7/5/2023 0 Comments Old school deathmetal![]() When it’s mixed, it sounds pretty badass.”ĭying of Everything sounds just as vital as genre-codifying crushers like Slowly We Rot and Cause of Death (“I think it stands right up there with the classic stuff,” Peres says proudly). With my stuff, whether it be a Kemper or a Peavey, I have the higher-end dialed in. “As far as blending along with him, I think it’s cool because he has all the low-end, scooped-out mids. There’s no messing with that,” Andrews continues of Peres’ unimpeachable crunch. Same thing! I was like, ‘I guess I hit it right on the head.’” I looked over and he had an 800 and a ProCo Rat. “The first time we ever played with Frost, at Sweden Rock Fest, I got to go on stage and watch them play. “Obviously, I tried to emulate what Celtic Frost sounded like – probably the biggest influence,” Peres explains of the roots of his chunkiness. While it’s since become a defining presence in Obituary’s overall sound, Peres confesses he fell into his Rat-infested set-up while trying to recreate another guitarist’s sinister surge. Peres has busted through a plenitude of the distortion pedals over the years – from original big boxes, to the slimline Lil’ Rats, to his current Rat 2. Peres, as he has since the band’s inception, pummels his rhythms while rolling all the tone off a humbuckered Strat (“It’s kind of anti-guitar EQ’ing”), and then powering that through a JCM800 and a well-worn ProCo RAT. Onstage, Andrews has switched to using amp profiles through a Kemper, but back at RedNeck he tracked his whammy-yankin’ leads through a trusted Peavey 6505 tube amp head. ![]() “ basically had one track of maybe a hundred guitar rhythms, and I went through and cherry-picked,” he notes, adding of the process, “You could tell which things would go together.” Whether melodic or menacing, Peres says he’d been stockpiling a whole dizzying array of frantically trilled and epically judded riffs for Dying of Everything since the group wrapped recording sessions for 2017’s self-titled Obituary release. “It is kind of commercial-sounding,” Peres concedes of the tune, “but it’s heavier than hell when you hear it full-form on stage. You could almost imagine the song sidling into a sports arena playlist, with a hyped-up crowd chanting along to lines from the fervently growly frontman John Tardy. Compared to the rest of the record, the wide-open, major key chord work of The Wrong Time sports somewhat of a chipper melody, combining the band’s usual metal extremity with a pinch of pop appeal. Though album single The Wrong Time is likewise dripping in gory, descending death metal motifs, the track arguably marks another Obituary first: the catchy crossover hit. On the other side of things, the slow-mo putrescence of Peres and Andrews’ power-chording on Be Warned makes the track sound as if it were encrusted in the sludge of the Everglades. High-velocity opener Barely Alive is a vital piece of thrash-influenced mania, Peres suggesting the piece – a blur of single-note trilling and cymbal stops – took shape following Obituary’s 2018 leg of European dates on Slayer’s farewell tour. Dying of Everything still dials into the band’s many strengths. While Obituary aren’t afraid to throw caution to the wind every now and again, when it comes to old-school death metal, few bands have been blessed with a catalog as consistently brutal as theirs. The first couple of takes I’m pushing it too hard, fretting out and everything.” It’s kind of weird, because I never play slide. Usually, I can’t find anything in there, but I opened a drawer and a slide was there, still in the package. Inspiration for the greasy guitar lead struck the player in the middle of the night, Andrews scrambling around his Orlando home in search of an untouched Ernie Ball steel slide to demo ideas. Like, ‘I can’t believe I’m going to put a slide solo on an Obituary song,’” Andrews adds through a mile-wide smile.
0 Comments
Leave a Reply. |