Obituary

“We’re doing what we’re having a good time doing. And if we don’t have a good time doing it,
we’ll find something else to do.”
So bespoke Obituary drummer Donald Tardy in a 2023 interview with Invisible Oranges,
echoing the sentiments of his brother and Obituary vocalist, John Tardy. The quote perfectly
captures Obituary: At its core, being in Obituary is fun. John, Donald, alongside co-founding
rhythm guitarist Trevor Peres and crucial late-career additions Terry Butler (bass) and Kenny
Andrews (lead guitar), have forged a 40-year career doing what they love, which is playing death
metal. It is as simple as that. The band doesn’t chase accolades or social media adulation. And
Obituary truly doesn’t care about the latest trends. Instead, across 11 studio albums and countless
live shows, Obituary has steadfastly stuck to its guns by playing some of the heaviest music
known to man, accumulating a loyal fanbase across the world.
Obituary launched in 1984 as Executioner. Influenced by local Tampa, Florida heroes Nasty
Savage and Savatage, as well as then-nascent thrashers Metallica and Slayer, Executioner honed
their craft via a dedicated practice routine in the Tardys garage, which was soon brought to live
stages. While some of the members of Executioner were well below the drinking age, their live
shows — complete with drum risers, smoke bombs and urns — displayed an already mature unit
that understood the value of presentation.
The band (also featuring lead guitarist Jerry Tidwell and bassist Jerome Grable) trekked later in
1984 to Tampa’s famed Morrisound Recording to track its thrash-inspired two-song Metal Up
Your Ass debut demo. Shortly after that, two moments occurred that would forever change the
band’s career: Peres discovered Celtic Frost and Hellhammer, helping him shape his guitar tone,
and John Tardy discovered his iconic death metal voice. Combined with Donald Tardy’s innate
rhythmic ability and new lead guitarist Allen West’s solos, Obituary had forged its sound.
After catching wind of another outfit named “Executioner,” a name change to “Xecutioner” was
in order. It was followed by the band’s inclusion in the pivotal 1987 Raging Death compilation.
Word quickly circulated through the metal underground of Xecutioner’s unrestrained heaviness,
particularly John Tardy’s vocals. For many, it was unlike anything they’d ever heard. Now armed
with eight songs, new bassist Daniel Tucker and eying an eventual record deal, Xecutioner re-
entered Morrisound Recording with producer/engineer Rick Miller to track their Slowly We Rot
debut in 1988. However, an accident forced Miller to leave the sessions, putting Xecutioner in
the hands of the fledgling producer/engineer Scott Burns, who quickly bonded with the members
of the band.
A deal with Dutch label Roadrunner Records was signed in late 1988 that coincided with a name
change to Obituary. Slowly We Rot was unleashed upon unsuspecting ears in May 1989. The
sheer brutality of it all — from Peres and West’s subterranean riffs to John Tardy’s rabid,
indecipherable bellows — was an immediate revelation in death metal circles. Never before had
a band sounded this extreme while having the songs to back it all up. Flanked by promotional
shots that obscured the band’s faces (courtesy of a back-alley photo shoot in Ybor City by Tampa

scene photographer Tim Hubbard), Obituary quickly became one of the most talked-about names
in the death metal underground, with fans and journalists alike taking their turns trying to
decipher John Tardy’s lyrics (he never used a lyric sheet) while trying to put a face to the band.
(Obituary’s live appearances were limited at this time.) The impact of Slowly We Rot is
immeasurable; it remains a standard-bearer for extremity and one of death metal’s most
impactful debuts.
Cause of Death arrived a year later, this time with James Murphy stepping in for Allen West in
the lead guitar spot and Frank Watkins assuming the bass position for Daniel Tucker. While
Murphy’s classically inspired solos added a new dimension to Obituary’s sound, Peres and
Donald Tardy carried nearly the full songwriting load, assembling a batch of cuts that would
remain live set mainstays, “Chopped in Half,” “Dying” and “Turned Inside Out.” Obituary’s first
U.S. tour followed the release of Cause of Death, including an appearance on the legendary
“S.O.S.” bill alongside headliners Sepultura and opening act Sadus.
Behind the momentum of Cause of Death, Obituary’s third studio album, The End Complete,
arrived two years later. Once again partnering with Scott Burns and West returning to his lead
guitar spot, The End Complete’s raw and natural production values highlighted songs that were
now fully enmeshed in groove, as signified by the opening cut “I’m in Pain” as well as the title
track, which also received music video treatment and heavy rotation on MTV’s Headbanger’s
Ball. The album eventually reached 150,000 units in sales, making it one of the highest-selling
death metal albums of all time.
 
