Of or belonging to the style of architecture developed from the fifth century A.D. in the Byzantine Empire, characterized especially by a central dome resting on a cube formed by four round arches and their pendentives and by the extensive use of surface decoration, especially veined marble panels, low relief carving, and colored glass mosaics.
Of the painting and decorative style developed in the Byzantine Empire, characterized by formality of design, frontal stylized presentation of figures, rich use of color, especially gold, and generally religious subject matter.
Of the Eastern Orthodox Church or the rites performed in it.
Of a Uniat church that maintains the worship of the Eastern Orthodox Church or the rites performed in it.
often byzantine
Of, relating to, or characterized by intrigue; scheming or devious: "a fine hand for Byzantine deals and cozy arrangements" (New York).
Highly complicated; intricate and involved: a bill to simplify the byzantine tax structure.
n. A native or inhabitant of Byzantium or the Byzantine Empire.
adjective 1. Of or relating to the ancient city of Byzantium. Of or relating to the Byzantine Empire. 2. Of or belonging to the style of architecture developed from the fifth century A.D. in the Byzantine Empire, characterized by a central dome resting on a cube formed by four round arches and their pendentives and by the extensive use of surface decoration, especially veined marble panels, low relief carving, and colored glass mosaics. 3. Of the painting and decorative style developed in the Byzantine Empire, characterized by formality of design, frontal stylized presentation of figures, rich use of color, especially gold, and generally religious subject matter. 4. Of the Eastern Orthodox Church or the rites performed in it. Of a Uniat church that maintains the worship of the Eastern Orthodox Church or the rites performed in it. 5. Often byzantine. Of, relating to, or characterized by intrigue; scheming or devious. Highly complicated; intricate and involved.
noun A native or inhabitant of Byzantium or the Byzantine Empire.
Usage "She then began trying to decode the military culture and penetrate its byzantine bureaucracy." — Geoffrey Stevens, Starving the military, Maclean's, 13 Apr 1998.
Tony Rohrbough,
Chris Ojeda,
Matt Wolfe,
Michael Cromer,
Chris Adams
Formed: 2000, Chapmanville, WV
Genres: Rock
Representative Albums: "Oblivion Beckons," "...And They Shall Take Up Serpents," "The Fundamental Component"
Biography
As the third millennium got under way, heavy metal fans finally began emerging from their grunge fallout shelters and, having endured an additional period of oppression beneath the mostly horrific reign of nu metal, found some exciting new hard music alternatives before them, at last. Many were these fresh stylistic subsets rising to prominence (including metallic hardcore, neo-thrash, post-metal, and reinvigorated black and death metal scenes), but there were also a few bands too eclectic to categorize, and among the most inventive was West Virginia's aptly named Byzantine. Hailing from the small town of Chapmanville -- population of 1,211 on the year of the census and the band's founding: 2000 -- Byzantine started out as a trio comprised of vocalist/guitarist Chris Ojeda, bassist Chris Adams (both formerly involved with Morgantown-based thrashers New Family), and guitarist Tony Rohrbough, who were backed by a drum machine on their first few shows before securing the services of one Jeremy Freeman, who was replaced in short order by permanent drummer Matt Wolfe.
Several formative demos were recorded between 2000 and 2002, and the group signed an agreement with a small local production company called DK Entertainment, which went as far as financing the recording of Byzantine's would-be first album, but when they proceeded to sit on the unreleased masters for too long, the bandmembers decided to take matters into their own hands. In 2003, they self-released the six-song Broadmoor EP (named after the studio that spawned it) and were almost immediately scouted by L.A.-based Prosthetic Records, which sent them back into the studio to re-record the EP's songs, tack on four more, and thereby deliver Byzantine's official full-length debut, The Fundamental Component, released in February 2004. With its prejudice-free mix of clean and rough vocals, prog metal technicality, and hardcore aggression, the album didn't fit into any convenient metallic subgenre, and therefore made Byzantine acceptable touring mates for bands as diverse as Caliban, All That Remains, and Lamb of God (who had helped them connect with Prosthetic in the first place), while earning the band a prominent position in what was then being dubbed "the New Wave of American Heavy Metal."
Having already established an intriguing penchant for discussing historical and environmental issues relating to their Appalachian surroundings, Byzantine decided to get all biblical with the title of their sophomore album, ...And They Shall Take Up Serpents (inspired by a local preacher who liked to do just that!), which emerged in May of 2005 and was recorded as a trio following the departure of bassist Adams over the preceding winter months. His replacement, Michael Cromer, hit the road with the group immediately after the album's release, beginning with a headlining U.K. tour (clear evidence of Byzantine's growing popularity), then stateside dates with Eyehategod and Buried Inside, followed by the U.S.-roving International Extreme Music Festival (also featuring God Dethroned, Nightrage, Epoch of Unlight, and several others), before winding own the year with yet another trek dubbed Under the Underground. All of this grueling roadwork and the exposure it afforded for the band came at a bitter price, though, as guitarist Rohrbough decided he'd had enough, and had to be replaced by Eric Seevers for the last of these tours, as well as an appearance at the New England Metal Fest in April 2006 and subsequent dates with Still Remains, Agnostic Front, and, later, Kittie.
