MetalSucks and Metal Injection present
Fuck The Facts, Fit For An Autopsy, Meek Is Murder, Hivesmasher, Stomach Earth
57 Waterbury St.
Brooklyn, NY, 11206
This event is 21 and over
Fuck The Facts
Fuck The Facts was started in the late 90's as a recording project by Topon Das. After many early recordings including split tapes with S.M.E.S. and Mastectomia, FTF started developing a name in the underground with grind and noise fans worldwide. In 2000 the first full length CD "Discoing The Dead" was recorded and later released by Black Hole Productions. The positive feedback led to Topon assembling a full band to continue with the project in early 2001.
Now with Matt Connell (drums), Tim Audette (guitar), Brent Christoff (vocals) and Topon Das on guitar the band brought their extreme style to a live setting. In the fall of 2001 the band would record their 2nd full length "Mullet Fever" (Sonic Deadline Records) which included material for a split 7" with Kastrat on Zas! Autoprod. Following the recording Brent decided he was unable to continue with the band and was quickly replaced by Mel Mongeon.
By 2002 the band had enough material to record their next full length CD "Backstabber Etiquette" which was released by Great White North Records, and a split 7" with Sylvester Staline for Anvil Of Fury Records. These new recordings showed a new maturity without giving into the trends of the time. The band also made time to tour through Ontario with Montreal's Ghoulunatics and make it out to Winnipeg to play the annual Arsonfest. Now developing a wider range of listeners the band started working harder and playing more often, this included a December tour through the Maritimes. This would lead to the departure of Tim Audette who would do his last tour through the Canadian East Coast with the band in June of 2003.
As a 3-piece the band recorded material for a split CD with Feeble Minded on Grodhaisn Productions, which showcased the leaps the band had made in musicianship and song writing. Not to be held back the band toured the US in August with Malefaction as a trio.
Upon return it didn't take long for FTF to find their new guitarist in Dave Menard. New blood brought inspiration to the group and in late 2003 FTF completed recording for a split CD with Sergent Slaughter (Undecent Records / Meat 5000 Records). The quartet started incorporating more metal into their sound with an experimental approach. Matt then decided he would have to part with the band, but just before leaving, recorded 3 songs with FTF in spring 2004 for a split 7" with Subcut on Bucho Discos.
Luckily, a replacement was quickly found in drummer Tim Olsen and at the same time the band enlisted bassist Marc-Andre Mongeon. FTF wasted no time getting it back together, and within a month were back out playing live including a 2 week tour across Canada with Head Hits Concrete in the summer of 2004. In the fall FTF recorded 6 new songs which were self-released as the "Legacy Of Hopelessness" CDEP, A far more experimental release then ones before. The recording (minus the 2 enhanced bonus tracks) was released in Europe through Privileged To Fail Records on a split CD with Narcosis, Midget Parade & Archer.
By spring 2005, the regular shows and touring proved to be too much for Dave and Marc. So it was decided that it would be best for them to step down before a summer of touring would begin. Not wanting to jump the gun, FTF took the step to enlist fill-in members Mathieu Vilandré (guitar) and Steve Chartier (bass), and with only a couple of weeks of practise hit the stage again. In July of 2005, FTF embarked on a month long tour of Canada in support of "Legacy Of Hopelessness", traveling out to Sydney, NS and then to Vancouver, BC and back home. Upon return, Mathieu Vilandré & Steve Chartier were brought into the band as permanent members. In October 2005 FTF recorded a 2 song pre-production demo of material that would be on the new full length album. The 2 songs "The Wreaking" & "Taken From The Nest" were recorded by ex-drummer Matt Connell at the band's rehearsal space and used to show people what was to come and was shopped around to different labels. The rest of the year was spent finishing writing the album and preparing to record.
The new year led to another line-up change, when drummer Tim Olsen was asked to leave the band. Mathieu Vilandré who had already filled in as the drummer at previous shows was moved to that spot permanently. In February 2006, FTF entered Studio En-Phase in Montreal to record the new full length album "Stigmata High-Five". Soon after recording had begun FTF was contacted by and secured a deal with Relapse Records. In May 2006, GWN Records released the "Collection Of Splits 2002-2004" CD which featured remastered versions of all the recordings the band had done for splits between "Backstabber Etiquette" and "Legacy Of Hopelessness". At the same time FTF hit the road for a small 12 day tour with new label mates Leng Tch'e and Montreal tech-core band Beneath The Massacre.
