Death Angel To Release “Humanicide” On May 31st

DEATH ANGEL TO RELEASE 9TH ALBUM, ‘HUMANICIDE,’ ON MAY 31ST*PRE-ORDER THE ALBUM & STREAM THE TITLE TRACK NOW!*

Bay Area thrash metal legends DEATH ANGEL will release their long-awaited 9th full-length album, Humanicide, on May 31st with Nuclear Blast Records. Today, the band has unveiled the artwork, tracklisting and the record’s first new single, the title track, via visualizer. The new record will be preceded by DEATH ANGEL’s U.S. tour withOVERKILL and ACT OF DEFIANCE.

WATCH THE VISUALIZER FOR “HUMANICIDE”: https://youtu.be/OVDEMDxNNrQ 

With their forthcoming album HumanicideDEATH 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.” “When I wrote the music for our song “Humanicide,” I was shooting for an album opener that would have all the elements of an epic thrash opus.  This meant a classic metal style intro leading into a ferocious “Bay Area Thrash Riff-o-Rama” complete with a crazy middle build up section to ramp up the circle pit until it’s all whipped up into a frenzy by the time the frenetic guitar solo hits, then concluding with a maniacal musical section leading into the outro.  All it needed was the lyrics and vocal delivery to match the intensity and Mark went above and beyond the call of duty!  Some of his best work in my opinion.  One of my favorite DA songs for sure, it feels like the follow up to our song “Thrown to the Wolves”.  Can’t wait to play it live!” – Rob Cavestany 

For the 4th album cycle in a row, DEATH ANGEL returned to their producer and friend Jason Suecof (DEICIDE, TRIVIUM) of Audiohammer studios for the recording and mixing, along with the mastering of the legendary Ted Jensen (SLIPKNOT, PANTERA) of Sterling Sound who added the final touches and brought it all to life, with artist Brent Elliott White (LAMB OF GOD, MEGADETH) providing the ominous cover artwork.  

“I’m ecstatic to present Death Angel’s 9th studio album, Humanicide.  This collection of songs represents the band in its current state – united, vital, intense and (still) hungry like the wolf!  I wanted this record to be quite diverse stylistically while obviously keeping with the parameters of metal.  DA has been known to push the envelope and we absolutely did this time.  So many emotions expressed through our music, very much looking forward to adding these songs into our live set list.  As I savor this rare feeling of satisfaction, we proudly unleash this beast upon thee!” – Rob Cavestany 

Visit DEATH ANGEL for more information:https://www.deathangel.us/

GUNS N’ ROSES’ DUFF McKAGAN RELEASES “CHIP AWAY” AND ANNOUNCES MAY 31ST RELEASE FOR SOLO ALBUM TENDERNESS

ALBUM PRODUCED BY AND FEATURING GRAMMY®WINNER SHOOTER JENNINGS

NORTH AMERICAN TOUR KICKS OFF MAY 30 IN PHILADELPHIA

TOUR WILL SEE McKAGAN BACKED BY SHOOTER JENNINGS + BAND

FANS IN LOS ANGELES CAN CATCH SPECIAL GRAMMY®MUSEUM PERFORMANCE ON APRIL 4

Guns N’ Roses bassist and New York Times bestselling author DUFF McKAGAN has released “Chip Away,” a new track from his much-anticipated solo album, TENDERNESS (UME) – click HERE to listen.

“’Chip Away’ is somewhat of a rail against cable news and divisive agendas…all for the almighty dollar,” says McKagan. “The song also highlights the fact that history repeats itself over and over, and that we will all get past this, together.”

“Chip Away” follows the recent release of lead track “Tenderness” and both songs are available as instant downloads by clicking HERE to pre-order TENDERNESS ahead of its May 31st release. 

The full track listing for TENDERNESS is as follows:
“Tenderness”
“It’s Not Too Late”
“Wasted Heart”
“Falling Down”
“Last September”
“Chip Away”
“Cold Outside”
“Feel”
“Breaking Rocks”
“Parkland”
“Don’t Look Behind You”

Also available for pre-order is a special limited edition TENDERNESS deluxe book, which includes the album on 180-gram yellow & red starburst vinyl, the CD, and features an exclusive lithograph signed and numbered by McKagan. The hard cover book contains 40-pages of photos from the recording sessions and also presents liner notes written by Duff detailing his experiences with each song and the project as a whole. The vinyl features 10 tracks and a unique sequence carefully selected by McKagan and the album’s GRAMMY®-winning producer Shooter Jennings, while the CD includes 11 tracks.

