Formed in 2005, they set their local scene alight by playing a synth-driven technical mix of styles and genres difficult to define in a single word. The band's name was taken from the movie L.A. Confidential. They are known for their strong DIY ethic and chaotic live performances.
The band is currently signed to MNRK Heavy. They released two albums on Hassle Records: Hysterics (2008) and the Diplo-produced Cosmology (2010). After creating their own record label called Destination Moon in 2011, they released Eternal Youth, a compilation album of B-sides, remixes, and rarities from throughout their career, and their third album, 21012’s Astraea, with the first line-up change in their career. They then released two albums on Holy Roar records: Grievances (2015) and Time Will Die and Love Will Bury It (2018).
Their music has been difficult to classify simply because of the band's resistance to being identified with one single genre. Described as "like a polished chrome King Crimson for the 21st Century" they have typically been acknowledged as being mathcore, a tag which summarises the theoretical complexity of their music, such as odd time signatures like 9/8 and 13/8 and polyrhythmic drumming. They have been identified as "falling somewhere between grindcore, progressive and alternative rock and have been categorised as experimental rock, post-metal, post-hardcore, progressive hardcore, progressive rock and screamo. The band utilises two vocalists in their music, a quality which "immediately creates a rich and textured sonic world". Eva Spence's vocal style was acknowledged by Michael Wilson of the BBC as bi-polar; swapping between "fragile lullabies to blood-curdling scowls". Her singing voice is in a soprano vocal range and has been compared to the stylings of Alison Goldfrapp of Goldfrapp and Elizabeth Fraser of the Cocteau Twins.
Their earlier work—such as Hysterics, Cosmology and their demos and extended plays—was known for its use of jazz breakdowns and swapping chaotically between explosive mathcore, calm atmospheric experimental music and acid jazz. Their music is also noted for sharing traits with Nintendocore in terms of chaos and sound for the use of 8-bit synthesizers. The compilation album Eternal Youth gave insight into their musical development from their 2005 demos to their latest b-side releases with Hassle records.
The band’s sound developed further into pop, ambient, shoegaze and space rock elements for their third album Astraea, and has been jokingly dubbed as cosmic-core. For one of the b-sides from the album—“Mezmerizer”—NME journalist Hamish MacBain classed it as a "space rock ballad". For the album, the band decided to base its name on the goddess of the same name, a reference to the Spence siblings’ admiration for Greek mythology and a desire to pick a title which made the album "sound big and like this proper body of work". The non-album single "Old Mystics" and the song from the album "The Scales of Balance" both make reference to the "Golden Age" declared by Astraea.
In contrast to the lighter tone developed on Astraea, their fourth album—Grievances—is frenetic and dark in its composition, utilising pianos and violins for a darker character.
Their fifth album, Time Will Die and Love Will Bury It— as described by James Spence—“continues in the vein of Grievances' darkness, but shouldn't be used to judge what all our new material sounds like."
The band's sixth album, Where Myth Becomes Memory, was released on 04 February 2022. Lyrically, it deals with "how the passage of time, miles on the road, bittersweet nostalgia and the inherent unreliability of human memory shape and reshape our experience of the art we make and the lives we live." Sonically, the music continues to "magnify the dynamic interplay between light and shade", moving from chaos to tranquility at the drop of a hat.
Current members:
Eva Korman – vocals (2005–present)
James Spence – vocals, synthesizer (2005–present)
Chris Cayford – guitar (2012–present)
Nathan Fairweather – bass guitar (2012–present)
Al Pott – drums (2018–present)
Cloaked
Rolo Tomassi Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Move in the space between where decisions were made
Is it too much to live with this?
The worst of it still growing
Claim, channel, define by one distraction
Ruled without intention, some days I felt that burden
Is it too much to live with this?
The worst of it still growing
What lies beyond the end of this?
