when I did that, though I think it was in the 80's? Mark was really the only guy ever donning any leather. Gus was your t-shirt and jeans guy. Not only did they look cool on stage, but they also were very athletic and it showed as they shifted about on stage all night, each taking advantage of the jungle gym known as the drum riser. Anyways, those were some thoughts on the time that was 1990 and Death Angel. There is an interview with the band for the first four minutes and twenty seconds and then the first four songs from that night are played. They are:



           









               





                         


                                               



                                   

corplhicks wrote:

What a weekend here at HOM. Painkiller does a top 100 list, Dark Horseman is back in action, and MIMV is back at the Death Angel discog. Another solid entry, brother.

Thank you for the kind words. I will definitely give this thread a bit more attention. Up until early December, I hadn't been on this site since May. Just so much going on in the game called life since then. I couldn't believe it had been since October of 2013, regarding my last entry. My next entry involving The Organization should hopefully come some time early next year.

corplhicks wrote:

I gotta say Act III is my least favorite album of theirs and a bit overrated. I find the lack of abrasion and the slick production to be a deficit. However, few can disagree that the songwriting is tight here--I almost wish it could be re-recorded with the tones and timbres of Dream Calls for Blood.

Interesting...Most people's least favorite is "Frolic", because it's just so experimental. I do hear you on the slick production. It would have been interesting to hear this album while they were still on an independent label.

corplhicks wrote:

On another note, I had the pleasure of seeing them a year ago here in Fresno. One of the best concerts I've ever attended; the band was tight and Mark was spot on. God his voice has become so marvelous. Surprisingly, no Act III numbers were performed, but I was happy to hear Bored and a few from Ultra-Violence.

I saw them with Anthrax and Testament in January of 2012. It was interesting, because Scott Ian was sick as a dog and Charlie was taking a leave for absence, because his mother was dying. So, Ted and Rob filled in much of the night on Anthrax songs. While, Gene Hoglan did double duty, playing with Testament and then sliding behind the kit for Anthrax songs. It was a really cool night. Unfortunately, Death Angel only got to play six songs that night. It sucked that they were relegated to that for that tour. A band with that history.... Regarding Mark's voice, it has changed, but it's still unbelievably powerful!

When I seen them headlining The Concert Hall in Toronto in 1990, (and seen them playing live for the second or third time in total), I was not impressed at all, as nothing was played from their first LP, and they killed themselves off for me as a fan, with their performance.
I wanted to see them as how they introduced themselves years before, as a thrash metal band, not a heavy metal band or rock n roll band.
Maybe they seen Metallica get successful by changing their sound and wanted the same for all I know (And yes, I stopped buying Metallica with the "Master of Puppets" LP..).

I should have done what somebody that night suggested and demanded my money back from them and told them to their faces how much they sucked, as they were walking the floor afterwards meeting fans. I immediately doubted they would care after what they just did.

Fast Forward two years, Death Angel was no more. Here was a band which had established a foothold within the industry and were seemingly going to be the next big thing. But like many circumstances in life, Death Angel were dealt a domino effect of blows, which proved too much to overcome. Had Andy Galeon not been critically injured in late 1990, maybe the band would have persevered and not faded into obscurity. Andy's injuries and Death Angel's label (Geffen) ever growing frustration towards the band not replacing Andy over the short term, signaled the end. You either kowtow to a label and work within the contextual framework of what was probably a really bad deal or you break up. Death Angel chose the latter. Mark Osegueda, fed up with the industry, quit the music business, switched coasts and went to college. Rob, Andy, Dennis and Gus soldiered on and became The Organization, named after the song, which can be found on Act III.




