Kirk Von Hammett Presents
Kirk Von Hammett Presents: Day of the Dead Bash and Book Release Event
161 Erie Street
San Francisco, CA, 94103
Doors 9:00 PM
This event is 21 and over
Among the youngest bands ever to storm the metal genre, Death Angel has come to be known as one of the most influential bands to emerge from the thriving Bay Area Thrash Metal Scene in the early 1980s, an era when one could catch Cliff Burton (Metallica) at the front of the stage at Ruthie's Inn banging his head to Death Angel's inventive style, and speedy, complex arrangements
In 1986, a Death Angel demo produced by Kirk Hammett (Metallica) titled "Kill As One" sparked the interest of Enigma Records. Then, in 1987, Death Angel's debut, "The Ultra Violence," was released. Drummer Andy Galeon was just 14 years old at the time. The album was a full-frontal assault on the ears, buzzing with the group's youthful energy, and "The Ultra Violence" sold 40,000 copies in just four months. Another innovative recording, "Frolic Through the Park," followed, marking Death Angel's evolution both lyrically and musically. "Bored," another track from the band's second release, highlighted the cutting-edge band's inventive dynamics, and won a spot on MTV's "Headbanger's Ball."
Geffen Records was impressed enough with Death Angel's television premier to offer the band a deal, and Death Angel became the first band of their breed to appear on the major label's roster. At Geffen, the band released what is widely regarded as one of the most original and accomplished thrash metal albums ever recorded, "Act III." The record pushed the limits of the genre to create something truly unique, a definitive work that is essential to any metal fan's music collection. Death Angel's masterful songwriting ability was once again on display nationwide in 1990, as the videos for "Seemingly Endless Time' and 'Room With A View' saw heavy rotation on MTV.
What began as a two-piece street act on the corners of Berkeley and San Francisco with brothers Anton (violin) and Lewis Patzner (cello) quickly became an experimental powerhouse with the addition of hard-hitting drummer Jon Bush. They named themselves Judgement Day, styled with a medieval spelling to reflect the dark, epic nature of their "string metal" sound, which might best be described as "sci-fi soundtrack meets metal-mania." Over the course of their career, Judgement Day have toured with buzz bands like Mates of State, Black Kids, dredg and Torche, and been featured guests on the records of heavyweights from Slash to Taking Back Sunday.
After the release of their debut record Dark Opus in 2004, Judgement Day went on a four-year hiatus as the brothers encountered two great opportunities that led them on separate paths. Lewis was accepted to the prestigious Peabody Institute, a conservatory where he studied performance technique, perfection and advanced music theory. Anton was recruited to join indie-folk outfit Bright Eyes and learned about improvisation, collaboration, vintage effects pedals and the value of a good stage dive.
Upon their return to the Bay Area, Anton, Lewis and their metal-head drummer Jon were faced with a gargantuan task: to write a new Judgement Day record incorporating all of their fresh, contrasting musical philosophies. Peacocks/Pink Monsters is the result of their efforts; a self-produced record born as much from experimentation and emotion as it is from academics and technical prowess. Recorded at Nu-Tone Studios in Pittsburg, CA with Riki Feldmann and mixed in Iceland by Axel "Flex" Árnason, Peacocks/Pink Monsters is Judgement Day's second full-length album, releasing independently on April 13, 2010.
Each member of Judgement Day brings a distinct element to the band's sound – Lewis's love of instrumental technique and compositional complexity, Anton's passion for experimentation and production, and Jon's knack for mathematics, as well as his testosterone-driven, tough drumming style. The result is a well-oiled, avant-garde string metal machine. The album's opening track, "Cobra Strike," is an in-your-face ADHD metal avalanche that never lets up. Its relentless arpeggios and time changes showcase each musician's technical brilliance while maintaining the band's tight sound structure. "Klagenstuck" is another face-melting shredder, with non-stop machine gun drums and lightning-quick string riffs that sound like the devil's own.
One of Judgement Day's goals with this record was to take risks and push beyond the boundaries of their instruments. At the end of every day in the studio, the band hit 'record' and improvised to develop new ideas. "Improvisation," an uncut improvised track, begins as a windswept exploration of sound and mood that slowly builds until it lets loose at an explosive peak. The core of "The Constant" arose from another of these improvisation sessions. Anton drew from his experience as a film composer (his day job) to deepen the track with lush orchestral strings and a wash of hazy sound effects. The band also experimented heavily with synthesizer pedals, phasers, backwards delays and ring modulators on this record, venturing into exciting uncharted territory for violins and cellos. The final track on Peacocks/Pink Monsters, "Genosha," captures all of the key elements of the Judgement Day sound: driving rhythms, compelling melodies, taut improvisation and rich layers of sound and textures.
Not only does every song on Peacocks/Pink Monsters incorporate improvisation, but the album artwork does as well. Three very different artists – Emilee Seymour, Ryan Noble and Shawn Harris – collaborated and painted without rules for two hours on a canvas to create a work of art with no predetermined vision. The title of the record is the band's interpretation of that final painting. Peacocks/Pink Monsters, inside and out, is a celebration of artistic spontaneity, collaboration and many unique visions.
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