Overkill

Overkill

Death Angel, Act of Defiance

Thu, May 9, 2019

6:00 pm

$25.00 - $30.00

Off Sale

This event is 16 and over

Overkill
Overkill
Thrash Metal (Heavy Metal) band from New Jersey (USA).

The band known for rejecting several names, which includes "Virgin Killer", this new band finally settled on "Overkill", naming themselves after a Motörhead album.
Overkill were formed in New Jersey when a previous D.D. Verni/Rat Skates (real names: Carlos Verni and Lee Kundrat - the stage names were tributes to favourite punk bands, the Ramones featuring Dee Dee Ramone, and the Damned, featuring Rat Scabies... Bobby Blitz was taken from The Dead Boys' Johnny Blitz!) project, a punk band called The Lubricunts, broke up in 1980. (There's a picture of the Lubricunts demo cover in the Wrecking Your Neck liner notes.) D.D. quickly wanted to form a new band, so he put out an ad which was answered by guitarist Robert Pisarek (who came up with the name Overkill), but he was quickly replaced by Dan Spitz and Anthony Ammendolo.

Early covers (especially those done under the Virgin Killer name in the very very early days) were punk songs for the most part, including selections by the Ramones, and The Dead Boys. By 1980, they had recruited two guitarists (names forgotten over time) and the setlist included songs by Motorhead ("Overkill", half of the Ace of Spades album, and others), Judas Priest ("Tyrant" was their closer for a while), and later Iron Maiden and Riot, as well as a smattering of punk covers, which were played with extra distortion, intensity, and concentration on riffs.

In 1981, guitarists Dan Spitz (later of Anthrax) and Anthony Ammendolo left the band and Rich Conte entered with Mike Sherry. At this point, they started writing originals, including "Grave Robbers", "Raise the Dead", "Overkill", and "Unleash the Beast Within". More originals would follow, including "Rotten to the Core". Somewhere around this time Rich and Dan left and Bobby entered with Joe somebody on guitars. The band became a staple at New York and New Jersey clubs around 1982, and soon Bobby lived up to his "Blitz" nickname, earning an ejection from the band for a few days in 1983!

Around this time, the fluorescent green logo was adopted - it was specifically chosen to stand out on a poster with lots of red logos of other bands on the bill.

The lineup would stay consistent until 1987, when "Rat" Skates left the band. He was replaced by Mark Archibole for a few gigs, and then on a permanent basis Sid Falck, previously of Paul Di'anno's Battlezone. (Bobby Blitz once said that the only former member he misses is co-founder Rat Skates.) Then, in 1990, Bobby G. left and was replaced by Rob Cannavino and Merritt Gant (Faith or Fear).

This lineup lasted until 1992, when Tim Mallare came in on drums. Rob and Merritt both left the band in 1995 (Rob became a motorcycle racer, and Merritt formed several other bands), being replaced by Joe Comeau (Liege Lord) and Sebastian Marino. Joe left in 1999 to become the vocalist for Annihilator, and the Coverkill album was recorded with new guitarist Dave Linsk. Sebastian left to spend more time with family, so Linsk played all the guitar parts on 2000's Bloodletting album, and Derek Tailor joined for the subsequent tour, and was also featured on Killbox 13. Tim Mallare left Overkill on his own accord after 14 years with the band in 2005.

Current line-up
Bobby "Blitz" Ellsworth: vocals (1980-)
Carlo "D.D. Blaze" Verni: bass (1980-)
Dave Linsk: lead guitar (1999-)
Derek "Skull" Tailer: rhythm guitar (2001-)
Ron Lipnicki: drums (2005-)
Death Angel
Death Angel
Thrash Metal (Heavy Metal) band from San Francisco, CA.

Death Angel (2) was formed in 1982 by cousins, guitarists Rob Cavestany and Gus Pepa, bassist Dennis Pepa and drummer Andy Galeon. Mark Osegueda, who is second cousin to the founding members and was their roadie, joined as the vocalist in 1984.

Death Angel were a mainstay of the Bay Area thrash movement in the early 80s and recorded their demo, Kill As One, produced by Metallica's Kirk Hammett. The success of the demo which was credited to the underground tape-trading scene, led to a record deal with Enigma Records. Their debut album, The Ultra-Violence, was released in 1987. The follow up, Frolic Through The Park, was released in 1988, which spawned the single "Bored" and was later featured in Leatherface: The Texas Chainsaw Massacre III.

