Invey

Invey

http://www.invey.com/
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Biography

You won’t forget Invey in a hurry.
Fronted by Claire Natalie, Invey is both visual and visceral. After a frantic year of gigging, writing and all round personal turmoil, Invey is justifiably attracting attention from fans and industry alike.
With a sound that seals skate-ready punk and twisted grunge over a jagged metal infrastructure, Invey sound like an emotional earthquake. Taking their cues from the musical birthstone that gave us Alice In Chains, Rage Against The Machine and The Nymphs, Invey bring on their own noise, fusing these classic early Nineties influences with the density and power of new Millennium metal, from the ironclad introspection of bands like P.O.D to the filmic melodic grace of chart-toppers Evanescence. It’s a cool but deadly combination that earmarks Invey as serious contenders.
I first encountered singer Claire Natalie and guitarist Ed Cridland when they were performing in an earlier incarnation of their current band. A combination of curiosity and boredom compelled me to attend one of their first ever gigs. Back then the embryo had yet to fully form, but the potential was there for all to see. As a Kerrang! writer, I was more excited by this discovery than I had been with any unsigned act in several years. When you have a presence like Claire Natalie - that astounding siren of a voice and her savage beauty - you have no business being anything other than famous. Claire was born to do this.
These days, Invey is a balance of perspectives and influences - just like real life but a lot more interesting. While the trendy media dangles an endless stream of limp ‘pop-punk/emo’ acts like totems in front of millions of bemused rock fans, Invey can see the potential mass of their audience through eyes untainted by tokenism and silly posturing. Combing both British and transatlantic influences, they build up fearsome walls of guitar sound before sheering them off with stealthy, ear-honey hooks. On crowd favorites like ‘Leave Me’, ‘This Hurts’ and ‘You Don’t Know’, their corrosive post-metal chemistry is churned up and spat out in cluster bombs of f**k-you power. On ‘Diamond’ and ‘I Take It’ they plunge dark wells of emotion.
Claire - beautiful, dangerous, unique - rides angsty squalls as well as calm seas with equal aplomb. Invey have shored up an army of local support and received glowing reviews in both national and local music press. The attention, ever growing, will soon be at the point where - if you work in the rock music business - you’d have to be deaf, dumb and blind not to notice.
One thing is clear - the Invey-sion has only just begun.

Invey: a potted history
The journey began in the late Nineties when Leicestershire-based guitarist Ed Cridland got fed up with playing pub rock with listless generic metal bands and decided to branch out. Having previously been impressed with workmate Claire Natalie’s vocals, they decided to try some writing together. The quality of what emerged left both equally surprised - and committed.
Having voluntarily left a career in modeling behind, Claire was also in the mood for a new challenge. Originally called Clear, and later Snatch, the band’s first gigs largely comprised covers as they found their feet in the live environment and, behind closed doors, refined their own songwriting partnership. At the end of 2001, the levee suddenly broke. Claire and Ed wrote ‘Leave Me’, a song much darker and more abrasive than anything they had previously performed. It was the first song that truly represented them and was a welcome herald of things to come.
From this new direction came a slew of new material, and Claire had found the outlet she had needed for so long, an exorcism in sound. By 2003, the message was spreading - an ever increasing stream of fans relating to the music and being energised by a series of electrifying live shows. The line-up had also stabilised with a rock-solid rhythm section consisting of: Ben Craig on drums and Lee White on bass. The sound tightened and refined, the band became what it is today: Invey.


Source: Invey (August 2004)i read less

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