#pete sandoval

[afuror]

Plz don’t kill me

[k-i-l-l-e-r-b-e-e-6-9]

[themetalmassacrevault]

[plasticbubbleboy]

[stoneoferech]

Morbid Angel "Altars of Madness"

[bilrost]

PRAYER OF HATRED

[metalspitfire6g6g6g]

~Terrorizer - World Downfall~

[savage-kult-of-gorthaur]

IN A NUTSHELL: "AS LONG AS IT'S FAST AND EXTREME, I DON'T GIVE A SHIT."

PIC INFO: Spotlight on individual shots of David Vincent, Jesse Pintado (R.I.P.), Oscar Garcia, & Pete "The Feet" Sandoval of American grindcore/deathgrind band TERRORIZER, recording their genre-defining "World Downfall" album at Morrisound Studios, Tampa, FL, c. 1989.

JESSE PINTADO✝: "...we were coming from a hardcore and punk background."

UNBELIEVABLY BAD: "You can hear plenty of that in the mix of styles that TERRORIZER do."

JP: "Yeah, it's just a mixture of the old hardcore and punk and then I got into metal and then it became grindcore and I don't know… as long as it's fast and extreme, I don't give a shit."

Sources: www.reddit.com/r/colorizebot/comments/52xonb/terrorizer_1989 & https://unbelievablybad.wordpress.com/2016/08/27/a-classic-interview-with-jesse-pintado-on-the-10-year-anniversary-of-his-passing.

[ph0totr0p1c]

need this poster in my hands immediately

[beastofmetal666]

𝕸𝖔𝖗𝖇𝖎𝖉 𝕬𝖓𝖌𝖊𝖑

𝕮𝖔𝖛𝖊𝖓𝖆𝖓𝖙

22 𝖉𝖊 𝖏𝖚𝖓𝖎𝖔 𝖉𝖊 1993

31 𝐀𝐍𝐈𝐕𝐄𝐑𝐒𝐀𝐑𝐈𝐎 del tercer álbum de Morbid Angel "Covenant", grabado en los estudios Morrisound, producido por Morbid Angel y Flemming Rasmussen, lanzado por Giant Records. "Covenant" fue para Morbid Angel un trabajo angular por el hecho de todo lo que se puso a disposición para su concreción, una producción en verdad elevada para un trabajo de ese estilo en aquella época y un contrato discográfico para auténticas estrellas, lo que fueron en realidad Morbid Angel en aquellos años. El estilo respeta muy acertadamente la esencia de la vieja escuela, la brutalidad poderosa y directa que Morbid Angel proyectaba desde sus primeras épocas, pero en esta ocasión con un sonido muy profesional, pulido a niveles que no eran comunes para el metal más extremo. Aparte, los músicos eran de lo más sobresaliente que se podía escuchar dentro del death metal. Trey Azagthoth, al igual que Chuck Schuldiner, fue una de las más grandes revelaciones de la guitarra dentro del death metal, ambos pioneros del género desde los 80's, con sus diferencias estilísticas, Chuck más técnico de una forma más clásica, con una influencia muy marcada de la NWOBHM, en cambio Trey era más virtuoso de una forma instintiva y visceral, con solos que tenían un sello amorfo y surrealista que nadie más tenía. Pete Sandoval por otra parte era un verdadero tornado de devastación, un batería con una fuerza animal impresionante y técnicamente eficiente a niveles supremos. Y David Vincent, la voz y el rostro de la banda cuya sola presencia impactaba, además de ser un habilidoso bajista. Juntos encarnaron la versión más efectiva de la banda, tanto en lo musical como en el plano estético, con una imagen desafiante y maligna que era respaldada por una música igual de poderosa. Morbid Angel cruzaba por su época de más grande gloria, y este disco contiene toda la esencia de la banda con toda su fuerza, magnificencia y genio musical.

¡𝐒𝐢́𝐠𝐮𝐞𝐦𝐞 𝐞𝐧 𝐘𝐨𝐮𝐭𝐮𝐛𝐞! 𝐁𝐄𝐀𝐒𝐓 𝐎𝐅 𝐌𝐄𝐓𝐀𝐋https://www.youtube.com/channel/UC2OGceA1nrP1kCdIjE64DlAhttps://www.instagram.com/beast_ofmetal/

🇺🇸💀🎸𝕾𝖙𝖊𝖕𝖕𝖊𝖓𝖜𝖔𝖑𝖋🥁💀🇺🇸

[afuror]

[k-i-l-l-e-r-b-e-e-6-9]

𝔐𝔬𝔯𝔟𝔦𝔡 𝔄𝔫𝔤𝔢𝔩 ⸸⛧

[themetalmassacrevault]

[thislovintime]

Peter in 1964 (photo © Andrew Sandoval); in photo 2, the Phoenix Singers (from left to right: Roy Thompson, Arthur Williams and Ned Wright) are pictured at the October 1964 Denver campaign event mentioned below (photo by Steve Fitzgerald for the Messenger & Inquirer).

“One night, I was sitting around the Kettle of Fish, the private hang-out of the folk singers who live in the Village, and Peter came in with a big grin on his face. ‘Bruce,’ he yelled, ‘I got a job, a real job!’ And when he told me how Lance Wakely (one of the best guitarists on the scene then and now) had gotten him a job backing up the Phoenix Singers, I was really happy for Peter — and he, of course, was overjoyed.” - Bruce Farwell, 16’s The Monkees: Here We Are (1967) “We worked with the Phoenix Singers for about seven months, and during the last couple of months there were bad vibrations in the air. Pete loved to clown around on stage and the Phoenix Singers didn’t dig that. Pete also disliked being ordered around or told what to do. These two elements clashed, and the fireworks that resulted were the following: It was in October 1964, and we had just finished an in-person, fund-raising concert for Lyndon B. Johnson in Denver. As I said, the pressure had been building for several months. Two of the Phoenix Singers didn’t want Pete in the group, but my buddy Ned wanted him to stay because he dug him musically. I had mixed feelings at the time. I agreed that musically Pete was excellent, but I felt that he had to cool it a bit on stage because there was a personality conflict between him and the two Phoenix Singers mentioned. […] [W]e got on the plane to New York. It was on the way from Colorado to New York, at 30,000 feet in the air, that the three Phoenix Singers had a meeting, and two against one (for Ned still dug Pete’s musicianship) they voted Tork out of the group. Peter was quiet for the whole flight, and I could tell he was not very happy. I don’t think he cared about the Phoenix Singers that much, but I think he cared about the security that the job had provided and the fun he had been having on the road. I stayed on with the Phoenix Singers for quite a while, and Pete went on to the old routine down in the Village.” - Lance Wakely, 16 Magazine, April 1967 (More about that Denver campaign event here.) “I played bass as an accompanist for a group called James Hendricks and Vanessa.” - Peter Tork, Off the Record with Steve Escobar

[stoneoferech]

Morbid Angel

[bilrost]

CLEANSED IN PESTILENCE