Geffen bought Death Angel out of their record deal with Enigma in 1989. In turn, Enigma released an unauthorized Death Angel live album, Fall From Grace, without their knowledge. Their third studio album, Act III was released in 1990. The album features the singles "Seemingly Endless Time" and "A Room with a View", and received heavy rotation on MTV's Headbanger's Ball.

The group's tour bus crashed in Arizona en route to a show in Las Vegas, Nevada. Drummer Andy Galeon was critically injured and required more than a year to recover. At the urging by Geffen to continue the tour without Galeon, the band refused and were eventually dropped. Osegueda said he quit the band two days after accident and moved to New York. The band eventually parted ways.

In the time of their breakup, the members were involved in various music projects. At the request of Chuck Billy of Testament, they reunited for a one-off gig for the Clash of the Titans benefit concert. However, with Gus Pepa was living in the Philippines at the time, Ted Aguilar was brought on as his replacement. Due to the positive reception, they played various gigs throughout the San Francisco area. In October 2003, they were signed to Nuclear Blast, and released their first album in 14 years, The Art of Dying, in 2004.

Invited by Dave Grohl to record at his studio, they recorded and released Killing Season in 2008, their fifth studio album and the final studio album featuring the original line up. In October 2008, it was announced that Dennis Pepa was leaving the band. The following year, Andy Galeon was forced to leave the band due to his commitments as a new father.

