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 2001 and began writing songs to record a demo. Gossman contributed his personal performance on guitar, bass and drums to this initial effort while Slutsky provided vocals. Slutsky soon left the band to pursue a career in graphic design and later contributed cover art to the band's first EP. Recruiting fellow highschool students to rehearse for a debut performance at Miami's legendary "cradle of indie music"--Churchill's Pub [1]--the band's lineup included Kit Wray on bass, Steve Walbroehl (since departed) on guitar, Earl Ruwell's vocals, and Gossman on drums. Into The Moat matured as a full quintet 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.

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 [2] 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.

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 rhythmic changes. Moreover, their music often paints a "tone picture" as Mussorgsky's thematic music does. Their songs are not, however, tone poems 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.

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

• Earl Ruwell IV - vocals
• Kit Wray - guitars
• Vacant - Second guitars
• Josh Thiel - bass Rejoined May 2006
• Matthew Gossman - drums

Former members

• Johannes "Hon-Hon" Naranjo - Bass (now with US Marines)
• Josh Thiel - Bass (retired 2005--medical reasons, rejoined May 2006)
• Rob Shaffer - Guitars (retired 2005--personal reasons)
• Steve Walbroehl - Guitars (left to join All That's Left; filled in on bass 2006)
• Jose Escobar - Bass (loaned by Radiation 4 late Summer/Fall '05 tours)
• Travis LeVrier - Guitars (temporary replacement for Shaffer Summer/Fall '05 shows)

Discography

• (2003) Means By Which The End Is Justified (EP) - Lovelost Records
• (2005) The Design - Metal Blade