#Chris Roetter

[chloeslameblog]

Some concert memorabilia I’ve managed to save. I’ve been to other concerts, but I never saved anything (I’m greatly regretting throwing things away) .

[decemberthe7th]

W H E N I T A L W A Y S B R E A K S

[thisworldisablackhole]

Like Moths To Flames The Cycles Of Trying To Cope

FFO: METALCORE, 2010s RISECORE ALL GROWN UP / LISTEN

Core fans are all too familiar with the story of a new band busting onto the scene with a stellar debut or sophomore album before fizzling out with a series of mediocre follow-ups as the band either waterboards themselves for the sake of mass appeal, or simply shifts in a new direction which no longer resonates with their day one listeners. Much more atypical is the story of a band that keeps their nose to the grindstone, taking measured steps as they form a fistful of wet clay into precious gemstones.

Like Moths To Flames have been playing the long game, whether you like it or not. Almost consistent to a fault, their discography has seen very little wavering in style over the years. The band has spent over a decade steadily refining and making small tweaks to their signature heavy-tech-melodic sound, but due to the Sisyphean nature of Chris Roetter & Co, their latest effort also comes with very little in the way of surprise. The rock is still being pushed up the hill. What sets this album apart from prior releases is mainly that of perspective and experience. Where is there left to go when every fork in the road tapers toward an unscaleable monolith? For Like Moths To Flames, the answer seems to be... further inward.

The Cycles Of Trying To Cope wrestles with the ebb and flow of the human psyche, eternally bound to a nature which is flawed beyond our control. The way this manifests audibly; a roller coaster whiplash of tracks spanning the sonic realms of grief, anger, guilt, and a touch of acceptance. Proof of the nuance gained over their career is in the way these emotions are encapsulated and expanded upon. Whereas 2020's No Eternity In Gold yearned to strike balance with every song, TCOTTC is seemingly a practice of mindfulness; fully allowing oneself to experience a feeling without filtering it through further intellectual processes. "Angels Weep" and "Paradigm Trigger" open up the album this way by reminding us that it's okay to be pissed, only to remind us again with "The Shephard's Crown" at the mid point of the album. These tracks feature very little in the way of clean singing or needless bargaining for empathy, and are the perfect counterpoint to the softer cuts like "Gone Without A Trace" and "Kintsugi". Balance is not lost however, as anger and sadness tend to come and go in waves. Even as we are guided through peaks of ferocity and valleys of somber introspection, face melting riffs still pummel away like laser beams ricocheting inside a metal cage.

The addition of Zach Pishney on guitar in 2016 really breathed new life and creative juice back into the band when they needed it the most. His talents are made even more apparent here than ever before as he flexes his ability to be omnipresent on the fretboard while frying the synapses of your brain with stun locking strum patterns. The dude can write a tasty lick, and even during breakdowns, he is hardly content to linger on one note for too long. The chemistry between Zach and Chris is a match made in heaven, with both knowing exactly when to push or pull to let the other shine. The melodic leads during the chorus of "To Know is to Die" is one of my favourite examples of this chemistry in action, even if it only lasts a few seconds. The way the notes elevate Chris' vocals and then fall away as he sustains the end of each bar is just glorious. Chris has been one of the most consistent vocalists in the game for a long time, and he doesn't really have anything left to prove at this point. The clean choruses on this album are a bit more subdued than they have been in the past, but the band more than makes up for it by flooring the intensity during verses and breakdowns.

At the end of the day, Like Moths To Flames’ greatest strength is also their greatest crutch. The fact that they continually decide to double down instead of wander is what made this album such a huge crowning achievement for the band, but it also comes with the risk of falling on weary ears. This album doesn't do much that they haven't done before, it's just done better, and that works well enough for me. For a metalcore band who debuted in 2010 to be releasing arguably their strongest record this late in their career is borderline unheard of, but The Cycles Of Trying To Cope is proof that a strong work ethic, paired with a terminal case of tunnel vision, can often yield remarkable results.

