BIO:
"Robert Plant argued against Led Zeppelin’s supposed role as progenitors of heavy metal, stating that the band had always been more interested in the sultriness of American blues than the brute force of the hard rock hordes they’d inspired. Regardless of their motives, Zeppelin helped define “heavy”. You don’t have a drummer that pounds with that much authority, a guitarist that plays with such panache, and a vocalist that wails with such intensity and merely chalk it up to following musical traditions. Similarly, “heavy” isn’t the sole motivating force behind Seattle quartet Dust Moth. If anything, they’re trying to channel some other permutation of the soulful, animalistic beat that drove Plant and his compatriots. But as history has shown us, you can’t have a burly rhythm section, searing riffs, and forlorn vocals without the hordes taking you in as one of their own.

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

LYRICS:
draw me a lonely line
i wear thin
to seek another out
the same as ever was
i'm wearing
and all the wandering speeds to an end

i'm finding out
how fast the sun goes down
when we step outside
yeah, i'm finding out
when i fell hard for you i hid instead

i'm burning at the ends
you still amaze me
i want to be the one in your dust
if there is an only one
the rose of the flowers
i feel the warm embrace in the shade
in the shade

i am the mare
i decide when it's over
and you are the 'stang
we are our own salvation
yes, i am the mare
and we ride


Dust Moth - Lift

BIO:
"Robert Plant argued against Led Zeppelin’s supposed role as progenitors of heavy metal, stating that the band had always been more interested in the sultriness of American blues than the brute force of the hard rock hordes they’d inspired. Regardless of their motives, Zeppelin helped define “heavy”. You don’t have a drummer that pounds with that much authority, a guitarist that plays with such panache, and a vocalist that wails with such intensity and merely chalk it up to following musical traditions. Similarly, “heavy” isn’t the sole motivating force behind Seattle quartet Dust Moth. If anything, they’re trying to channel some other permutation of the soulful, animalistic beat that drove Plant and his compatriots. But as history has shown us, you can’t have a burly rhythm section, searing riffs, and forlorn vocals without the hordes taking you in as one of their own.

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

LYRICS:
another good one
take a photograph
good one
your dancing lady
you're the one who sees me this way

we do it backwards
one that i adore
trying to find a way
we're glowing in the dark
showing all our scars
fall into my arms and we'll do it again
do it again

another good one
another photograph
cruel one
my head is half gone
on the floor and melting away


Dust Moth - Corrections

"“So it goes” is the primary recurring refrain in Kurt Vonnegut’s Slaughterhouse Five. It’s a nihilistic phrase—a resigned response to death and tragedy. Its repetition throughout the book is a kind of attrition, with the despair and inhumanity of war being reiterated until it borders on absurdity. Other refrains make multiple appearances in the book. The narrator describes his drunken breath as “mustard gas and roses.” Later, that same phrase is used to describe the smell of corpses after the bombing of Dresden. “Mustard gas and roses” becomes its own type of attrition, a repeated bombardment and reminder of our crimes, from petty inebriations to horrific massacres.
 
Guitarist Mike Gallagher understands how repetition can serve as an attack strategy. Over the course of five albums, Gallagher’s old band Isis demonstrated how simple recurring motifs could build into earthquaking climaxes. And in his spare time, he constructed paired down models of this principle under his solo moniker MGR (Mustard Gas & Roses). Armed with little more than a guitar, some effects, and the occasional auxiliary instruments, Gallagher composed instrumental pieces that fluctuated between whispers and cataclysms. It was a strategy on par with his namesake’s creator: rather than bludgeoning the audience with horror, minor dramas were threaded together into blanketing tapestries of tragedy. The first three MGR albums, Nova Lux, Wavering on the Cresting Heft and 22nd of May were as intimate as a narrator’s breath and as harrowing as sifting through the wreckage of battle.
 
But then Gallagher took a moment away from music. “After Isis disbanded in 2010, I wasn’t too busy with music and I thought I might be done playing in bands,” he says of his hiatus. It was only when an invitation came to open a European tour for A Storm Of Light that MGR was resurrected. Gallagher recruited some of his tourmates to play with him, creating a full-band version of MGR. Shortly after, Boris and Pelican offered MGR some California dates, and Gallagher enlisted Jay Bennett (Ides of Gemini, Black Mare), Bryan Tulao (Chelsea Wolfe, Black Math Horseman, Mother Tongue), and Sash Popovic (Black Math Horseman, Mother Tongue) to round out MGR into a proper band. With this full-band line-up, MGR recorded its third album, Becoming.
 
It’s an appropriate title for an album that feels like a transition into a new phase of MGR. While the eight songs on Becoming adhere to the pensive gloom of Gallagher’s past work, the full band arrangements allow the compositions to build into even more grandiose apexes. From the rolling boil of the opener “Closer” to crushing chords of album finale “Rise”, MGR explores their newfound boundaries of volume and dynamics afforded by the addition of dueling guitars, drums, and bass. Even besides the added heft from the rhythm section and second guitarist, there are new sonic forays for MGR on their latest album. Title track “Becoming” is a shining example of an expanded palette, with acoustic guitars and chanted vocals summoning the kind of dark folk music championed by Michael Gira and David Eugene Edwards. These more nuanced moments are offset by the minimalist bludgeoning of tracks like “As One”, which conjures the brute instrumentals of Dutch post-metal pioneers Gore.
 
