Arch Enemy & Trivium – Tickets – Trocadero Theatre – Philadelphia, PA – November 1st, 2017

Arch Enemy & Trivium

Arch Enemy & Trivium

Arch Enemy, Trivium, While She Sleeps, Fit For An Autopsy

Wed 11/01

Doors: 5:30 pm / Show: 6:30 pm

Trocadero Theatre

$29.00 - $30.00

This event is all ages

Arch Enemy
Arch Enemy
Time passes, the world changes, but some things remain constant and unassailable. Heavy metal has endured for
more than four decades because its spirit is eternal, and few bands embody the intensity, integrity and lofty
artistic ambitions of the genre with more dazzling aplomb than Arch Enemy. Formed in Sweden in the mid-90s by
former Carcass/Carnage guitarist Michael Amott, this most explosive and proficient of modern metal bands have
spent the last 20 years propagating an unerring creed of technical excellence, songwriting genius and thunderous,
irresistible live performance, accruing a huge global fan base along the way. And now, in 2017, Arch Enemy are
ready to rise again and climb ever further up the ladder toward pure metal supremacy.
“The band's core musical philosophy hasn't changed much since I started the band,” says Amott. “It's still about
creating intense heavy metal with extreme vocals and a lot of melody in the guitars. We've always loved writing
and meticulously crafting the best songs possible, that's the main motivation for us.”
When Arch Enemy released their debut album Black Earth in 1996, death metal was stagnating and in desperate
need of a kick up the ass. Amott’s blueprint for the purest of metal strains proved an instant underground hit, both
in Europe and Japan, and almost single-handedly resurrected death metal as a viable art form with mainstream
potential. Signed to Century Media Records for 1998’s sophomore effort Stigmata, Arch Enemy marched
purposefully towards a new millennium with a rapidly growing reputation. 1999’s Burning Bridges added to the
band’s momentum, their razor-sharp blend of brutality and epic melody becoming more refined with each creative
step. But it was in 2001, when original vocalist Johan Liiva stood aside and mercurial frontwoman Angela Gossow
stepped in, that Arch Enemy truly took off.
Released in 2001 in Japan and nearly a year later in Europe, Wages Of Sin showcased a revitalised line-up and
newfound gift for immortal anthems, Gossow’s feral roar adding many layers of charisma and power to Arch
Enemy’s already monstrous sound. Swiftly dedicating themselves to a relentless touring schedule, the band’s
upward trajectory continued throughout the first decade of the 21st century, with each successive album
enhancing the band’s reputation and bringing legions of new fans to this resolute heavy metal campaign. Albums
like 2003’s vicious Anthems Of Rebellion and 2011’s pitch-black and savage Khaos Legions ensured that Amott and
his loyal henchmen – Gossow, drummer Daniel Erlandsson, bassist Sharlee D’Angelo and Michael’s guitarist sibling
Christopher - remained firmly at the top of the extreme metal tree: respected veterans at the height of their
powers.
“Surviving and thriving in the metal scene is not always easy,” Amott admits. “
Contrary to what I've seen a lot of people say, I feel the scene is actually quite trend driven and it's impossible to
be at the peak of your popularity all the time. In the past two decades we've seen a lot of trends and bands come
and go. What I've always believed to be important is to stay true to yourself and the reasons why you started. Why
you love music must always be at the forefront. I'm pretty good at keeping the 15-year-old Michael Amott alive in
my heart!”
Always focused but impervious to other’s rules and expectations, Arch Enemy evolved once more in 2015 following
the departure of Angela Gossow (now the band’s manager). Replacing one of the most iconic vocalists of the
modern age was never going to be easy, but in the shape of former The Agonist frontwoman Alissa White-Gluz, Arch
Enemy found the perfect candidate. Unveiled on the ferocious, anthem-laden triumph of 2014’s War Eternal,
Alissa’s powerful identity and extraordinary vocal talents proved a natural and instantly welcomed fit. Further
extensive touring cemented the new line-up’s thrilling efficacy, before one final line-up change – the arrival of
legendary guitarist Jeff Loomis, formerly of Nevermore – completed the musical puzzle that Amott had been
tinkering with for the best part of 20 years.
RELEASE DATE: September 8th, 2017
“Switching singers in 2014 was a big change of course,” Amott agrees. “Alissa brings a lot the band as a singer and a
very visually strong performer but also she writes great lyrics and vocal patterns that are very different to mine,
which makes for more variation in the Arch Enemy sound. The twin-guitar attack has always been a big part of our
sound and now we have Jeff Loomis who's played some face-melting leads on the new album!”
Recorded in 2017, the tenth Arch Enemy album will be unleashed later in 2017 and promises to be the ultimate
statement of heavy metal supremacy from a band that are still growing in stature as the years fall away. Will To
Power will be the first album the band have recorded with their current line-up and as Michael Amott explains,
diehard fans will be both thrilled to hear their favourite band on top form and somewhat surprised by their latest
creative explorations.
“The goal is always to raise the bar yet again and create an epic masterpiece!” he laughs. “I think the album has a
great balance between traditional Arch Enemy and some new influences that come through here and there. The
most surprising thing on this album is that we've written our first ever ballad. It's still a very metal song, but there's
no way around the fact that it is a ballad and that might be quite controversial for a band like us, I guess. I'm
excited to hear what our fans will think of that one, but I do feel that we can afford to spread our wings a bit on
our tenth studio album!”
Once Will To Power hits the streets, Arch Enemy will do what they do best, hitting the road and taking their latest
batch of heroic metal anthems to the people. Achieving longevity is the toughest challenge that faces any band,
but Arch Enemy have long since established themselves as a permanent fixture on the global metal scene and as
standard bearers for upholding and celebrating of the heavy metal code. Right now, in 2017, no other band
embodies the spirit of the genre with such flair and euphoric zeal. Long may their steel spirit prevail.
“It's always been about creating the best songs we can make and whatever success we've had is the direct result of
the music speaking to people and our relentless worldwide touring,” Michael grins. “We are happy with the fact that
the band has had growth spurt these last couple of years and it's exciting to put on a bigger and more complete live
show for our fans. We obviously hope our fans will enjoy Will To Power and we're looking forward to getting back
out there and performing live again, with a whole bunch of killer new tunes up our sleeve!”
Fit For An Autopsy
Fit For An Autopsy
Joe Badolato – Vocals
Will Putney – Guitar
Patrick Sheridan – Guitar
Tim Howley – Guitar
Peter Spinazola – Bass
Josean Orta – Drums