[starshine555]

Metal Vocalist Indicators in Astrology

I decided to do something a little different to practice reading natal charts so I had the idea to look at metal vocalists' natal charts. Unfortunately, for many of them I couldn't find any birth times so these will mostly be aspects and planet placements. I was specifically aiming for metal vocalists that actually "scream" and not just sing, even if the music they make is more like rock rather than metal to see if there's any significant indicators. So i'll start this list with the placements I saw the most.

Water Mars

This is the placement that appeared the most. I was actually very surprised at first to see this placement pop up A LOT. But the more I thought about it, the more things added up, because of how much water mars bottle up how the feel. I think water mars channel the energy of metal music very well. I was expecting to see a lot of fire mars, but I only saw a sprinkle of leo mars and aries mars here and there.

Examples:

Scorpio mars: Serj Tankian (System of a Down), Jonathan Davis (Korn), Marilyn Manson (Marilyn Manson), Angela Gossow(Arch Enemy), Joe Duplantier (Gojira), Franz (Attila), Kadeem France(Loathe), Winston McCall (Parkway Drive).

Cancer mars: Phil Anselmo (Pantera), Chester Bennington (Linkin Park), Caleb Shomo (Beartooth), George Fisher (Cannibal Corpse), Chris Roetter (Like Moths to Flames), CJ McMahon(Thy Art is Murder), Alex Koehler (Chelsea Grin), Ben Burnley (Breaking Benjamin).

Pisces mars: Chino Moreno (Deftones), Zach de la Rocha (Rage against the machine- yes, i know, he raps, but he does in fact scream in his music), Frank Mullen (Suffocation), Jake Luhrs(August Burns Red).

Mercury-Uranus

This placement makes a lot of sense, because this placement is a huge indicator of having a unique voice in general. I mostly saw a mix of harsh aspects(conjunction, oppositions and squares.), but there were some harmonious placements also.

Most of the people on this list above had this placement, but here are some without water mars:

Ex:

James Hetfeild-conj.(Metallica), Tatiana Shamayluk-sextile(Jinjer), Maynard James Keenan-trine(Tool/ A Perfect Circle), Morgan Landers-sextile(Kittie).

Mars-Uranus

People with this placement have a desire to express themselves through ways that are considered 'out there', hence, this is a good placement for metal vocalists(screaming).

Ex:

Tom Araya -conj.(Slayer), Corey Taylor -opp.(Slipknot), Maria Brink -square(In This Moment), Lacey Sturm -Trine (Flyleaf), David Draiman -square(Disturbed), Chad Grey -Trine(Mudvayne).

Extra Indicators:

These placements weren't as common but I saw some synchronicities to them, so here are some extras.

Mercury-pluto/lilith/saturn- I suppose these placements could sort of an edge to how people communicate, but it wasn't super abundant.

Sun-Mars - this was fairly common, and ofc it makes sense that people with this aspect would do something as bold as scream in music.

Moon-mars - This one wasn't super common but I could definitely see how people with this placement could be potential metal vocalists.

Leo Mars- after all the water mars this is the other more common mars placement. Roar, Leo, roar!!

Taurus Mars- Yet another placement I was not expecting, but I did see it in a lot of people's charts.

Possibly Virgo moon- okay, to be fair, again, most of the natal charts I looked at didn't have birth times so this could be inaccurate. If it wasnt for that I would've put this placement at the top of the list with water mars, but from what I saw a-hell-lot of vocalists had this moon sign.

Conclusion

I'm going to be honest, I was expecting to see a lot of aquarius or aries, but to my suprise that wasn't the case. But the point of this post isn't to say that you MUST have these placements to be a vocalist or whatever, but just to see what kind of energy is most likely to be suited for metal screaming. I put a lot of time into researching this stuff, but it was fun anyways😁.

