Event Details

Overkill

Filthy Nasty Productions Presents

Overkill

Death Angel, Act Of Defiance, Voodoo Prophet

Tue, May 7, 2019

Doors: 7:00 pm / Show: 8:00 pm

Minglewood Hall

Memphis, TN

$15.00 - $60.00

This event is all ages

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
Ascending from the depths, the almighty DEATH ANGEL return to offer their latest, energy fueled masterpiece: “Humanicide.” A return to the wolves alongside a survivalist pack mentality are what fuel the powerful themes erupting from these fresh metal anthems. In a modern capitalist society where selfishness reigns and communal help and survival are things of the past, Death Angel produces sounds and symbols that point out the truths of attempting to exist safely in the present day. The title itself describes a plain in which humans, after generations of violence, regression, and hate, have finally extinguished themselves into dust. The wasteland they left behind is populated only by those creatures that passionately depend on their pack for survival: The Wolves. Gnashing their teeth and struggling to survive in an abandoned world, the wolves are back and galloping fiercely across the cover of the album. Adorned in the war skins of their enemies and the creatures they’ve killed together in order to survive, the powerful messages of the songs can be seen in Brent Elliott White’s fantastic piece of art.

Much like the beasts on the album cover, the writing process for Death Angel has remained airtight and continued to amplify throughout the years. The fundamental structures of the songs are created, and it’s through the ultimate feel of these vibrations that emotions and lyrics eventually begin to adhere themselves to specific sounds. The songs are then massaged and encouraged until a complete record is conceived. “I have a system as far as songwriting goes,” explains guitarist Rob Cavestany, “I’ve just sort of evolved to what works best for me these days. It starts with riffs and various ideas I’ve compiled as I feel creative here and there, lots of notes; musical, lyrical, conceptual you name it. I start it out, catch a vibe, see what I like, and just start crafting away. By the time I give skeletons of songs to Mark to work on vocals, they’re pretty close to what they’re gonna be. If I really feel strongly about something I’ll write the lyrics to the song. After creating the initial demo of a song at my home studio (Spiderville in Oakland) then I get together with Will to work on beats & grooves and record live drums. Then, record Damien who comes up with most of his own bass lines. After that is when Mark gets the "demo tape" to work out lyrics. All this is part of "pre-production" that I do myself before the producer even hears a note. Then we do it all over again including Ted throwing in some solos of his own. It's an old school process of recording demos as a "rough draft" and making the appropriate improvements on the actual album.” After so many decades in the game, it’s no surprise this band has crafted a songwriting technique that still requires sweat, blood, and tears, but that is entirely efficient. “Absolute trust;” says singer Mark Osegueda, “we’ve grown, and there’s a duality to our respect… we’ve become tighter than ever as writing partners, for sure. There’s a connection with us that just works.”

For the 4th album cycle in a row, Death Angel returned to their producer and friend Jason Suecof of Audiohammer studios for the recording and mixing, along with the mastering of the legendary Ted Jensen of Sterling Sound who added the final touches and brought it all to life. Working closely with Jason throughout every step of it, the band is able to make sure that the finalizing of the music’s sound is closely intertwined with every idea that went into its genesis. “We love the sound he gets. With his style of production and our organic style of thrash... that marriage [is] visceral. He’s very contemporary, but still raw,” explains Osegueda, and “he pulls the heavy out,” Cavestany affirms.

As usual, Death Angel has maintained their throne in the universe of Thrash while still managing to remain progressive in their style. They apply a wide variety of different elements to their music, always pushing to add newness to their sound. This time around they’ve included everything from acoustic bits, to guest musicians, to even(for the first time) the notes of a piano. All 10 songs flow seamlessly yet each leaves its own distinct impression. The first single and title track “Humanicide” triumphantly represents the entirety of the album, immediately energizing the listener. Osegueda remarks: “I wanted to write something that metal fans could really grasp onto. Something dark and intense, that still makes sense. Right now I think it’s so apparent that the earth is in a sickened state.”
The track entitled: “The Pack” flows through with an uplifting mood. It’s positive lyrics are a tribute to Death Angel fans everywhere. With a loyal fanclub of the same name, Cavestany thought it was important to write a song not just for their fans, but for heavy metal and music lovers the worldover. “The song has a very anthemic feel, it’s a fist pumping-festival type of vibe” Cavestany explains. Death Angel, like any artist, are a creative entity with their own particular place in the world, but one of the most momentous influences behind it all is the love and admiration they carry for their fans.

To round it all out the band reflects some of their many inspirations in songs like “I Came For Blood.” Its thrashy, punky, rock n’ roll type of vibe keeps the album’s invincible energy on path to an insanely enjoyable cycle of music. Osegueda explains: “it’s about the power of music and how the right something gives you that feel; that me against the world ideal. You have to be willing to fight for your beliefs, and take no prisoners when pursuing your dreams!”