Fuck the Facts:
Fit For An Autopsy
Corrupt politicians, manipulative mainstream media, government surveillance, mass shootings, clean water shortages, religious warfare, aggressive agribusiness, climate change, GMOs and a whole host of mind-numbing problems certainly make it feel like humankind is "going to hell in a hand basket," as they say. There may be nothing that can be done about it at this point. But at least we have a killer soundtrack.
Fit For An Autopsy's Hellbound is the perfect score with which to watch the flames rise. Punishing, unrelenting and alternately both heavy and dissonant, the New Jersey metal band's first album for Good Fight/eOne conjures visions of Nero vigorously attacking his fiddle, even as Rome was engulfed in fire all around him. Esteemed English actor Michael Caine delivers perhaps the best line in Christopher Nolan's "The Dark Knight" trilogy: "Some men just want to watch the world burn."
Death metal often chooses to deal in devils, demons and horror-movie inspired gore. "Deathcore" detours into broken relationships and introspective issues, much like its scene cousins in Metalcore and alt-rock. Fit For An Autopsy blaze their own path, opting to address the dirty, gritty and grimy reality of modern day life. There's no fantasy, no plaintive odes to lost love. This music is hell. These songs are Hellbound.
Scene queens, careerist cartoons and poseur-iffic hacks best step aside when confronted with the self-assured, art-for-art's-sake vibe of Fit For An Autopsy. As MetalSucks observed early on: "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."
On Hellbound, Fit For An Autopsy expand upon their commanding approach to an often maligned subgenre by synthesizing the rhythmic experimentalism of Gojira, the aggressive post-Noisecore of Converge, the esoteric and meditative tribalism of Isis, a virulent dose of the New Wave Of Swedish Death Metal (At The Gates, Dark Tranquility, early In Flames), the legendary progenitors of Floridian death metal (Death, Morbid Angel, Cannibal Corpse, Obituary) and the "deathcore" acts who offer actual proficiency in the genre (Suicide Silence, All Shall Perish, Whitechapel).
Each nuanced building block is meticulously assembled together to form a near-perfect modern metal masterpiece, all with the confident vibe of a group of people making the music they want to make for its own sake, trends and "hype" be damned.
There was justifiable reason to be excited about Fit For An Autopsy from the start. The rich pedigree of its core members foreshadowed the momentous music that was to come. Nate Johnson's stint fronting Through The Eyes Of The Dead resonated with many death metal diehards. Guitarist Will Putney is an accomplished metal producer, mixer, engineer and cowriter. Putney's fingerprints are all over currently relevant albums from Stray From The Path, Reign Supreme, Misery Signals, Vision of Disorder, Counterparts, For Today, Like Moths To Flames, Stray From The Path and more. Guitarist Patrick Sheridan is rightly well regarded for his work on the fretboard as well as with a tattoo machine. The rhythm section of bassist Shane Slade and Sick Drummer-approved Josean Orta is beyond formidable.
The earliest rumblings of Fit For An Autopsy emerged on a 2008 demo. The self-released Hell on Earth EP arrived the following year, eliciting interest from Guy Kozowyk, The Red Chord vocalist and Black Market Activities label honcho. Kozowyk released Fit For An Autopsy's devastating debut, The Process of Human Extermination, in 2011. Sputnik Music paid particular attention to Johnson's dominating presence. "The dude's a swamp creature," they wrote of his "absurd" (in a good way) delivery. "When you hear him scream, it's like, 'What the ---- was that?' You realize whatever it is would probably eat you if you ran into it in the woods."
The group's seething contempt for modern society is rivaled only by the sonic bombardment dropped upon the unsuspecting all over Hellbound, a record that is equal parts challenging and engaging. It's an album designed to make people feel uncomfortable, while at the same time, counter-intuitively soothed by its catharsis. Criminals, junkies and the systems that fail them; deadbeat parents; poisoned food; BS celebrities and false idols; they've all led humanity here. Hellbound draws a line in the sand. It's a declaration that even it's all going down the proverbial drain likeminded individuals can take some solace in the expression of shared rage.
You are not safe.
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