Photo credit to:Trev Earl

[beginagain--]

Like Moths To Flames Share New Video For 'Over The Garden Wall'

To celebrate the release of their new album, ‘The Cycles of Trying To Cope’, Like Moths To Flames have shared an eerie music video for ‘Over The Garden Wall’.  Released today (May 10), each track on the album is said to represent a different part of the cycles of trying to cope. ‘The Cycles of Trying To Cope’ is out now via UNFD. Speaking about the album, vocalist Chris Roetter has…

[cobwebsx]

Like Moths To Flames // Dark Divine

Prints available for $20 ✨

[isahermit]

Chris Roetter of Like Moths To Flames 5/13/18

[gbhbl]

Album Review - Hope for the Broken by Convictions (InVogue Records)

Album Review – Hope for the Broken by Convictions (InVogue Records)

American Christian metalcore band, Convictions, have released their 3rd studio album called Hope for the Broken. Hope for the Broken was released on the 1st of June via InVogue Records.

Convictions formed in 2012 and quickly released their first record, I Am Nothing. Very soon afterwards though, their lead singer, Dan Gardner, and bassist Ian Reiter, left the band. Not deterred, Convictions…

[nvrblm]

Homesick: A tribute to Chris Roetter

Practicing my pixel sorting and made this today.  Huge fan and got mad respect for the dude.

[decemberthe7th]

Promises of paradise Where every angel weeps and god cries

[followingfads]

undefined

Agraceful - In Oceans (Live)

Enjoy going thru old videos I’ve received from others over the years. Would love to give credit.

[threeregionmusic-blog]

Like Moths To Flames in Greensboro NC

More at www.threeregionmusic.com Insta: www.instagram.com/threeregionmusic Twitter: www.twitter.com/3regionmusic

[stratamuzak]

Album Review: Salvation -

As Within, So Without

by Octavio Ramos

As Within, So Without

Salvation

Self-Released

Formed in 2016, New York’s As Within, So Without brought together four friends who shared a common dream driven by their love of music. The band’s core sound is metalcore, influence by bands such as Miss May I, For A King, In Hearts Wake, and Oceans Ate Alaska.

A follow-up to the band’s 2019 debut album, Into Oblivion, 2022’s Salvation consists of 11 tracks that combined create a concept album that focuses on a man’s spiritual journey toward healing. As the band notes, “Writing Salvation brought us together as friends and bandmates during an uncertain time in the band where things felt darker than ever.”

The full-length studio album kicks off the “CH III: The Undefined,” and right from the start the metalcore elements take center stage, with the guitar of Matt Tzovolos mixing hardened riffs with more progressive leads and hooks. The chugga-chugga is also present, as well as thunderous breakdowns that work well with the progressive approach. Next up is “Bloodshot,” with drummer Lukas Vitullo driving the pace with some nice stick-work, complemented by Tzovolos’ catchy licks. Out front is vocalist Mitchell Lustosa, whose screamed words are complemented by the clean vocals of Mathew Lustosa. “Oasis” kicks off with some effective keyboard effects, which feature in most tracks but are uncredited, and offer a mix of screamed vocals from Mitchell and the gentler, clean vocals of Matthew. This mix is potent, and this quickly became one of my favorite tracks.

https://youtu.be/0KQPVsB6xBY

“Visitations” returns to a previous structure, with Mathew Lustosa’s bass licks shadowing Tzovolos’ guitar riffs, which really work well here, along with some subtle keyboard washes.

“Like the Wind” is a welcome departure, one that showcases elements of hard rock combined with some effective and heartfelt harmonies, bolstered by Mathew’s clean and at-times soaring vocals. I really enjoyed this one. Up next is “Illuminate,” another metalcore composition filled with plenty of fury but also restrained by some nice drum and piano accents, followed by “My Revelation,” the turning point in the lyrical story, where the main character starts to realize what is important in life.

“Frostbite” is a straightforward rocker, with Tzovolos letting the riffs rip (complete with arpeggios), and “From the Ashes” brings with it some industrial overtones without sacrificing the intensity—its sheer rage means this one is automatically turned way, way up.

“Daydreamer” features guest vocals from Chris Roetter (Like Moths to Flames and Emarosa).

The closer, the title track, calls upon nature for salvation, “one in a world, Far from machines.”