To say “being busy” is in Death Angel’s future is a grand understatement. With over three decades invested in their substantial career, the band is ripe with vigor and ready to perform their new offerings to the world. North American tours, European tours and festivals, and eventually more records are assured, with the loyalty and solidity of their pack truly unwavering. Death Angel designed “Humanicide” not just for listening pleasure but to awaken the mind and fuel positive ideals. In a world where societal pain is often times too great to stand, the most potent defense we have is to holdfast to our convictions, defend the weak, and open our minds to sensibilities that will be the true key to our survival in this era of the damned.
Act Of Defiance
Act Of Defiance
With their 2015 debut Birth And The Burial, Act Of Defiance delivered a blast of pure and unadulterated metal that ignored fads and hit home hard. Returning with the crushing Old Scars, New Wounds, they have only upped the stakes. "Act Of Defiance is built around the idea of writing and composing the way we want without any other influences on the music, and if people don't like it, that's fine," guitarist Chris Broderick states plainly. Drummer Shawn Drover agrees. "We don't write to please a certain musical demographic or try to sound like another trendy band at the moment. We just write how we write and formulate heavy metal songs that we like, and hopefully others may like as well." With titanic anthems such as "Overexposure" and "Rise Of Rebellion" and the in-your-face blasts of "Molten Core" and "Another Killing Spree", they prove their mettle time and again. Moreover, each of the eleven tracks sound fresh and urgent while wielding a timeless quality that will connect powerfully with metal fans new and old - and there aren't many contemporary bands who can make such a claim.

Naturally blending a plethora of metallic styles and never recycling ideas, Old Scars, New Wounds is an even more dynamic and diverse collection than its predecessor, which was written solely by Broderick and Drover prior to recruiting bassist Matt Bachand and vocalist Henry Derek. "I think 'Birth And The Burial' is a great debut record, and I honestly cannot believe we released it literally nine months after Chris and I formed the band!" the drummer enthuses. "We then toured for a year on that record and played over a hundred shows, and spending that kind of time on the road you really get a sense of what your bandmates are like and what they are capable of, which has definitely worked to our benefit on this new record." With a fully-seasoned, tour-hardened band in place, there was room for everyone to bring something to the table this time around, and their varying styles helped shape the record. "Matt brings his east coast vibe, Shawn is pure metal, Henry has almost a Scandinavian vibe, while I've gone back to my roots and gotten a little more technical with my writing," Broderick states. The title - plucked from the blistering "Conspiracy Of The Gods" - stands as a metaphor for life in general, and the breadth of lyrical matter covered is as broad as the styles of heavy music found on the record. "Another Killing Spree" looks at hardcore drug use, while "Lullaby Of Vengeance" is an angry song about singing angry lyrics, and "Overexposure" is an anthem dedicated to not selling out. There is also some very topical material, most notably on "Mis-Information Age" and "Broken Dialect". "'Mis-Information Age' is very applicable in today's social climate, where we can no longer blindly trust the source of facts that determine our view," Broderick explains. "It asserts that we should be skeptical, making sure we have the truth and not someone's propaganda, while 'Broken Dialect' conveys the idea that people can no longer hold a conversation with each other where their views differ, instead turning to sources that only support the view they want to hold on to." With every track featuring a blistering solo from Broderick, fans of his shredding can rest assured that the guitarist has not held back - though that was not his initial intention. "I actually wanted to tone it down a bit technically in terms of my solos but the opposite happened! This was because I inadvertently ended up creating a few new techniques to use in my trick bag and saw their potential, so I worked really hard on the execution so they could make the record."

Going into writing the record, the quartet had no grand plan, and spread across the continental US, the individual members worked separately, bouncing demos back and forth and building on each others' ideas. Like many contemporary bands, through taking advantage of available technologies they made a record that is very much a collaborative effort, despite the distances lying between the members' home bases. Recruiting producer Dave Otero (Cattle Decapitation, Allegaeon) they tracked the record likewise, with Broderick laying down guitars in his own Ill-Fated Studios in LA, Derek and Broderick's vocals tracked at Red Light Studios also in LA, with Bachand tracking his contributions at Manshark in South Hampton, MA and Drover's drums were laid down at Atlanta's Glow In The Dark Studios. "Atlanta is near where I live, which oddly enough was the first time I have recorded there in my career, so it was nice to be able to track all day then go home and relax before heading back the next day. It was an overall great experience for me," the drummer says, and cognizant of the time available to them the entire process ran smoothly and without a hitch. When it came down to artwork the band looked once more to the vision of Travis Smith - whose visuals have accompanied records from the likes of King Diamond, Opeth, Avenged Sevenfold, and Strapping Young Lad. "As always he's delivered a great, bizarre piece of artwork," Drover enthuses. "He has such a great sense of what we're looking for, and working with him again has been really rewarding."

Having proven themselves on the road in support of Birth And The Burial both as headliners and supporting the likes of Killswitch Engage and Hatebreed, the band are looking ahead to the expansive touring that will accompany Old Scars, New Wounds, and their hunger to get back in front of crowds has not abated in the slightest. "The immediate goal is to tour hard in support of 'Old Scars, New Wounds', play live everywhere we can, and expose as many people to our music as possible," Drover asserts. "Touring is the best way to reach the people, as it always has been - and we will do whatever it takes for Act Of Defiance to get as much exposure as possible."
Voodoo Prophet
Voodoo Prophet
One of Nashville's premier heavy bands combining elements of hard rock and metal to make a brutal, yet melodic, offering.

For a detailed bio, fan photos, and links to the guys' individual pages please visit www.voodooprophet.com
Venue Information:
Minglewood Hall
1555 Madison Ave.
Memphis, TN, 38104
https://www.minglewoodhall.com/