(Michael Mosher Music)
Free downloads of (and information about) my own music (all rights reserved, and owned by me, unless otherwise indicated), and from a few friends/collaborators (posted with their permission).
Bandcamp only has 200 free downloads per month, so if it's not 'name your price,' you'll have to wait a month (or else purchase to show your support, of course).
Showing posts with label Cellphone Recordings. Show all posts
Showing posts with label Cellphone Recordings. Show all posts
Psalm 88 - The material in this collection was created at various times over the last 3 months. There are no vocals, and there is no production/mastering effects whatsoever. Quite a few songs here, mostly unnamed.
Resurgent Atavism - An album's worth of material over four tracks. There are vocals, and cavernous "production." Neanderthal Black Metal, cave-dwellers howling in the night. Atypical uneasy listening. Intentionally difficult, but not without its rewards.
(Album cover photo taken by yours truly @ local cemetery)
Perhaps I'm wrong, but I think that Gathered Here Together is some of my best work; at very least, it is some of the best work I've done in a long time. It's funny, I say that while listening to some new music I've made over the past week, for a new album (and new project? TBA) as yet unreleased, which I also think is some of my best work (albeit, a totally different genre).
Euphemism is Funeral Doom with clean vocals, that was the idea. Specifically, what I was going for was to really capture the sound of what it might sound like for a Doom Metal band to be performing at an actual funeral or wake. As such, the majority of background synths are only organ(s) and a lonely piano.
A lot of cannabis was used in this recording. Switching from alcohol to cannabis has greatly increased my creative output, and I daresay the quality of it(?), and certainly elevated the quality of my life overall. Aside from the marijuana psychosis, depersonalization, and the gaze of Lovecraftian beings peering at me from an unseen vantage point, I feel almost sane again.
There are a few reasons for my choice to use clean vocals, as opposed to the typical windy growls so commonplace in Funeral Doom generally. Actually, that's one of the reasons right there, I wanted to try something different and unique.
In addition to this, I have been wanting to use clean vocals for some time now, and only recently (thanks to the cell phone) have I been able to experiment with real singing again.
It's strange, I used to be such a song writer. I had songs where I actually sung, but all of those early recordings (1997-2001) are sadly lost to the annals of time and memory (probably no one else's but my own, I'd imagine, as anyone else who was there at the time wasn't interested in whatever music I was doing).
All that is to say, that I'm glad to be able to try clean vocals again. The album Blood Sacrifice(by Exalted Saviour) was supposed to have had only clean vocals, but the microphone I had was terrible for recording them. You could growl in it, and gurgle, but it wouldn't do justice to clean singing.
(Alternate Euphemism logo prototype)
Anyways, whatever... this Euphemism album is easily one of my favorites so far. Recorded (mostly) within a few days in Feb. 2020 (the exception being the drum/synth foundation to the track "Funeral Home," which was composed sometime in 2019).
I figured 'Euphemism' was an interesting name for a band, and one that hadn't been used before. As of now, my project is the only one on Metal-Archives going by that name, one I'd actually thought of using since 2012. Fun factoid.
Only later did I look up the lore associated with the word and it's etymology (which appears in the bio on the Euphemism bandcamp page, linked below).
Musically, I think it does well in the 'Funeral Doom' genre, but there are moments when obvious influences from My Dying Bride (see "Weeping") and other usual suspects bleed through.
The execution is sloppy at times, not always perfectly on time, but who cares? As a whole, it fits quite well, the haphazard approach giving it an 'underground' quality.
I love every song on this album, except for maybe "Funeral Home," which at least serves well to ... I dunno, something. It does something. Now that I hear it, it's still pretty good. Funeral Doom with Nirvana vocals, haha.
"Black Velvet Drape," in my opinion, is the one track that should be listened to in total. Really, in order to get the full effect of the atmosphere/emotion, the entire album should be heard as a whole, beginning to end in its entirety; but barring that, at very least the last track should be heard. Everything works on it, it's almost a microcosm of the record itself.
I'm listening to the song "Weeping" right now, and honestly, if I didn't know this was me, I'd think it was some underground UK Doom outfit lol. I almost forgot it was me for a second, lost myself in my own music. I love when that happens.
It almost makes me feel as if it (my music, my art) matters; or at least it serves the illusion.
These albums are the soundtrack of my broken dreams, shattered hopes, fears, regrets... everything.
This project was really the outcome of a test: I learned that I could use a cellphone to record with, and I wanted to see what I could do with it.
This album was released a month ago, but I'm going to talk about it like it's already old, okay? Because, to me, it kind of is, but that's just because I make so much material, it's easy for projects to get pushed to the back of my mind with every successive release.
This album is getting back into DSBM/Post-Black territory, with somewhat of a 'Stoner' edge. I was finally able to kick the alcohol habit by replacing it with cannabis. The glories of CBD, its medicinal value, and the very fact that it made smoking weed bearable (even pleasurable) again after so many years is nothing short of miraculous to me. I feel like it gave me my life back.
Because of it, I've rediscovered enjoyment in music. It made it fun again, and I'm really appreciative for it. That is a story of its own, but it's just to give some idea as to what went into these recent recordings.
I chose the name 'Horeb' for a few reasons. Recently I'd been studying Judaism, Kabbalah, Jewish Shamanism, and the like, so I wanted something that would reflect that.
A lot of Stoner bands are heavy on the Eastern Mysticism, so I thought it might be different to do something around Judaic concepts.
That, plus I was thinking of Sleep's "Holy Mountain."
Thus: Horeb.
(Horeb - s/t)
Guitars on this album are all acoustic. Vocals were recorded about 3 weeks earlier, in the wintry woods outside of Sawyerville, Quebec. Originally, the vocals were meant for a different project idea, but that didn't happen finally. Perhaps it's just as well, because I love the way the vox turned out on this offering.
For years I have been recording in my living-room (Ha! see? I'm not a 'bedroom' band, I record in my living room! Okay, I'll stop...), and I've had to devleop a different vocal style that wouldn't make my neighbors call the cops out of fear someone was being tortured in our home.
This means that my real vocals appear here on a recording, for the first time since this happened.
As stated before, vocals and guitar were recorded entirely with the cellphone 'voice recorder.' It's a painstaking process, but at least there is a process, and I'm thankful for that.