Before delving into the bands self titled album, I thought it would be cool to hear some early versions of three of those songs which would make it onto their first album. With the departure of Mark Osegueda, Rob Cavestany would assume the vocal duties, though Andy's vocals would prove to be prominent as well, as the two would operate much like that of dual lead guitarists. Track one is "Bottom Dog", which is one of my least favorites off their self titled album. I never cared for the over produced track, with all the barking dogs. The demo version at least strips away most of that over produced sound. I much prefer the demo version. Track two is "Bringer of Bad Vibes", which would eventually become "Bringer". I prefer the original title, as it's a more ominous title. I love both the demo and what was to come on their self titled album. There are certain elements which clearly pave the way for a new sound and then there are signature Death Angel moments, from that of the heavy riffs, to Andy's heavy drum style, to the ripping solo by Rob. This song could have easily been on Act III. The third track is "Been Nice Knowing You", which was also a longer titled demo version. On the album it would be "Been Nice". This is my favorite track off their self titled, and once again the old Death Angel writing style can be found all over this one. I'm not surprised that two of the three heaviest tracks surfaced on the demo first. Obviously the guys were still in the same head space that they were two years prior. The fourth and final track on the demo was called "20 Years". It's easily the most forgettable track. It's not bad, but this tune would be a harbinger of things to come for what would show up on their self titled. This track would not make it onto the next record. I want to say parts of this song were used on the next record though...



...Next 1993's self titled The Organization

I really recently just heard of Death Angel -
someone had a pick your favorite Thrash metal video poll.
So this thread is especially fun for me. ah first page.
This early material is super-classic. Love YOUTH !
Garage / High School origins for sure.
Punk/Metal - was all so closely entwined- in those days.
Photo of the baby band - so precious !
I stayed away from them , shame on me, cause I knew they weren't white Americans.
I was in my early 20's.
But obviously the band's name continued to resonate through out the 80's.
Those cover songs - rock - classic live captures -
like wild fire and wind - dry n hot !
" Priest of the Black Oracle " - reminds me of Sabbath - and their song Black Sabbath -
It was a gateway song that they established - time wise - foundational - all of it.
Maybe it was the same for Death Angel - in the formative years?

1993








There are some bands that can't pull off a radical sound change, but The Organization did, and they did it very well. Mark Osegueda had by all accounts retired from music, but the original four were still there. All was not lost though, as Rob Cavestany would take over lead vocal duties along with the resonant sounding Andy Galeon, whose vocals could be heard all over this album. I don't even want to call Andy Galeon a backup vocalist, because that would be disingenuous. Many times Rob and Andy's vocals were interchangeable. Like that of "Frolic Through the Park" or "Act III", harmonizing would be a factor that made them standout from other bands both past and present. The Organization for the most part concentrated on the heavy riff versus that of the breakneck speed riff that would define them on various Death Angel albums. Guitar solos were still part of the make up of the band, but were devoid of all the note cramming, which was a staple in the thrash genre.


The Organization's self titled album was a blend of Death Angel's earliest days as a four piece, when they idolized being the next Iron Maiden or Accept and what was clearly the new musical rage, alternative rock music. I enjoyed that burgeoning sound of '93 like many others, but looking back, The Organization's music from their self titled album sounded smarter. The Organization should have been much bigger, rather than some obscure footnote from the early 90's, but the band was a poster boy for the pejorative attitude of music fans, critics, and lastly the record companies. Some bands are allowed to be decade busters, but bands like The Organization were not one of them. The tried and true Death Angel fan wanted their band back and the nexus which was your grunge, alternative, Seattle sound community wanted them vanquished.



"Free Burning" is track one and is a good lead off track, especially if you're looking to reel in a new listener. Every time I hear the opening riff, I hear Seven Mary Three's "Cumbersome". It makes me wonder if the guys from Seven Mary Three heard this riff as well as it's sort of uncanny how similar they are. Like I stated earlier, this song has the blue print of Rob and Andy sharing lead vocal duties, with great harmonizing on the chorus. Andy even shows off his rapping skills at the 2:25 mark.

Track two "Policy" has some really nice solo work over a somber sort of riff to start things off, which carries into a riff like that of "Free Burning". The riff at the 3:05 mark hearkens back to something that would have come from a decade earlier, which for myself is the high point of the song. I love how the end of the song reverts back to the very beginning.

"Lift" is the third track and has a very jazzy feel to it and is a song where Dennis stands out on bass and Andy on the drums. This song has the distinction of having a horn section, which doesn't take away from the overall heaviness of the song. I love the second half of this song!

Track four is "Bringer" and ranks as one of my favorites on the album. The harmonies sung over the haunting riff create a very dark and moody atmosphere. This is one of those songs that feels like it's a harbinger for something really heavy. It doesn't disappoint! Even though I like the first three songs on this album, "Bringer" makes you forget about the first three songs, due to the fact that this is the type of a song that most resembles Death Angel! Andy Galeon handles the lead vocals on this great song.


