DEATH ANGEL - Thrast-tastic Tactics Of The Seasonably Unreasonable Page 4
by Martin Popoff
In closing, Mark underscores how much fun Killing Season was to put together, but also how much hard work went into the damn thing... "Yes, and in terms of the vocals, Nick worked me to the bone on every song. Like, you'd go in to record, and by the end of the day, you'd literally walk out of the studio just beat. And we'd get back to the... you know, we all crashed out in one apartment when we were recording, and whoever was tracking that day, they came back, and it really looked like they'd seen a ghost or something (laughs). You'd see this fragile shell of what they were, of what they left as, when they crashed out. But then you hear the performance the next day, and it's spot on. Ones that I'm really proud of... I love 'Lord Of Hate', gosh, I love 'God Vs God', and then there is one that I really enjoy called 'Carnival Justice', because it's pretty much just - which in a sense Death Angel has never really done before - it's more or less screaming and yelling through the entire song, which is kind of odd."
"In general, I'd have to say that I attacked this album vocally as if I truly had something to prove. Because I know Death Angel has a pretty good fan base, and there are people who will always be behind us, but there is always a certain - and this is going to happen with any band - criticism. But with the newer metal out, there is a lot of the music that comes out with full-blown yelling, and not so much hooks and catchy things, and I think a lot of people tend not to gravitate towards the vocals. And on this one, we just kind of went and said, you know what? We're just going to blow everyone out of the water and make the vocals kind of undeniable, so much so that it's just as much of a force as the bass, drums and guitars in Death Angel. So I think in total, this one comes across as more of a fluid statement."