Unearth, Fit For An Autopsy, The Agony Scene, Traitors

Unearth

Fit For An Autopsy

The Agony Scene

Traitors

Friday, November 2, 2018

Doors: 6:00 pm / Show: 7:00 pm

Saint Vitus

$20.00

This event is 18 and over

Unearth
Unearth
After an awe-inspiring 15 years of blazing trails and dominating stages, Unearth is now institutionalized as a relentless force in heavy metal, standing the test of time with consistently triumphant creative output, tireless road warrior resilience, Blue Collar style workmanship and a resolute determination to deliver the goods.

Like Slayer, Cannibal Corpse, Testament and Anthrax before them, Unearth emerged as part of a burgeoning revolution in heavy music but continued to maintain their relevance and mastery of their craft. They've resisted and prevailed against changing trends, subcultural fashions and the way music is obtained and distributed with their credibility, integrity and unique persona intact.

The men of Unearth – longtime members Trevor Phipps (vocals), Buz McGrath and Ken Susi (guitars), John "Slo" Maggard (bass)– are proven "lifers." In just a couple of short years, drummer Nick Pierce has proven his commitment as well. They have put the furtherance of uncompromising heavy music at the forefront of their career goals. Unearth perseveres, conquers and continues to achieve.

Harnessing the punishing groove of Pantera, the melodic majesty of the New Wave Of Swedish Death Metal, the fist-pumping anthemic power of traditional metal and the gritty realness of early '90s Metalcore and Noisecore, Unearth offers a unique take on what was already a thrilling recipe. The Massachusetts based quintet stood tall beside their peers in the so-called New Wave of American Heavy Metal (a category that includes their friends and contemporaries in Killswitch Engage, Lamb Of God, Shadows Fall and All That Remains) even as they refined themselves into a timeless outfit independent of metal subgenres.

The astounding quality of Unearth's music has never wavered and only continues to shine through the overly crowded landscape, like a beacon to their fans. The early rumblings of Unearth's debut full-length, The Stings of Conscience (2001), as well as the EPs that bookended that release, were followed by albums that became classic, defining landmarks in the past decade of underground metal.

The Oncoming Storm (2004), a devastating benchmark many of this generation still discuss with the same devotional awe as albums by The Big 4; III: In the Eyes of Fire (2006), which cracked the Billboard Top 40 with 22,000 in sales during its first week; The March (2008), a conceptually driven opus awarded a 4 "K" review in Kerrang!; and the enduringly awesome new chapter that was Darkness in the Light (2011), which broke into the Billboard's Hard Rock Top 10 and was hailed by the international press, all comprise a pristine metallic catalog.

Unearth have made most of their albums with Killswitch Engage guitarist Adam Dutkiewicz (August Burns Red, Underoath, A Day To Remember) and worked with the legendary Terry Date (Pantera, Deftones, Soundgarden) as well. Ken Susi is an accomplished producer/mixer in his own right, having worked with The Contortionist and Seemless (among others) and on Unearth records, as well.

With roughly 500,000 in worldwide sales, Unearth's continued staying power has also hinged on their highly interactive and toweringly heavy live performances. Over the course of a relentlessly impressive career, Unearth have played amphitheaters, sheds, theaters, halls and clubs with a diverse group of bands in the metal, hardcore and heavy rock elite. They've appeared at prestigious festivals like Download in the UK, Germany's With Full Force and Wacken, Belgium's Graspop, Hellfest in France, Japan's Loud Park, Malaysia Rockaway Festival, Heavy MTL and many other notable fests across Europe and the United States.

They've traveled to Australia, New Zealand, Japan, Mexico, South America, Europe, Russia, China, Scandinavia and all over Asia. They've toured as part of Rockstar Mayhem, Ozzfest (twice), Europe's Never Say Die, Metal Hammer's Defenders of the Faith Tour, Australia's Soundwave (twice), Europe's Persistence Tour (twice), Sounds Of The Underground (US and Europe) and MTV's Headbanger's Ball Tour (twice) as well as multiple headlining runs. Much of that live energy was captured on the Alive from the Apocalypse DVD, which went gold in Canada and debuted at #13 in the US. The Unearth historical legacy was examined in the documentary portion of the DVD.

Unearth are committed to collaborating on uncharted new heights within their music. No sellout and no letdown for their extremely dedicated fans on the horizon. Newly partnered with eOne (North America), Century Media (Europe), 3 Wise (Australia) and Howling Bull (Japan) Unearth will always steadily maintain and powerfully proclaim their allegiance to the lifestyle, the ethos and the community of heavy metal, both now and forever.
Fit For An Autopsy
Fit For An Autopsy
Corrupt politicians, manipulative mainstream media, government surveillance, mass shootings, clean water shortages, religious warfare, aggressive agribusiness, climate change, GMOs and a whole host of mind-numbing problems certainly make it feel like humankind is "going to hell in a hand basket," as they say. There may be nothing that can be done about it at this point. But at least we have a killer soundtrack.