"Brainstorm" is track five and easily my least favorite. It's too damn pedestrian for my liking, especially after what preceded it. It's a bass driven song that doesn't really go anywhere. The guitars do eventually kick in, but are quickly replaced by Dennis' bass once again. The harmonies like the rest of the album are very good, but not enough to save this song. Andy once again has a chance to show of rapping abilities. At least the end of the song has some good lead work.

Track six is "Bottom Dog" and like "Brainstorm", it doesn't really go anywhere for myself. Rob's lead work during the initial stages of the song is pretty good. The main problem I have with this song is, it feels like it's going to go somewhere, but then it doesn't deliver, especially during the last third, with the horribly over produced nature of this song. The lyrics are goofy as well. The harmonies are awesome though. That aspect makes me really miss Andy in the current incarnation of Death Angel.

"Wonder", which is track seven, is a song that is a precursor to Rob Cavestany's 2007 solo effort "Lines on the Road" or at least the first half of the song. The great thing about this album is how these songs are all over the place. The riff at the 2:07 mark is one of the heaviest of the album. This song, though not my favorite, has maybe my favorite solo on the album. This song more than any on the album, always grows on me. Like other songs, the ending is a rehash of its beginnings.


Track eight is "Withdrawal" and is a great instrumental. Like "Bringer", this is a song that could have been in the Death Angel catalog. As great as this song is, it has a very over produced middle section. I think this song could do without that, but other than that, this song rules. "Withdrawal" has a very abrupt ending like that of Sabbath's "Hole In the Sky".

"The Past" is track nine and ranks as my second favorite song on the album. I'm a firm believer in heavier songs being bolstered by their acoustic beginnings. The main riff is infectious and is quite possibly my favorite on the album. Rob's solo totally rips on this one as well. This is one heavy damn song!


Track ten is "Been Nice" and it is my favorite tune on the album. Though the song sounds something that was pretty modern for 1993, I love this song for the chorus and the great harmonies. This song was a great way to cap off a really underappreciated album. Normally I think cursing is sort of juvenile on songs, but it works so well on this last tune!




.....1995's Savor the Flavor

This is the first I've ever heard anything from the Organization. I like it.

1995










"Savor the Flavor" is the second offering from "The Organization." It is an album that has elements of the bands s/t, but has even a more experimental feel to it. Though I don't dislike the album, it's somewhat laborious to get through. The production on this album sort of sucks, due to Andy Galeon's drum sound being so thin on the majority of the album. 1995 for all intents and purposes was a chasm of musical hell for me. Metal bands were going through an identity crisis, AOR bands which once dominated a decade earlier were all but extinct and pop music was just becoming less and less interesting.  During this time and shortly after, the musical climate ushered in the resurrection of the boy band, the pre-pubescent female act who could strike a pose and lip-sync all over the stage, much to the delight of its new simpleton audience. The music from that city in the great Pacific Northwest was running on borrowed time and RAP, which was once somewhat likable and dangerous in the 80's, would become a derivative (hip-hop) of its humbling roots. In many ways, the American public was being served a giant piece of simplicity and devouring it and has done so ever since. There was a cultural paradigm shift going on before our eyes, and the singer songwriter was taking the brunt. I don't think music, as it relates to the masses has ever been the same since. What I thought would have been a short shelf life, regarding what was becoming popular in 1995, has literally staked its claim to this day in 2016.



The title track "Savor the Flavor" kicks things off and is listenable. If you were enjoying music like Seven Mary Three, Gin Blossoms, Better Than Ezra, Silverchair, Collective Soul, then this album would probably speak to you. It's weird that this album didn't get more of a look back in the day, considering the musical elements that were on display.


"So Full of Lies" is a song that I gravitate more than many of the others on this album. It has a really nice heavy feel to it, with some nice bass work from Dennis, along with that familiar vocal transition between Rob and Andy. Even though it's not what I would call Death Angel-esque, there are those dynamics in play, especially as it pertains to the opening riff. The difference being, the song settles into something more akin to what was a part of the alternative music scene.

The third track "Doomsday Eve" is another song that I'm surprised that alternative rock scene music fan didn't eat up. The opening riff is basically the blue print guitar sound during that time. What separates it of course from many bands during that day are the Cavestany riffs, which still sound complex, but are not as drawn out like that of your typical lead guitarist from a thrash scene.

