\n<\/p>\n
As one of the founding pillars of the Bay Area thrash metal scene, Death Angel<\/a><\/strong> has carved out a legacy that spans four decades, yet drummer Will Carroll<\/strong> believes the band’s recognition still doesn’t match their contributions to the genre.<\/p>\n Speaking on a new episode of the Pod Scum podcast with host “Reckless” Rexx Ruger<\/strong>, Carroll<\/strong> \u2014 who joined Death Angel<\/a><\/strong> in 2009, replacing original drummer Andy Galeon<\/strong> \u2014 shared candid thoughts about the band’s standing within the thrash community. When asked where Death Angel<\/a><\/strong> fits in the pantheon of Bay Area thrash, Carroll<\/strong> didn’t mince words:<\/p>\n “That’s a hard question. Where does Death Angel<\/a><\/strong> fit in the Bay Area thrash community? I mean, it’s gonna be a biased answer, obviously, ’cause I’m in the band. But I think Death Angel<\/a><\/strong> should be a hell of a lot bigger than they are. And I’m not quite sure why that is, that they haven’t had more success.<\/p>\n “I mean, we’re successful, but I think Death Angel<\/a><\/strong> should be much more successful and playing better spots on festivals, better slots on festivals and bigger tours and everything. They’ve paid their dues and they’ve put out a long string of killer albums, before I was in the band and since I’ve been in the band.”<\/p>\n Death Angel<\/a><\/strong>‘s history is inseparable from the evolution of American thrash metal. Formed in 1982, the band emerged alongside titans like Metallica<\/strong>, Exodus<\/strong>, and Testament<\/strong>, releasing their acclaimed debut The Ultra-Violence<\/em> in 1987 when most of its members were still teenagers. Known for their technical prowess, Death Angel<\/a><\/strong> stood out in a crowded field, but frequent lineup changes and a tragic tour bus accident in 1990 led to a decade-long hiatus.<\/p>\n Reuniting in the early 2000s, Death Angel<\/a><\/strong> returned with a vengeance, releasing a string of well-received albums including The Art of Dying<\/em> in 2004, Relentless Retribution<\/em> in 2010, and Humanicide in 2019 \u2014 the last of which earned a Grammy nomination for Best Metal Performance<\/em>. Despite that momentum, Carroll<\/strong> still feels the band’s grind hasn’t translated into the mainstream recognition they deserve.<\/p>\n “I’m not trying to sound like I’m patting myself on the back, but we’re hard workers, man. And we’ve toured our asses off in the past 16 years since I’ve joined. And we’ve toured way more since I’ve joined than they did the first time around. And I’m not even gonna take the time to figure out why they’re not more successful than they are. But \u2014 whatever \u2014 I think the band should be further along. And it is not \u2018cause of lack of hard work on our end.”<\/p>\n Death Angel<\/a><\/strong><\/strong> is hitting the road this November and December for a tour celebrating their 1990 record Act III<\/em>. The tour kicks off on November 26 at the Oriental Theater in Denver, CO and wraps up with two Christmas shows at The Fillmore in San Francisco, CA. All dates will be opened by Toxic Holocaust<\/strong>, Lions At The Gate<\/strong>, and Misfire<\/strong> as support unless otherwise noted. Get your tickets here<\/a>.<\/p>\n 11\/26 Denver, CO Oriental Theater \n
11\/28 Joliet, IL The Forge
11\/29 Davenport, IA Capitol Theater
11\/30 Minneapolis, MN Varsity Theater
12\/2 Indianapolis, IN Vogue
12\/3 Pittsburgh, PA Mr Smalls Theater
12\/4 Brooklyn, NY Brooklyn Monarch
12\/5 Worcester, MA The Palladium
12\/6 Albany, NY Empire Live
12\/7 Reading, PA Reverb
12\/10 Dallas, TX Southside Ballroom
12\/11 Houston, TX Warehouse Midtown
12\/12 Corpus Christi, TX House of Rock
12\/13 San Antonio, TX Vibes
12\/15 Albuquerque, NM Sunshine Theater
12\/16 Tucson, AZ 191 Toole
12\/17 Los Angeles, CA The Belasco
12\/18 San Francisco, CA The Fillmore (Death Angel<\/strong> only)
12\/19 San Francisco, CA The Fillmore (Death Angel<\/strong> only)<\/p>\n