Obituary Albums (9)
What The Critics Say
The words "limited edition" don't mean a lot if one has only a casual interest in a band, but they are a real attention-grabber if a label is going after the type of serious collectors and obsessive fans who are interested in everything the band does. "Limited edition" indicates that the consumer is acquiring a rarity, and rarities have a lot of appeal if one falls into the obsessive fan category. Marketed as a "limited-edition tour EP," Left to Die is clearly aimed at hardcore collectors rather than a more casual listener who is happy owning only two or three Obituary releases. Left to Die, like other EPs of this nature, favors an odds-and-ends approach; the material ranges from two new songs ("Left to Die" and "Forces Realign") to a cover of Celtic Frost's "Dethroned Emperor" to a re-recording of the title track of Obituary's 1989 album Slowly We Rot. In addition to those four audio tracks, this disc also contains a video for "Evil Ways" (which is one of the songs that appeared on Obituary's Xecutioner's Return album of 2007 and should not be confused with the Latin-influenced gem that was a major hit for Santana in 1969). Although enjoyable, this 2008 release is hardly essential. But then, limited-edition releases aren't meant to be essential. They are aimed at the true believers, and Obituary's true believers are obviously the target of Left to Die. ~ Alex Henderson, All Music Guide
'Slowly We Rot'
Release Date 4/29/2008
Tracks 14
Label Roadrunner Japan
See Album Tracklist and Review
What The Critics Say
If death metal first came to life in Florida during the mid- to late '80s courtesy of Possessed (Seven Churches) and Death (Scream Bloody Gore), another Florida band, Obituary, brought it to fruition in 1989 with Slowly We Rot. These five guys took what Possessed and Death had done to a new level of deathliness. The music of Obituary wasn't simply an extreme form of Slayer-esque speed metal with ghastly vocals; it was full-fledged death metal, with down-tuned guitar riffs of monstrous size, painful-sounding growls and moans for vocals, and distinct tempo changes that often brought the songs down to a lumbering doomy tempo rather relentlessly breakneck speeds à la thrash. These innovations don't seem so revolutionary now, given the innumerable death metal bands that arose during the '90s and beyond, to the point where the style practically burned itself out, spinning off into such substyles as black metal. But in 1989, Obituary were blazing a new trail, along with other Florida peers like Morbid Angel and, a bit later, Deicide, Malevolent Creation, and Cannibal Corpse. The guitar riffing of Trevor Peres (rhythm) and Allen West (lead) is downright pummeling, especially when they slow the tempo down to a crawl and chug along. But it's John Tardy's unearthly growling that stands out most and attracted the most attention at the time. Put simply, the guy sounds like he's in pain, as if a knife were stuck in his stomach or something. It's Obituary's trademark sound and what set them apart from their legion of followers. Add to this the production of up-and-comer Scott Burns, and you have the blueprint for a generation of death metal bands to come. Granted, Burns' production isn't quite as brutally crystalline as it would be in successive years. In fact, it's downright lo-fi here, lacking the high highs and low lows that would later become his trademark, but these were the early days and budgets were small. A few songs here stand out, mainly the first few, the title track especially, yet Obituary never were a singles band and their albums were better experienced from beginning to end rather than in pieces. And Slowly We Rot certainly stands up well to beginning-to-end listening. Given the intensity of the music, it's a mixed blessing that the album runs short, as do most Obituary albums, though there are a lot of songs here, some of them just a couple minutes long. Relative to what Obituary would accomplish in the years to come, Slowly We Rot is one of their best albums, certainly their most inspired, though the production values mar it a little. Still, it's a historically significant album all the same, not only in the context of Obituary's career but, more importantly, in the context of death metal in general. This is partly where it all began -- here and across the Atlantic, where the grindcore bands of Earache were carving out their own niche, one that would soon overlap with that of Obituary and their Florida peers. ~ Jason Birchmeier, All Music Guide
'Xecutioner's Return'
Release Date 8/27/2007
Tracks 11
Label Candlelight
See Album Tracklist and Review
What The Critics Say
Scandinavia has been dominating death metal since the '90s, but it is important to remember that many of the early death metal bands were from the United States (Death, Slayer, Deicide, Morbid Angel) and England (Napalm Death, Carcass). Those were some of the pioneers -- the bands that, in the '80s, took thrash metal to a brutal extreme and paved the way for the Scandinavian death metal explosion of the '90s. And the phrase "death metal pioneers" certainly applies to Obituary, who were formed in 1984 and celebrated their 23rd anniversary in 2007. This 2007 release lets listeners know that time has not mellowed the Floridians, who still favor a take-no-prisoners approach after all these years. Xecutioner's Return doesn't break any new ground for the band; the Obituary of 2007 don't sound much different from the Obituary of the late '80s and early '90s. But that doesn't make this 40-minute CD any less inspired -- not at all. Obituary continue to play loud, confrontational, Florida-style death metal with plenty of conviction; they sound very focused on fast, thrashy, hyper material as well as when they slow things down and play in a doomy, Black Sabbath-influenced fashion (which is exactly what happens on "Feel the Pain"). And there is still plenty of punkiness in their approach; Obituary still play like a band that is well aware of death metal's punk, thrash, and hardcore roots and isn't going to forget them. Longtime Obituary fans will be happy to know that the American death metal veterans are very much on top of their game on the rewarding Xecutioner's Return. ~ Alex Henderson, All Music Guide
