Music City Booking presents:
Six Feet Under
Decrepit Birth, Cannabis Corpse
2208 Elliston Place
Nashville, TN, 37203
Doors 7:00 PM
This event is 18 and over
Six Feet Under
When he's not drag racing near his Tampa, Florida home, Six Feet Under's Chris Barnes is a non-stop death machine. In fact he may be the only living grandfather of death metal - a tag he "always gets a smile out of," the singer admits with a blushing tone. "If anything, that kind of recognition makes it worthwhile for this style of music. I definitely appreciate that."
On the verge of unveiling their latest slab piled with human remains, Six Feet Under are getting grim this time... grim reaper that is, a recurring theme surrounding the 11 tracks found nestled within this freshly-hewn casket. Recorded at Morrisound Recording in Tampa, Florida and Criteria The Hit Factory in Miami, the band's eighth full-length studio effort, 13, "will rip your fucking heads off," as Barnes so eloquently describes (although this is a mission statement the dread-locked legend has used since the band's debut, Haunted, in 1995). Along with guitarist Steve Swanson, bass legend Terry Butler (Death, Massacre) and drummer Greg Gall, the foursome continue to follow a strange career path that merges simplistic death metal with their fetish for the tried 'n' true classic sound of the art form. And consistency is the key to Barnes' rather stomach-turning ideals.
"We try to put out some kind of release every year," he says, with respect to the band's creative outbursts that have been an ugly but regular occurrence for over a decade. "Most bands outside of the '70s and '80s were releasing one album every three or four years. I don't have that much time. I feel like I have to keep moving and keep creating as much as I can while I'm here. I'm not gonna dilly-dally and play the games most bands play. I'm here to write lyrics and make music for ourselves first off. We are definitely in touch with the people that like our music and we try to stay in tune with our fans. I think that's one thing I've always done: stay aware of what's going on out there around me in the music industry. I've always had a real love for this thing that I do. It's a passion of mine and I really, really love creating. And to do that every three years or something... I can't pace around that long. I'm an anxious type of person. When I know I want to do something I do it. It may take me a couple of minutes to plan it out right, but I do it and I get into it. I can't wait for when it comes time to write; it's my passion."
"This album is my main catalyst right now," he continues. "We've been getting this together since October. Now with mastering being completed and a release date set, it's just a matter of really pushing myself to accomplish the next step in what I did with this record and what the band did in writing it. It's just taking it to the next step, which is what's going to drive me the next six or seven months."
And Barnes more than ever guides the SFU death ship, as he's also credited with producing 13 alongside longtime engineer and mixer Chris Carroll. 13 features the following tracks: 'Decomposition Of The Human Race', 'Somewhere In The Darkness', 'Rest In Pieces', 'Wormfood', '13', 'Shadow Of The Reaper' (first video directed by Gary Smithson, featuring actors Meagan Crawford and Aaron Kinser), 'Deathklaat', 'The Poison Hand', 'This Suicide', 'The Art Of Headhunting' and 'Stump'.
Fans of Barnes' Cannibal Corpse roots (he split with the band after 1994's The Bleeding) and the malicious, speed-ridden underbelly of Six Feet Under's death metal vision will embrace 13.
"It seems like it's more on the up-tempo side." Barnes describes the frenzied affair. "I think it's a direct echo of where we were when we wrote it. We had just got off the road, three or four days before we went into the studio. We had no material written. I had an idea of approaching this album in a different way, writing and recording. We just went into the studio and wrote this thing. The aggressiveness and the tempo reflected our mindsets. We really tapped into our feelings and it set our pace. We've been putting out lots of releases and doing lots of touring. From studio to tour, studio to tour… everything. We've been on the wheel this past year. I didn't want to let the band relax after being on that. I wanted to use that energy that forward motion, and it really showed itself in the writing process and in the recording, which was really what I had an aim to do. We wanted to get a breath of fresh air in the writing process and hopefully that would stir things up a bit and make this album contain more stand-out songs. When you force yourself into a situation, you tend to absorb the energy and it definitely helps you; I think that was my motive on this one - for me and for the band."
But while idle hands are the devil's playground, taking advantage of the momentum proved fruitful. Creatively speaking, 13 came together in a flash of death metal spirit, nurtured along with Barnes' focus on extraneous ingredients and spiritualistic accompaniment.
"I had a vision, like everything else I've done through meditation and smoking lots of marijuana. I've developed a keen third eye sense - it's a straight vision, tunnel vision. I can't break free of that tunnel. There's one set mind pattern in motion and I have to follow it. That was really my idea for this. I said, 'That will work, this will work.' Some people will use this against us if they don't like it, but this is the strongest stuff we've done. I always say it, but this is completely off-base for us writing-wise and it works in an aggressive way. We wrote this album and laid the drum tracks down in seven, eight days. I wrote 14 sets of lyrics (11 for 13, the rest for the box set) in just under five days. I laid my vocal tracks down in six hours on this thing. Everything came together so spontaneously and to me it's more solid than anything we've ever taken time on. I really don't know how it came together but it did; it's weird. They're really good songs. A lot of great albums were written in the studio under the influence of lack of sleep and entertaining substances. It's a good thing to go back to the way things sounded and the way people put things together. Some people at the label are saying this is the best thing since Haunted. I really think we accomplished something and we pushed ourselves in a different way and it formed itself right. It was a cocky thought I had, but everything I do has got a little bit of ego to it - it's got to. That's what an artist does, he embraces his own creation and that's where it begins. Hopefully people will enjoy it as much as I do."
