Meet Vital Noise…
Hello and thanks for taking time out to talk with us.
Thanks so much for having us!
Can you first introduce the band and give us some background to Vital Noise?
Our band consists of Andrew Wilmot, lead vocals/ guitar; Preston Wilmot, bass; and Reid Campbell, drums. Andrew and Preston are brothers and have been playing together since a very young age. We met Reid in 2018, and have been playing with him ever since.
Is Vital Noise the first project it for you all and if not has previous ventures had a direct effect on the band?
We have all been involved in several different bands/ musical projects throughout the years. Being in those bands has definitely inspired a change in direction as none of us had been in projects in the genre that we play (hard rock/ metal), and definitely made us want to build a band around that.
What inspired the band name?
To be completely honest, we came up with it when we were very young and thought it sounded cool, and it has just sort of stuck with us since.
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
All of us really were in to heavier music at the time and wanted to make a band that played that kind of music, so that drove us to come together and actually make it happen.
Do the same things still drive the band when it was fresh-faced or have they evolved over time?
Things have definitely evolved over time; we have all gotten much older and matured a lot since we first formed the band which has played a big part in that.
Since your early days, how would you say your sound has particularly evolved?
Definitely… At first we just wanted to play straight up metal, but now we are much more into writing music that tends to be more radio friendly, but still heavy of course.
And that has been more of an organic change or deliberate?
It is been more organic. It has just naturally seemed to happen as all of us have matured.
Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?
Bring Me The Horizon has probably had the biggest impact on the band and our writing style, as we have drawn tremendous inspiration from them.
Is there a process to the songwriting which generally guides the writing of songs?
Every song is a little bit different, but generally speaking, one of us will come in with a riff or some sort of musical idea, and then will kinda jam around it until a full song starts to form. Then our singer, Andrew will put lyrics over it.
Where do you, more often than not, draw the inspirations to the lyrical side of the band’s songs?
We draw inspiration from what we happen to be going through in everyday life. Whether we be happy about something, sad about something, going through relationship issues, etc., we find a way to write about it.
Give us some background to your latest release.
We most recently released two singles entitled “The Ones” and “Famous”, they were both written during the summer of 2017 and we consider them to be some of our best work to date.
Please give us some insight to the themes behind them.
“The Ones” is about people fighting against societal norms and embracing individuality, it was meant to go out to people struggling with those issues and meant to show that it’s ok to be different, and it’s ok to be an individual. “Famous” on the other hand is about people letting materialistic things and unimportant things in life take precedence over things that are actually important like friends and family. This happens way too often in today’s society, so we decided to write a song about it.
Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?
We tend to get into the studio with songs in their final state, even though we do very often make little tweaks here and there.
We try to make our show as energetic as possible. We try our best to get the crowd as into it as we possibly can, as we feed off of the energy that they give us.
It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?
We are from Los Angeles. Because of this, the scene is very overpopulated, so it is definitely hard to get a ton of recognition, but nonetheless we are trying our best.
How have you found the impact of the internet and social media on the band to date? Flooded with bands and artists, do you see it as something primarily positive or more of a negative on the band’s progress so far?
The internet and social media has definitely helped us in getting gigs and reaching an audience we otherwise wouldn’t have. However, it is definitely hard to get to that next level, but we know we will get there eventually!
Once again a big thanks for sharing time with us; anything you would like to add for the readers?
Thanks so much for having us. Be sure to check out our website and social media (links below) and to listen to our music on Spotify and all other digital streaming platforms!
Check Vital Noise out further @…
https://www.vitalnoise.com https://www.facebook.com/VitalNoise/ https://www.instagram.com/vitalnoise/ https://twitter.com/vitalnoiseband
Pete RingMaster 06/11/019
Copyright RingMaster: MyFreeCopyright
It is a great start to the release driven by the rhythmic powerhouse of drummer Frazer Parker and bassist Pete Cook; their muscle complemented by craft as echoed within next up Epitaph. Similarly the prowess of Allison’s delivery and tones are a potent essence in the track’s adventurous stroll, the guitars of Jamie Parker and Lewis Wheeler writhing and creating around all with sonic and melodic dexterity. As all tracks; it too is an offering which revels in its mix of metallic and melodic strains which teases of others yet never shares anything less than individuality.
The EP opens up with new single Oracles. Instantly ears are under a barrage of predacious rhythms but equally are wrapped in a wiry mesh of grooves hunted by ravenous riffs. Vocals come with matching force and attitude but soon reveal great diversity as clean strains alternate and unite with throaty squalls. Already that richness of sound within its metalcore breeding is working away, enticing and intriguing as simultaneously other aspects trespass the senses. Evolving through more placid but no less gripping moments before the track’s rock ‘n’ roll explodes it is an outstanding start and appetiser to the fresh impetus in the rise of Black Water Chemistry
The following Space To Breathe is just as swiftly imposing but inviting, taking a less invasive stance initially as its elements settle before uniting in its own ferocious trespass. Ash’s vocals again impress with their not vast but strong diversity within the emerging rich tapestry of sound. There are essences of bands like Spineshank and Static X to the track at times but equally it lusts after death and extreme metal textures with the same fervour and invention before the superb Split In Two uncages its own similarly but individually woven tempest. Harsh and melodic strains in both vocals and music make an easy union as the imagination in songwriting incites their drama, the track continuing the explosive success of the first pair ensuring that Hollow is already a riveting proposal.
The EP opens with recent single The Pragmatist and straight away riffs and vocals lure attention, the increasingly grooved invitation of the guitar aligning with the equally potent scowling tones of Edgington. As it establishes its eager stroll, the song ebbs and flows in intensity without losing its instinctively infectious nature whilst always looking to evolve as melodies and the ever captivating grooves share their imagination. More addictive than it seemingly appears at the time, the song is a masterful slice of rock ‘n’ roll setting the release off to a great heavy and rousing start.
The following Sympathy Apathy entices initially in a similar way to its predecessor if with less of an imposing trespass. It too casts a dramatic tapestry of sound swiftly upon ears, melodic suggestion wearing an early U2-esque hue to whet the appetite before Saltlake weaves their own individual theatre of sound and adventure. As with the first, there is a mix of the familiar and the fresh entwined to catch the imagination; creating a song which mixes unpredictable and recognisable flavours to push the release to another level.
Recorded with producer Gavin Monaghan, Apocrypha moves in on ears with an almost predacious atmosphere and similarly swinging beats, its threat dissipating slightly as Kyle Jordan’s expressive tones step into the web of suggestion cast by the guitars of Dan Houlbrooke and Sam Wyatt. The gnarly snarling bass of Lewis Hutchings though keeps the intimidation flowing; a delicious texture prowling the sonic temptation continuing to entangle the imagination of song and listener as Gaz Waddell’s beats bite.