Apr 162013

We were in the studio late last year recording this but it’s only just emerged due to the studio we recorded in closing down and reopening in a field somewhere north of Sheffield. Slowed things down a bit.

This was a song we almost had ready for our debut album but not quite and so we release it now, on its own. If it’s the first you’ve heard of us and you like it, you might want to check out the album ‘Maps of Revenge and Forgiveness’. More stuff of a similar ilk.

Or if you’ve already got the album, maybe find a way of tacking it onto the end as a kind of hidden bonus track.

It’s called ‘WHITEHORSE’ and can be heard/bought/downloaded from bandcamp here –
or you can watch some NASA visuals alongside it here –
Hope you like it!


Aug 262012

An article about our album from an Italian music blogger who for some reason seems to have heard the album in the wrong order…but never mind = http://danteprog.com/2012/08/infictions-maps-of-revenge-and-forgiveness-a-post-rock-progressive-parfait/

When I began this exploration into the new progressive music scene,  I wasn’t expecting to find such a wealth of phenomenal music.  I expected to struggle to find enough genre-friendly music to barely sustain this blog.  I was preparing to review albums from twenty to thirty years ago in order to fill in the empty spaces (like another site we all know).  Funny how we can be completely wrong in our assumptions yet from our mistakes learn a truth filled with immeasurable joy.

One of these joys is post rock.  I had heard of it but never immersed myself in the style and knew little about it’s origin or direction.   I have received quite an education and have developed a deep respect for the genre.  Another of these joys is the accidental discovery of an excellent album from a band unknown to me twenty-four hours earlier.

inFictions meets all these types of joy and then exceeds them.  inFictions own band members describes their album Maps of Revenge and Forgiveness as a side project. Ha! There are 100,000 bands that couldn’t make a main project as good as this side-project album.

inFictions laments that drummers come and go like the wind.  Gentlemen, don’t change a thing because it works.

inFictions labels some of their songs as Post Progressive Rock.  Finally, someone gets it.  Post rock is often progressive in its approach to time signature changes, transitions, melodies, and themes.

I stumbled upon inFictions while perusing the Italian Progressive Rock Group on SoundCloud. This was a group I was interested in due to the large number of proficient Italian Proggers we have reviewed here.  However, these young men from Sheffield, UK are trailblazing new ground with an album that combines the stark sadness of post rock with the boundless energy of progressive rock.

inFictions had an instrumental posted and after a quick listen I moved on to their main Soundcloud page.  This is where I discovered their entire album available for streaming and settled in for the 52 minute adventure.

Their first song, This Road leads to The Village of Informersbegins in true post rock fashion with the angry rhythm guitars; but quickly transitions into a mellow section featuring a post-rock influenced lead guitar.  Once the melody arrives, the alternating progressions have sucked you in.  The vocal treatment is exemplary.  This is a powerful beginning to their album.

Frozen River follows- a slow, melancholy ballad with a melody that is stunning and a perfect complement to the musical backdrop.  The hook is beautifully delivered – simply a masterful vocal.  At  3:25 the song transitions into a crescendo that displays the virtuosity of inFictions.  The contrasting pianissimo ending is barely a whisper.

1st Intersection brings us back in touch with inFictions post rock roots yet the thrashing of guitars transitions into a spatial post rock landscape akin to God is an Astronaut, This Will Destroy You, and Explosions in the Sky.  But even this musical place is not maintained for long as the next transition takes us into a new progressive space and the main melody of the song.  After a short verse the band hits the ground with a  fucking awesome rock and roll riff that has them driving the song on all cylinders.

The Silence of the Sea (demo version) is the fourth song and listed as a demo version. We are not certain why this  song is not in a final  state and yet is included on the album. Perhaps it is a new post rock standard they are trying to set.  The song is strong, powerful, and completely within the post rock genre.

Now we come to the defining  song on the album, The Ghost of Some Old Sin.  If any single song can propel inFictions into the realm of international critical acclaim – it is this song.  From the first words sung to the harsh, post rock guitars that hover over portions of the song, to the counterpoint of a solitary piano- this song is pure perfection.

The album closes with an instrumental, a lovely world-influenced piece titled Orchards.  This song prominently features acoustic guitar and a progression that includes clapping and a catchy guitar progression that leaves the listener wanting more.

If I have one complaint, it is  this-the album is too short; it should be twice as long because I simply can not get enough of the alternative/progressive/post rock music of the extremely talented side-project inFictions.

May 092012

I tend to rant a lot about genre classification (see: anything I’ve ever written) and how needless it is most of the time. Thus, when I saw that Sheffield’s inFictions classified themselves as ‘post-progressive’ I got a little worried about the content of their debut release.

It’s the ‘post-‘ prefix, the seemingly ever-present grammatical parasite that plagues almost all of my favourite music. Needless to say, I approached ‘Maps of Revenge and Forgiveness’ with extreme caution, but (happily) found myself thoroughly impressed.

From the beginning the listener is kept guessing, with album opener ‘This Road Leads To The Village Of Informers’ starting like a lion and ending like a lamb. The intricacies of this band are apparent instantly, bridging the right amount of heaviness with a closing reverie that perfectly sets the tone for the rest of the record.

This is a long player chock full of intrigue and depth, swooping between colossal sonic explorations, soft, eerie sections and some genuinely uplifting riffage. Theatrics aren’t amiss here either, with the expansive vocal style of Ed Cartledge delivering some truly creepy moments.

