The Maw
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The Maw

Des Moines, Iowa, United States | SELF

Des Moines, Iowa, United States | SELF
Band Rock Alternative

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"SONIC THERAPY: DDR, SUPERCHIEF, and THE MAW"

Written by Shep - April 26, 2011

Ok. So after recovering from that set It was time for the third and final band of the evening, THE MAW. Heavy, psychedelic space rock is one way to put it. A magic ceremony of inter-dimensional travel would be another. A Krautrock Black Sabbath that set their controls for the heart of Bevis Frond. Crowleyian psychonauts worshipping at the throne of Sun Ra. I don't know. All I know is that these guys are a force to be reckoned with. I actually think I left my body a couple of times. It was kind of the sonic equivalent to eating mushrooms. I just stood there awestruck after the set, watching them tear down their equipment, waiting for my scrambled brain to realign itself. Somebody could start a religion around the sound these guys make.

Later, Erik Brown from The Maw asked me what I thought of it, and I mumbled some semi coherent words which probably made very little sense, but what can I say. I still wasn't syncing up I guess. But on the drive home things started to slide together. I was really starting to feel better. Maybe there was some hope that I would actually be able to get my shit together again. Well, ok, that might be too much to ask for. - The Bigfoot Diaries


"The Maw "1937" review"

Written by Patrick Davis
Dec. 17, 2010

The following will be featured in ambercore’s magazine To the Core-

The Maw is a four piece post-metal group from Des Moines, Iowa. Rather than sticking to the traditional post-metal format of sludge + ambience (like Neurosis, Isis, Cult of Luna, etc.) The Maw incorporate heavy doses of experimental, progressive, classic rock and metal which pushes their sound in a direction that is more similar to bands like Mastodon, Burst and The Ocean.

“1937” is a sprawling musical odyssey; the five tracks boast a total playing time of over forty-nine minutes. Despite the extended song length, The Maw seldom meander and know how to keep things interesting by incorporating inventive guitar and bass styles (Forrest Lonefight and Joseph Antelman), piano, organ and synth that range from atmospheric to classical (Erik Brown, who also contributes vocals and trumpet) and drumming that is both explosive and creative (Alan Domer). The vocals are at times sparse, which they should be for this type of music. When Erik does sing, his parts are skillfully executed and never over indulgent.

Standout tracks on the album are the relatively short “To Close Third Eyes” and the epic closer “Seven”. Clocking in at 5:37 and incorporating some very memorable vocal melodies, “To Close Third Eyes” is the only track that is even close to being suitable for radio play. “Seven” is a very diverse track which starts with acoustic guitar and layered vocals and eventually shifts to some of the heaviest material on the album. This song ends perfectly. Crushingly heavy sludge metal fades out like parting storm clouds letting the sunlight of an elegant piano piece shine through.

Overall, “1937” is a promising debut from a young band. It will be interesting to see what the future holds for The Maw as they grow and progress. - News and Nightmares


"Introducing: The Maw"

Written by Troy Church
Wednesday, October 13, 2010

When my phone rang last Thursday morning, I didn't recognize the number.

Normally this signals a red flag... Somebody is selling something, or worse yet, it means that US Cellular has finally caught up with me and wants to ask me about that outstanding balance I have with them from three years ago. It's always easy to identify these snakes, because they do a pretty horrible job of disguising themselves on the Caller ID. When it says, "UNAVAILABLE"" then it's a sure sign that somebody's motive for calling goes beyond wanting to have a friendly conversation... And usually involves money coming out of my back pocket. So, typically I ignore these intrusions.

On Thursday morning, the number came up with a name and area code, and while I didn't recognize it, the name wasn't US Cellular... So on a rare whim, I took the call.

"Hello?"

"Is this Troy... With the Bigfoot Diaries?" Came a voice from the other end of the line.

"Um... Yes it is."

"This is Joe with a band called The Maw. We are playing Monday night at the House of Bricks in Des Moines, and was wondering if you would mind coming down and watching us play."

Ok, I am paraphrasing here... It didn't go down exactly like that... But it is damn close.

In a nutshell, Aron from Metro Concerts Live! had given my number to Joe, and then Joe called me and asked me if I would come down to the House of Bricks and see The Maw, his band, and possibly do a write up on them...

In the spirit of Rock and Roll, I agreed to do it.