"A Way Today" is the fourth track and is the first track for me that is sort of a turd. It's a little more bass driven, but that's not the problem. It's just a bad bass line and the song really never goes anyway for me.

The fifth track, "A Long Today" an acoustic number, is boring and bland. I'm all about acoustic music, but this sounds like a b-side from the band Tonic.

"The Chase", which is the sixth track, starts off with some promise, especially after the last two tracks, but any of the intensity which could be felt at the beginning, limps its way to the finish line. The chorus is okay, but there just isn't much sustainability in this track. One keeps hoping for more, but it never really delivers.

The seventh track, "War 25" is one of the highlights of the album and bucks the trend of what I felt were a string of weaker tracks. The riff, all though repetitive, is unmistakably catchy. Some times the simplest of chords works well and that is true with this track. Around the 2:33 mark the song moves into a totally different direction. "War 25" is one of those songs that hearkens back to what made bands self titled album so appealing.

"Begin a Life", the eighth track has a nice opening riff, which is intertwined throughout the song, all the while working off of Rob's vocals, which are more up front along with Dennis bass noodling. The bridge in the song has an enjoyable mellow feel, which accentuates the heavier parts of the song. I wish the song was little bit longer.

The ninth track, "The Drought", is the high point of this album in my humbling opinion. It's the heaviest song on the album and is a very different sounding song. It has a very distorted, punk like vocal to it, with a very punk like riff. Normally I enjoy the dueling vocals of Rob and Andy, but I wish this would have been the time where Andy wasn't involved vocally. The dissonance of this song, is what makes it so great. There's a great raw feeling to "The Drought" for the most part, but then it tries to become a little too cute.

"Insomnia", the tenth track isn't bad, but I don't like the acoustical interludes that are used throughout the song. Does it make the heavier parts sound even heavier? Without a doubt! I just don't like when bands get gimmicky with their songs and this one just is to an extent.

The eleventh track, "Stupid Mood", sounds like a song from a band that I used to go see in Tempe in 1996, named "The Stumbles". This song quite possibly more than any on the album, sounds the most dated to me for this time period. I hate the production on this song, as the bass is much more up front, then that of the guitars. It's as if the band was trying to meet the cliche quota from this time period. It's like, hey guys, is there anyway we can get some of those bass driven goobers, who lap up the alternative rock scene, because they have weak guitar players. The problem with this, Rob and Gus were not only established musicians, but also very talented.

"By the Time", is a really nice somber, mellow tune, which has a really nice heavy section in the middle and then reverts back to that somber, mellow feel and it works strangely well for the last tune. It's much better than any of the other slower acoustic numbers. It fades out nicely and wraps up an album, which by all accounts is at least an average listen. It has its moments. Having said that, the next incarnation of former Death Angel members was the bands highest point, known as...




The Swarm

I picked up live in germany on cd and dvd. Amazing performance.

Time to revisit a thread that I was wondering if I would ever get back to. I would like to say that it's easy to get fired up when writing about various members who made up Death Angel, but much like what was going on in the music scene in the late 90's (or what wasn't going on), I have to show some intestinal fortitude, as I really hated much of what was going on from 95-01. It was an era where 2nd tier grunge bands (post Nirvana) were prominent, along with a genre which I despised in that of Nu-Metal and pop was being re-introduced to boy bands and pre-pubescent teens being served up to their adoring fans. I was so despondent that I actually went down the rabbit hole which was Radiohead, Guster, Sloan, Third Eye Blind, Days of the New, Silverchair, Tonic, The Refreshments, Train, Sarah McLachlan, Rusted Root, Alanis Morissette, Goo Goo Dolls, Elliott Smith, Sheryl Crow, Better Than Ezra, R.E.M., Collective Soul, Feeder, Black Lab, Shawn Colvin and others fitting this descriptive musical narrative. Though I still listen to some of these artists or bands, it was a struggle to embrace the latter half of the decade. Gone were the musical elements that drove the "Where were you when you first heard _ _ _ _ _ _?" Me being lost musically, fit my twenties, as I was lost without a clear direction.