Then, Byzantine finally took a well-deserved break at year's end, but by February of 2007, Ojeda, Wolfe, Cromer, and a reinstated Rohrbough were already ensconced in the studio once again, initiating the four-month sessions for what would be their third and most adventurous album yet. In April, Prosthetic released the group's first DVD, Salvation, and then began posting a steady stream of information, cover art, and songs from the forthcoming LP, which was now officially entitled Oblivion Beckons, and whose release was abruptly postponed from that fall to early 2008. This indeed came to pass, but a mere week after the album's late-January release, Byzantine issued a statement announcing they could no longer function as a band and were therefore going their separate ways. More details were not forthcoming and only added to fan frustration over this unexpected turn of events, but when Ojeda began working on an album of classic thrash covers later that year, the reality of Byzantine's demise finally began sinking in, leaving only their influential three-album legacy to serve as some measure of consolation. ~ Eduardo Rivadavia, All Music Guide
Chris "OJ" Ojeda
Tony Rohbrough
Matt Wolfe
Michael "Skip" Cromer
Former members
Jeremy "Jerm" Freeman
Chris "Cid" Adams
Byzantine was a heavy metal band from Charleston, West Virginia that formed in 2000. The band consisted of frontman and co-founder Chris "OJ" Ojeda (rhythm guitar, vocals), co- founder Tony Rohrbough (guitar), Matt Wolfe (drums) and Michael "Skip" Cromer (bass guitar, backing vocals). They released three studio albums on Prosthetic Records. Due to various circumstances the band reported their split on January 26, 2008, four days after the release of their third album.[1] Byzantine is known for its unique sound, technical, aggressive and melodic simultaneously, modern and "forward thinking" musical style, which explores different musical territories or song structures.
Byzantine formed in the spring of 2000[2] by bassist Chris "Cid" Adams, guitarist Tony Rohrbough and vocalist/guitarist Chris "OJ" Ojeda after their former bands New Family and Temper split up.[2] Byzantine wrote four songs and started to practice with a drum machine. Seven more songs were written and 2000/2001 demo was recorded in a friend's studio and self-released in 2001. Byzantine became a part of the local West Virginia Heavy Metal scene.[2]
Jeremy Freeman filled the drummer position in Byzantine for a short time and left the band in February 2002.[3]
Subsequently the band recruited long time friend guitarist Matt Wolfe as a drummer. Six songs were recorded in 2003 in the Broadmoor Studios in Huntington, WV and released as Broadmoor, first demo featuring Wolfe on the drum kit. This aroused the interest of Lamb of God's drummer Chris Adler and Byzantine had a short East Coast tour with Lamb of God, which helped them to obtain new fans and a deal with Prosthetic Records.[2]
Soon after Byzantine released their debut album The Fundamental Component in February 2004, which created the band's trademark sound. Subsequently Byzantine toured with Lamb of God and Shadows Fall as well as played the main stage of New England Metal and Hardcore Festival in 2004 (and later also in 2006).[2] Chris "Cid" Adams was replaced by Michael "Skip" Cromer and Byzantine returned to the studio to record their second album, 2005's ...And They Shall Take Up Serpents, which received high praise both abroad and domestically.[2]
A fan-oriented DVD Salvation, featuring exclusive material, scenes, in-studio clips, interviews, the uncut version of the "Jeremiad" music video and the performance of the never-before released "Cradle Song", have been released in 2007 and the number of Byzantine's fans grew.[2] On January 22, 2008, the band's third studio album Oblivion Beckons was released.[4] The band split up four days after the release.[1]
Musical style and lyrical themes
Byzantine plays progressivethrash compared by the Decibel Magazine to Testament and Megadeth with power groove moves comparable to Meshuggah or Lamb of God with occasional clean vocals.[5][6] Byzantine plays technical metal and retro-minded Bay Area thrash.[7][8] Their music is very aggressive and melodic simultaneously.[5][7] Byzantine also incorporates instrumental parts in their songs and spoken word vocals.[7] The guitar soloing alone moves from fast parts to prog to jazz.[8] The bands uses also acoustic guitar and tribal-esque drum beats.[8]
Byzantine plays very modern metal, exploring different musical territories or song structures,[6] and has been labeled as a "forward-thinking" band.[9][10]
Growing up in West Virginia has helped Byzantine develop a unique sound.[11] "We are quite alienated from any big scene," explains Ojeda. "Therefore, we tend to think for ourselves a lot more when writing material."[11]
The Gauntlet states "The Fundamental Component is characterized by long songs, melodic thrash and Tony Rohrbough's scathing guitar solos while still embracing technical chaos and the violent groove of bassist Chris Adams and drummer Matt Wolfe."[11] Byzantine singer/guitarist Chris Ojeda says "I think we have a knack for achieving a good balance of chaos and melody".[11] Liz Ciavarella from Metal Maniacs magazine uses formulations such as "Scrupulous time-shifts and strategically-placed off-beats; forever infectious grooves, breakdowns (Thrashdowns?) and ceaseless experimentation that end in intricate catchy Metal mantras" to describe Byzantine's style.
Lyrically the band is influenced by such bands as Meshuggah, Carcass and Lamb of God and focuses on problems indigenous to their home such as the religion in American society.[2][11]
