Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Perhaps the only other voice out there at this juncture capable of matching the dual assault of mildly consonant yet gritty tenor yells and primal, mirror shattering screams would have been Blitz Ellsworth.
Nevertheless, thrash metal of this variety tends to work best when going straight for the jugular, and a wicked mixture of galloping guitar insanity, fret blazing solos and outright eerie vocal gymnastics manifest in the high speed thrill ride that is "Kill As One". While a near infinite number of interchangeable metaphors and analogies to demolition and destruction could be used to describe the raw intensity of this entire opus, the most intriguing element is actually found in its peripheral traits and how they relate to a trend in American thrash circa Some have come to understand this point in thrash's history as the period in which the bands that were passed over in the earlier 80s, in favor of the so-called Big 4 and a few other early acts like Exodus and Dark Angel, were finally given their shot.
Consequently, albums like "The Legacy", "Eternal Nightmare", Taking Over" and this rather proud display of old school mayhem came off as being heavily similar to the output of already established albums from the era. Particularly in the case of "The Ultra-Violence", one can't help but note the similar blend of treble-heavy mixing and lighter guitar distortion that reminds heavily of the "Kill Em' All" and "Killing Is My Business And Business Is Good" sound that had since been moved away from for something a bit heavier and more polished.
This album very well could have been released in and have been even more time-appropriate. There is definitely a reason why this album is praised heavily amongst thrash adherents young and old, and it has a lot to do with the reason why Kirk Hammett took an interest in them and ended up producing their demo "Kill As One". This was a band that had their act together right from the start, though they unfortunately ended up losing it soon after, probably by listening to all the wrong influences from the more punkish New York scene.
But this is an album built completely out of a rugged sense of unfettered aggression, tempered only by the typical parameters that defined the moderate killing spree approach of "Bonded By Blood" and the storm of speed and chaos of "Darkness Descends".
It doesn't quite outclass either album, but definitely demands the same level of attention and general praise. Any metal movement doesn't happen by itself, and the collective effort of the San Francisco crowd stands as one of the more impressive feats in metal history, one that is still imitated even to this day.
Kill 'Em All. Killing is My Business Show No Mercy. Bonded by Blood. Darkness Descends. All of these albums shared a distinction in that they felt fresh in composition, limitless in potential, and most importantly timeless in their transgressions.
An album like this has simply never lost its luster through the ensuing decades, and in fact it remains a more memorable, grisly and violent gem than anything released later in the Death Angel canon. The groove and funk-inflected subtext of Frolic Through the Park, the friendly and cleanly Act III; neither was bereft of a catchy track or two, but both seemed rather underwhelming when paired off against their malicious predecessor.
What's perhaps even more staggering about this album than many of its peers coming out in is the sheer age of its creators. These guys were jamming and hitting the studio when they were still young teens their Kill as One demo was recorded in with Kirk Hammett of Metallica, of all people. While every city and suburb at the time might claim dozens or more metal bands forming between high school friendships and cliques, and gods know later youthful extreme metal acts would surface and impress Decapitated anyone?
Death Angel could not only write effective songs that surpassed, but instrumentally proficient. The Ultra-Violence was perhaps the greatest 'teen thrash' album in history, certainly the best of that California rush, and as one who was only 13 myself when first acquiring and experiencing it, in a word: inspirational.
We could do this! We pimply, misunderstood, emotive rebels across the States and beyond who dug our consciousness into our earphones to escape the burdens of pending adolescence were also capable of tearing the goddamn house down! Death Angel our living proof! Not only that, but there was an air of ethnic novelty at work. Certainly there were many Asians and Asian-Americans into metal music, and Japan in particular had produced a good number of acts by this time, but Death Angel was the first band of Filipino descent that I was personally aware of, all its members related.
Not a detail that inherently imparts or detracts any value to the music itself, but firm evidence of how wide a cultural influence was capable through this genre. Today, the easy access via internet to essentially ALL extreme music has created a mass exodus towards the fandom for people of all cultures and nations, with Southeast Asia becoming a specialized hotbed for underground brutality, but just imagine how scarce the market might have been in Death Angel's heyday?
I can only imagine what a stir these guys must have caused through their homeland connections, what the reaction might have been for better or worse to see these guys whipping their hair around in lethal unison.
