Initially presenting a complex style derived from numerous elements of ambient metal and progressive rock combined with experimental overtones,
Cleveland-based CETERUM continued to hone their moody and melodically dark sound as the project grew into its own. Formed in Great Falls,
Montana, in 2001 by Bill Sanchez (bass) and Jason Broussard (drums), the first incarnation was heavily inspired by modern art-rock pioneers Tool
and their use of unorthodox song structures and time signatures. Composing adventurous instrumental arrangements, it wasn’t until four years
later that the duo finally found the permanent additions they sought in guitarist Jared Amlin and vocalist Ty Jividen. With a complete lineup, the
band began to further evolve, while incorporating other aspects to create their musical identity – atmospheric synths and polyrhythmic
experimentation, as well as influences ranging from Porcupine Tree, Meshuggah, Pulse Ultra and Karnivool.
With members hailing from various regions of the country, the quartet permanently relocated to Ohio and began playing small shows and building a
devoted following. After being tapped to support bands like Soilwork and Helmet, the group garnered local attention in 2008, but the outfit
experienced an unexpected hiatus following a facial injury suffered by Jividen, which left him unable to sing for several months. Upon Jividen’s
recovery, CETERUM independently released the EP Proportions a year later – a collaboration with multi-platinum, award winning producer Michael
Seifert (Dave Matthews Band, Tori Amos). The track “Insolence.Recoil” has since received significant regional airplay reaching all the way to
Knoxville, Tennessee, as well as being featured on WJCU’s Metal on Metal program to enthusiastic feedback.
After the release of Proportions, the band continued to write and sonically mature, as guitarist Matt McFarland expanded the lineup to a five-piece.
Armed with an arsenal of diverse material after having solidified their own style of dynamic, heavy rock,, CETERUM prepared to return to the studio
and engrave the moving structures into a finalized, intrinsic, full-length soundscape titled "Fathom".