What The Critics Say
The return of Obituary in 2005 came as a surprise, for the band hadn't been active since the mid-'90s. They sort of petered out after World Demise in 1994, releasing the ho-hum Back from the Dead in 1997 and then calling it a day as the bandmembers busied themselves elsewhere, most visibly as guitarist Allen West enjoyed a lot of success in Six Feet Under. Obituary's reunion album, Frozen in Time, wasn't only a surprise because of the long absence, though. It also came as a surprise because it's so darn good, up there with the best the band ever recorded, even in their heyday. Clocking in at a brisk ten songs in 35 minutes, Frozen in Time is a perfect Obituary album -- almost so perfect it invites such criticisms as "more of the same." But more of the same is perfectly fine when it's done this well, especially for longtime fans nostalgic for the good ol' days of death metal. Obituary never were a band to push the boundaries, after all -- avant-garde death metal they were not. Then again, there was a day when they were cutting-edge, that is, way back in 1989 when they debuted with Slowly We Rot, a trailblazing statement for its time and one that inspired a legion, if not legions, of followers. In subsequent years Obituary kept doing what they do well, even as they became increasingly passé with time. Yet passé or not, they do what they do especially well on Frozen in Time. The pummeling guitar tandem of West and Trevor Peres shines brilliantly, each of them co-penning half the album respectively. Vocalist John Tardy sounds as wicked as he did back in the day, his trademark growl still intact despite the years of wear and tear. And the rhythm section sounds perfectly integrated, partly thanks to Mark Prator's first-rate production (and that trademark Morrisound mixing courtesy of the maestro himself, Scott Burns). There's really no need to go on about the details of how the band sounds here, though -- it sounds like Obituary, plain and simple. What's important to know is that the guys really seem into it here, writing killer songs, benefiting from the best production out there, and playing their asses off ("On the Floor," "Back Inside," "Mindset," and "Lockjaw" are all highlights). If it sounds like "more of the same," that's the point. After one album in a decade, it's a blessing to have Obituary back together and sounding this stellar. If you're a fan -- new or old -- you'll absolutely love Frozen in Time. It's as good if not better than any of the band's other albums. It's so good, in fact, the title could well refer to the sound of the band: sounding as if death metal were still as vibrant and exciting as it was back in the early to mid-'90s when Obituary were the shiznit and a thousand and one young Scandinavians were taking notes by candlelight. ~ Jason Birchmeier, All Music Guide
What The Critics Say
A typical product of the fertile Floridian death metal scene, Obituary never quite matched the success of their peers, Death or Morbid Angel, but they managed to churn out a decent number of competent albums early on in their career nonetheless. Later plagued by diminishing interest from both their fans and among the bandmembers themselves (effectively splitting up for nearly three years), the group stumbled through the mid-'90s in distracted fashion, and it is no surprise that Dead -- a career-spanning live album -- seems like little more than an afterthought. Containing such amusingly titled career highlights as "Chopped in Half," "I'm in Pain," and "Cause of Death," the disc showcases the group's unusually sluggish death metal style, made all the more special by vocalist John Tardy's inimitable (and incomprehensible) growl -- which, peculiarly, sounds as though he himself is repulsed by the words he is croaking. And perhaps most ironic, it's the blinding ferocity of later-day gem "Threatening Skies" and early-days favorite "Slowly We Rot" -- two of the disc's rare, full-on thrashers -- that leave the most lasting impressions. ~ Eduardo Rivadavia, All Music Guide
'Back from the Dead'
Release Date 4/22/1997
Tracks 11
Label Roadrunner
See Album Tracklist and Review
What The Critics Say
Obituary returns after a three-year layoff from the studio just as heavy as ever, and not much different. Back from the Dead is another collection of detuned, heavy riffs backed by powerful drumming, and John Tardy's vocals still sound as if he is in immense pain. Ultimately, though, it's the riffs that matter on an Obituary record, not sweeping stylistic overhauls, and Back from the Dead delivers exactly what longtime listeners are looking for, even if other listeners might be turned off by the lack of dynamic contrasts. ~ Steve Huey, All Music Guide
What The Critics Say
