He Whose Ox is Gored, Dust Moth, Commissure
Add to Cal
He Whose Ox Is Gored has been rumbling the underground masses with their eclectic, oft trance-inducing fusion of doom, prog rock, post-hardcore and psychedelic shoegaze since their inception in 2009. The band released their debut EP, Op Amps, later that year on their own Void Assault label. Featuring heavy guitars and atmospheric synth-centric soundscapes, the band managed to bend genres into a formidable crossover composite. In 2010, the obscure unit unleashed their Tad Doyle (TAD, Brothers Of The Sonic Cloth)-produced follow-up, Op Amps II: Into The Ethers.
Through multiple tours and personnel shifts, the band continued to refine their sound and entered Seattle’s Red Room Studios with Chris Common. The resulting Nightshade EP was three tracks of crushing doomgaze, built on texture and aggression. Following the release of their critically-adored, Bleeding Light Records-issued Rumors 7", the band presents their highly-anticipated full-length album titled, The Camel, The Lion, The Child. Captured at Red Room and Ex Ex Audio in Seattle by Robert Cheek (Deftones, Tera Melos, Chelsea Wolfe, etc.) with additional recording at Avast Studios with Randall Dunn (Sunn O))), Earth, Wolves In The Throne Room etc.), mixed by Matt Bayles (Isis, Mastodon etc.) and mastered by frequent collaborator, Blake Bickel, The Camel, The Lion, The Child is a truly cathartic audio expedition difficult to ignore.
Dust Moth first stormed out of the gates as a six-piece juggernaut of veterans from Seattle’s music community. Their debut EP Dragon Mouth was a tightly crafted amalgam of rhythmic brawn, mournful melodies, and dreamy atmospherics. It was as if the bass and drum combo of Jawbox was paired with the guitar work of Doves and capped off with the assertively feminine vocals of Chelsea Wolfe. Now pared down to a quartet, Dust Moth offer up their first full-length Scale. Driven by the haunting vocals and ethereal keyboards of Irene Barber (Erik Blood, XVIII Eyes), the alternately soothing and devastating guitars of Ryan Frederiksen (These Arms Are Snakes, Narrows), the syncopated thump of bassist Steve Becker (Giza), and the muscular drumming of Justin Rodda (Giza), the new streamlined incarnation of Dust Moth retains their layered and nuanced sound while tightening the focus on their “heavy-gaze” approach. Songs like “Corrections” and “Lift” carry more distorted urgency and instrumental heft than anything in the band’s previous repertoire. On the opposite end of the spectrum, songs like “Night Wave” and “A Veil in Between” demonstrate the band’s new less-is-more approach towards mournful atmospherics.
Given Dust Moth’s dynamic range, it’s hardly surprising that they’ve been able to share the stage with such diverse bands as Minus the Bear, Pelican, and Tombs. Following a west coast run with cerebral metallurgists Kayo Dot, the band reformulated their line-up and began constructing the nine songs that would comprise Scale. The album was recorded by Matt Bayles (Pearl Jam, ISIS, Mastodon) at Red Room Studio in Seattle and mastered by Ed Brooks at RFI. The Mylene Sheath is proud to release Scale worldwide on July 22nd 2016.” - Brian Cook