1999 was here and gone was The Organization, an interesting sound of heavy metal riffs, with a funk approach. The Pepa's were both out, but back into the fold was ex Death Angel vocalist Mark Osegueda. Mark for all intents and purposes had dropped off the face of the Earth. Rumor has it, Mark was so sick of the music industry and its corrupt nature that he changed coasts, called New York City his home and academia became his calling. Not much is known beyond that. I'm not sure if Mark graduated with a degree or if he delved into anything musically, though I believe music had literally not been a part of his life after departing Death Angel in 1991. Though I'm not sure when the birth of The Swarm was, the first music which dropped from the band, was their E.P "The Swarm" (1999). It consisted of four tracks "Bleed", "Sufferahs" (which would be titled Suffer on "Beyond the End"), "Sengir Vampire" and "Beyond the End". The band's second E.P "Devour" (2002) consisted of five tracks: "Dark Western", "Never Forget", "Bleed", "Karma" and "Heaven's Cage". All of these would show up on "Beyond the End", which didn't see the light of day, until April 3, 2004. Curious timing, as a certain band's reemergence would happen with their reunion album hitting the shelves twenty some days later.

Anyways, back to The Swarm. The Swarm consisted of Rob Cavestany (G.), Mark Osegueda (V.), Andy Galeon (D.) and newcomer Michael Isaiah (B.). Rob had taken a break from music in between The Organization and the forming of The Swarm, when he had been jamming in a music store and Michael Isaiah had taken notice. With this simple meeting, Andy Galeon entered the fray and Mark (now back on the west coast) had an interest in getting involved after hearing them during rehearsal. I was going to write about each E.P, I've decided to cover it all at once, so I might finally see this thread to fruition. 'Beyond the End" is a step up from The Organization and where they were by 1995's "Savor the Flavor". The heaviness of The Organization's S/T had sort of taken a back seat to the funked up style of the aforementioned. Whatever style leanings of Death Angel the band might have been holding onto from their self-titled, were gone by 1995. "Beyond the End", though not a return to the Death Angel sound, it did have its moments. Though I enjoy "Beyond the End", it had what I considered a 90's blue print. In order to be relevant most bands had to be vastly under-produced, with a thinner drum sound with the bass up front. Though these things all exist on this record, Rob has a somewhat signature sound and his leads are a prominent part of this record. Mark Osegueda on the other hand starts to adopt his harsher vocal style, though he does lean on that "Frolic/Act III" vocal approach here and there.



My favorite track on here is the opener "Heaven's Cage", because it most resembles something one would have heard on a Death Angel record prior or moving forward. It also has that classic backup vocal of both Rob and Andy. Though this song doesn't set the tone necessarily for the rest of the album, it's musical approach was something that had been missing since 1990. The second track "Bleed" has that "Thicker Than Blood" vibe which on the next record. It's a nice mid temp rocker with a heavy riff. Osegueda's vocal approach on this song, is what we've become accustomed to in every Death Angel record since. It's one of those songs with staying power and it probably has to do with it's similarities to "Thicker Than Blood". The third track "Never Forget" is one of the six songs that I enjoy on this album, but would be the worst of the six. I quite enjoy the main riff, but too much of the time it feels like it's riding in neutral. It feels like it has the potential to be even a better song. "Karma" is the song that battles "Heaven's Cage" for my favorite on this record. I love the intro to it, as it once again has all to familiar feeling to it. When I listen to "Lord of Hate", I hear something very similar. This song has a nice swing to it, and has a great mid-tempo feel to it. The riff is creepy and the chorus is trippy in nature. The first half of the album closes with "Dark Western", a song that I just don't care for. It's trying to be cute as Mark talks over the music, as he is more of a narrator on this number. It's the longest song and it's boring. It's the band trying to Metallica on the song "Ronnie". If the Counting Crows or The Why Store tried to be a metal band, it might sound something like this. It just doesn't work for m and it just labors on.