Beyond any of these fact, however, The Ultra-Violence simply kicks ass, taking no prisoners in its drive to rack up as many casualties as possible. The foreboding, post-apocalyptic ruin and petrified skull on the cover, when matched to a title derived from A Clockwork Orange, promise a whole lot of pain, and to that extent, these youngsters more than followed through.
Harsh and threatening, yet not lacking in a sumptuous dynamic range, the 45 minutes of the debut prove both substantially solid in terms of individual track quality and versatile as a whole.
I mean, for fuck's sake, the band has incorporated an 10 and a half minute instrumental component in the title track; and even if the opening, higher register guitar melody is somewhat reminiscent of, say, Iron Maiden's "Wasted Years", there is no disputing the amount of effort that went into its arrangement, from the wild and psychedelic shredding deep in the bridge to the assemblage of concrete neck-jerking rhythms that lead up to it.
And this is easily the worst track on the whole of the album In general, we were dealing with more restrained, verse-chorus patterned songs in the typical hard rock or trad metal mold, not unlike how Slayer or Exodus were composing but with every bit the same amount of passion and kick. Driving, crisp guitar tones dispensing bladed hostility in the tremolo mutes that introduce "Evil Priest", or rifle through the verses of "Mistress of Pain". There was also some mid-paced, destructive palm mute chugging for mosh pit genesis, but what I found truly distinct about Rob Castevany and Gus Pepa was their penchant for original, screeching guitar effects in both the leads and prevalent spikes of melody that were constantly threaded over the architecture of the rhythm guitars.
Sometimes wild and unchecked, others more structured and important to the momentum of the thrashing, but always unique when compared to, say the wilder, unbridled spasms of a King or Hanneman, the dextrous finger exercises of Mustaine or even bluesy bombast that provided a foundation to Hammett. Perhaps one could not chalk this up to the duo's age or cultural background, but unquestionable a very individual tone that was rare among the Bay Area, East Coast or Teutonic scenes.
Another standout here was vocalist Mark Osegueda, who had a spirited, acidic bite to his tone which was both natural and viral, whether dwelling in a mid range or the occasional shrieks he applied to the tail end of his phrasing.
About the only person I would really compared him to might be Joey Belladonna of Anthrax, but lacking that same, nasal monotony despite the same tendency to remain with a cleaner voice. He's especially important on the menacing cuts like "Evil Priest" or "Voracious Souls", two of the best in all the Album) catalog, for how he comes off like a living scythe in contrast to the thrust of the rhythm guitars.
The drums and bass on the album are also noteworthy, if not the most immediately notable factors. Andy Galeon was no Gene Hoglan, but then, the guy was 14 when this album came out, and had a firm grasp of the standard metal beats which he would accent with some double bass and lots of instances of tinny fills on the cymbals and hi-hat during tunes like "The Ultra-Violence".
Dennis Pepa's bass breaks were amazing when left to stand on their own like the distorted twist at of "Thrashers" or the grooves plugging along under the acoustic in the "Voracious Souls" bridge. If I had to chart the band closely alongside any one peer, it would likely be Metallica if only because the thunder of the faster guitars often drew me towards nostalgia for Kill 'Em All or Ride the Lightning.
Nearly everything from the frenetic melody that inaugurates "Thrashers" to the bass-driven instrumental finale "I.
In the end, though, there is enough charisma to this record that the minor inconsistencies of its minutia are easily cast Voracious Souls - Death Angel (2) - The Ultra-Violence (Vinyl, that it belongs in the collection of any discriminating lover of 80s or later thrash, speed, or even filthier trad or power metal.
The lyrics were fairly Album) considering the band's age at this time, paeans to psycho killers, gang bangers, sadistic succubi and devil worshipers alike. Granted, beginning your thrash album with a song called "Thrashers" might seem trite now and possibly even inand later lines like 'the thrashers will put you to shame' "Kill As One" might seem like a limp, insular promotion of the band's chosen subgenre, but they were not alone in this, and in general the lyrics provide the incessant flood of violent and efficient imagery appropriate for the underlying composition.
This is the best Death Angel to date, and its production holds up just as strongly as its songwriting. Semi-accessible like all the stronger West Coast albums of its type, but nonetheless predatory and punishing. Death Angel, a band that never really hit the big time, at least compared to the big four of the time but if you are looking for yet another thrash metal masterpiece you need look no further, Voracious Souls - Death Angel (2) - The Ultra-Violence (Vinyl.
