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! 

YouTube 

https://www.youtube.com/watch?v=S9e1f6Vkj8I 

Spotify 

https://open.spotify.com/album/5yLgkBCzJFcQDx0AX2bzOG?si=yvWfhzy8R9SBMfGRAEkWmg 

Apple Music 

https://music.apple.com/gb/album/from-insanitys-ruin/1561117968 

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. 

https://pastthefall.com/album/1184158/from-insanity-s-ruin 

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 

REVIEWS!!! 

METAL TEMPLE 

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. 

Songwriting: 10 

Originality: 10 

Memorability: 10 

Production: 10 

METAL HAMMER 

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! 

BATTLE HELM 

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!

First off, I’d like to say thank you to everyone that has supported us during this truly crappy year that everybody has been enduring. 

As some of you may or may not know we entered into 2020 with radically different album, tour and business plans than from where we are emerging now, its undoubtably affected everyone top to bottom in the music industry. 

We got a little stung and lost a lot of money due to the implosion, and it forced us to really re-evaluate how we want to do things during, and after this crisis. 

In fact, its actually turned out to be the healthiest thing for the band as it solidified our core values and has stripped away all the bullshit that we have had to deal with in a pre COVID world. 

Throughout our history we have had a healthy dose of the DIY ethic, and that’s actually because we have had bugger all support from anybody else (only from our fans, friends and family), and since our music doesn’t neatly fall into a nice cliché, we have never been really sellable in the corporate world of mainstream metal. For many years we have tried to enhance what we do by employing people in those worlds to help- but has usually left a bad taste in our mouths, and deep cynicism in our hearts. 

Before I go any further this is most certainly not a ‘woe is me’ tale, actually quite the opposite, we have never felt more positive about what we do and why we do it. Why? Because we have fully returned to what we always sensed was the truth and what that really means. 

Do…it…yourself! 

Today is a world where you can realise worldwide distribution, royalty collection, and interaction right into the pockets of everybody in the world for a pittance. The old world of music industry professionals may have the bragging rights, but they are struggling for relevancy, and more and more trade on the past in a haphazard fashion. For sure it’s overcrowded now and it’s one of the biggest challenges a band can face to cut above the noise, maybe these ‘do you know who I am types’ have the contacts to help with that, maybe not- but who cares when the most glaringly obvious facet in the modern world of connecting with your audience is precisely in the title? CONNECTING. 

We want to do just that, because when we look back, just as when we look forward, the best memories are the people, the places and the journey we took, not the destination, not some sky-high numbers that don’t correlate with reality. 

The value our fans give us with their support and interaction, one on one after the show, here online with the thoughts and discussion, and wigging out with us on some loud fucking metal whether its 10 people or a 1000 people. 

I guess this is evolving into a love letter/call to arms more than when I first started penning it, haha, but the message is the same- 

THANKYOU to our fans and welcome to our new ones as we unashamedly run the rodeo from PTF mission control, we’ll make more mistakes along the way I’m sure- but some pretty damn cool memories too! Here’s to a brighter 2021 for all us. 

Happy New Year 
PTF Jan 2021