13th Floor Entertainment Presents Obituary
Pallbearer, SKELETONWITCH, Dust Bolt
1306 W. University Dr
Mesa, AZ, 85201
This event is 12 and over
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.
Doom metal band from Little Rock, Arkansas. Formed in 2008.
Brett Campbell - vocals/guitar
Devin Holt - guitar
Joseph D. Rowland - bass
Mark Lierly- drums
In 2003, when American teenagers were raiding the makeup sections of their local Halloween shops to paint up like their favorite black metal bands… there was Skeletonwitch.
In 2005, when every burnout who sold enough weed bought an Orange amp and tuned their guitar down to “C”… there was Skeletonwitch.
In 2007, when kids with pricey haircuts and freshly inked full-sleeves learned two At The Gates riffs and simplified them with breakdowns… there was Skeletonwitch.
In 2010, when sweep-picking Guitar Center employees decided to eschew songwriting and showcase their “chops” in soulless robotic fashion… there was Skeletonwitch.
Today, in a landscape that finds them surrounded by a) bands begging their own fans for money,
b) vest-wearing, by-the-numbers “retro” rock nostalgia and c) heavy labels blindly signing bands based on breast implants… there, still, is Skeletonwitch, a band that has successfully carved its own left-hand path with an unwavering quality of metal and old-fashioned hard work.
This organic approach has garnered legions of fans and an undeniable level of respect in the worldwide metal community from both sides of the stage.
As SKELETONWITCH celebrate its 10th anniversary this year, it’s fitting to reflect on some notable numbers from the band’s first decade of destruction:
4: Number of full-length releases (with #5 due on Oct. 29)
2: Number of those full-lengths to crack the Billboard Top 200
1 each: Number of times they’ve appeared on the covers of Decibel and Terrorizer magazines
7: European tours including performances at the metal’s largest and most respected festivals such as Wacken, Summer Breeze, Graspop, Tuska, Bloodstock and more
500,000+: Number of miles the band has traveled across North America
0: Number of those miles driven by someone other than guitarist Nate Garnette
Countless: cans of beer consumed, high fives given and good times had
Since signing with Prosthetic seven years ago, a new SKELETONWITCH album has materialized like clockwork every other October. First, there was the group’s sophomore breakthrough, “Beyond The Permafrost.” Produced by late GWAR guitarist Cory Smoot and featuring iconic artwork by John Baizley (Baroness, Kylesa, Kvelertak), the album – and subsequent tours with the likes of Danzig, Dimmu Borgir and Amon Amarth – told the world what the rest of Ohio already knew: that SKELETONWITCH was a metal force to be reckoned with. That album’s “Soul Thrashing Black Sorcery” would eventually be featured in the video game “Brutal Legend,” placing the band in excellent company with digitized versions of Rob Halford, Ozzy and Lemmy.
Then came 2009′s “Breathing The Fire,” produced by the legendary Jack Endino (Nirvana, High
On Fire, 3 Inches of Blood). Supported by tours with Cannibal Corpse, Children of Bodom and Ozzfest, the album – the band’s first featuring bassist Evan Linger, and also their first to crack the Billboard Top 200 – caught the attention of Cartoon Network’s Adult Swim, who invited the group to film a zombie-themed video for the song “Bringers of Death” that the band members still haven’t stopped hearing about.
In 2011, “Forever Abomination” – produced by Grammy-winner Matt Hyde (Slayer, Deftones) – saw the arrival of drummer Dustin Boltjes (ex-Demiricous), as well as a return visit to the Billboard Top 200. On the road, the group toured alongside Arch Enemy, Kvelertak, The Black Dahlia Murder and Nile before embarking on their most ambitious trek to date: a 63-shows-in-65-days test of endurance that they passed with flying colors.
2013 brings us to “Serpents Unleashed,” the group’s fifth and latest release. Recorded with Kurt Ballou (Converge, High On Fire, Isis) in Salem, Mass. (insert bad “witch” joke here), the album – which features artwork by Baizley, who returns to the fold for the first time in six years – is another blistering helping of two-and-a-half minute blasts of blackened metal amalgamation.
This time around, the band also shows off a few new tricks – note the Scandinavian doom-vibe in the opening of “Unending, Everliving” and the devil’s swing of “This Evil Embrace” – but does so without compromising the frosty/fiery/abominable metal spirit or blue-collar humility that has endeared them to so many over the past decade. Ultimately, it’s both a fitting testament
to what they’ve accomplished to date, and an exciting nod toward what the future has in store.
As for that future, in 2020, when pedal-steel rasta-metal will be all the rage, there will be
SKELETONWITCH, still doing what they – and, most importantly, their fans – love, trends be damned.
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.