Wait for it
Wait for it
Screaming on the outside looking in
Longing for the simplicity of nothing
To bend without breaking when chances are slim
Locked in this rhythm, locked in this ruling
Screaming on the outside looking in
Longing for the simplicity of nothing
To bend without breaking when chances are slim
Longing for the list of things I'm losing
In Rolo Tomassi's song "Cloaked," the lyrics delve into themes of living with the consequences of past decisions, feeling trapped and burdened by distractions, and longing for the simplicity of a life without complications. The song starts by highlighting the passage of time, describing it as "ticking through decades." Despite the passing years, there is a sense that things have remained unchanged and impaired. The line "move in the space between where decisions were made" suggests that the singer is stuck, unable to break free from the consequences of their past choices.
The chorus poses the question, "Is it too much to live with this?" indicating that the burden they carry may be overwhelming. The line "the worst of it still growing" suggests that the negative consequences are continuing to accumulate and become more challenging to deal with. There is a sense of uncertainty and anticipation for what lies beyond the current situation, as indicated by the line "What lies beyond the end of this? Wait for it." This reflects a desire for change or resolution but also a recognition that it may require patience.
The second verse introduces the theme of feeling ruled without intention, like being at the mercy of external forces or distractions. The line "some days I felt that burden" suggests that there are moments when the weight of these distractions becomes particularly difficult to bear. The repetition of the chorus reinforces the feeling of being overwhelmed and trapped.
In the bridge, the lyrics express the frustration of being on the outside looking in. There is a longing for a simpler, uncomplicated life represented by the phrase "the simplicity of nothing." The desire to "bend without breaking when chances are slim" reflects a longing for resilience and the ability to adapt even in challenging circumstances. The closing line "Longing for the list of things I'm losing" emphasizes a sense of regret or longing for what has been lost or sacrificed along the way.
Line by Line Meaning
Ticking through decades, impaired and unchanged
Continuously moving forward in time, but remaining hindered and stagnant
Move in the space between where decisions were made
Navigate through the aftermath of past choices and their consequences
Is it too much to live with this?
Questioning the ability to endure the current circumstances
The worst of it still growing
The most negative aspects of the situation continue to intensify
Claim, channel, define by one distraction
Identify, direct, and shape existence based on a single diversion
Ruled without intention, some days I felt that burden
Controlled without purpose, occasionally overwhelmed by that weight
What lies beyond the end of this?
Contemplating what awaits after reaching the conclusion
Wait for it
Be patient, anticipation is necessary
Screaming on the outside looking in
Expressing frustration and longing while feeling excluded
Longing for the simplicity of nothing
Desiring the ease and tranquility of emptiness
To bend without breaking when chances are slim
Adapt without succumbing to failure when opportunities are scarce
Locked in this rhythm, locked in this ruling
Trapped in a repetitive pattern, trapped in this authoritative control
Longing for the list of things I'm losing
Yearning for the inventory of what is being gradually forfeited
Lyrics © Sentric Music
Written by: Al Pott, Chris Cayford, Eva Korman, James Spence, Lewis Johns, Nathan Fairweather
Lyrics Licensed & Provided by LyricFind
MrRoyBurns
This video/song checks every single box I could ask for:
- beautiful
- heavy
- interesting rhythms/drumming
- good singing/screaming
- flawless mixing
- top tier visual style
- contemporary dancers
Love it <3
Alfred Garcia
The fact that Eva Korman is able to effortlessly and seamlessly transition from a monstrous, black metal shriek to lovely, soft, angelic cleans is just out of this world. What a goddess of a vocalist, like good god
Washburn
Tatiana jinjer
Bret Silverberg
So many people are sleeping on this band - this record is an all-timer
Simon Sins
Barely found them today. A song called Fofteen. I went from liking to loving this band in the course of hearing it.
andrew paul
i can't say in words how much this music gets exactly what i love...heavy, ethereal, ambient, all in one. thats just perfectly my taste.
Jon
You should check out Devil Sold His Soul too :)
Cam Rostami
Something I almost never hear talked about: Rolo Tomassi's drummer is fucking flawless and the tone is insane. His work on Grievances is what got me into drumming. Glad to see the band back <3
Tom van der Stoep
Pretty sure they got a new drummer right after the last album
Cam Rostami
@Tom van der Stoep Oh shoot really? Drum tone sounds the same to me
wannyyydilliamsss
@Tom van der Stoep indeed. Tom Pitts played on Grievances and Time Will Die, Al Pott plays on their new stuff.