It seems there’s a new catastrophe hitting the headlines everyday, from corrupt politicians and crooked business people, to criminal mischief and the oppressive renegades within the ranks of those entrusted to protect the people from crime; extreme divides between rich and poor, ideological battles, shrinking resources, the constant threat of war, terror, famine, disease. The problems of the world are every bit as grim, perhaps more so, than during the Cold War, when protest, counterculture, and music from punk to thrash helped give voice to the voiceless.

The crushing music of Fit For An Autopsy is for any fan of extreme metal, as it’s devoid of preachy politics or grandstanding soapboxing, but its sound and fury is absolutely unflinching in purpose. The band expertly blends excessive-force fueled death metal with atmospheric groove and impassioned personal diatribes, reflecting back the dark state of current events. Their fourth album, The Great Collapse, doesn’t waste time with fantasy
bullshit or cliché gore horror. Fit For An Autopsy are metal guys, to be certain, but they grew up in the hardcore scene. They embrace the responsibility to put as much devoted purpose into their lyrics and message as they do into their dense, heady, songs, forging a magnificently powerful new post-deathcore.

“When I write a song, I’m trying to feel emotionally connected to it. I really don’t like saying things that don’t matter over music that I want to matter,” says Will Putney, guitarist, principal songwriter and cofounder. “We’ve always addressed serious topics going back to our first album. We aren’t a politically charged band up on a podium yelling at people – anybody can relate to the aggression, anger, frustration, and sadness often communicated in our music. But we absolutely raise important questions in the lyrics. Those themes are there to discover.”

Putney’s fellow guitarist/cofounder, Patrick Sheridan, strongly agrees. He emphasizes that while the music of Fit For An Autopsy may evolve it will always be aggressive and will always have purpose. “We think it's important to carry that torch. Somebody's got to say something about the shit that's going on. If you're not using your music, which is a great platform, for something meaningful that you care about on some level, then you're kind of wasting it.”

The six-men of the New Jersey based group - which includes vocalist Joe Badolato, bassist Peter Spinazola, third guitarist Tim Howley, and drummer Josean Orta - put maximum intentionality into everything they do. They are constantly challenging themselves as musicians, adding to the band’s overall creative arsenal, connecting with audiences around the world, and supporting one another in the band as individual people.

Fit For An Autopsy first summoned one of the most crushing takes on the then-burgeoning deathcore genre with their 2008 demo and the following year’s self-released Hell on Earth EP, which led to a deal with The Red Chord vocalist Guy Kozowyk’s Black Market Activities label.

The Process of Human Extermination earned them a place among the genre’s giants, cementing them as energizing leaders rather than stale followers. As MetalSucks observed: “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.” Fit For An Autopsy’s determined drive, work ethic, and devilishly unmistakable talent next elicited the attention of Good Fight/eOne, the group’s home since their sophomore album.

On Hellbound, Fit For An Autopsy expanded their commanding approach to death metal with hints of metalcore by absorbing increasingly diverse elements, from the rhythmic experimentalism of Gojira to the aggressive post-Noisecore of Converge, with a dose of the New Wave Of Swedish Death Metal, and a touch of groove unique to the New Jersey six-piece.