Death metal practitioners Obituary take their detuned sludge riffing to its crushing apogee on their fourth full-length release, World Demise. With a lineup that includes John Tardy on vocals, guitarists Allen West (lead) and Trevor Peres (rhythm), Donald Tardy on drums, and bassist Frank Watkins, the group continued to tighten and intensify their death meets doom metal sound. While Obituary tended toward a slower approach when compared to fellow Florida death metal outfits like Death and Morbid Angel, Tardy shows off some tasty double bass playing in fevered spurts. The drumming is formidable, indeed, but West and Peres' incessant riffing is Obituary's main attraction. The two guitarists distribute their low-slung grooves nicely inside Tardy's hard-fought pocket with an oppressive singularity. Highlight cuts include the energetic opener "Don't Care" and the slow pounding "Splattered" and "Final Thoughts." Listeners unfamiliar with the genre might not withstand the one-note sonic texture and extreme vocals, but open-minded metal fans with a taste for doom grooves and hoarse vocal growls should enjoy the persistent, well-executed riffage of World Demise. ~ Vincent Jeffries, All Music Guide
What The Critics Say
Clocking in at a taut nine songs in 39 minutes without a second of filler, The End Complete may be the definitive Obituary album. The band's third, it marks the return of lead guitarist Allen West and it also marks an impressive leap forward in production. The songwriting and playing on Obituary's past albums had been commendable, and The End Complete is no exception in that regard. Rather, it's the return of West and the remarkable production job by Scott Burns that sets this album apart from its predecessors. The return of West is important not only because his solos are one of the band's trademarks but also because he's an integral songwriter, here co-penning four of the nine songs. The crystal-clear, in-your-face production of Burns is not to be underestimated, either. If anything had marred Obituary's past two albums, both of them otherwise excellent, it was the murkiness of the sound, especially the drums. That's not an issue here at all, however, as Obituary have never sounded this great. The guitar tones especially are downright vivid, particularly when West and rhythm guitarist Trevor Peres depart from one another such as during the solos (the title track is a great showcase for this, and so is "Rotting Ways"). You can practically feel the respective guitar tones buzzing through your head, they're so well recorded. And so are John Tardy's vocals, which are sometimes overdubbed to make them all the more potent and nuanced. They're so well recorded, in fact, you can actually understand some of the lyrics! Overall, there really isn't anything to complain about here. Sure, nine songs in a brisk 39 minutes might not be enough for those who can't get enough of Obituary's textbook style of death metal, but this is such a powerful album that even seasoned metalheads can get exhausted quickly. And besides, Obituary may be one of death metal's greatest bands ever, granted, but they're generally not the most varied or experimental. So too many more songs or too much more music, and the proceedings could begin to get increasingly monotonous, a problem that has plagued innumerable death metal albums over the years. But that's not an issue here, thankfully, and the primary issue instead seems to be just how Obituary could top an album such as The End Complete. Its two predecessors, Slowly We Rot and Cause of Death, had been near perfect and were quickly deemed classics of the early death metal era. But here the band has done itself one better, bringing West back into the fold and getting a better production job from Burns, and the result is arguably the definitive Obituary album and, consequently, a prototypical death metal album. It don't get much better than this, folks. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Lead guitarist Allen West didn't join Obituary for their second album, Cause of Death, which makes a bigger difference than you might expect. His replacement is a close associate of the band, James Murphy of the band Death -- the man many consider to be the godfather of death metal -- and he brings his own style to Cause of Death, resulting in an album that sounds like a hybrid of Obituary and Death. This isn't necessarily bad; in fact, it's somewhat fascinating, especially for metalheads well immersed in the Florida school of death metal. You can hear Murphy's influence throughout the album, as he often leads the band into eerie dirge-like moments that sound like the eye of the storm at hand. Murphy's contribution to Cause of Death aside, not much else has changed in the year since Obituary's 1989 debut, Slowly We Rot. The vocals of John Tardy still dominate the proceedings, the drastic tempo changes still set Obituary apart from the majority of their peers of the time, and producer Scott Burns still struggles with seemingly low-budget values that actually sound worse than they did on Slowly We Rot (not in a good, lo-fi way, either). The band's songwriting -- handled almost entirely by Tardy, rhythm guitarist Trevor Peres, and drummer Donald Tardy, with the exception of a Celtic Frost cover, "Circle of the Tyrants" -- has become a bit more progressive (perhaps because of Murphy's influence), as several songs top the five-minute mark (none did previously, averaging a couple minutes less per song) and take more twists and turns than before. These slight differences certainly distinguish Cause of Death from its landmark predecessor, and you can quibble about which approach is better, as many fans have and always will. In the end, Cause of Death is still a great album for its time. Remember, this is 1990 -- still way at the dawn of death metal. And though Obituary would make big strides forward with The End Complete in a year and a half, Cause of Death is nonetheless an intriguing album, especially from a historical perspective. It's not one of the band's best, but it's definitely one of their most interesting and, along with Slowly We Rot, their most distinct. ~ Jason Birchmeier, All Music Guide