The lyrical element behind 13 is, once again, not for the weak at heart, as Barnes plunders the dark side, scythe in hand. "It's definitely a loosely based concept," he says about his twisted poetry. "It takes you through a story. Everything I've done lyrically is about life and death. And this is no different, but it's a little more concentrated and focused towards the grim reaper and the thought of the coming of death in many ways individually and on a grand scale. People that are really into my lyrics notice certain patterns of reminiscing towards older things that I've written. There's maybe a little bit more of a puzzle here to try and connect the pieces. 13 is kind of that, but directed in a manner of things to come, things that have been, things that are happening.
The number 13, on many different levels, biblically, historically, supernaturally, is a vague type of thing; it's not just a scary number."
Decrepit Birth was formed in 2001 by Matt Sotelo - guitars, Bill Robinson - vocals, and Derek Boyer – bass. Originally the intention was to play devastating, brutal, technical death metal, mixed with influences from the early 1990's Florida death metal scene. Since Matt and Derek had at one time both played in Southern California band, DEPRECATED, it was easy for the two of them to begin collaborating on material for the first full length Decrepit Birth album "…And Time Begins".
In Fall of 2002, with the help of friend Tim Yeung on session drums, they entered Legion Studios to begin recording. Almost a year later "…And Time Begins" was released on Unique Leader Records, artwork by Dan Seagrave. The album had production issues but still managed to forge a very solid fan base in the death metal scene. The band went through a dry period of playing no shows due to the lack of a drummer. Bassist Derek Boyer got the chance of a lifetime and was offered a full time position with death metal legends SUFFOCATION. That left Decrepit Birth with out a drummer or bassist.
During 2004, bassist Risha Eryavec stepped in and not long after that, drummer KC Howard of ODIOUS MORTEM officially joined the band as well. For the next couple years the new lineup played many shows, fests and one North American tour. In 2007 the band took a break and began writing full time for the new album. They went through some lineup changes and also dealt with personal issues related to a past member. This conflicted the band, and brought about a spiritual overhaul. The result was a change in direction and sound. The new music was becoming influenced by melodic and progressive compositions. The sound was more mature and catchy, while still maintaining the brutality Decrepit Birth is known for.
In Spring of 2007 Decrepit Birth entered Castle Ultimate Studios with engineer Zack Ohren to begin recording for the sophomore album. In January 2008 the highly anticipated album "Diminishing Between Worlds" was released again through Unique Leader Records. During that same month of January, Decrepit Birth embarked upon their biggest tour yet, opening for THE BLACK DAHLIA MURDER, THREE INCHES OF BLOOD, and HATE ETERNAL. With the addition of a second guitarist, Dan Eggers and bassist, Joel Horner(both of ODIOUS MORTEM) to replace Risha so he could focus on his family and job, the brand new line up played night after night of sold out shows through out the United States. Now with a new album freshly released, Decrepit Birth was able to catch the attention of Nuclear Blast Records, which was a label the band really wanted to work with for years. After negotiations, they happily signed on with Nuclear Blast in Spring of 2008. The band is currently touring in support of the new album and is also writing new music, which can only be described as an "evolved version of what we did on Diminishing Between Worlds".
Cannabis Corpse is a band that was born in the summer of 2006 as a way to express our love of smoking weed and listening to Cannibal Corpse.
The tunes for the first album "blunted at birth" were recorded in Weedgrinders kitchen on a boss br 900 digital 8-track while slowly smoking away huge chunks of memory with the finest bud in oregon hill.
We did it in the hopes of creating a band that got you stoned with a sick oldschool death metal sound alone! We can promise you that every growl, every guitar riff, and every drum beat was done when we were completely obliterated on sweet sweet chiba.We wanted people to spark up a doober and follow along with the lyrics so they could be transported into a horrific world where you are not safe from getting your weed stolen by bloodthirsty zombies or getting captured by an ancient cult that cultivates demonic weed with the blood and body parts of sacred ritual sacrifice! We had no idea just how well received the album would be by all our "buds" out there in the death metal community.
We inlisted our friend Nick from Parasytic and played our first live show on 4/20 2007. We completed our follow up to "Blunted at Birth" called "Tube of the Resinated" in the winter of 07 and put it out on robotic empire(LP)/forcefield records (CD) on 4/20 08. We hope to come smoke your city this year, so stay stoney for the impending pot rapture!