Formed initially in the summer of 2002, it wasn’t until 2010 that CREATION’S TEARS finally aligned their focus as a unit.
Though, not a Death Metal band, the first incarnation of CREATION’S TEARS (Jonny Crozet, Ian Coulter, Joe Gillespie and Brian Eddie Reynolds) made their debut appearance at Belfast’s Rosetta Bar, (30th August 2002) playing support to Death Metal heavyweights Vader, Krisiun & Decapitiated. While the debut gig heralded some local success for CREATION’S TEARS, they continued to play only a mere handful of gigs thereafter and failed to produce any recorded material at that time. Owing to the relocation of two band members, the band went on haitus in 2004/2005…UNTIL 2009.
In early 2009, CREATION’S TEARS frontman, Brian “Eddie” Reynolds began to pen new material and with the support of lifelong friend, Ian Coulter (bass,) the vision to reactivate the band was borne. For the months that lay ahead, the primary focus was on the creative process.
In late 2009, around a dozen songs had been completed by Reynolds but the more pressing issue of finding a suitable drummer within Northern Ireland’s small local metal fraternity was persisting. Reynolds knew however, that there was one drummer from amongst his own collection of favourite CDs, who would not only be competent but most complimentary to the music. With clarity in his vision, Reynolds set about tracking down one of his heavy metal icons of the 1990s in what seemed like an outrageous attempt to find the right line-up…
Extract from Blabbermouth.net:
Former PARADISE LOST/MARSHALL LAW drummer Lee Morris will make his return to the heavier end of the musical spectrum when he appears on the debut album, “Methods To End It All”, from Northern Ireland’s melodic melancholy metallers CREATION’S TEARS.
Commented CREATION’S TEARS frontman Brian “Eddie” Reynolds: “For me, Lee Morris was responsible for bringing a whole new dynamic to PARADISE LOST’s sound on ‘Draconian Times’ on songs like ‘The Last Time’ and ‘Forever Failure’, but especially on tracks like ‘Enchantment’ and ‘Shadowkings’, where he had a unique sound, so we’re excited about what he’s going to bring to the table within CREATION’S TEARS.”
Stated Lee Morris: “When I was first contacted by CREATION’S TEARS about playing on their album, I’ll be honest and say that I didn’t really have any great desire to re-visit this style of playing again, as after nearly a decade of touring and recording with PARADISE LOST, I’d kinda just about exhausted my enthusiasm for this scene. However, after hearing this band’s demos and being really impressed by the new fresh ideas they had, plus their incredible ambition, it became a bit of a no-brainer, really, on my involvement on this record.”
Drummer issue resolved, Reynolds & Coulter then set about the task of studying countless CD productions both past and present in their hunt for a suitable producer for the debut CREATION’S TEARS album. “It would have been so easy just to book a local studio and nail this album in a few evenings and weekends, but we wanted to create something special and something we could be truly proud of,” recalls Reynolds. “I want a producer who really understands my music, who is as passionate about it as I am but who also has the right technical credentials.” A shortlist was made, but, one name, Jens Bogren, (Opeth, Katatonia, Paradise Lost, Soilwork, Amon Amarth etc) seemed to keep popping up.
A decision was taken and the mighty duo, Jens Bogren & David Castillo were selected to engineer & produce the debut CREATION’S TEARS album “Methods To End It All” at the legendary Fascination Street Studios, Orebro, Sweden. “On one hand, it seemed so crazy to travel so far away from home to make the album, but on the other hand, it just made total sense!” says Reynolds. “Sweden has produced some amazing metal albums and is home to some of my favourite bands. I could go to Fascination Street Studio, where I’d be surrounded only by snow and pine trees. I could live in the studio and totally immerse myself in the music without distraction.”
Former Kill II This guitarist, Mark Mynett was chosen to record the drums in Huddersfield, England.
In a completely unexpected twist and just days before recording commenced, bassist Ian Coulter announced he would be leaving CREATION’S TEARS to concentrate on his new marriage. Reynolds: “I totally understood his reasons, and respected his commitment to his new wife, but I couldn’t believe this was happening when it was!”
Reynolds recalls that Coulter’s departure almost halted CREATION’S TEARS before it got off the ground. “We grew up together since we were four years old. We learnt our instruments together. We planned the future of the band together. It felt like I was loosing a brother. All of a sudden I had massive uncertainty!”
Reynolds continues, “For a week, I was a wreck. I thought about cancelling the studio but felt morally obliged to honor my booking at this late stage. I needed a bassist and had just over a week to find one. I needed to find the extra money that Ian would have contributed to the recording but I was having my own financial crisis.”
