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Exodus/Obituary

September 29 @ 7:30 pm - 11:30 pm

$25
Exodus, Obituary concert poster

Rebel Radio oval Logo

Battle of the Bays

  • Exodus
  • Obituary
  • Power Trip
  • Dust Bolt

7:30 PM
Tickets = $25
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Exodus

The original architects of the thrash metal scene, EXODUS has battled every kind of adversity over the past 30 years and used it all as fuel to stoke their ever-raging fire. Short-lived trends, line-up shifts, label conflicts, even the death of founding vocalist Paul Baloff couldn’t stop the beast. And through it all, guitarist and songwriter Gary Holt has persevered with misanthropic indignation, rolling with the punches, reassembling the broken pieces and working with the eccentric personalities surrounding him to create some of the most trenchant, fast-paced, and unrelenting music that influenced everyone from Pantera to Lamb of God and continues to crush skulls at a time decades after most ‘80s thrash bands have retired.

With Blood In Blood Out, EXODUS’ tenth full-length studio album of new material, Holt, Hunting, Gibson, Altus, and Souza prove they still has the fortitude, chops, and talent to deliver top-notch, ballad-free tunes that stand out without straying from their band’s core aesthetic. The title of the album encapsulates Holt’s approach to EXODUS: “When I was working on the record, I was sitting around watching TV series like ‘Gangland’ and all these locked-up prison reality shows,” he says. “And I thought, ‘Yeah, that’s like EXODUS.’ It’s a brotherhood. You bleed to get in, you bleed to get out. I’ve been doing this kind of music since I was a teenager and I’ll be doing it ‘til I can’t physically do it anymore.”

Holt has lost none of the rage and hunger he had in his teens and he’s long since mastered his craft. The eleven pulse-pounding tunes on Blood in Blood Out are among EXODUS’ best, signaling a rebirth as much as an evolution. Although Holt has spent the last few years playing second guitar for Slayer on tour, he has never forgotten where he came from and his priority and dedication to EXODUS. The evidence is written all over the album, which is rife with speed, fury and memorable riffs.

While much of Blood In Blood Out is filled with aggressive songs, hatred and violence, there were a few more specific subjects Holt wanted to address. “‘Numb’ was inspired by the non-stop televised barrage of death and destruction that’s on a 24-hour feed,” Holt says. “In the end, you’re numb to it and barely shocked by anything anymore, which is really sad.”

Even more political, “Collateral Damage” addresses the monolithic power of big business and how a few top executives have gained control over most of the wealth of America. “It has gotten to the points where we’re just peons in a government machine,” Holt says. “We’re just society. We have no say. We’re just there to be swept aside. But at least we can make a lot of noise about it.”

With the return of Souza, a renewed focus on writing tight, infectious songs and a commitment to remaining insanely heavy EXODUS are primed to help make the thrash nation as strong as it was in the mid-‘80s. Whether charging like an endorphin-fueled army or chugging at half-speed (a technique EXODUS perfected 20 years before the birth of the metalcore “breakdown”), Blood In Blood Out is a showcase of steely determination, unparalleled skill, and unrefined rage.

“Back in the early days, I was like: ‘Stand in the way and you’ll get steamrolled over by EXODUS!’” Souza says. “It’s that way again. Don’t stand in the way of this. You will get run over! I guarantee it.”

 

Obituary

Upon switching their name from Xecutioner to Obituary, the career of one of the most successful and influential Death Metal bands began. Hailing from Florida and featuring John Tardy (vocals), brother Donald Tardy (drums), Trevor Peres (guitar), Allen West (guitar), and Daniel Tucker (bass), the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album—the immense and immeasurably heavy “Slowly We Rot” (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during 1990’s rise of the Death Metal genre. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach; the result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. Like them or not, Obituary was unlike anything anyone had heard before.

“Slowly We Rot” was chaotic, bass heavy mix of manic guitar solos and crashing drums, but it was undeniably characterized by vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which though often strived for, to date have been paralleled by none. The ability to augment tempo so drastically became the band’s trademark along with Tardy’s unique vocal style, which distinguished them clearly from the rest of the emerging Florida Death Metal bands; nowhere is this more apparent than on the prophetic title track of their debut. The fact that Obituary refrained from printing lyric sheets with their albums led people to believe that they didn’t actually write any lyrics. Some may question the verbosity or absence of documented lyrics, however, any true fan has each grunt, growl and howling grimace committed to memory like an utterance from God in painstaking form—what does not exist can not be remembered, and an Obituary show is testimony to the re-creation of what your ears couldn’t believe in the first place. Once again bringing augmentation to irony, Live and Dead worked quite well for the quintet, dividing your conscience yet leaving much to the imagination; not since birth have your senses been so graphically assaulted yet pleased at the same time. While such differing sensations once seemed incongruous, Obituary have proven the ability to merge unlikely dichotomies, from their slow-as-hell-yet-fast-as-fuck style to the non-evil, homegrown approach to what would largely become the satanized, bastardized, make-up wearing movement known as Death Metal.

