by Kris Handel (@khandel84)
L.E.G.I.T was initially released in Japan in 2014 to correspond with Obits’ Asia tour, but now the compilation of their 7’ singles and compilation tracks is getting a wider, very welcomed release. These tracks show the sneaky diversity of styles the band employed during their existence. Obits released three full lengths and a live album before the sad passing of vocalist/guitarist Rick Froberg that shocked the music world in 2023. Froberg, along with with Sohrab Habibion (Edsel), unleashed a probing take on classic garage punk. Obits played straightforward, driving rock songs with touches of classic mid-60s bands, but with an extra sneer and laconic je ne sais quoi that put an indelible stamp on their searing and compact fury. Obits managed to combine their take on dirty rock songs with an impressive sense of cool and ease, while finding ways to work in snaking rhythms and simmering unease.
“One Cross Apiece” from 2008 kicks off the compilation and was the introduction of Obits to the music universe. On this track there’s a smoldering energy rolling off Froberg and Habibion’s guitars that slash and chord brightly throughout. Greg Simpson’s bass bounces and bobs fluidly in between pounding bass drums. Froberg’s vocals were initially a bit of a shock as he had shed the shrieking of his youth to a sort of sprechgesang, yet lost none of the biting attitude and was quite a storming and unexpected new beginning. “The City is Dead” is a cover of The Kids’ ode to the bygone days of small town life, forever relinquished to gentrification, commercial build-up. Obits stretch out a bit on this track as the guitars reverberate creepily around climbing leads and a detached psych languor, giving off a bit of a Cramps-style stomp while Froberg’s vocals furiously build up in a Mark Arm-esque pissiness.
“I Can’t Lose” was one of the highlights of Obits’ existence and was a track that fully coalesced all of their elements into a sparkling canonical diamond. Froberg’s snotty vocals are in full effect here as he elongates syllables and guitars wiggle before he spits out to his theoretical opponent “Here’s what I do to ya/I fuck you over there and then!” The live take of “New August” takes on a bit of a more wild expression as the band lock into a swerving bit of early Pink Floyd psych chaos, as guitars careen wildly as the rhythm section of Simpson and Alexis Fleisig roll and bob while maintaining grounding. Habibion and Froberg really let go of the reins here and the interaction and play between them show off some fiery and sharp guitar theatrics that gloriously rule the day.
Obits were a band that managed to combine the pure joy of playing music by seasoned veterans who truly cared for creating with each other. That energy and drive was apparent in every move they made over a decade. Obits were an unexpected surprise but also truly a pleasure. Being able to hear Froberg’s new approach—combined with the musical knowledge of his comrades—made for some delightful times on record and stage. This compilation shows off the unsung range Obits possessed playing with each other and provided an opportunity to fully throw themselves into the joy of artistic expression while moving forward forcefully with a steadfast purpose. Obits were a band that burned brightly and relatively fast, leaving audiences with moments of emotional and personal release that flowed forth with passionate attitude and abandon. Obits are and will be missed for a long time.