This was the debut album for these guys and holy shit what a fuckin' debut this was. This is album is the perfect example of what is meant by music that will pound you into submission and all the while your teeth are clenched, fist in the air and you feel as though your head may come clean off by the sheer force of the vertebrae shattering headbanging you cant help but fall into.
The most amazing thing about this album however has to be the young ages of the band. Almost everyone in the band was only in their late teens and the drummer Andy Galeon was only 14 when the album was released!
None this wouldn't matter at all if the album sucked but this album is so good you are simply left speechless when you take into consideration a bunch of KIDS wrote this and I don't think I would be going out on a limb by saying this is certainly in the top 5 thrash albums of all time. The maturity in the songwriting and technicality are something that people in the music industry for years would love to accomplish.
This album is filled to bursting with absolutely killer riffs and amazing musicianship overall. Although they were never able to recapture the spark that was shown on this album the other two do have their moments Frolic through the Park and Act III respectively.
The Ultra-Violence is certainly considered what you would call a buy or die album and simply one of the greatest thrash albums of all time. While I've always taken a lukewarm reception to Death Angel, their debut album is one I couldn't possibly look down on even if I wanted to.
Most of the reviews already here have little if anything negative to say, and while I wouldn't dare break that trend, I wouldn't necessarily call this a perfect thrash album.
While it does an great supply of healthy riffs and Mark Osegueda's immense vocal performance, I get the feeling some these songs could have been better. This isn't an enormous complaint, as I tend to enjoy the hell out of this album all the same. Considering the late 's was a time for Metallica clones, its nice to hear a band who didn't have to completely rip-off the sound to get somewhere. This is all too well exhibited in excellent full speed chargers like "Mistress of Pain" or "Kill As One," both of which also give off Osegueda's incredible shrieks.
Considering I've heard mentioned the band members were all fairly young, it only adds to their credit. Considering fans nowadays lose their minds because a band like Trivium is young, I'm guessing none of them have actually heard this album, processed the age factor, and then realized this pulverizes "The Crusade" into dust. With riff cannons like "Thrashers" with a different guy on vocals "Final Death," "Mistress of Pain," and "Evil Priest," its hard not to consider this one of the better thrash efforts of the late 's.
I still say it doesn't get nearly enough attention, largely because of what the band members did after this album. I guess with "Killing Season" out there as of last year, it shows the band is trying to bring back some of their charm.
Needless to say, nothing they've done since can out do this one, especially if you're in the mood for visceral thrash metal. While it may be the only album worth really checking into by this band, "The Ultra-Violence" remains a complete part of any thrash fan's complete breakfast. It has anything you could really ask for, even a maniacal instrumental in the title track, every song here is absolute killer.
Well, every song here is killer except for "I. In any event, every thrash fan is incomplete without this, and while its not necessarily perfect, its just about everything you really want out of a competent thrash release. In all seriousness, the duration is downright excessive. With the kind of thrash they play here, this persona works much more effectively.
His voice is piercing at times, and his falsettos are more impressive than those in your typical power metal music. The song really is shocking and captures that sort of a moment perfectly.
Such an insane, more-aggressive-version-of-Judas-Priest type of song deserves a more competent singer. The closing track is also a lame attempt at comedy with a boring set of riffs followed by a bunch of random quotes and impressions done in silly voices. Venom had done this infinitely better already. Death Angel's debut "The Ultra-Violence" is one hell of a debut album. It's probably their best album as well. I remember when I first heard this album, it was maybe years ago and I totally loved it.
Death Angel play a fast and technical kind of thrash metal and it's a little like a mix between Megadeth and Deliverance. The great riffs, drum fills and the pitched vocals that just screams out it's final anger. It's an album that shows why thrash metal is the very best kind of metal out there. DA's songs are heavily driven by fast and raw riffs as well as mind blowing guitar solos.
The drumming shows how it's supposed to be done. No fucking drum machine here, this is drumming made by flesh and blood. The bass is sick and the vocals goes along so perfectly with the songs. Man, the singer literally screams his lungs off. The production is pretty good. You have to remember that this was their first album and it was released in Everything's alive and no instruments are drowned in another instrument. I also like the guitar sound they've got here. The cast is doing a great job and they're all good musicians.
