HATEBREED:                          Hatebreed.com

MassConcerts Presents

HATEBREED: Hatebreed.com

Obituary, Cro-Mags, Terror, Fit For An Autopsy

Fri, April 5, 2019

Doors: 5:30 pm / Show: 6:30 pm

Palladium

Worcester, MA

$25.00 - $40.00

This event is all ages

Enhance Your Concert Experience By Purchasing ***TICKETLESS UPGRADES*** Here

Hatebreed
Hatebreed
Hatebreed is a Metal & Hardcore band from Connecticut (USA) founded in 1994.
Guitarist Sean Martin left in 2009 and was replaced by Wayne Lozinak.
Obituary
Obituary
Obituary are a death metal band from Tampa, Florida. Formed in 1985 as Executioner, then changed spelling to Xecutioner, the band changed their name shortly before the release of their first album Slowly We Rot in 1989. The band are regarded as influential proponents of the Floridian death metal sound that emerged in the late 1980s and officially they are one of the best-selling death metal bands of all time.

Following the release of their fifth album - 1997's Back From The Dead - Obituary disbanded, although a live album Dead surfaced a year later.

In 2005 the band reformed, recording the reunion album Frozen In Time, since then, the band has continued to tour and release new material.
Cro-Mags
Cro-Mags
Hardcore punk band from New York City, NY, USA.

They were among the first bands to fuse hardcore punk with thrash metal and were associated with the birth of a tougher attitude within the hardcore scene in the late 1980s. They were also one of the first hardcore punk bands associated with the Hare Krishna movement.

The bass player Harley Flanagan and singer John Joseph were not the best of friends and eventually Joseph would part ways with the band leaving Harley to sing on the following Cro-Mags release.
After The Age of Quarrel, the band released the record, Best Wishes (1989). The record had a more heavy metal-influenced sound which alienated many of their original fans.

The band released another record Alpha Omega (1992), that saw the return of Joseph, and the departure of guitarist and songwriter Parris Mitchell Mayhew, a record that was only embraced by the most devoted of their fanbase, and followed by Near Death Experience (1993).

After suffering from many lineup changes and frequent breakups, the group finally disbanded, seemingly for the last time, after this record. However, in 2000 they released a record again..

With Revenge the Cro-Mags came back to their early hardcore roots with songs that were comparable to their first release plus some songs with a more melodic/punk rock feel. After the release of Revenge the band broke up once again.

In 2008 John Joseph started playing shows, including one at Fun Fun Fun Fest in Austin, using the name Cro-Mags (jam). The band included drummer Mackie Jayson, Craig Setari of Sick of It All on bass, and AJ of Leeway on guitar.

At various times in the 90s and 00s both Harley and John Joseph simultaneously led 2 separate versions of the Cro-Mags with completely different line-ups.

These groups billed themselves as "Cro-Mag Jam", "Cro-Mags-NYC", "Age of Quarrel" or "Cro-Mags" (whether or not the name was owned legally by the certain version of the band in question).
Sometimes only one original member would be present, sometimes two or three, and sometimes even both John Joseph and Harley together.
Terror
Terror
‘Total Retaliation’
Release Date: 28th September 2018
LA based powerhouse Terror have always been a name synonymous with hardcore. From their inception in 2002, the band have displayed a level of steadfast dedication unlike any other in the scene. Now with six studio albums, a series of live albums, splits, compilations and EP’s under their belts, the scene veterans are gearing up to release their latest full length ‘Total Retaliation’. The new album which is penned for a September 28th release date features Fit For An Autopsy’s Will Putney (Thy Art Is Murder, Body Count, Knocked Loose) in the producers chair and is the band’s first new material since last years ‘The Walls Will Fall’ EP. Clocking in at just under 30 minutes, ‘Total Retaliation’ is a succinct yet intense message of resistance within a world that can inspire little else. It’s a helping hand for the disillusioned and a firm middle finger to the authorities that are tearing apart society as we know it. As the band’s seventh full length studio album it serves as yet another example of why Terror have not only endured but remained at the top of their game for over 15 years.
Terror are:

Scott Vogel – Vocals
Nick Jett – Drums
Martin Stewart – Guitar
Jordan Posner – Guitar
Chris Linkovich – Bass

www.facebook.com/terrorhardcore
twitter.com/terrorhardcore
Fit For An Autopsy
Fit For An Autopsy
It seems there’s a new catastrophe hitting the headlines everyday, from corrupt politicians and crooked business people, to criminal mischief and the oppressive renegades within the ranks of those entrusted to protect the people from crime; extreme divides between rich and poor, ideological battles, shrinking resources, the constant threat of war, terror, famine, disease. The problems of the world are every bit as grim, perhaps more so, than during the Cold War, when protest, counterculture, and music from punk to thrash helped give voice to the voiceless.

The crushing music of Fit For An Autopsy is for any fan of extreme metal, as it’s devoid of preachy politics or grandstanding soapboxing, but its sound and fury is absolutely unflinching in purpose. The band expertly blends excessive-force fueled death metal with atmospheric groove and impassioned personal diatribes, reflecting back the dark state of current events. Their fourth album, The Great Collapse, doesn’t waste time with fantasy bullshit or cliché gore horror. Fit For An Autopsy are metal guys, to be certain, but they grew up in the hardcore scene. They embrace the responsibility to put as much devoted purpose into their lyrics and message as they do into their dense, heady, songs, forging a magnificently powerful new post-deathcore.

“When I write a song, I’m trying to feel emotionally connected to it. I really don’t like saying things that don’t matter over music that I want to matter,” says Will Putney, guitarist, principal songwriter and cofounder. “We’ve always addressed serious topics going back to our first album. We aren’t a politically charged band up on a podium yelling at people – anybody can relate to the aggression, anger, frustration, and sadness often communicated in our music. But we absolutely raise important questions in the lyrics. Those themes are there to discover.”

Putney’s fellow guitarist/cofounder, Patrick Sheridan, strongly agrees. He emphasizes that while the music of Fit For An Autopsy may evolve it will always be aggressive and will always have purpose. “We think it’s important to carry that torch. Somebody’s got to say something about the shit that’s going on. If you’re not using your music, which is a great platform, for something meaningful that you care about on some level, then you’re kind of wasting it.”

The six-men of the New Jersey based group – which includes vocalist Joe Badolato, bassist Peter Spinazola, third guitarist Tim Howley, and drummer Josean Orta – put maximum intentionality into everything they do. They are constantly challenging themselves as musicians, adding to the band’s overall creative arsenal, connecting with audiences around the world, and supporting one another in the band as individual people.

Fit For An Autopsy first summoned one of the most crushing takes on the then-burgeoning deathcore genre with their 2008 demo and the following year’s self-released Hell on Earth EP, which led to a deal with The Red Chord vocalist Guy Kozowyk’s Black Market Activities label.

The Process of Human Extermination earned them a place among the genre’s giants, cementing them as energizing leaders rather than stale followers. As MetalSucks observed: “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.” Fit For An Autopsy’s determined drive, work ethic, and devilishly unmistakable talent next elicited the attention of Good Fight/eOne, the group’s home since their sophomore album.

On Hellbound, Fit For An Autopsy expanded their commanding approach to death metal with hints of metalcore by absorbing increasingly diverse elements, from the rhythmic experimentalism of Gojira to the aggressive post-Noisecore of Converge, with a dose of the New Wave Of Swedish Death Metal, and a touch of groove unique to the New Jersey six-piece.

The group toured with The Acacia Strain and Within The Ruins on the No Way Out Tour, followed by Hate Across America with Thy Art Is Murder. In 2014, they hit the road with Chimaira, Iwrestledabearonce, and Oceano; with Whitechapel, DevilDriver, Carnifex, and Revocation; with Crowbar; and with Suicide Silence and Thy Art Is Murder. Toward the end of the excitingly productive Hellbound cycle, original frontman Nate Johnson split from the band.