Obituary’s fourth studio album, 1994’s World Demise, arrived at a time when death metal
became oversaturated and outfits such as Machine Head, Pantera and Sepultura ruled the day.
Obituary, however, used it as an opportunity to diversify its sound. Peres, Donald Tardy and
Morrisound Recording engineer “Super” Brian Benscoter incorporated a myriad of industrial
effects to add a new angle to Obituary. Combined with John Tardy’s harsh lyrical take on
corporations plundering the world for their greed, World Demise stands alone as Obituary’s most
adventurous album.
With Burns approaching retirement from studio work, Obituary tapped Madball producer Jamie
Locke for Back from the Dead, the band’s fifth studio album. Recorded at Miami’s legendary
Criteria Studios, Back from the Dead housed some of the band’s most groove-oriented material,
such as “By the Light,” “Download” and “Lockdown.”
In 1998, the members of Obituary decided to take a much-deserved break to focus on their
families and other projects. Peres started Catastrophic and released The Cleansing studio album
in 2001. Donald Tardy joined over-the-top rocker Andrew W.K.’s band, whose major label debut,
I Get Wet, spawned several hit singles, affording Donald the opportunity to perform on Saturday
Night Live as well as the 2002 installment of Ozzfest, where an impromptu reunion with Donald,
John and Trevor set the stage for the band’s 2003 reactivation.
Obituary’s first album in eight years, Frozen in Time, arrived in 2005, followed by a switch in
record companies to Candlelight Records and the addition of new lead guitarist Ralph Santolla in
2007. The changes signified a new era for Obituary, prompting the Xecutioner’s Return album

title for the band’s sixth studio effort. The album also marked another drastic change for
Obituary: The band built its own studio with a Pro Tools rig on John Tardy’s property, enabling
them to record at all hours of the day. The process helped shape the band’s next album, Darkest
Day, which arrived two years later and highlighted Santolla’s elaborate, Michael Schenker-
inspired guitar solos.
Bassist Terry Butler (formerly of Death, Massacre and Six Feet Under) joined Obituary in 2010,
a long overdue event considering he has been one of the band’s closest friends since their
formation. And Santolla (who passed away in 2018) was replaced by Andrew W.K. guitar tech
Kenny Andrews in 2012, stabilizing Obituary’s lineup. Behind a crowdfunding effort and a new
deal with Relapse Records, Inked in Blood was released in 2014. It was immediately hailed by
fans and critics as one of Obituary’s finest efforts in years, propelled by a heavy touring cycle.
Simply titled Obituary, the band’s tenth studio album was released during a death metal
renaissance. A new wave of fans started to discover bands like Obituary, while old standbys were
reminded of the band’s greatness through cuts like “Brave” and “Sentence Day.” A marquee spot
on Slayer’s European tour ensued, where the sound of Peres’s ungodly guitar tone melted arenas
across the continent.
The 2020 Covid pandemic took Obituary and their peers off the road. The band made the most of
its downtime with a series of livestreams that gave fans the opportunity to hear classic albums in
full and deep cuts that are rarely performed live. Along the way, Obituary kept writing new
material, culminating with Dying of Everything, which, once again, was recorded at the band’s
own RedNeck Studios in Gibsonton, Florida and produced and mixed by Joe Cincotta, with
engineering credits yet again falling to Mark Prator, a longtime friend of the band.
Dying of Everything, as one would surmise, is everything one would expect from Obituary. From
the thrashy “Barely Alive” to the all-out stomp of “The Wrong Time” and the innate groove of
“My Will to Live,” Dying of Everything is Obituary at its finest, fitting for a band that has defied
age, expectations and shifting musical tastes.
Obituary is built upon brotherhood, friendship and music—three unbreakable bonds. From the
garages of Brandon, Florida, to the big festival stages of Europe and beyond, Obituary has never
lost sight of what matters: a prime recipe for longevity.
“I love the idea of creating music for people that are not in my town or not even in my state or
country, that is not just waiting for us but rooting us on,” Donald told me in 2023. “It's bigger
than us. Obituary is part of people's lives.”
David E. Gehlke
December 2023