How did Sebastian Marino Die? Former Overkill & Anvil Guitarist cause of death Explained

Sebastian Marino, a guitarist for the bands Overkill and Anvil, passed away at age 57 on January 1st early in the morning after being taken to the hospital while working sound at a New Year’s Eve event in Florida. Both bands employed him as a guitarist and a sound technician.

From 1989 to 1995, Marino was a part of the Canadian metal band Anvil, and he appeared on their Worth the Weight album from 1991. Steve “Lips” Kudlow, a singer and guitarist for Anvil, posted a message of condolences to Marino’s family and friends after learning of his loss. I shall sincerely miss Seby, who was a great friend of mine. Worth the Weight was a unique Anvil release, and it will always carry Seby! Adieu, Sebastian Marino.

What happened to Sebastian Marino?

Sebastian Marino, a former guitarist for the bands OVERKILL and ANVIL, passed away at age 57. After being taken to the hospital urgently, Marino passed away unexpectedly in the early hours of January 1.

Sebastian contributed to the 1991 ANVIL album “Worth The Weight” and appeared on three OVERKILL albums in the 1990s: “The Killing Kind” (1996), “From The Underground And Below” (1997), and “Necroshine” ( 1999). Sebastian Marino’s passing was reported on the OFFICIAL ANVIL Facebook page.

Sebastian Marino cause of death

We were shocked to read that Sebastian Marino, who was 57 years old, passed away on January 1st following a heart attack. He is a guitarist whose name hasn’t been spoken in a while because he was most active in the 1990s.

Sebastian Marino
Image Source: lampgoat

Sebastian Marino: Career

The Anvil Years

Born in Rochester, New York, in 1965, Sebastian Marino first appeared in Anvil in 1989. During an era of change and experimentation, Seb had the unfortunate experience of being a part of two iconic formations—Anvil and Overkill. As with all the 80s bands, Anvil had already released some of their strongest albums in a short time.

Only ” Worth of the Weight ” was released in 1991 during his 7-year stint at Anvil. Although this album is not among the band’s notable classics, it does have its moments and embodies all the best aspects of Anvil. It is the song on which Seb makes his debut in the metal scene.

The first impact

Seb attempted to join Overkill for the first time in 1990 but was unsuccessful. Around this time, Bobby Gustafson departed the group, and a successor was sought after. Because they didn’t want there to be a clear comparison with a single guitarist, they were searching for his replacements.

Since then, they have been performing with just two guitarists; even though Gustafson’s departure has allowed Aeolos to expand their financial resources, Overkill is still looking for a reliable guitar pairing.

To Merritt Gant, who, along with Rob Cannavino, begins a new chapter for bats, Seb loses his position at that time, which is unfortunate for Seb. Seb may have been turned down first, but he left a good example that will aid their future cooperation.

The unknown period of Ramrod

Fewer people are aware that Marino and Comeau were members of the power metal band Ramrod (1992–1994), who only managed to release one demo in 1994 before they became the guitar combo in Overkill.

But after Gant/Cannavino left, Overkill recruited them again thanks to their same musical affinity. Comeau will even be praised for his singing abilities and take over the background vocals.

The Overkill Years

Similar to Anvil, Seb assumes leadership of Overkill during a challenging period. The previous guitar duet was short-lived since albums like “I Ear Black” and, to a lesser extent, “WFO” didn’t win over their ardent core fans.

In the 1990s, groove metal is something they explore with. Now that we have some perspective due to the passage of time, we know that many ’80s thrash bands experimented in the ’90s, and some of us even value music from this era. However, many who experienced it firsthand at the time had a difficult time accepting it.

The two new guitarists would be scrutinised, and the band appeared to have to establish their value to the fans again. To reaffirm Overkill’s new sound direction, The Killing Kind shows up.

With an emphasis on volume and dynamic playing, there is more groove and less thrash. While “The Morning After/Private Bleeding” won’t think twice about giving us a track that almost sounds like a ballad, “Battle,” “God-Like,” “Cerifiable,” and “Cold, Hard Fact” stand out.

All of this is not welcome, but after taking a closer look at their career, we can claim that “The Killing Kind” is one of their least consistent pieces.

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