Becoming is the rebirth of MGR. And while vestiges of Gallagher’s brooding isolated ballads can still be heard in the orchestrated roar of his revamped project, it feels very much like a resurrection, a second life. So it goes." - Brian Cook

Mustard Gas and Roses - Rise

Mustard Gas and Roses - As One

Mustard Gas and Roses - End Of The Line

Mustard Gas and Roses - The Flood

Mustard Gas and Roses - Becoming

Mustard Gas and Roses - Threshold

Mustard Gas and Roses - Closer

"Made Wrong is one of the most complete and fulfilling albums I have heard in a very long time... facilitating an emotional experience rarely found in modern metal, let alone other modern genres. It's quite clear, Heiress knows what they are doing, and they are good at it..."
— Metal Injection


"'Heiress has mastered the sludgy, post-hardcore format — As we've noted previously, Heiress is its own beast, though, and has more in common with Botch, Isis, and early Mastodon.."
— Vice | Noisey 

 
"smolder and crush like a crusty heavy metal motherfucker on sure-to-be-short-lived parole…" 
— Decibel Magazine


"the kind of record for which the use of the verb “crushing” as an adjective was invented..." 
— Metal Sucks


"the next great post-metal record..." 
— New Noise Magazine 


"Heiress‘ magnum opus. With Made Wrong, the band have found the perfect devastating sound for them... It’s this Seattle band’s crowning achievement..."
— Svbterranean 


"their appeal lies in the conviction with which they deliver the music, and Pettibone’s delivery has never been more ferocious..."
— Invisible Oranges


"the kind of power that will grip you by the neck and put your head in a vice..."
— No Clean Singing


"Combining the atmospherics of bands like the Swans and Mogwai with the punch of post-hardcore and stripped-down heavy metal, Heiress not only crushes live, but they also sound killer on your headphones..."
— No Echo 

 

"The ever-prolific metal marauders in Heiress are back with a new collection of material, to be released in multiple formats over the next several months. Continuing a staggering string of continuous high quality output following 2015's Of Great Sorrow which Metal Sucks cleaimed was "the kind of record for which the use of the verb “crushing” as an adjective was invented" and 2016's Made Wrong, which New Noise Magazine touted as "the next great post-metal record", the band now offers up Restless Aim. 

Restless Aim started out as a series of three split seven inches between Heiress and their friends in Earth Control, Great Falls, and GRVR (Griever). Those 7" splits will be released in the near future, but the Heiress portion of the material from those splits is also being released as a CD (containing 15 tracks, including their self-released debut 7" and all their EP & split material from the years spent on Deathwish Inc). And for the digital version of the release we've included all their songs from the split 7" series and added two of the deeper cuts from their recent full lengths; Lashings from Of Great Sorrow (2015) and Skinning from Made Wrong (2016).

The material is aptly titled as the band continues to evolve and defy easy genre pinning. The diverse collection exemplifies the bands never ending need to push and pull themselves in as many directions as possible to create something that after all is said and done, could have come from Heiress. Resless Aim will be released on CD and digitally on April 21, 2017. The three split seven inches will be released shortly after, with the artwork direction and design once again by Demian Johnston (Great Falls), who also handmade all the covers and obi-stips."

Heiress - Botch Vs Trial

Heiress - Last Nail

Heiress - Distant Hold

Heiress - Old Smoke

"The ever-prolific metal marauders in Heiress are back with a new collection of material, to be released in multiple formats over the next several months. Continuing a staggering string of continuous high quality output following 2015's Of Great Sorrow which Metal Sucks claimed was "the kind of record for which the use of the verb “crushing” as an adjective was invented" and 2016's Made Wrong, which New Noise Magazine touted as "the next great post-metal record", the band now offers up Restless Aim. 

Restless Aim started out as a series of three split seven inches between Heiress and their friends in Earth Control, Great Falls, and GRVR (Griever). Those 7" splits will be released in the near future, but the Heiress portion of the material from those splits is also being released as a CD (containing 15 tracks, including their self-released debut 7" and all their EP & split material from the years spent on Deathwish Inc). And for the digital version of the release we've included all their songs from the split 7" series and added two of the deeper cuts from their recent full lengths; Lashings from Of Great Sorrow (2015) and Skinning from Made Wrong (2016).

The material is aptly titled as the band continues to evolve and defy easy genre pinning. The diverse collection exemplifies the bands never ending need to push and pull themselves in as many directions as possible to create something that after all is said and done, could have come from Heiress. Restless Aim will be released on CD and digitally on April 21, 2017. The three split seven inches will be released shortly after, with the artwork direction and design once again by Demian Johnston (Great Falls), who also handmade all the covers and obi-stips."


Previous Press:
"Made Wrong is one of the most complete and fulfilling albums I have heard in a very long time... facilitating an emotional experience rarely found in modern metal, let alone other modern genres. It's quite clear, Heiress knows what they are doing, and they are good at it..."
— Metal Injection


"'Heiress has mastered the sludgy, post-hardcore format — As we've noted previously, Heiress is its own beast, though, and has more in common with Botch, Isis, and early Mastodon.."
— Vice | Noisey 

 
"smolder and crush like a crusty heavy metal motherfucker on sure-to-be-short-lived parole…" 
— Decibel Magazine


"the kind of record for which the use of the verb “crushing” as an adjective was invented..." 
— Metal Sucks


"the next great post-metal record..." 
— New Noise Magazine 


"Heiress‘ magnum opus. With Made Wrong, the band have found the perfect devastating sound for them... It’s this Seattle band’s crowning achievement..."
— Svbterranean 


"their appeal lies in the conviction with which they deliver the music, and Pettibone’s delivery has never been more ferocious..."
— Invisible Oranges


"the kind of power that will grip you by the neck and put your head in a vice..."
— No Clean Singing


"Combining the atmospherics of bands like the Swans and Mogwai with the punch of post-hardcore and stripped-down heavy metal, Heiress not only crushes live, but they also sound killer on your headphones..."
— No Echo

The Mylene Sheath

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