From http://echoesanddust.com/2012/05/infictions-maps-of-revenge-and-forgiveness/

review by Eoin Boylan

We’re treated to a huge range of styles at times, one minute we’re in a standard indie album, while the next we’ve been transported to a late 90s Candlemass gig (see the end section of ‘The Silence of the Sea’), having reached our destination through indie, post(grrr)-rock and even some gypsy folk stylings.

There are also nods towards bands like Oceansize throughout, especially in The Cell, however there is so much more here, including some blatant Mogwai/Aereogramme influence in the wonderful ‘1st Intersection’, playing on the quiet/loud format with a slightly more melodic touch.

Despite these comparisons, it’s hard to really fit this band into a niche; they borrow from so many different styles in so many clever ways that classification is impossible.

InFictions have crafted 11 songs that will intrigue and mesmerize, and like every great album, it gets better with repeat listens. It really does have everything. With my worries dispelled and my headphones on, I’m truly hooked to this band and this record and I’m sure you will be to.

So I hereby take my hat off to them for being suitably vague in their ‘post-progressive’ tag. Don’t worry lads; I don’t know what genre you are either!

Available now from In-Fictions.co.uk

May 042012

Here’s another review from the fantastic ‘Audioscribbler’ blog –


“One thing that is plainly obvious with inFictions is that they’ve certainly listened to some good records over the years.

They don’t sound like copyists, by any stretch of the imagination, but the imprint of bands like Aereogramme and Oceansize is discernible in their quest to create vivid, mood driven music. If those bands were the last key innovators of British progressive/post/blurring-the-lines music then inFictions, alongside bands like Revere and Flights, are hopefully representing a new wave.

Nine More Lies, guitarist Ed Carteledge’s old band, had already dabbled with fantastical Buckley-esque vocals, and his voice certainly has a magnificent quiver that adds to the haunting effect that Maps of Revenge & Forgiveness tries to create. If there is a concept running through inFictions’ debut, then crime and penance must surely be it. Amidst the melancholic haze, there are occasional musical and lyrical outbursts that appear out of nowhere, like an individual going mad (“You’re still alive in a darkened cell. Chances are you’ll remain kicking at the walls ’til the end of days.”).

And inFictions’ main strength is definitely mood-setting. ‘Frozen River’ features eerie tremolo guitar next to off-beat piano chords, while ‘Laughter Track’ recalls Porcupine Tree with its inventive chord progressions and guitar interplay. Perhaps you could accuse them of labouring their crescendos slightly – by the time we reach track 6, ‘Orchards’, you feel like you’ve heard the percussive build-ups a few times already. They wind up a little bit better than they wind down.

The Yorkshire trio aren’t in a rush to burst our their collective shell, which is positive, but it also means you appreciate the intense guitar-driven climaxes of ‘The Silence of the Sea’ and ‘Line Drawings’. Maybe they should be a little more direct, after all, the beautifully melodic ‘The Cell’ is arguably the strongest track of all. Having said that, this debut is more of a whiff of what is to come than a game-changer. Their sound isn’t greatly accessible in today’s impatient musical climate, but fans of Muse, Radiohead et al should keep tabs on this band.”

Review by Jonathan Rimmer



Feb 222012

The debut album by inFictions was released on Mon 20th Feb on intersectional records.

Limited edition, hand-packaged CDs (with artwork booklet and badge) are available from http://www.in-fictions.co.uk/shop

Digital versions are available from all the usual online stores (iTunes, Amazon, Play etc).

The album has been 3 years in the making and features the contributions of 8 different drummers, 5 different studios (7 different producer/engineers) and a host of additional musicians and arrangers.

You can hear samples at www.last.fm/music/infictions

You can follow the band @inFictions on Twitter

You can like the band at http://www.facebook.com/inFictionsMusic

And you can watch videos at http://www.youtube.com/infictions

Jan 112012

Sat Feb 18th at Harland Cafe (formerly Cafe Euro) on John Street, Sheffield (near Bramall Lane Football Ground).


Free entry but you must be on guest-list due to limited places. Email  for a maximum of 3 tickets.

Event includes a full play through of the album, an exhibition of the artwork produced to accompany the album and live acoustic music by inFictions, Anna Haigh and Early Cartographers.

Jan 112012

Just ahead of the launch of our new album on the 20th Feb 2012, we’ve been sending out copies for review.

An excerpt follows from our first review, by Love Music, Love Life – click to read the full review.

With a sound that’s reminiscent to the likes of Radiohead and Editors; inFictions have clearly found their niche. Opening track This Road Leads to the Village of Informers commences the album with an intense build up that later introduces us to the soulful voice of lead singer Ed Cartledge. The track leads on to Frozen River, one that is particularly striking. It becomes apparent now that this is a conceptual album, designed to tell a story. It’s the track which really hooks listeners, leaving it hard not to become engrossed. It most definitely creates a dramatic atmosphere; one that actually makes 1920’s silent movies, spring to mind! The styling of the lyrics, the vocals and the instruments, make it the ideal soundtrack to a tragedy movie. “A prisoner of his sins he now waits…” “The only way it can end, is how it begins.”

Jan 112012

While promoting and launching the debut album (album available from 20th Feb 2010), inFictions are also going to be kept busy composing and producing a piece of ‘glockenspiel-heavy’ instrumental music for use in a short film about origami and the dilemmas faced by major funding organisations. Random but true. I’m sure it will get posted here at some point.