Fit For An Autopsy, Gideon

Sun, April 29, 2018

7:00 pm

Vinyl Music Hall

Pensacola, FL


This event is all ages

General Admission * Standing Room Only * All Ages- Attendees Under 16 Must Be Accompanied By A Ticketed, Adult Guardian * Posted Times Are Door Times- Events Generally Begin 30-60 Minutes After Doors Open * No Re-Entry

An institution can be relied on. Its foundations don’t shake due to the winds of change or tides of trends—no matter how volatile, omnipresent, or tenuous.With steadfast determination, drive, and dedication, Hatebreedcement themselves as one of heavy music’s strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016’s The Concrete Confessional. Since 1994, the Connecticut quintet—Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]—has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013’s The Divinity Of Purposeearned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.“There’s nothing better than loud amps in the face, cranked up riffs that hit you right in the chest and lyrics that spark a new thought and give you a charge,” he declares. “That’s our musical DNA. We could just be who we are. We don’t need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it’s us.”The Divinity Of Purposebrought them to new areas of the globeas the headlinedfestivals in the UK, Finland, Norway, Germany, andEastern Europe andlanded a slot on Ozzfest Japan. They would perform at Poland’s Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Black Label Society in the winter of 2015 and then got the opportunity to bedirect support to Slipknot on a Spring 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.“Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are,” continues Jasta. “The Motörboat was another real career highlight. We played this exclusive event with some of our chief influences. We got to literally chart new territory.”Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that’s long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] andprimed for ignition.“We had a really good vibe in the studio,” he says. “The record is a snapshot of this time for us.”It also reflects what’s going on outside. The opening track and first single “A.D.” fuses together torrential thrashed-out guitars, double bass drums, and Jasta’s immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. “Fight fire with fire, you’ll see everyone’s burning,” he screams. Think of it as “Vote With A Bullet” or “Holy Wars...The Punishment Due” for the Instagram age.
“It’s a mirror of both sides of the story whether it’s what you believe in the media or what you actually see,” he explains. “Musically, it came together quickly. It’s about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it’s all bullshit. Nobody goes to the grave with any of that stuff. It’s not all instant gratification. What exists on the phone and computer isn’t what exists in real life. What is the American Dream anymore?”The machine gun chug of “Looking Down The Barrel Of Today” proves equally uplifting and undeniable. “I wanted something to get crowds pumped up,” he admits. “So many fans will tell us, ‘Your records help me get through my life.’ I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you’re done in by it.”“Something’s Off” carries an ominously lyrical bass line into a guttural chant, showcasing Jasta’s chilling vocal dynamics in the process. “I’ve written songs about depression, alcoholism, and falling back into destructive patterns,” he says. “However, I never felt like I could really put my finger on what anxiety is. It’s not just social anxiety but this unexplained feeling of unease, like I’m in a fog. I’ve felt it occasionally since I was in grade school. You can’t control when it happens. Heavy music has kept that beast at bay—in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here.”Elsewhere, “Remember When” and “Slaughtered In Their Dreams” juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessionalis classic Hatebreed.In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. “They’re world-renowned mainstays in the metal community,” he smiles. “We get to be in the company of career bands we look up to.”Hatebreed have come a long way from the East Coast’s storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of “Best Metal Performance” for “Live For This,” sell over 1.2 million records, and land a #1 debut on Billboard’s DVD Chart with 2009’s Live Dominance. Moreover, they’ve annihilated audiences from Mayhem Fest to OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.Now, The Concrete Confessionalfits right into the bold, bloody, and beating heart of the Hatebreed institution.“The title had to be something that was heavy and hard, but also vulnerable and honest,” Jasta leaves off. “Heavy music is this cleansing, therapeutic, and cathartic experience for so many. You’re there, the guitars are crushing you, and someone’s screaming their head off—sharing their pain and aspects of their life through words, poetry, or songs. There’s nothing like it. You confess you have negative thoughts, and you purge them. For however long you’re at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free.”
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.
Tuscaloosa, Alabama brings us Gideon, an aggressive, melodic hardcore band with an already impressive repertoire. Well-placed gang vocals and a powerful front man set Gideon apart from many of their peers, while the band as a whole, whose members have been playing together only since 2008, come off sounding like seasoned pros. Gideon have self-released two EPs and full length Volition since 2008 with the help of Brian Hood at 456 Recordings. Their newest album Milestone is the highly anticipated follow-up to last year's release.

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Venue Information:
Vinyl Music Hall
2 S. Palafox St.
Pensacola, FL, 35202