The group toured with The Acacia Strain and Within The Ruins on the No Way Out Tour, followed by Hate Across America with Thy Art Is Murder. In 2014, they hit the road with Chimaira, Iwrestledabearonce, and Oceano; with Whitechapel, DevilDriver, Carnifex, and Revocation; with Crowbar; and with Suicide Silence and Thy Art Is Murder. Toward the end of the excitingly productive Hellbound cycle, original frontman Nate Johnson split from the band.

The band’s third album served as the recorded introduction of powerhouse vocalist Badolato, whose impressive range (from guttural growls to pitch screaming and beyond) helped destroy all remaining self-imposed boundaries. It’s something the group’s instrumental members had yearned to do as even as they prepared the material prior to enlisting their new singer.

Absolute Hope Absolute Hell cracked the Top 20 on the Hard Rock Albums chart and hit #3 on Billboard’s Heatseekers chart. As Putney often noted in interviews, the record stood defiantly apart from those that offered little more than thirty minutes of blast beats and breakdowns.

Sure, that kind of nonstop pummeling has its place, but Fit For An Autopsy concentrated their focus less on crazy tempo changes and more on atmosphere and vibe, keeping one foot in the crushingly heavy while drawing more deeply from traditional metal influences, post-rock, and esoteric nuance. In 2015, the same year as Metal Injection and other tastemakers hailed the group’s progression, Fit For An Autopsy joined the Stronger Than Faith Tour with Suicide Silence, Emmure, and Within The Ruins, followed by a co-headlining tour with Aborted, a trek with Old Wounds, and the Tune Low Die Slow Tour with Acacia Strain and Counterparts.
“Being out there touring, I can say that our fans have been very accepting of each change and progression,” Sheridan notes proudly. “I’m very grateful, as oftentimes bands are scrutinized heavily as they evolve. We definitely took a step in a direction that people were stoked about.”

Putney points to Absolute Hope Absolute Hell as a definitive moment in the band’s career when they truly came into their own. “I like the earlier records a lot but we were definitely lumped in with a lot of similar-sounding bands at the time. I was happy that we were able carve our own path a little bit more on the last album, which we carried into this new album.”

Between Absolute Hope Absolute Hell and The Great Collapse, the group’s members were able to broaden their creative horizons even further with what became known as The Depression Sessions, a uniquely collaborative project that combined Fit For An Autopsy with their friends in Thy Art Is Murder and The Acacia Strain. Jettisoning the cutthroat competitiveness that often gets between bands, the trio of extreme metal acts joined forces for experimental sessions more akin in spirit to the jazz greats and hip-hop artists, but within the context of heavy music.

All of that collaboration and experimentation, to say nothing of Putney’s accomplishments as an in-demand genre producer whose credits include work with both of the bands who joined them in The Depression Sessions, among others, led to an all new focus on The Great Collapse.

“Iron Moon” is an aggressive shot across the bow of the status quo, railing against the mundane servitude of the 9-to-5 grind, yearning for a life of meaning and purpose. It’s as anti-establishment in tone as the album is in sound. Fit For An Autopsy break with genre convention even as they reshape and redefine their chosen sonic landscape. “Heads Will Hang” confronts the worldwide refugee problem, demanding empathy, placing the listener in the shoes of someone displaced from their home, hungry to escape into a safer life. “When the Bulbs Burn Out” expresses the group’s deep concerns about conservation and sustainability. “Black Mammoth” was inspired by the conscientious activism of the Dakota Access Pipeline protesters. Other tracks are more abstract lyrically, but no song on The Great Collapse is without intensity.

The album’s underlying death metal foundation serves as strong support for its more adventurous forays into chaotic hardcore, bits of deathcore, and a meditative, almost droning rumination not unlike the best of shoegaze and desert rock, like a hazy collision between Queens Of The Stone Age and Russian Circles. The omnipresence of rock titans Tool weaves in and out in powerful doses, with The Great Collapse inviting ever more favorable comparisons to Gojira, a band whose evolutionary trajectory is not dissimilar from Fit For An Autopsy’s path.

“It’s definitely easier to make a living as a band by growing your fanbase within one specific style,” notes Putney. “But it's more rewarding to go this route. There’s a certain struggle you face when you’re constantly evolving, obstacles you have to face, but we’re happy to do it.”

Sheridan concurs. “I don't want to sound like any one band or do any one thing. I always want to figure out ways to incorporate new elements that inspire us into what we already do.

“We made a promise when we released our first record, which is that we will never do what somebody else wants us to do as a band. We will always carve our own way.”
Venue Information:
Trocadero Theatre
1003 Arch Street
Philadelphia, PA, 19107
http://www.thetroc.com/

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