Of course the worse case scenario would be that I would go down to see this band, and they would be awful. Then I would be forced into the awkward delimna of having to choose between writing nothing at all about The Maw, or posting something that was negative and degrading. It's not in anybody's best interest for me to do the degrading thing, so I kind of felt that I was taking a chance by agreeing to attend this show. But what the hell... It's a Monday night. It's not like I have anything better to do.

Luckily for me, them sucking never became an issue.

The Maw are an incredible live band, and I have to admit, I am proud to know that they are from the Des Moines area. I hate the label of "Jam Band"... I think it sends out visions of sandal-wearing hippies singing funky melodies in between structured guitar and drum solos... Not that there is anything wrong with that... It's just that I have been there, and that scene has worn thin with me. The Maw certainly do not apply to that form of music... But I think a Band that Jams might be a good fit. Half way through "Chora" the first song in their set, I am thinking to myself, Dem boys be smoking some funky stuff.

They actually caught me off guard... I wasn't expecting to be that entertained.

Who do they sound like? Well if you ask the band, they will tell you Miles Davis, Cannibal Corpse, Pink Floyd, and The Mahavishnu Orchestra, to name a few. That's quite a mix, and if you throw in what I heard, you'd have to add pockets of Supertramp, Jethro Tull, King Krimson, and Sundial. I couldn't help but wonder how a band could be influenced by so many, and yet defy categorization. To put it simply, the only band that sounds like The Maw... Is The Maw.

But I have gotten ahead of myself.

I went to the show with a couple of pals... One you know... CVEckian, and the other, a fella who used to have his own reputation in the music scene in Des Moines, Jim McNeer. If you ever enjoyed the murals on the walls of Hairy Mary's (both locations), then you have enjoyed Jim's work. He was famous for his concert posters as well, covering such bands as Queens of the Stone Age and L7. He has kind of slipped into oblivion these past few years, but he agreed to join us for a rare night out. I was hoping that he wouldn't be overwhelmed with boredom. Obviously I respect his musical opinions, as in the past we have shared many live music experiences. But with not really knowing what to expect with The Maw, I figured that I could at least feed him beers long enough to spark an interest in what was going down on the stage.

I needn't have worried. At the end of "Chora" Jim flashed me a smile and gave me a thumbs up. When I walked over to where he was standing, he said to me, "I was hearing sounds out of that guitar that I have never heard before".... Then he gave me that look he gives when he means something... Fucking right.

The guitarist he was speaking of is Forrest Lonefight. This kid is incredible, Des Moines' second coming of Jeff Banks. It's like he has tapped into that thing that Adrian Belew once tapped into... That rare ability to make a guitar sound exactly like anything but a guitar, while still maintaining an outstanding musical experience. Lonefight's style is fresh and inventive... And as fluid as a PBR at the Alpine Tap. I haven't heard anybody else in the Des Moines area that covers more ground on his six-string than Forrest Lonefight does, as his fingers seem to travel miles up and down the neck of his guitar.

The other boys in the band aren't too shabby either, at least by rock and roll standards. Erik Brown is a seasoned musician who came to The Maw about a year ago. The band needed a person who could sing, play the keys, and blow the trumpet... And naturally, there was one logical choice. Erik brings a unique presence to the stage with his chunky and unorthodox keyboard style, but perhaps his best feature is his voice... I caught glimpses of Scott Weiland in his vocals (Good Scott Weiland - Think "Vaseline") but also pockets of Layne Staley and a stoney David Gilmore. He even let out a primal scream at the end of one song (Didn't get the name) that would have made Rob Halford applaud. He is a good fit for The Maw... and provides a strong quality to the band with his confident stage presence.

Alan Domer is the drummer for the group, and by drummer, I mean drummer. He doesn't have all those fancy bells and whistles that a lot of drummers think they need... Just good old fashioned skins and chrome and a healthy dose of crashing cymbals. He reminds me of Elias Mallin from Opiate for the Masses - both in style and appearance - and brings a relentless punch to the band's rhythm section. It cannot be easy providing the beat for this band's unique sound, but he pulls it off with remarkable precision. The Maw need nothing fancy... Just a good old fashioned hard nosed drummer to complete their sound, and they get that with Alan Domer. I absolutely appreciate that.

