While She Sleeps
Fit For An Autopsy
Saturday, November 25, 2017
Roseland Theater 503-224-2038
8 NW 6th Ave, Portland, OR
6:30pm (doors open at 5:30pm). All Ages.
$26.50 advance tix from Cascade Tickets.
$30.00 at the door.
ABOUT ARCH ENEMY--
Metal titans ARCH ENEMY — whose dynamic cocktail of melody and aggression has earned them massive critical acclaim, a rabid worldwide fanbase and a slot on this summer's Ozzfest in the US — triumphantly return with Doomsday Machine, their most stunning and dynamic release yet.
Formed by guitarist Michael Amott after his departure from the now legendary Carcass, ARCH ENEMY first garnered praise with the metal milestones Black Earth (1997), Stigmata (1998) and Burning Bridges (1999). These albums were propelled by flawlessly technical dual guitars and a previously unheard of mixture of melody and aggression, which helped them to quickly solidify their reputation as one of the genre's elite.
However, ARCH ENEMY really began to develop their true potential once outstanding new vocalist Angela Gossow joined the fold on 2001/2002's critically acclaimed Wages of Sin album (produced by Fredrik Nordström and mixed by Andy Sneap), marking the first time a band of this calibre and ferocity was fronted by a woman. The album was showered with universal praise, from front cover press in worldwide metal magazines to national daily newspapers alike. Naturally, Wages Of Sin proudly claimed a position in all the end-of-the-year «Best Of...» lists, whilst the metal underground had found a new band to champion, and one that would soon show on the live stage that it had even more to offer with Angela bringing a hitherto unseen level of growling and glamour to extreme metal.
It began with a sold-out UK-tour with Opeth and festival appearances across Europe. They then headed over to North America for a 6 week tour supporting Nile, followed 2 months later by another tour in the US, this time headlining with amongst others God Forbid supporting. By the end of 2002, ARCH ENEMY were back in Europe playing their first headlining club shows in several countries before heading back to Japan to take a major slot at the Beast Feast festival with Slayer and Motorhead. On the way back from Japan they briefly stopped on US soil for a number of West Coast headline shows before Christmas, and then took to the road once again for their debut headline shows in Scandinavia at the end of January 2003.
The band's 2003 album, Anthems of Rebellion, was immediately hailed as a metal masterpiece. Produced and mixed by Andy Sneap, the record proved to be a landmark release for Century Media, as it delivered the label its then-highest first-week U.S. SoundScan sales ever, on the way to becoming one of its 10 best-selling albums of all time. Worldwide press raves continued to pour in — Anthems for example scored an unprecedented 5/5 in both Alternative Press and Kerrang!, Rock Hard Germany made it their «album of the month», and Metal Hammer Germany stated it to be „melodic, grasping, delicately built but nevertheless a massive hit in your face."
On the back of such a great response the band headed back out on the road and completed high-profile U.S. tours over the next year with Slayer, Hatebreed, Cradle Of Filth and Iron Maiden, a European Tour with Nevermore, a 2nd European headline tour as well as playing huge European festivals like Download, Rock Hard, Fields Of Rock, Graspop and Tuska, among others.
Late in 2004 ARCH ENEMY returned with the «Dead Eyes See No Future EP» — more than 30 minutes of highest quality metal, including exclusive live tracks recorded in Paris, three fantastic cover songs by Megadeth, Manowar and Carcass, as well as an enhanced version of their amazing «We Will Rise» video clip.
Now in 2005 we have Doomsday Machine and ARCH ENEMY have delivered without doubt the album of their career and are about to redefine the genre that they helped to create.
Founding guitarist and songwriter Michael Amott describes his thoughts on the group's highly anticipated new album: «I think all great metal needs that killer mix of classic riffs and ripping solos, something that has been a bit of a dying art recently. We are doing our best to recreate that mix on this new album, and one thing I can guarantee is that there will be tons of guitar for fans to headbang to. All in all, I am really happy with the songs and I believe we have found the right balance of melody and brutality — the Arch Enemy trademark!»
The album artwork was created by German multimedia artist Joachim Luetke (Dimmu Borgir, Kreator). Michael Amott comments: «We are all extremely pleased with the artwork for the new album! I had a few ideas initially that I discussed with Joachim on the phone, and when he started sending over images we were seriously blown away — when you work with creative people of this calibre you just let them do what they do, so we just let him get on with it really! He's a very productive guy, very sharp. He expanded on the Doomsday Machine concept and took it to some really interesting (albeit very dark!) places. It's one of those great situations when the artwork totally works with the music.»
