All That Remains & We Came As Romans

Given the world's unpredictability, survival requires reaction. With so many factors beyond our control, the focus of life often becomes about how we respond to these outside forces. The same can be said for music. Regardless of how trends ebb and flow, artists must react appropriately in order to thrive and survive. Since 1998, All That Remains continue to progress, while clenching steadfast to the principals that etched their place at the forefront of 21st century hard rock. On their seventh full-length album, The Order of Things [Razor & Tie], the Massachusetts outfit—Phil Labonte [vocals], Oli Herbert [guitar], Mike Martin [guitar], Jeanne Sagan [bass], and Jason Costa [drums]—preserve an ethos of evolution.

"You have to adapt to the world around you as opposed to expecting everything to adapt to your perspective," claims Labonte. "You can't really control what goes on in your life, you can only control your reaction. I've gotten a certain amount of peace from embracing this truth. That's the way things go. This is literally The Order of Things."

It's been quite a ride for All That Remains. The group reached another landmark with 2012's A War You Cannot Win. It debuted at #13 on the Billboard Top 200 and yielded two hit singles. "Stand Up" ascended to #1 at Active Rock radio, a first for the band, while "What If I Was Nothing" landed at #2. The group hit the road for sold out shows alongside Volbeat and In This Moment in between incendiary festival appearances at Rock on the Range, Welcome to Rockville, Rocklahoma, and more. It would've been easy to simply repeat themselves creatively. However, they decided to bulldoze a new path for The Order of Things.


Recorded with up-and-coming producer Joey Sturgis (The Devil Wears Prada, Emarosa, Attack Attack) at his Foundation Recording Studio, the 10-song follow-up to their breakout EP, Dreams, finds the band expanding their blend of pop-infused metal.

Although recorded with the same producer, there is still an intentional difference between the two albums. We Came As Romans didn't let the fact that they are only a six-piece hold them back from achieving a more symphonic sound on To Plant A Seed. "I played the trombone from Elementary school until I graduated high school and I always took the sound of a symphonic band or an orchestra with me," explains Moore of their decision to add orchestral elements to the album such as the violins, brass, and piano interlaced throughout the album's dynamic layers.

Not unlike the EP, the lyrics on To Plant A Seed reflect We Came As Romans' goal of spreading a positive message through their music. The band hopes, "when people hear the album, they might not change the way they think or the way they act right now, but hopefully we've planted that 'seed', that thought of love, and it can grow."

The theme of the album is carried through to the artwork. Painted by acclaimed artist Paul Romano (Mastodon, Chiodos), the album cover depicts a "very innocent looking boy in which the 'seed' has been planted in his mind and it grows to his heart, out of his palms and becomes branches," describes Moore.

Read more: http://www.myspace.com/wecameasromans#ixzz0thWyJMU7