We are proud to announce the release of our Debut Album "From Insanity's Ruin" across all platforms.
STREAM NOW! https://linktr.ee/pastthefall
"From Insanity's Ruin" is very Definitely a Metal Record BUT!!! We haven't tried to write with any subgenres in mind. The aim was simply to create something that was Dark, Honest, Modern yet Gritty and with plenty of contrast that represents us and the things we like in a metal sound.
This record is a cumulation of years of work, touring venues and recording EP`s/demos. But right now we can honestly say that we have created something we are truly proud of and, more over, something that is truly us.
We would love YOU to share this big moment with US by streaming "From Insanity's Ruin" FOR FREE on one of the follow platforms. And of course feel free to leave comments, we always get back to every comment!
If you would like to support our future work then you can buy it direct from the link below or from any of your favourite music outlets.
Past The Fall are-
Will Wright - Bass/vocals
Thomas Cope - Guitars/vocals
Sam Mclean - Drums
Other musician credits
Luke Moore - Cello on "Into The Ruins" "Seldom Reason" and "From Insanity`s Ruin" Luke Moore Music
Recorded, Mixed and Mastered by Thomas Cope at Purple Vibe Studios Thomas Cope
Produced by Will Wright and Thomas Cope
Here we have ultimate compositions, my friends, well-rounded, dynamic offerings, and that's what the Metal world lacks today, yet this masterpiece surpasses that flaw with might and confidence. No dull moment, no fill-in crap, just intelligent, entertaining, skilful, and, most of all, sincere display of music. I'll not play devil advocate's here name dropping "this is new Metal," "this is Prog," "this is Classic Metal," "this is Djent," meh chat. Want a suitable umbrella??? Sublime Rock, that's it.
I can see how much time, geeky interest in arranging and crafting sections, and plain wittiness are here. Right on the bat, comes an eerie instrumental named "Into the Ruins," which takes you to the DEAD CAN DANCE world with textures and subtexts that needs no words. Please take a look at the exciting artwork, and you get the idea of the "cinematic" message that these guys are conveying. Keep your eye on how "neon-ish" the green spots pops to your eyes on this canvas. No randomness here folks, the choice of colors works as a contrast with the symmetric and infectious yellow.
"Drainer" slaughters your ears with no mercy; the singer has the tension of John Tardy (OBITUARY) and the deception of Layne Staley (ALICE IN CHAINS). We also hear outstanding arpeggiated chords towards the 1:50 mark (The Piggy trick). I have my complaints about the cymbal mix choice, but the composition is so gifted that I don't care. Quoting Hamlet, I would say that "Epitaph" has the coolest axiom in literature: "Method and Madness," because it has the right amount of music debauchery in one hand, and the tight discipline bounce of Metal, in the other. Some singers annoy with clean deliveries, but this vocalist knows his range and limitations; prolific ear, rich diction. Those are my compliments.
Save your heart for this chivalry masterpiece; "Poison Mirror," a feral track for a delicate band. Sounds like an inbred of the VOIVOD/ ALICE IN CHAINS/ ACID BATH wombs. I cherished the silence and tempo/ key change at the 4:20 mark. No more words, be a dear, and crank this tune now. "Above the Negative," a treacherous Death Metal tour de force, will indulge you for some Heavy Metal faith again, especially with the entire crisis that's happening right now on this bloody planet. "Maurice" is another "mountains and valleys" kind of piece; it just carries you.
A sole review it is not enough for these guys, I want to interview them, get to know their creative process. KING'S X was the last band who shook my foundations, and now these guys are killing it. I felt blessed. Kudos to England.
One guitarist/vocalist, one bassist/volcalist and one drummer – that's all it takes for the British trio Past The Fall to get us to shake our heads with the uncompromised weight of technical groove metal. “Epitaph” is a double-edged razor of the best steel on the market, with Thomas Cope's voice reminiscent of Alice In Chains, but also Meshuggah. Afterwards, the vocalist's ridiculously complex guitar work scores points in a genre that tends to excel more for a viral sound than for the technique of progressive metal. Rule Britannia!
Wow – this must be the best new British metal band I’ve heard in years!!! Saying that, Past The Fall have actually been going for a few years, during which time they’ve released a number of singles and EPs, as well as toured Europe, Mexico and the US sharing stages with Hirax and Tim ‘Ripper’ Owens! Centred around the core of bassist/vocalist Will Wright and guitarist/vocalist Thomas Cope, who’ve known each other since they were 12 years old, this would explain why this band is just so tight and able to pull off eclectic mixes that few other novices would dare to consider! “From Insanity’s Ruin” is the culmination of all their experience to date and mightily demonstrated across the 10 tracks there showing mixes of thrash, groove and even hardcore tinges. However, it’s the virtuosic neo classical sprints, masterful ambience and catchy, flowing melodies that really sink the hooks into this impressive music, which never lets up thanks to its unpredictable arrangements, such is the confidence of the band in being able to take you masterfully through their mesmerising journey. Hammering in brutally on ‘Drainer’ with heavy chopping riffs and drum work, throat strained vocals contrast brilliantly with spiritual wailings as the dark melodies exude their ominous grip before expertly turning into neo classical brilliance before building into a climatic finale. Thrashing in on ‘Above The Negative’, it’s the massively catchy power chords that really sink their big claws in while Cope’s wailing virtuosity once again adds even more splendour to the galloping intensity. With the chundering of ‘Beholden’ contrasting superbly with the dual vocal harmonies showing the band’s lighter side brilliantly, Cope’s guitar work delivers an even more impressive mix of rock, metal and neo classical pieces intelligently spread across the number although sensibly not forgetting the massive main riff that keeps the headbanging momentum going – man, it really is that good!