Their sixth studio album, Relentless Retribution, was released in 2010. It was produced by Jason Suecof and Rob Cavestany and marked a return to their trash metal sound. Now featuring Damien Sisson on bass and Will Carroll on drums, the line up also released The Dream Calls for Blood in 2013. Cavestany stated that he saw The Dream Calls for Blood as a companion piece to Relentless Retribution and once again, produced the album with Jason Suecof. It has been their most well-received album since Act III, landing at number 72 on the Billboard 200 and selling 5,400 copies in the US in its first week of release.
Act of Defiance
Act of Defiance
In a time of endless sub-genre classifications being thrown at bands Act Of Defiance cut to the quick, offering 100% in-your-face, uncompromising metal. "If you invited fans of all kinds of metal - from thrash to Scandinavian metal to modern American metal - and had them all in a mosh pit, Act Of Defiance would be their soundtrack," asserts guitarist Chris Broderick. With a hefty resumé that chronicles time spent riffing and shredding in Jag Panzer, Nevermore, and a seven-year stint in Megadeth, his pedigree speaks for itself. Furthermore, joined by powerhouse drummer - and fellow Megadeth alumnus - Shawn Drover, bassist Matt Bachand (Shadows Fall/Times Of Grace) and vocalist Henry Derek (Scar The Martyr) the band are a truly formidable metallic behemoth, and their debut album, Birth And The Burial, is ten tracks of armor-plated, state of the art heaviness.
Following Broderick and Drover departing the Megadeth fold in 2014, tongues inevitably started wagging and rumors began piling up on message boards, but fans were thrilled to soon learn that the two would be joining forces in their next musical endeavor. Having a deep-seated respect for each other, they share a very complimentary writing style, instinctively getting where the other is coming from. "Shawn knows metal inside and out. He's always been a metalhead, so we come from the same musical background, and we get that world. We didn't really talk about what we might do next until after we had both left Megadeth, and we were like, well, we came up with all of these great riffs for Megadeth that were never used, so we decided to use some of those for the basis of what we were going to do with Act Of Defiance. Out of that spawned a burst of creativity and a lot of newer material, and it was all really exciting and what we really wanted this band to be." Drover is very much on the same page, believing the two have a special chemistry that goes beyond their musical collaborations. "Having the same vision of what we want to do musically, from a business perspective, and in terms of what we want to achieve with this band, is a really important factor," he says. "It means we can concentrate on making the best music and we can and look at the overall picture, instead of squabbling about who should get more songwriting credit and unimportant crap, which often leads to the demise of so many bands. As far as we are concerned, the body of music we create is what matters."
While Bachand is better known for his work on six rather than four strings, coming into the band he stepped up straight away, impressing Broderick and Drover with his adaptability and playing style. "I'd met Matt many times before and he's a great guy and an all round great musician. He plays bass like a bass player, which was awesome for me, because when I demoed the songs it was pretty much laying down the bass just so it had some lower notes and then moving on!" he laughs. "But he came in and he spent the time and made them into really nice bass lines that added an extra dimension to the songs, which not all guitarists can do, and he really gets what we're trying to achieve with this band." The final piece of the puzzle fell into place with Derek, who was recruited following an extensive search. Determined that the band needed to be fronted by a vocalist who was not limited to the standard practice of screamed vocals or clean vocals, they demanded versatility, and Derek delivered. "We started from a list of I'd say 30 vocalists, and we worked that down to a shortlist, and we sent everyone on that a demo to lay some vocal tracks over, and when they all came back we knew Henry was our guy," Drover enthuses. "He can do the super heavy, growling vocals, he can do the really melodic clean vocals, but he can also do everything in between, and he has the ability to really build and shift within that range," adds Broderick. "The other really cool thing I really like is that his really heavy singing still has pitch to it. There are these really melodic lines even in his heaviest vocals."
It takes only one exposure to Birth And The Burial to become abundantly aware that this is not the sound of a bunch of guys screwing around. Kicking things off with first single "Throwback" they throw down the gauntlet, the track erupting in a cascading lead before launching into a breakneck thrash attack, sounding very much like four guys ready to fight, its massive chorus only upping the ante. The merciless intensity displayed is a mode they return to often, "Thy Lord Belial" "Dead Stare", and "Disastrophe" particularly upping the adrenaline and sure to cause mosh pit carnage. However, groove and dark melody are as important as flat out riffing, kicking up plenty to inspire mass headbanging and fist-in-the-air excitement, and they also have their more brooding, atmospheric moments, "Poison Dream" and "Obey The Fallen" possessing a somberness alongside their compelling sonic violence. Fans of Broderick's previous work are aware of his incredible talent when it comes to shredding, and on Birth and The Burial he unleashes some of his most breathless and compelling soloing to date, finding the perfect marriage between technicality and melody. "I really loved the luxury of being able to look at the rhythm behind the solo and have it support the kind of soloing I wanted to do. What I really like to do is listen to the rhythm and imagine what I want to hear, whether it's a harmonic, rhythmic kind of sixteenth note kind of thing, or a melody that is really haunting and eerie. After I flesh some of that out I let my inspiration take me as I'm creating the solo. I've never been one to typically improv a solo and say that's it, and I wanted every one on this record to really have a life of its own."
Thematically, the band explore their own personal experiences, focusing on some of the harder truths, the aggression of the music the perfect vehicle for expressing such sentiments. ""Poison Dream" is about somebody being consumed by a dream of fame or power or money, and how they will sacrifice anything to get that, while "Legion Of Lies" is about a person who is constantly casting out negativity and betrayal and trying to deceive those around him, but we hope that fans will take these lyrics and put their own personal meaning to them. You never want to make them so specific to any particular situation, and I think a lot of these experiences are really relatable." The album title is lifted from the anthemic closing track of the same name, focusing on a person burning their bridges with friends and those they have worked with in past, and asking them to look for forgiveness before it's too late. "The line 'you reap what you sow, the birth and the burial' - to me, that really sums it up, because what you do in life will reflect in the time that you die, and I thought that was really cool in the way it tied into the record."
With recording split between three studios in three different states, Broderick handled vocal and guitar production at his own Ill-Fated Studio in LA, Zeuss (Rob Zombie, Queensryche, Revocation, Municipal Waste, etc.) worked with Drover tracking the drums in Dexter's Lab in Milford, Connecticut, while Bachand laid down his bass at ManShark, in Southampton, Massachusetts. While the band had a lot of work to do, when they headed into the studio things ran very smoothly. "We had pretty much everything demoed by the time we started recording. We would change things as we were doing the final takes, but for the most part we knew exactly what we were playing, and from there it was a case of making sure we got really good takes," Broderick says. With artwork courtesy of Travis Smith (Avenged Sevenfold, Strapping Young Lad) and their logo and emblem the work of Van Williams (currently of Ghost Ship Octavius) the band focused on ensuring every element of their presentation had meaning to it, wanting to offer fans the proverbial full package, and they have every intention of being around a while. "I want Act Of Defiance to be a hard working, heavy metal road-dog band, and we really do have what's almost a blue collar sensibility and perspective," Drover states plainly. "We know we are going to have to earn this and that we can't rest on what any of us have done previously, and that is something we are more than willing to do. Believe me."
Venue Information:
Anthology
336 East Avenue
Rochester, NY, 14604
http://anthologylive.com/