Salvation is a solid album, one with variation in musical approach and story in lyrics that will appeal to those who have grown weary of the technology that pulls us apart instead of bringing

us together. It is a worthy cautionary tale, one that has many of us already in its clutches. Good stuff with excellent musicianship.

CONNECT: AS WITHIN, SO WITHOUT: Instagram: https://www.instagram.com/awswband/ Facebook: https://www.facebook.com/AsWithinSoWithoutCTNY/ Twitter: https://twitter.com/AWSWband Spotify: https://spoti.fi/32Ge3oJ -------------------------------------------------------------------------------------------------------------------------------------------- PURCHASE INFORMATION: Album: SALVATION https://apple.co/3HougOd AWSW Merch: https://www.awswband.com/merch AWSW WEBSITE: www.awswband.com

[isahermit]

Chris Roetter / Like Moths To Flames Isahermit Photography

[rambles-reviews]

Emarosa - This Is Your Way Out (EP) Released: May 1, 2007

This Is Your Way Out was the very first release by previously post-hardcore band Emarosa, and is by far the most raw of the band’s releases. It’s the one release that truly feels post-hardcore. Chris Roetter’s vocal performance on the EP and the beginnings of the band as a whole in the studio scene are completely unfiltered. Chilling lyrical moments, piercing synths, heavy guitars, and cathartic screams and growls permeate the release as a whole.

There is nothing quite like this in Emarosa’s discography. Through constantly-changing members, consistent genre swapping, and other minor adjustments to the band, nothing quite stands the tests of Emarosa’s original style like this one. This original release is probably one of their best, as it was the only one retaining any of the early members and original style that the band had.

The songs are explosive and emotional, angry and hypnotic. It creates an almost dystopian world with musical imagery, and stands out as something truly unique. The intro track He Is Ocean requires no vocal assistance to show you the sort of ride that you’re about to go on, opening up with synths and bass and exploding with energy thirty seconds into the track. The guitar work is utterly immaculate and has been unmatched from the band since. The unique touch that this instrumentation adds makes this release stand out among the rest.

I Am Waves explodes with an almost iconic drum sequence and unforgettable synth line. The energy felt from this point forth can only be described as catharsis to amend anguish, even through Roetter’s vocals being occasionally drowned out by overpowering instrumentals. The emotions can be felt even so many years after release.

Armageddon continues the energy, bringing the EP almost to straight-up metal. A sliding synth serves as an anchor point to bring us back to the record’s forefront after such a beginning to the track. The growls get so low and so intense on this track, and it’s something that will more than likely never be heard from the band again.

This theme of explosive energy combined with airy and sliding synths continues through the rest of the EP, with Utah bringing a backseat to the heaviness, and Breather serving as an almost calming interlude that creeps into the next track that brings us right back to where we were, Casablanca. This track in particular always stuck out, with the amount of lost hope portrayed from the delivery of the lyrics and the layered screams. It truly portrays the emotional climax of the story being told.

And through all of this, the final track Epoch Coda wraps it all up through a five-and-a-half minute finale. It cements the stream-of-consciousness-style writing felt throughout the record and ends it on an almost calming note as the drums stop and the heavy guitars fade away into silence.

This EP could’ve been the start of an unrivaled career in the metalcore and post-hardcore scenes. The heaviness and raw emotion are unlike anything I’ve ever heard in music before, and the chemistry between all of the members can be heard through every note. It all seems so calculated and controlled, yet also just like friends playing together and making music. This record made Emarosa something truly to pay attention to, and could’ve very easily cemented them into a captivating career.

As a final rating, I give This Is Your Way Out (EP) a 4.5/5.

[beginagain--]

Like Moths To Flames Release Two Brand New Tracks

Like Moths To Flames Release Two Brand New Tracks

Like Moths To Flames have given the world a surprise release in two new tracks! The tracks ‘Basilisk’ and ‘Inherit The Tradegy’ pick up where 2020’s full length record ‘No Eternity In Gold’ left off. Vocalist Chris Roetter says on the track: “Both ‘Basilisk’ and ‘Inherit The Tragedy’ are songs that I was super torn on cutting from the record.‘Basilisk’ covers the experience of being so rooted…