The second half of the album though not as good as the first, starts out great. The sixth track "Sengir Vampire" sounds like something left over from The Organization, as they bring the funk, but also deliver with a really nice heavy riff. This track sounds like the Chili Peppers at their heaviest. The seventh track "Suffer" is much like "Dark Western", as it would be the band trying to sound more mainstream. It has a very funk feel to it, but where "Dark Western" is an unmitigated disaster, there are some redeeming qualities on this effort. Like the previous track, it has that Organization feel to it, as they might have been leftovers from that time period. The eighth track, "Beyond the End" has a great main riff and is my third favorite on the album, but is one of those songs on any given day could be my favorite. This song also hearkens back to an older vocal approach by Mark, but also goes with that harsher vocal style. Musically this song is all over the place, which makes it really fun. The ninth song "Diamond" sounds Hendrix-esque at the beginning, with some guitar work that would sound familiar on Led Zeppelin I. It's a trippy number, as it's 1969 meets the present day. This song will probably always be a grower, but I'm still trying to decide how much I like this song. The last track is "My Eyes Have Seen You". Whenever this song starts off, I immediately think of Jefferson Airplane and "White Rabbit". I've never been much of a fan of Jefferson Airplane, so I can't say this song does much for me, but it's undeniable what was inspiring this band as they wrote this song. The bass line just sounds like something from "The Wizard" and Black Sabbath. The last two tracks needless to say have this Zeppelin/Sabbath/Jefferson Airplane feel to them.

I'll leave you with some live stuff from Austin, TX (03-30-2001) in support of Jerry Cantrell



...Up next the reunion concert and the return of Death Angel

Excellent overview of this obscure project of Death Angel band members, I had lost track of Death Angel and its band members after 'Act III', so this was very nice read to find out about these tracks.

Please continue this metalinmyveins. It is absolutely the best discography thread we have, and I only got into Death Angel this year. I have four of their CDs now, and am looking forward to commentary on especially the 2000's albums.

I just got into this band and I've now got a small pile of their CDs, but I'm still missing some.

I got a 4CD box set called "The Enigma Years" with Ultra-Violence, Frolic Through the Park, Fall from Grace, Kill As One EP, and then I've also got Act III, The Art of Dying , Dream Calls for Blood and The Evil Divide.

I'll sort out my thoughts of each album as I play them a little more.

The Reunion...

It was August 11th, 2001, pre 9/11, pre second wave of the Thrash Metal movement, pre a lot of stuff that we've come to known over the last 20+ years. "Thrash of the Titans" was an event organized by Walter Morgan. Walter was a former roommate of Chuck Billy's and a close friend. Walter knew that the financial constraints of the cancer Chuck was fighting would make it impossible for him to earn a living either on stage or his job when not in Testament. It was also known throughout the metal community that Chuck Schuldiner of Death had been diagnosed with brain cancer since 1999.

What made this concert more than just a fundraiser to help two metal brothers, was the fact that there were a few bands that had laid dormant for a few years. The late 90's when it came to heavy music, was centered around the second wave of grunge and the nu-metal scene. On August 11th, 2001, San Francisco, CA, once one of the most important metal scenes on this planet, would take center stage again. The bill itself comprised of mostly San Francisco area bands such as Heathen, Sadus, Forbidden, Exodus, Vio-Lence and the band formerly known as The Legacy (now Testament), along with two East Coast heavyweights Anthrax and S.O.D. and Phoenix based Flotsam & Jetsam. The event had a starting time of 3:00 PM and would go well into the night, ending some twelve plus hours later.

One band on the bill hadn't been together in over ten years. That band was the mighty Death Angel. This wouldn't be a full-fledged reunion, as Gus Pepa, now living in the Philippines and not playing music would hand over the other guitar duty to Ted Agular (b. 1972). Ted was a San Francisco native and a huge Death Angel fan growing up in the 80's. When approached by Walter Morgan, the one-off show was never intended as a full-on reunion. Due to the great response of the crowd that night and the overall enjoyment the four (Rob, Mark, Andy and Denis) had along with whom would be the newest member, Ted Aguilar, the band decided to forge ahead. After this defining gig, the band would mostly perform in their hometown of San Francisco, but soon would be off to Europe in 2002/03 before embarking into their next studio album.







                                                                                                       
                                                                                                         
                                                                                                          1. The Ultra-Violence
                                                                                                          2. Evil Priest
                                                                                                          3. Voracious Souls
                                                                                                          4. Mistress of Pain
                                                                                                          5. Kill As One
                                                                                                          6. I.P.F.S.
                                                                                                          7. Thrashers
                                                                                                          8. Bored
                                                                                                          9. Seemingly Endless Time






Mark repeats the first verse...10 years of rust.

                                                                                                         



Up next...The Art of Dying

I had a burned DVD copy of that gig. Let a co-worker borrow it way back when and when he was fired for a dirty urine test. He split the job site before returning it.

I never had that but I've completed my studio album discography of Death Angel recently.