Trivium have come up with a brilliant way to allow their live show be something that the fans are able to enjoy repeatedly. This tour will feature a special promotion, where at participating venues, each ticket buyer will be able to re-live their experience at the show, as they will have the option to use their ticket stub, via a unique code, to redeem a free, full digital soundboard recording of the Trivium show that they attended. Fans will be able to use the bar code number on their ticket as their unique code to redeem their music at trivium.org
Talent and charisma are key ingredients for any professional musician, but without dedication and perseverance, many bands quickly fade to black. Then there are those like Orlando, Florida band Trivium, who are so determined, their behavior borders on insanity.
The day before Hurricane Charlie decimated Florida, Trivium were playing the Masquerade in Atlanta. While they knew they were up against their own Perfect Storm, they decided not cancel the next night's show in their hometown. «We drove a van with a trailer right through the eye of the hurricane,» 18 year old singer and guitarist Matt Heafy says. "[Drummer] Travis [Smith] drove the whole way and he was like Tom Cruise in ' Mission: Impossible' or something. He just kept going and we made it for the show." Showing his dedication Heafy says «we all live for this band. We wake up, practice a little bit on our own and then go to band practice and play for hours and hours. That's all we do, and all we want to do for the rest of our lives.»
The same type of dedication and youthful exuberance goes into the band's music. Ascendancy, the group's second album, their first on Roadrunner Records, is filled with carefully crafted songs that surge with energy, passion and originality. Like their solid 2003 debut Ember To Inferno, Ascendancy is rooted in '80s and 90's thrash, recalling the glory days of Metallica, Slayer, Pantera and Testament. But, the new disc doesn't stop there, incorporating aspects of melodic death metal and even prog-rock. Twin guitar harmonies and point/counterpoint dynamics abound, twisting around vocals that alternate from melodic and pained to caustic and full of rage. «We had so much more to work with this time,» says Heafy of the Jason Suecof-produced disc. «I had great guitar sounds, Travis is playing like a machine and the vocals are so much more multi-dimensional.»
While the first album, lyrically, addressed romantic disillusionment and child abuse, this time the songs confront spousal abuse, suicide, depression, tyranny and freedom of speech. However, even at his most poignant, Heafy prefers expressing gut emotion to preaching. «I've found that when you have a negative aspect in your life, you can find so much negativity in other people's lives around you, and in the world. For me, it's good to write about the negativity to get some of it out of my system.»
Trivium formed in 2000 after the band's original singer saw Heafy perform the Offspring's «Self Esteem» with a drummer at his high school talent show. The band members chose the name Trivium, which is Latin for the intersection between the three schools of learning: grammar, rhetoric and logic, because they liked the way it implied an open-mindedness to different styles, and summed up their musical aesthetic. After a couple of gigs at parties, the original singer quit the band and Heafy took the wheel. For the next two years, the band honed its sound, and in 2002 Heafy won the Best Metal Guitarist Award at the Orlando Metal Awards. Trivium headed into the studio in the beginning of 2003 to record their first high-quality demo disc. From this, German label Lifeforce signed Trivium and sent the band into the studio to record Ember To Inferno.
After going through various lineups, the band finally found guitarist Corey Beaulieu, who compliments Heafy's precision playing with solid riffs that help anchor the songs. Landing a bassist was even more difficult. Numerous players came and went before Paolo Gregoletto, who has jammed with Iron Maiden drummer Nicko McBrain, was brought in just in time for the tour with Machine Head. Feeling so strongly about the group, their music and their dedication to their craft, Paolo left another group to be a part of Trivium.
By July 2004, Trivium had 80 percent of the material for Ascendancy written and fine-tuned. Then in September, the band headed into Audiohammer and Morrisound Studios with Suecof, where they recorded the songs. As much as Trivium enjoyed their studio experience, they're happiest on the road. In the past year they've embarked on tours with Machine Head and Iced Earth as well as played dates with Killswitch Engage, Fear Factory and others, and won over new fans with every show. «What's cool about a tour is every night's a party,» Heafy says. «It's not always because everyone's drinking, but people are getting along well and hanging out. The energy from the crowds is amazing.»
With their second album finished and on the shelf, Trivium look forward to spending most of the year on the road — which doesn't mean they're not constantly working on new material.
ABOUT 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.