Last but certainly not least is Joe Antelman, the kid who originally invited me to come and watch his band. I feel a sense of gratitude to Joe, because he has opened a new door for me in terms of bands I am now seriously interested in. While he plays the bass for The Maw, he is the keyboardist for Aquamarine Dream. And now that I have seen The Maw, I certainly want to see his other band too. Joe reminds me of one of those musicians who always makes the right play... a seasoned and fine tuned bass player who is capable of bringing so many elements to a band. His bass in The Maw is heavy and powerful, yet subtle... Which is the perfect compliment to the band's style.

Joe defines the band as "Jazzcore" but I think that is a misleading term. I'm not sure that I have one that fits better, but I invite you out to see them the next time they play and then you can make that assumption for yourself. I will say this... This band is sick with talent, and very unique. If you like experimental and progressive rock and roll, then you HAVE to check out The Maw.

Meanwhile take a look at their Myspace page... Or follow them on Facebook. Just please keep in mind that this a band that will be very misunderstood if not heard live. Do yourself a favor and check them out.

I'll see you there. - The Bigfoot Diaries


""1937" CD Review"

Written by Aaron Lea
Sunday, 05 December 2010

THE MAW’s “1937” is an album that is hard to define, but easy to enjoy. It begs such questions as “Is this a full-length album, or an EP?” Well- its 5 tracks clock in at over 49 minutes, which is longer than many bands’ 10-12 track albums…. And “What genre is THE MAW?” A melting pot of everything from metal and jazz to grunge, soul, and even classical.

THE MAW are what you could call “Alternative Rock” in the sense of what that meant in the heyday of “Alternative”- “1937” would find a comfortable and welcome home in CD collections alongside Alice in Chains, Tool, Soundgarden and STP; but at the same time, this album has some seriously modern musicianship that will surely draw in audiences who may have been too young to be into the ‘90’s alternative movement.

The members of THE MAW (Erik, Forrest, Joe and Alan) all bring distinct musical personalities to the group, and, unlike many musicians of their caliber, manage to let their style shine through while still leaving the other members room to do the same. This is quite evident on “Chora”, the album’s opener, which has the kind of haunting melodies and anguished vocals that I haven’t really heard any bands use since Mad Season’s album “Above”; not to mention Forrest using bends and effects to elicit some very sitar-like sounds from his guitar.

Track 2, “To Close Third Eyes”, treads into Pink Floyd realms musically, with a breakdown that could be at home in a Trans-Siberian Orchestra number. The keys-and-drums teamwork really gives this song an epic, dramatic feel.

Soaring guitar leads in place of vocals make “Call to Arms”, the album’s third track, have a lot more personality than your typical instrumental song. That, combined with Alan’s very Tool-ish drum work, helps keep this eleven minute track fresh the whole way through. This is followed by “Will to Power”, which has the syncopated heaviness that would win over metalheads combined with the dark-yet-beautiful kind of melodies that endeared Alice in Chains to audiences worldwide.

“Seven”, the album’s almost seventeen minute closing track, is the most up-tempo, feel good song on “1937”, showcasing Erik’s trumpet playing early on and ending with a very classy piano outro, combined with some of the catchiest vocals on the CD. The fact that all of these are handled so fluently and tastefully by one guy definitely stakes his claim as one of the area’s top multi-instrumentalists. At the break about midway, Joe kicks things up with some in-your-face bass; it’s the only real standout bass part on the album, and Joe seizes his moment with gusto! The tempo shift in this song is literally the longest, most gradual tempo shift ever recorded, and it gives the song’s end a feel of controlled chaos, with the musical tension being lifted by the piano outro, which sounds like something from a movie soundtrack.

While the track lengths will surely limit “1937”’s radio chances, the songwriting and musicianship propel each song along, never leaving you with that “OK- skip to the next track” feeling that songs in the 10-minute range from some bands can. This is an album that really feels like an album; less about the “hit single” and more about giving their fans a piece of musical art and an enjoyable, well-planned and well-executed musical experience.

With a debut album like “1937”, THE MAW seems on track to establish themselves as a solid, enduring musical presence in the Des Moines scene, not just another flavor-of-the-month short lived trend. An album like “1937” will still be great in 20 years – there is a hypnotizing timelessness to the songs and a song-to-song cohesiveness that makes this seem less like a self-produced local CD and more like a great classic album. - Des Moines Music Coalition


Discography

1937 (Released Dec. 22nd, 2010, available on I-Tunes)

Chora (7:43)
To Close Third Eyes (5:37)
Call To Arms (11:47)
Will To Power (7:53)
7 (16:42)

Photos

Bio

Based out of Des Moines, Iowa, The Maw are the epitome of the phrase "beyond description". With flashes of melodic hardcore, subtle psychosis, and teeth shattering rock and roll, these guys skirt around the edges of so many genres that it's impossible to label them as one.

