Show Info

Obituary

First Fleet Concerts Presents:

Obituary

Pallbearer, SKELETONWITCH, Dust Bolt

Tue, May 15, 2018

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

Wooly's

Des Moines, IA

$22.00 - $25.00

This event is all ages

Obituary
Obituary
Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.

“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn't actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn't believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.

The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.

The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.

2004 brings reason for Obituary fans to rejoice, the sunken eyes and heaving cries have all but abated. Obituary has only aspired to live up to the standard they have set for themselves, one that numerous bands have strived to duplicate, but never attained, falling short both creatively and in lack of the unique talent that each member contributes to the near indescribable Obituary sound. Like a forgotten corpse in the basement, Obituary are back to haunt, taunt and fully pollute your senses. Fermenting like waste in the hot Florida sun, Obituary return from hiatus with the voracity of a starven wretch. The forfeiture of time brings blessings of brutality, and assurance that the Dead shall indeed rise again. Such aural abrasion can only be heard on an Obituary album or the live circumcision of a thirty-year-old man, the choice is yours...
Pallbearer
Pallbearer
Doom metal band from Little Rock, Arkansas. Formed in 2008.

Current line-up:
Brett Campbell - vocals/guitar
Devin Holt - guitar
Joseph D. Rowland - bass
Mark Lierly- drums
SKELETONWITCH
SKELETONWITCH
"SKELETONWITCH has been called every name in the fucking book: death metal, black metal, thrash metal, speed metal, heavy metal, epic viking blackened thrash 'n' roll, and so on. It seems the only description everyone can agree on is 'metal,'" says guitarist Scott Hedrick, "and that suits us just fine."

Indeed. Like Satan himself set loose in the hallowed halls of heavy metal, these Athens, Ohio-based headbangers careen wildly through the music's history, gleefully destroying and setting flame to every genre along the way, only stopping at the forefront of today's metal scene to look back and watch that fucker burn — and then piss on the flames. No other band has tapped into the fire, fury, and frost of all things metal like SKELETONWITCH.

Their latest slab of savage, molten metal, Forever Abomination (out in October on Prosthetic Records), is a testament to their refined craft, honed through years of hard work and relentless touring. "We live and breathe this shit!" exclaims Hedrick. "We tour as much as humanly possible, and when we're home we write. There's technically no such thing as 'time off' when you're in The 'WITCH".

And it shows. On Forever Abomination, SKELETONWITCH's unique blend of metal was given a kick in the ass by Matt Hyde (Slayer, Hatebreed), who produced and recorded the album. The group's carefully crafted tunes and technical mastery are brought to the forefront by Hyde's monolithic production.

Main songsmith and epic riff-merchant, Nathan Garnette, has carved out the most unique batch of SKELETONWITCH tunes to date, while vocalist Chance Garnette has outdone himself again, sounding like he was barely able to contain his inner demons long enough to track the vocals. Bassist Evan Linger plays like a possessed Steve Harris, if Harris actually knew what the fuck black, death and thrash metal were. Guitarist Scott Hedrick's lead work displays musicality and feeling rarely seen in extreme metal, and all of this is enhanced by SKELETONWITCH's newest addition, drummer Dustin Boltjes (Demiricous).

"Dustin is a fucking animal!" says Hedrick. "He stepped up to the plate and took these songs to another level with his relentless style of playing. He really drives the songs more than anyone we've ever played with."

And at the end of the day, it's all about the songs. Each track on Forever Abomination has its own unique identity and ability to stand alone. "Everyone stepped up on this album and really pushed themselves. We've created something much larger than the sum of its parts. We've never been more proud of our work, and that's how it should be. We wouldn't release Forever Abomination if we didn't feel that way," says Hedrick.

SKELETONWITCH's vicious live show and fierce blue-collar work ethic have garnered them a dedicated fan base, including some of the genre's biggest names such as Rob Halford, Phil Anselmo, Bill Ward and Robb Flynn, to name a few. They were also handpicked by Glenn Danzig for his 2008 Blackest of the Black tour, and have also logged countless miles on the road in the U.S., Canada and Europe with the likes of Amon Amarth, Dimmu Borgir, Cannibal Corpse, Children of Bodom, High on Fire and The Black Dahlia Murder. The band has also made high-profile appearances at several festivals, including the New England Metal and Hardcore Festival in 2008, 2010 and 2011, the 2010 Scion Rock Fest in Atlanta (along with Mastodon, High on Fire, etc.), South By Southwest, Ozzfest, Wacken, Summer Breeze and more.

SKELETONWITCH formed in 2003 and self-released their debut full-length, At One With the Shadows, the following year. In 2006, after several underground tours, the band broke through musically with the self-released EP Worship the Witch (which included a limited, handmade edition by Baroness' John Baizley). Worship the Witch peaked label interest, and in 2007, the band signed with Prosthetic Records and released Beyond the Permafrost, which received numerous accolades in the U.S. and overseas and landed on many year-end "Best Of" lists including Revolver, Decibel, and Pitchfork. The album also cracked the Top 10 of the CMJ Loud Rock Chart. Their follow up full-length Breathing the Fire, released in 2009 and produced by Jack Endino (Soundgarden, Nirvana), landed at #151 on the Billboard Top 200, received glowing reviews throughout the metal community and landed on numerous "Best Of" lists.

If you know what's good for you, you'll come out and bang your head when SKELETONWITCH comes to your town. Worship the 'WITCH!
Dust Bolt
Dust Bolt
Thrash metal band, formed in the Bavarian town Landsberg am Lech. Their debut album gained major success and was sold over 5000 times so far worldwide and the band was now known as top newcomer act in thrash metal in Germany.
Venue Information:
Wooly's
504 E. Locust St,
Des Moines, IA, 50309
http://woolysdm.com/