The maturation of the musicians into songwriters taking more visionary and complex forms would soon be heard world wide as Obituary took metal by storm in 1990. Despite their youth upon release of their sophomore offering, “Cause of Death” embodied the confident swagger of the most fearsome pack-leading hound. From the insidious growls of John’s vocals to the barrage of Donald Tardy’s thunderously-metered explosions of double bass, “Cause of Death” was the intention and method as promised by the early threat of “Slowly We Rot”; for Obituary, Death was just the beginning. Accordingly, the title track alone (“Cause of Death”) would be heard, regurgitated, manipulated, complimented and collapsed—but never duplicated—on third and forth generation death metal albums for years to come. Lovecraftian imagery and aural morbidity aside, even a deaf man found fear when confronted by the formidable visage of guitarist Peres; entering Frank Watkins, the hulking henchman of a bassist from South Florida, finally provided long-needed and powerful rhythm stability to the line up. However, the grinding of the axes would not be complete until the return of Xecutioner veteran Allen West, who, along with Peres and Tardy, crafted the foundation for most of Obituary’s most primordial and historic moments. Attack now whole, Obituary had given birth—sight, sound and feel—to a true horror greater than metal had ever known.

The paradox herein lies that Obituary was anything but a summation to and end, but more an exploratory journey into the infinite dehumanization of all that is known, as confronted brazenly by their best selling release yet, “The End Complete” and later followed by the cynical and dark expedition of “World Demise”. Reunited with songwriter West, the band was conjoined like quintuplets sharing life and a name. Though finality was possibly inferred by these titles, Obituary was anything but finished. Ironically, the images conjured by songs such as “Don’t Care”, “Platonic Disease” and “World Demise” seemingly foretold of the millennium as can now be seen daily, displayed plainly across the screens of CNN and reality TV programs world wide; not bad for a bunch of rednecks from Florida with Budweiser dreams and bongwater nightmares.

 

Power Trip

Power Trip are a crossover thrash metal band from Dallas, Texas. Their sound–an inseparable mix of hardcore punk, speed, and death metal, was informed by the sounds of the Cro-Mags, Vio-Lence, Nuclear Assault, and Leeway, and draws fans from across the extreme music spectrum.

The band began as a five-piece in Dallas, Texas in 2008. Their initial lineup consisted of bassist Chris Whetzel, drummer Marcus, vocalist Riley Cayle, and guitarists Blake “Rossover” Ibanez, and Nicky Stewart. They released a collection of five demos that same year. In 2009 Marcus left and was eventually replaced by veteran Chris Ulsh (Hatred Surge, Mammoth Grinder, the Impalers). They released a four-song EP entitled Armageddon Blues. They also began touring, first throughout Texas, then the Southwest and California, and then nationally. Usually, in addition to the band and their gear, an extended voluntary entourage would travel with them — often in the same van — to help with hauling gear, working the merchandise table and the box office, etc. After non-stop touring for nearly a year, and a well-deserved break (in which Ibanez went away to school), Power Trip recorded a self-titled three-song EP, which was released in 2011, before more touring, including an appearance at the 2012 Pitchfork Music Festival.

In 2013, Power Trip signed with Southern Lord, and made a splash with their showcase at SXSW. They commenced recording their debut full-length with veteran producer and mixing engineer Arthur Rizik. The album was released in June of that year as Manifest Decimation, with a sleeve design by legendary heavy metal artist Paolo Girardi. In November, 2016 the band issued the single “Firing Squad” in anticipation of the release of their much-anticipated sophomore studio album, Nightmare Logic, which dropped in February 2017.

Dust Bolt

DUST BOLT is a Thrash Metal Band, formed in Bavarian town Landsberg am Lech. The four young musicians (age in average 22) already started playing music together and playing shows very young and early and quickly gained attention. With another bandname they started playing regional shows at first, but were able to play as support act for highly known bands such as Sepultura, Hypocrisy oder Napalm Death very soon. In 2010 they released their first Demo Tape “Chaos Possession“ single-handedly and first time with the name DUST BOLT. Metal Hammer Germany described the Band as Top Newcomer Act in Metal music and “Chaos Possession“ was titled as „Demotape of the month.“ The number of shows increased immediately and the band soon becomes a national known act, when DUST BOLT was able to play their first European Tour with Six feet under. Right after coming home from tour the band was able to win WACKEN METAL BATTLE Germany, which made them playing at Wacken Open Air. The band decided to record their first Longplayer „Violent Demolition“, which finally made them signing a deal with Napalm Records.

Their debut gained major success and was sold around 5000 times worldwide and DUST BOLT was now known as top newcomer act in Thrash Metal in Germany and all over the world, also resulting from their extraordinary live performances. Napalm records also released the first two official music video for the tracks “Violent Abolition“ and “Toxic Attack“ and the band was able to play many club and festival shows in 2013, a Germany Tour with OBITUARY and a long European Tour with Bay Area band HEATHEN. After being nominated for “best album 2012“ and “best newcomer“ at Metal Hammer Awards 2013 and another tour with Crossover band Dr. LIVING DEAD Lenny, Flo, Benedikt und Nico went into the studio again, to record their second album “AWAKE THE RIOT“, which was released worldwide in June 2014. The second album finally enabled the band to tour as a headlining act and play Clubshows and Festvial all over Europe. The band also joined on a European Tour with Death Metal Legends OBITUARY. Supported by international media, who calls the band as one of the top Newcomer Acts in Thrash Metal, the band continued touring and playing Festivals such as Summerbreeze Open Air or Devilstone Fest in Lithuania and others. Dust Bolt is now concentrating on a new record, which is supposed to be released in summer 2016.

 

 

Venue

The Forge
22 W. Cass St.
Joliet, IL 60432 United States
+ Google Map
Phone:
(815) 280-5246
Website:
http://theforgelive.com/

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