A Funtime Presents Event
Obituary, Terror, Cro-Mags, Fit For An Autopsy
681 Main Street
Buffalo, NY, 14203
Doors 5:30 PM
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, Hatebreed cement 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 Purpose earned 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 Purpose brought them to new areas of the globe as the headlined festivals in the UK, Finland, Norway, Germany, and Eastern Europe and landed 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 be direct 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] and primed 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 Confessional is 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 Confessional fits 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."
Obituary remains one of the most influential and groundbreaking bands in the death metal genre, one which they helped to create. Hailing from the sunny state of Florida with a bevy of bands with a decidedly un-sunny take on metal Obituary along with Death, Morbid Angel, and Deicide, combined hyper-speed guitar riffing, complex arrangements and guttural screams to create a bleak and violent soundscape that defined a genre. Unlike their peers though, Obituary avoided the more common trappings of this style of music shunning the Satanic bent of the lyrics and the breakneck pace of the dual guitar assault.
In 1989 Obituary released their debut album, Slowly We Rot, a death metal milestone. Brilliant in both its complexity and brutality, Slowly We Rot gave us but a glimpse of things to come. They followed it up in 1990 with Cause of Death, which saw Allen West replaced by former Death guitarist James Murphy (Cancer, Disincarnate) and bassist Daniel Tucker replaced by Frank Watkins (Hellwitch). 1992 saw the release of The End Complete and showcased the talents of a band clearly at the top of its game. With the departure of Murphy and the return of West, The End Complete is vicious and tight ripe with intensity. In 1994 death metal fans were treated to both Don't Care and World Demise. After a three year hiatus, Obituary returned with Back from the Dead, proving that old habits die hard . . . and heavy. Back from the Dead was unrelenting in its power and craftsmanship, proving once and for all that the band that started it all could still do it the best.
Terror is a Los Angeles hardcore band started in 2002.
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.
Fit For An Autopsy
$26.00 - $30.00
Tickets Available at the Door
No one under 12 admitted. Minors under 16 need to be accompanied by a parent or legal guardian. Government issued identification is required for entry. No exceptions.