Fit For An Autopsy's Hellbound is the perfect score with which to watch the flames rise. Punishing, unrelenting and alternately both heavy and dissonant, the New Jersey metal band's first album for Good Fight/eOne conjures visions of Nero vigorously attacking his fiddle, even as Rome was engulfed in fire all around him. Esteemed English actor Michael Caine delivers perhaps the best line in Christopher Nolan's "The Dark Knight" trilogy: "Some men just want to watch the world burn."

Death metal often chooses to deal in devils, demons and horror-movie inspired gore. "Deathcore" detours into broken relationships and introspective issues, much like its scene cousins in Metalcore and alt-rock. Fit For An Autopsy blaze their own path, opting to address the dirty, gritty and grimy reality of modern day life. There's no fantasy, no plaintive odes to lost love. This music is hell. These songs are Hellbound.

Scene queens, careerist cartoons and poseur-iffic hacks best step aside when confronted with the self-assured, art-for-art's-sake vibe of Fit For An Autopsy. As MetalSucks observed early on: "The band's brutal, glowering take on [deathcore] reminded [us] of the squandered potential of the genre. Hardcore grooves and swagger, when incorporated correctly, blend quite well with death metal."

On Hellbound, Fit For An Autopsy expand upon their commanding approach to an often maligned subgenre by synthesizing the rhythmic experimentalism of Gojira, the aggressive post-Noisecore of Converge, the esoteric and meditative tribalism of Isis, a virulent dose of the New Wave Of Swedish Death Metal (At The Gates, Dark Tranquility, early In Flames), the legendary progenitors of Floridian death metal (Death, Morbid Angel, Cannibal Corpse, Obituary) and the "deathcore" acts who offer actual proficiency in the genre (Suicide Silence, All Shall Perish, Whitechapel).

Each nuanced building block is meticulously assembled together to form a near-perfect modern metal masterpiece, all with the confident vibe of a group of people making the music they want to make for its own sake, trends and "hype" be damned.


There was justifiable reason to be excited about Fit For An Autopsy from the start. The rich pedigree of its core members foreshadowed the momentous music that was to come. Nate Johnson's stint fronting Through The Eyes Of The Dead resonated with many death metal diehards. Guitarist Will Putney is an accomplished metal producer, mixer, engineer and cowriter. Putney's fingerprints are all over currently relevant albums from Stray From The Path, Reign Supreme, Misery Signals, Vision of Disorder, Counterparts, For Today, Like Moths To Flames, Stray From The Path and more. Guitarist Patrick Sheridan is rightly well regarded for his work on the fretboard as well as with a tattoo machine. The rhythm section of bassist Shane Slade and Sick Drummer-approved Josean Orta is beyond formidable.

The earliest rumblings of Fit For An Autopsy emerged on a 2008 demo. The self-released Hell on Earth EP arrived the following year, eliciting interest from Guy Kozowyk, The Red Chord vocalist and Black Market Activities label honcho. Kozowyk released Fit For An Autopsy's devastating debut, The Process of Human Extermination, in 2011. Sputnik Music paid particular attention to Johnson's dominating presence. "The dude's a swamp creature," they wrote of his "absurd" (in a good way) delivery. "When you hear him scream, it's like, 'What the ---- was that?' You realize whatever it is would probably eat you if you ran into it in the woods."

The group's seething contempt for modern society is rivaled only by the sonic bombardment dropped upon the unsuspecting all over Hellbound, a record that is equal parts challenging and engaging. It's an album designed to make people feel uncomfortable, while at the same time, counter-intuitively soothed by its catharsis. Criminals, junkies and the systems that fail them; deadbeat parents; poisoned food; BS celebrities and false idols; they've all led humanity here. Hellbound draws a line in the sand. It's a declaration that even it's all going down the proverbial drain likeminded individuals can take some solace in the expression of shared rage.
The Agony Scene
The Agony Scene
Metalcore band, from USA, originally formed in 2000. They broke up and rejoined in 2003 with a slightly different line-up.

The Band:
Mike Williams - Vocals
Chris Emmons - Guitar
Stewart - Bass
Brian Hodges - Guitar
(As of June 2006, the band is looking for a new drummer)

Past Members:
Brent Masters - Drums
Matthew Shannon - Bass
Johnny Lloyd - Guitar
Steve Kaye - Guitar
Venue Information:
Saint Vitus
1120 Manhattan Avenue
Brooklyn, NY, 11222
http://www.saintvitusbar.com/