TENDERNESS sees McKagan reflecting on his experiences traveling the globe over two and a half years on Guns N’ Roses’  Not In This Lifetime tour.  Encountering heartbreak, anger, fear, confusion and divide on his travels during this tumultuous time in our world history, McKagan channeled a collective hurt into songs of monolithic power. 

“We’re becoming divided at a time when we need each other most,” says McKagan. “When huge industries get replaced because of modernization, it’s time to retrain and bolster up those who get swept aside. Homelessness and drug addiction are avoidable in this country if we come together and get private and public cogs turning together in a positive direction. We can at least try to tackle mental illness while we’re at it. But alas, we stump and lie, point fingers and divide. We’re way better than this. As a father, I must say and do something now because I love my girls and my wife, and I love my country, and I feel I must be strong and use my voice now, do it while I’m able or perhaps never get a chance ever again.”

McKagan and Jennings began recording Tenderness a year ago this month, working out of Station House studios, located in Echo Park, CA, where they wrote and recorded in-between McKagan’s tour with seminal rock band Guns N’ Roses and the release of Jennings’ eponymous album, ShooterTENDERNESS features Jennings and his band along with appearances by The Waters and The Suicide Horn Section (which features Duff’s brother Matt McKagan on trombone), amongst others.

Twelve months later, they’re gearing up to take these songs on the road for a North American tour that kicks off May 30 at TLA in Philadelphia. Prior to the tour’s launch, Los Angeles-based fans can catch McKagan and Jennings discussing the album and giving a special performance at the GRAMMY® Museum in downtown LA.

Don’t miss your chance to see Duff McKagan live. Tour dates are as follows:

DateCityVenue
Thu, May 30, Philadelphia, PATLA
Fri, May 31, Washington DCCity Winery
Sat, Jun 01, Boston, MACity Winery
Mon, Jun 03, New York, NYIrving Plaza
Thu, Jun 06, Chicago, ILThalia Hall
Sat, Jun 08, Nashville, TNThe Cannery
Mon, Jun 10, Austin, TXScoot Inn
Thu, Jun 13, Los Angeles, CAEl Rey Theater
Fri, Jun 14, San Francisco, CAGreat American Music Hall
Sat, Jun 15, Portland, ORAladdin
Sun, Jun 16, Seattle, WAThe Showbox

Eddie Mekka talks about “Laverne and Shirley” and his appearance at the 31st Omaha Film Event

Massachusetts born Eddie Mekka didn’t follow a dream to show business. He followed his heart. Smitten with a young lady in high school he followed her to Boston. Within five years he had appeared on Broadway, scored a Tony Award nomination and headed to Hollywood.

Best known as Carmine Ragusa (The Big Ragu) on television’s “Laverne and Shirley,” Mekka continues to sing and dance. He just completed a production of “The Rocky Horror Show,” where he played both the narrator and Eddie and will next be seen as Pseudolus in “A Funny Thing Happened on the Way to the Forum.” This Friday, November 2, he will be appearing with his “Laverne and Shirley” co-star Cindy Williams at a special screening of “American Graffiti” in Omaha, Nebraska. The screening, the 31st Omaha Film Event produced by Bruce Crawford, will benefit the Nebraska Kidney Association. For more information, click here http://www.omahafilmevent.com/upcoming.htm

While enjoying a rare travel break at his Las Vegas home Mr. Mekka took the time to talk with Media Mikes about his career.

Mike Smith: What inspired you to pursue musical theater?
Eddie Mekka: When I was a senior in high school I kind of fell in love with a girl. She went on to study at the Boston Conservatory of Music so I followed her there and got a scholarship. I was taking voice at the Conservatory. Dinner theatres were big in Massachusetts and I attended a performance of “Hello, Dolly.” Afterwards I asked around as to how you got into something like this. The theaters were Equity houses and they told me you had to be a member of Actor’s Equity. I asked how you got into Equity and they said I had to be in a show. How does anybody get in? (laughs) They told me I could work as an apprentice and earn points. Or if someone just decided they wanted to hire you then you join the union and pay your money (dues). So I went back to the theater a few days later and gave them my photo and resume’. One of the other dinner theaters was doing the show “Promises Promises” and somebody got sick. Rather than go all the way back to New York City to audition a new actor they auditioned me there and I got the job. I quit school and that night I went into the show. I did the show for eight months. Most of the actors in the show were from New York City and when the show ended they told me to go to New York. And that’s what I did. I drove a cab and studied hard and started getting into Broadway shows. I got a Tony nomination as Best Actor, headed to Hollywood and in three days I got “Laverne and Shirley!” That’s the long and the short of it!