On the scramble to find a bassist, Reynolds stated his concern after he’d approached a handful of well known bassists from already established metal acts. “I was worried that CREATION’S TEARS would turn into a side project or a manufactured band for a load of session musicians. That’s not my vision for CREATION’S TEARS.”
It seemed that Ian Coulter was still the obvious man for playing bass on the recording and that’s how it happened. Reynolds: “Ian was the natural choice. I love his playing style and we have musical chemistry. He not only knows the songs but feels the songs. Luckily we’re still best mates even now so Ian followed through and did a tremendous job on the album.
In a cruel twist to an already stirring drama for Brian Eddie Reynolds, vocal recording sessions which were taking place at Ghost Ward Studios (Stockholm) reached an abrupt halt when the CREATION’S TEARS frontman contracted serious food poisoning. Bassist Ian Coulter said, “I’ve known Eddie all my life, and he never gets sick, so I knew this was serious!” He added, “Despite being sick, he still travelled to the studio each day for the bass sessions. It was funny; sometimes when we thought he was asleep, he’d mumble some defamatory comment about a bass line not being quite right!”
With only three vocal lines left to finish at the time, Eddie took to completing these in his home studio which he then christened “Cure for Poison Studio” for the album’s credits.
Ex CRADLE OF FILTH vocalist, Sarah Jezebel Deva, makes a guest appearance on the track “Creation’s Tears”. Her vocal part was recorded by Daniel Abela at Escape Route Studio, Essex, England 9th February 2010. Notably Sarah Jezebel Deva has also appeared on albums by Therion, Mortiis and The Gathering and in 2010 released her solo debut, “Sign of Sublime.”
Reynolds: “I’d written a song called Creation’s Tears some years back when I fronted a band called Apathy for our “Inertia” album. The Apathy album (“Inertia”) was never officially released back then but I felt that this particular song is still entirely representative of the kind of music I write today. In the Apathy days, the female vocals were performed by my younger sister, Laura Reynolds. The song was reworked for “Methods To End It All” with a second verse being added and the original end section being completely removed.”
It was after hearing the Angtoria album, “God Has A Plan For Us All”, that Reynolds decided to call upon Sarah Jezebel Deva to perform on the track “Creation’s Tears”. Reynolds: “There was a certain quality to her voice, a warmth and innocence that I just hadn’t picked up on in her role with Cradle of Filth”.Steve Emerson, formerly of Ozzmium, joined as the band’s guitarist with I
The debut CREATION’S TEARS album “Methods To End It All” was released in the UK and Ireland on 4th October 2010 via the Cure for Poison label (distributed by Code 7 via Plastic Head). The album is also available worldwide here.
In late 2010, ex Stand-Up Guy drummer Conor Mullan contacted Reynolds (in response to an internet advertisement seeking musicians) and in February 2011, he became the live drummer for Creation’s Tears. Around the same time, an Coulter continuing to fulfil the role of live bassist. This new line-up played their first gig on 20th May 2011 in Ballymena, the hometown of Brian Reynolds. The band played again on 18th June 2011 in Belfast’s, The Limelight, the very venue where the Creation’s Tears frontman had first seen drummer Lee Morris play with Paradise Lost.
On 7th August 2011, Conor Mullan announced his departure from Creation’s Tears in order to pursue his career as a sound engineer. Reynolds again confided in ex Paradise Lost drummer Lee (life coach) Morris and a decision was taken that Creation’s Tears would NOT seek a replacement drummer and that Lee would fulfil drumming duties for the band where possible. Soon after Mullan’s departure, Emerson also exited the band.
CONTINUED BY BRIAN REYNOLDS…
3rd October 2015 (VERY delayed update): Subsequent to the two gigs in N. Ireland, Creation’s Tears have not played any further gigs. In retrospect, I wonder how I managed to stay upright at all during those two performances. On the 1st January 2011 while sightseeing in the Republic of Ireland, I began to feel extremely ill. It was decided that we should start to make the 3 hour return journey to my home – thankfully I chose to be the passenger rather than the driver on this occasion. While travelling home I fully lost consciousness while travelling along the motorway. My ability to speak was very slurred and my ability to move was somewhat restricted. I believed that I had simply had a faint after which I felt very weak, so I chose not to go to hospital. Within a day or so, I regained my ability to speak normally, but a number of other symptoms persisted and after a few days, I decided to see a doctor. Initially it was thought that this could be a heart attack. Various avenues were explored without any conclusion, so no diagnosis was given. Some of the symptoms were so extreme that I had no way of knowing whether I would live or die and it was the uncertainty of not knowing, that created much frustration.