History
Wrathchild was formed in 1979, then known as Atlantis, Tyrant and eventually Wrathchild. The band was formed by high school friends, Shannon Larkin, Kevin Keller and Terry Carter. Ralph "Rat" Tillman and Max "Tuck" McDonald soon joined. Wrathchild America were a renowned live act in the mid to late 1980s in the Maryland area when they were known simply as Wrathchild. After years of touring, playing gigs, and hard work, the band finally was signed to a major label in 1988. However, a British glam metal band with the same name, Wrathchild, sued and forced the delay of the debut release. The band amended their name by adding America, and the band charted Climbing the Walls in the Billboard Top 200. Their subsequent release was widely ignored since the thrash genre was still not widely accepted as it is today. The band changed their name to Souls at Zero and revamped their stylistic approach.
Jay Abbene: According to a posting on Tartarean Desire, former TOXIK drummer Tad Leger has launched a brand new project called Lucertola (Italian for "lizard"). The group's musical style is said to be a blend of Leger's biggest influences: doom, old Voivod and Italian horror soundtracks (Goblin, Fabio Frizzi). Tad started out recording both guitar and drums himself, but was joined by his old Blackened Sky bandmate Andy Abbene and his brother Jay Abbene (Wrathchild America, Souls at Zero) in early December 2005.
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Famous quotes containing the word history:
“The custard is setting; meanwhile
I not only have my own history to worry about
But am forced to fret over insufficient details related to large
Unfinished concepts that can never bring themselves to the point
Of being, with or without my help, if any were forthcoming.”
—John Ashbery (b. 1927)
“History is the present. That’s why every generation writes it anew. But what most people think of as history is its end product, myth.”
—E.L. (Edgar Lawrence)
“The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.”
—Henry Geldzahler (1935–1994)