MS: Wow! That’s the story you never hear. It’s always “I washed dishes for 10 years.”
EM: Well in New York I did drive a cab as well as help clean up at a dance studio. After two years I started teaching dancing. In fact, there were people who had graduated with degrees in Dance from the Boston Conservatory who became my students.

MS: Since you highlighted you dancing, I’ve noticed that in a lot of your on screen appearances….be it “Laverne and Shirley” or “A League of Their Own”…you always manage to work a few dance steps in. Of all of your talents is that your favorite?
EM: I’ve always been a song and dance man…Gene Kelly…Tony Bennett…I’m from the old fashioned school where you had to learn how to sing and dance and act and be funny. You couldn’t just walk onto a television program overnight and then learn how to act. I’m from the old school where you had to learn it all first. Then you go out into the world and pay your dues. You did it the right way…that’s the way it’s supposed to be. Because once they find out you can do something special…that you can sing and dance…they try to incorporate that into your role. Besides, I love dancing. As long as I can walk I can dance and as long as I can talk I can sing.

MS: You earned a Tony Award nomination as Best Actor in a Musical for your performance in “The Lieutenant.” You’ve also appeared in shows like “Grease” and “Fiddler on the Roof.” Do you prefer musical theater to film or television?

EM: I prefer the theater artistically. I prefer the others as far as it being a business, making money and getting recognition. There’s no fooling people in the theater. You get on stage and you’ve gotta be good. There’s no faking it. People don’t care how cute you are – they want to be entertained. You don’t get two chances to get it right. You learn the whole script from beginning to end and that’s how you do it. There’s no “CUT.” There’s no switching with a double to make you look good. The theater is honest and there’s no fooling it. And when you take your curtain call at the end you feel absorbed. You’ve done something. And you have to do it again the next day. But not the same way because each audience is different. You actually have to be on your toes. You have to listen and see what they’re laughing at from the very beginning…what the audience is responding to. A lot of the fun of live theater is judging the audience. You just don’t go up there, say your lines then go home and take the money. It’s an art. It’s an art of communication. And in that respect I like it. In television and film you get paid ten times more and do ten times less work. Go figure.

MS: You mentioned that when casting people find out an actor’s talents they try to work them into the character. Was Carmine’s singing and dancing an original part of the character or something you developed with the directors?
EM: It came about through Garry Marshall, who created “Laverne and Shirley” as well as “Happy Days,” which is where Garry first introduced “Laverne and Shirley.” When he cast the show he was looking for a wise-guy Italian. I had just come out from Broadway and an agent I met with was looking at me through her hand. I asked her what she was doing and she said she was trying to see what I looked like on television. I said why not just give me a screen test. She said “it doesn’t work that way, Sonny.” Actors are products. If we don’t know our products we can’t sell them. I told her that someone had told me she was a ballsy lady…that I thought we could have done business together. I shook her hand and left. She was having dinner with a friend of hers from Paramount that night and the friend told her she was helping cast a new show called “Laverne and Shirley” and they were looking for a third character named Carmine…sort of a wise guy Italian. She told her about this guy who had just left her office and her friend said, “bring him in!” I went in the next day and auditioned. That night I did a screen test along with a lot of other “Carmines.” They were also looking at a lot of other “Shirleys.” At first Cindy didn’t want to do it…she had just finished “American Graffiti.” Anyway, during a taping of “Happy Days” Garry Marshall addressed the audience and informed them they were going to see a scene with some new characters. We came on, did the scene and the audience loved it. Garry Marshall told us, “we’ve got a show!” As the show progressed Garry sat down with me and asked me “what else can you do?” I told him I could sing and dance. “Yeah…let’s see.” The following week in the show Laverne tells Carmine that she’s trying to get Shirley to jump out a bachelor cake for the Fonz. I tell her that I can’t get Shirley to do anything but “she’s a sucker for my Tony Bennett (in a perfect Bennett impersonation) YOU KNOW I GO FROM RAGS TO RICHES!” The audience applauded and that was it.

MS: Besides “Laverne and Shirley” you’ve worked several times on stage with Cindy Williams (“Grease,” “It Had to Be You”). Is it easier working with someone you’re so familiar with?
EM: Oh yes. When we did “Grease” we shared the same bus. She had the suite in the front and I had the one in the back. We really go to know each other. On “Laverne and Shirley” we really didn’t talk much, except on set. We didn’t really socialize. It wasn’t until we did “Grease” that we became great friends. We just spent 10 weeks in Canada doing a play called “Sylvia.” And we did a show for 6 weeks the previous year. Our timing now is perfect…it gels. We work really good together.