The lead guitarist and the drummer are particularly good. So finally to my last comments on "The Ultra-Violence" It's a great album which has a lot of killers.
Some might be less killing crazy and some more but it's always like that. I really recommend this great piece of thrash metal and it's defenitely worth to be invested in. Admittedly their is a lot of nostalgia when it comes LP this release with me. It was the album that truly made me realize how much I loved thrash, and more importantly metal in general.
This is undoubtedly Death Angels best release, and pretty much their last good one. This album features over the top riffage, and the band showing off their unique sound and talent. This album helped establish Death Angel as the runts of the scene, but despite being young they delivered some killer thrash for It was Death Angel that was seen as the next generation of great bay area bands inand its easy to see why.
If only we could have prevented their failure as a band on all levels. Well onto the music. Its catchy as fuck despite the cheesy "thrash metal" lyrics and displays some truly killer riffage and two guitar solos Ok the solos aren't that good, but these guys are teenagers give em a break.
Its easy to see why this became a staple of their live show. Its a mostly mid-paced song, but Mark Osuegada starts to show off his very unique vocal style here. Mark really gets going here yelling out high pitched screams that are simply too good to be true almost. The aggressive riffing is stuff that would make Pantera kiddies boil in their own blood. Easily cannot be forgotten. Its probably the least up to par track here, but theirs nothing bad to say really.
Mark Osuedega's vocal work is simply amazing, few have as high pitched a voice as he does. Andy Geleons drumming is shockingly competant for such a young person. He doesn't experiment a whole lot, but he provides a steady beat for the entire album and thats all you really ask for.
Gus Pepa and Rob Cavestany's guitar work is solid, and considering they no doubt came up with a load of these riffs they deserve credit for that even if they can't solo. Dennis Pepa is competent as bass and gets the job done. While the band has yet to come into their own it seems, their is an obvious potential to be one of the more legendary thrash bands here.
Sadly it was not to be, and most of these people peaked here. Although theirs not actually a sub-par song here besides "I. Really not much else to add besides the fact that the vocal work by Mark is truly amazing. Well the musicianship is far from the best, but they considering they were young this album is rather amazing. But really their is nothing to complain about. Its far from perfect, but Death Angel truly had all the right ideas on how to do a debut album here.
Its a shame in general that this would be Death Angels best effort and that they would never fulfill the promise presented here like so many thrash bands.
I'll admit I have a huge nostalgia trip when I hear this every time Especially on the chorus to "Thrashers" or "Kill as One". All the ideas presented here are a solid foundation to what could have been one of the better Bay Area thrash bands.
What we got instead was several whiffs in a row with the occasional "oh my god where did that come from! So in the end cherish this album for what it is, even if it does stand alone. Conclusion: Buy this album if your a fan of thrash, and even more so if you like Bay Area Thrash.
This is essential material for any thrasher and a Bay Area Thrash classic. Final Grade : Way out in southern California, a brand new style was being engineered that would lay the foundations for all extreme music to come. This style, of course, was thrash metal, particularly the Bay Area variety. Hundreds of acts would emerge from here over the course of the decade, including many major players from Metal Church to Vio-lence and everyone in between.
But as the decade began to wind down, the quality of music was starting to decay, resulting in a lot of mediocre output. Yet even so, the late-period Bay Area scene did have its fair share of success stories. Take Death Angel, for instance. There is perhaps no album that better epitomizes what Bay Area thrash was all about than The Ultra Violence.
Every member of Death Angel, despite their young age, was at the peak of their performing capabilities, the production is raw and fierce, and most of the songs can be placed high on the list of thrash classics.
The most important aspect of any great thrash album is a varied spectrum of ideas. Nothing kills a potential album like innocuous filler having a shitty bass player hurts too; DA avoid this as well. Basically, every track is a strikingly different beast from the one that precedes it, maintaining interest with the listener for its entire duration. All of them were around 16 at the time of this recording, which means they were even younger when the band was formed.
Death Angel are the best example of age meaning nothing in terms of artistry. So stop reading this shitty review and beg, borrow, or steal your way to one of the finest albums of its kind. People seem to adore this album mainly because of the huge variety of riffs and the insane vocals. And yeah, they definitely have a point. This record is all riffs, riffs, riffs.
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