The Maw's music is a journey... An intellectual and spiritual one... But like being a kid again in the back seat of your father's sedan on a Sunday afternoon, you have no way of knowing what your eventual destination will be.

Erik Brown (Lead vox, Keyboards, Trumpet) started playing trumpet at the age of 11 in Georgia. He attended Davidson Fine Arts where he competed yearly in County, District, and All State competitions, including jazz bands, orchestras, and wind ensembles. He took first chair in every competition and band from 6th grade through his high school graduation. He attended University of Northern Colorado while they were ranked the #2 jazz school in the nation - and learned a "ton" from some renowned cats. He's played in 6 local bands, sat in with hundreds including Maynard Ferguson, Bill Watris, and the Army Jazz Knights. He plays a Jupiter interchangeable bell trumpet and it has been his weapon of choice for 15 years. He is also highly skilled on the piano, and takes up the lead vox chores with the band.

Erik says of his work with the Maw: "This is by far the most talented and broad project I have ever worked in - and that's why we call it Home!"

Forrest Lonefight (Guitars): I started playing guitar at 7 years of age. A Stella Harmony Acoustic was always in the living room. In those years, I lived with my grandparents. My Grandpa sang in a native drum group in his youth and was a preacher and writer, my Grandma sang, played piano, and was a master storyteller.

I let go of the guitar when I discovered the NES. A beneficial thing in hindsight because my ear was trained by these beautifully constructed and intricate sounds set to fantastic images before I even discovered rock...but I rediscovered the guitar at age 11 when I saw James Hetfield do the chugging at the end of the "One" video...I was hooked.

Since then, throughout my teenage years I've played relentlessly and have tried to start bands with schoolmates and other local talent. After years of trying to start a real band, I finally got one called: Inhale The Ellipses.

Circa 2001-2004...We've played countless shows and opened for numerous national acts. Superjoint Ritual, Dog Fashion Disco, Motograter, Mushroomhead...to name a few (which are now defunct or irrelevant) and such luminaries such as Hatebreed, Cephalic Carnage, and the almighty Slayer.

After Inhale The Ellipses folded, then came a band called:...And God Blessed Ignorance. A floundering, but resilient and talented band that played multiple shows that displayed the irreplaceable chemistry of myself and drummer Alan Domer.

That chemistry made itself known to accomplished musicians like Joe Antelman, whom joined in on bass...circa 2009. After writing some of the greatest songs this collective has written in previous groups; Erik Brown entered the scene...

Alan Domer (Drums), like Erik was born in the music-rich south. Alan was born in Chatanooga Tennessee and grew up in his parent's fundamental influence and didn't buy his first rock and roll record until he was 13, .when he purchased Led Zep's Houses of the Holy while on a boy scout trip to New Mexico. He fell in love with Led Zeppelin, and oddly, it was Jimmy Page's guitar playing that enamored him more so than Bonham's drumming. Later, he learned to love and appreciate how Bonham made Page sound...that fateful boy scout trip...we were at a trading post one afternoon, and a few of the guys went into the trading post to buy these leather contraptions with a handle, and two leather straps with a ball at each end... The object being to manipulate the handle up and down, causing the balls to strike at the top and bottom of the created arc. Fights soon arose as to who had the highest count. All the while, Alan was playing horseshoes, oblivious, he thought. But without even realizing that he was doing it he was able to count in groups of 4, 6, and 8 how many times the guys were able to keep the device going.

"It wasn't until later in life that I would look back to this moment as the realization of my talent," he said.

In those adolescent years Alan continued to listen to Led Zeppelin, and discovered Rush and Neil Peart. He also listened to music from many other genres, drawing on the music itself, not necessarily keying in on just the drumming. Since then, as an adult, he lists Danny Carey of TOOL as his major drumming influence.

Upon moving to Iowa as a young adult he became obsessed with learning from drumming books. He met Josh Laville, the bassist for the disbanded Inhale the Ellipses and set up an audition with the remaining members. The audition went well. They formed ...And God Blessed Ignorance, and played togeth