The band’s third album served as the recorded introduction of powerhouse vocalist Badolato, whose impressive range (from guttural growls to pitch screaming and beyond) helped destroy all remaining self-imposed boundaries. It’s something the group’s instrumental members had yearned to do as even as they prepared the material prior to enlisting their new singer.

Absolute Hope Absolute Hell cracked the Top 20 on the Hard Rock Albums chart and hit #3 on Billboard’s Heatseekers chart. As Putney often noted in interviews, the record stood defiantly apart from those that offered little more than thirty minutes of blast beats and breakdowns.

Sure, that kind of nonstop pummeling has its place, but Fit For An Autopsy concentrated their focus less on crazy tempo changes and more on atmosphere and vibe, keeping one foot in the crushingly heavy while drawing more deeply from traditional metal influences, post-rock, and esoteric nuance. In 2015, the same year as Metal Injection and other tastemakers hailed the group’s progression, Fit For An Autopsy joined the Stronger Than Faith Tour with Suicide Silence, Emmure, and Within The Ruins, followed by a co-headlining tour with Aborted, a trek with Old Wounds, and the Tune Low Die Slow Tour with Acacia Strain and Counterparts.

“Being out there touring, I can say that our fans have been very accepting of each change and progression,” Sheridan notes proudly. “I’m very grateful, as oftentimes bands are scrutinized heavily as they evolve. We definitely took a step in a direction that people were stoked about.”

Putney points to Absolute Hope Absolute Hell as a definitive moment in the band’s career when they truly came into their own. “I like the earlier records a lot but we were definitely lumped in with a lot of similar-sounding bands at the time. I was happy that we were able carve our own path a little bit more on the last album, which we carried into this new album.”

Between Absolute Hope Absolute Hell and The Great Collapse, the group’s members were able to broaden their creative horizons even further with what became known as The Depression Sessions, a uniquely collaborative project that combined Fit For An Autopsy with their friends in Thy Art Is Murder and The Acacia Strain. Jettisoning the cutthroat competitiveness that often gets between bands, the trio of extreme metal acts joined forces for experimental sessions more akin in spirit to the jazz greats and hip-hop artists, but within the context of heavy music.
All of that collaboration and experimentation, to say nothing of Putney’s accomplishments as an in-demand genre producer whose credits include work with both of the bands who joined them in The Depression Sessions, among others, led to an all new focus on The Great Collapse.
“Iron Moon” is an aggressive shot across the bow of the status quo, railing against the mundane servitude of the 9-to-5 grind, yearning for a life of meaning and purpose. It’s as anti-establishment in tone as the album is in sound. Fit For An Autopsy break with genre convention even as they reshape and redefine their chosen sonic landscape. “Heads Will Hang” confronts the worldwide refugee problem, demanding empathy, placing the listener in the shoes of someone displaced from their home, hungry to escape into a safer life. “When the Bulbs Burn Out” expresses the group’s deep concerns about conservation and sustainability. “Black Mammoth” was inspired by the conscientious activism of the Dakota Access Pipeline protesters. Other tracks are more abstract lyrically, but no song on The Great Collapse is without intensity.
The album’s underlying death metal foundation serves as strong support for its more adventurous forays into chaotic hardcore, bits of deathcore, and a meditative, almost droning rumination not unlike the best of shoegaze and desert rock, like a hazy collision between Queens Of The Stone Age and Russian Circles. The omnipresence of rock titans Tool weaves in and out in powerful doses, with The Great Collapse inviting ever more favorable comparisons to Gojira, a band whose evolutionary trajectory is not dissimilar from Fit For An Autopsy’s path.
“It’s definitely easier to make a living as a band by growing your fanbase within one specific style,” notes Putney. “But it’s more rewarding to go this route. There’s a certain struggle you face when you’re constantly evolving, obstacles you have to face, but we’re happy to do it.”
Sheridan concurs. “I don’t want to sound like any one band or do any one thing. I always want to figure out ways to incorporate new elements that inspire us into what we already do.
“We made a promise when we released our first record, which is that we will never do what somebody else wants us to do as a band. We will always carve our own way.”
Venue Information:
Palladium
261 Main Street
Worcester, MA, 01608