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BAND HISTORY The band got its start as Matthew Gossman's one-man project. He soon recruited Brett Slutsky as the original vocalist in May in January 2002 with the addition of Johannes Naranjo on bass (since departed) while Wray moved to guitar. A home studio version of the group's early work was well received in the local music scene and, soon thereafter, Wray's talents emerged as he assumed principle writing duties. Gossman then redirected his primary attention to shaping the intricate dynamics of their arrangements as well as providing the percussive input while Ruwell and Naranjo collaborated (with input from Gossman) on the band's remarkably skillful lyrics. Within a year, the group had crafted and internally financed their ''The Design'' was soon in the works. Released in March 2005 , the album--produced at Mana Recording Studios by Erik Rutan ( Hate Eternal ; Morbid Angel )--has met with much critical acclaim. DERIVATION OF THE NAME Gossman has related this humorous story that led to the band's name: He and a fellow band member were considering several options early in the formation stage but none of the alternatives seemed appropriate. Frustrated, they agreed to mute their television and channel surf, ending on the Christopher Lowell {Link without Title} interior design show. They further agreed to naming the band after the first words they heard after un-muting. Of course the phrase "into the moat" was next spoken by Mr. Lowell and the band's name was born. The exact context in which this phrase was uttered remains unclear. The name remained controversial for several years as some metal fans were uncomfortable with a moniker that seemed difficult to categorize. Seeking a reference more representative of their genre, the group at one point ran a website contest to rename the band but, as their fame grew, they realized this would have been counterproductive. Now, with acceptance and growing respect in the metal scene, the name is more likely to be celebrated for its distinctiveness than rejected for its unconventional feel. In fact, the unusual designation has served in separating it from the clichéd "death, blood and guts" references usually reserved for groups in this genre. Moreover, the medieval warfare theme suggested by the tag has been invaluable in driving their lyrics, stage presence, and merchandising. As its chosen name, ''Into The Moat'' has proved to be a fortunate--if random--find and true fans of the tech metal scene have learned to judge the performers by their extraordinary musicianship rather than their break with traditional nomenclature. INTO THE MOAT'S MUSIC Into the Moat is representative of the Mathcore genre, although band members prefer the term Tech Metal . As a sub-category of the Tech Hardcore or "chaos-core" classifications, at first impression their music is merely chaotic noise. Upon further listening, their technical musicianship comes to the fore. Some of their compositions recall Stravinsky in that they appear almost primitive with atonal notation and rapid rythmic changes. Moreover, their music often paints a "tone picture" as Mussorgsky 's thematic music does. Their songs are not, however, Tone Poem s in the true sense of the word, but can be likened to Disney 's use of Stravinsky's " The Rite Of Spring " and Mussorgsky's "St. Johns' Night on Bare Mountain" (more commonly known as " Night On Bald Mountain ") in the film Fantasia . As with Fantasia's soundtrack evoking clashing dinosaurs and dancing demons, ITM's progressive compostions paint a brutal, changing dynamic in an unworldly landscape. Employing unpredictable rhythms and guttural lyrics, the agonizing screams of soldiers dying in combat are forced into the mind's eye as ITM's instruments inject acoustic mahem into those internalized visuals. Images from Dante's Inferno and The Terminator 's futuristic warfare scenes are conjured up during the ensuing melee. Employing the song "New Noise" by Refused to establish a menacing mood for the impending battle of high school football teams in the film " Friday Night Lights " is a similar approach to the use of musical composition ( Heavy Metal Music in this case) as a contemporary tone poem in present-day theatrical Soundtrack s. ITM have released two albums, the latest on Metal Blade , and have two music videos featured on MTV2 's Headbangers Ball as well as FUSE 's Metal Asylum. The latest video (for ''Empty Shell'') premiered in late 2005. These musicians, all either 20 or 21 as of this writing, have a profound grasp of their instruments and are already mentioned in some circles as world class song crafters, arrangers, and musicians in their chosen genre. LIVE PERFORMANCES Early critics were impressed with the frenetic pace and near-impossible rhythmic arrangements of ITM's recordings but many reserved judgment on the group's true talent. Specifically, some "experts" refused to acknowledge that any group of young musicians in their teens and early twenties could reproduce the album's sound in a live setting, suggesting instead their efforts must have been the product of cut-and-paste audio editing. After attending a number of shows during tour dates in 2005, however, this myth was quickly dispelled. In fact, attendees reported experiencing the live high-energy performance was often more impressive than the recorded versions themselves. Incited by the music, fans at the shows often participate in Hardcore Dancing , typically performed in a Mosh Pit setting. ITM's compositions feature breakdowns (see Breakdown (-core) ), and Blast Beat rhythms that provoke listeners into a choreography of kickbox moshing consistent with their musical style. The moves include ''windmills'' (circular arm movements) and ''spin kicks'' popularized in martial arts Kung Fu movies. Despite the violent appearance of the "dance," participants usually observe a watchful protocol to circumvent serious injury by avoiding deliberate contact. Injuries are not uncommon, however, within the usually confined areas this choreography is performed. CURRENT LINEUP
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