It’s nearly impossible to get thousands of people excited about a debut EP; unless, of course, you have members from some of the most beloved and respected bands in hardcore and metal in the lineup. END is the new hardcore project that has emerged as quite the supergroup. Hardcore vets Will Putney (Fit For An Autopsy), Brendan Murphy (Counterparts), Greg Thomas (Misery Signals, Shai Hulud), Andrew McEneney (Trade Wind, Structures), and Jay Pepito (Reign Supreme, Blacklisted) have come together to create the bone-crushing From The Unforgiving Arms Of God EP.
Fit For An Autopsy’s fourth studio album is the manifestation of years of global tragedies and catastrophes that have come to a boiling point for the band. The Great Collapse sounds like how you feel if you’re fed up with hearing about bombings, unusually destructive natural events, and everything terrible in between.
In the cozy, dim, musty room known as The Studio at Webster Hall, a frenzied soldout crowd gathered on December 12th to let loose and blow off steam to the varying hardcore sounds of Kublai Khan, Fit For An Autopsy, Counterparts and The Acacia Strain on their Tune Low Die Slow Tour. Leaving out the inefficiency of the venue’s staff, which kept concert goers waiting to enter for over forty five minutes, The Studio is the perfect host for shows like this. There was no shortage of stage climbers, crowd surfers and mic grabbers. The low, crowded stage and the lack of barricades help make shows here intimate, family affairs…
In the cozy, dim, musty room known as The Studio at Webster Hall, a frenzied soldout crowd gathered on December 12th to let loose and blow off steam to the varying hardcore sounds of Kublai Khan, Fit For An Autopsy, Counterparts and The Acacia Strain on their Tune Low Die Slow Tour. Leaving out the inefficiency of the venue’s staff, which kept concert goers waiting to enter for over forty five minutes, The Studio is the perfect host for shows like this. There was no shortage of stage climbers, crowd surfers and mic grabbers. The low, crowded stage and the lack of barricades help make shows here intimate, family affairs.
My night began with Kublai Khan, although local New York band Newcomer was supposed to have played ahead of them. I will never know. The opinionated Texan band named after a merciless Mongol emperor blasted their hopeful message of change and togetherness without over-the-top showmanship. As much as I love watching manic stage antics, Matt Honeycutt’s (vocals) onstage presence is enough to hold anyone’s attention without it. This band is about what needs to be said, and Honeycutt says it well. Bodies went flying and when Kublai Khan performed “Color Code” there could not have been more energy flowing through The Studio.
Fit For An Autopsy came on next and the room could not have felt smaller. The eclectic combination of deathcore blast beats and melodic death metal grooves saw the pit expand and consume the vast majority of the space. You could feel the anger radiating from it and the stage. There was no room in The Studio for anything other than the palpable disgust in humanity that is a mainstay in FFAA’s music.
Fit For An Autopsy’s endurance is remarkable. Joe Badolato (vocals) steadily released thunderous low growls as his bandmates furiously played their speeding instrumentals through the set with minimal pauses, one of which was to call a fight that had broken out as “pussy shit” that no one wanted to see, and another to announce “Out to Sea” to a cheering crowd.
The cheers continued as the lively, bouncy Counterparts excited The Studio with their relentless energy and upbeat sounds. I didn’t know what to expect from the Canadians, but I wasn’t disappointed. Their metalcore sounds were in cheery (well, cheerier) opposition to the lower, heavier bands before them. The most impressive aspect of their set was the crowd’s insanity. I can’t remember the last time I saw a band that wasn’t headlining make the entire venue move.
The crowd turned it up almost to the ceiling when Massachusetts deathcore veterans The Acacia Strain unleashed their hopeless, godless and ruthless auditory punishment. Vincent Bennett (vocals) lugged around the stage with an empty, crazed stare spitting up and down, throwing water on the crowd. When he spoke between songs he sounded honest and caring. During songs, he was the embodiment of hate. When he bellowed, “I am the end of the world,” he was surrounded by fans on stage shouting it as rabidly as he was. Other songs played were recent and old favorites including “JFC” and “4×4” as well as songs from Coma Witch. When you’re only playing hits the crowd, will always lose their shit.
Bennett walked off stage leaving the rest of the band to cool down the crowd with instrumentals. As I walked out I passed a guy with a blood-covered fist showing a friend, claiming none of the blood was his. That’s what an evening in a cramped room with hardcore bands will do to you. The tour is now over, but three out of the four bands are on the rise. Keep an eye out for Kublai Khan, Fit For An Autopsy, and Counterparts while you continue enjoying The Acacia Strain.
by David Marulanda
If Halloween isn’t your favorite holiday, you’re just not brutal enough. Here are 13 spooky, gory, and all-around badass tracks for you to get your creep on. And if your favorite horror-themed song isn’t on this list, let us know in the comments! We’d love to hear what you’re listening to this fall.
Three albums into their career and Fit For An Autopsy are finding themselves approaching the forefront of deathcore. Their latest release, Absolute Hope Absolute Hell, breathes some fresh air into the genre and separates the band from the pack. The album isn’t fully original, but it does contain some aspects you wouldn’t expect and is devoid of some you would. It begins with a brief haunting melody before the aggression kicks in full blast. The tone is set from there. “Out to Sea” and “Swing the Axe” bring slow, peaceful guitar chords before the drums smash through.
Absolute Hope Absolute Hell is not laden with breakdowns and it’s more melodic than its competitors, with instances of singing or chanting. “Ghosts in the River” is as progressive as deathcore can get. The song’s vocals can almost be called singing. However, it is still undoubtedly violent and burns with an insatiable disgust of humanity’s crimes. “God is a lie and man is a failure,” growls Joe Badolato matter-of-factly in “Saltwound.”
Fit For An Autopsy don’t do violence for the sake of violence. This record is an attempt to do more than just make an album. It is a genre freshener, a topic of conversation, a game changer. It is also not too different. It tiptoes the line between being what you thought it would be and surprising you with being unique. It is something you want to listen to, and multiple times. Absolute Hope Absolute Hell is one of those albums that will receive more credit in hindsight than at first, and it will deserve it.
by David Marulanda