‘Nother fine Ohio product is the first LP by Mors Ontologica, The Used Kids Session (VSS). Because this was recorded by Mike “Amrep” Hummel, it’s hard not to smell gusts of Cayuhogan breeze in every note. Never sure if this is a concept we generate in our own fevered brainpans, but the album feels sporadically redolent of everyone from the Quotas to Death of Samantha. The basic pummel is tres garagey, but it’s blasted throughout with croak and glam-pop highlights that just won’t quit. Very cool. Thank you, Ohio.

Hello from Columbus, Ohio (mp3s) Ohio The great state of Ohio has raised legends. Cleveland's known for hall-of-famers Pere Ubu and the Electric Eels. Dayton nurtured Kim Deal and Bob Pollard. And from its well-situated spot in between those two cities, the state capital of Columbus is starting to have some sort of cohesive musical identity thrust upon it. What with NME and MTV creaming on Times New Viking and Psychedelic Horseshit. Not to say it's undeserved - I think their excellent live sets in the WFMU studios (TNV) (PHS) are testament enough. What follows is a sampling - by no means comprehensive - of some of the other Columbus musicians you'll be able to hear on WFMU's Free Music Archive. MP3's from The Guinea Worms, Necropolis, Tommy Jay's Tall Tales of Trauma, Mike Rep & the Quotas, Mors Ontologica, The Lindsay, El Jesus de Magico, Ryan Jewell, and Sword Heaven after the jump. Mors Ontologica This off-kilter 4-piece brought their dirty guitar and distorto-synth to WFMU last month for a smokin live session on Liz B's show. Their newest LP, the Used Kids Session, was recorded at the top-notch Columbus record store Used Kids by Mike "I don't do no stinkin demos" Rep (and with Tommy Jay providing some LFW assistance). "Massive Action" is a jam. And the song "Washington Beach" refers to the unofficial name for Mors' neighborhood. Washington Beach is home to artists, pawn shops, OSU students, seedy characters, venues like Cafe Bourbon St (RIP the Taco Ninja), and the most excellent Columbus Discount Records store/label/studio. These are just a few of the many jams freely available for download from Columbus' Very Small Scene Records.

In a scene as big and productive as Columbus, you find a regular rotation of hip bands whose work amounts to one long rehash of record collections played for those who haven’t dug deeply into the crates themselves. Once in awhile, however, a band sticks it out long enough to become memorable and craft a sound that they can lay claim to, With The Used Kids Session, MORS ONTOLOGICA has pulled off this feat.
Their sound is a well-worn mixture of garage rock, minimalist art rock and disjointed, white-panther soul, all melted together like an oil painting left out in an acid rain.
The final coat was put on by Mike Rep and Tommy Jay, who lovingly fucked with the album enough to give it that smothered, hissy-tape vibe that the kids dig again.
The Used Kids Session is full of highlights, and space prevents a full exploration of all the gems on this long player, but a few stand out in such crowded competion.
The first is “Getting Up”, a nearly funky slab of no-wave soul – well within the oeuvre of the Dirtbombs or any other old-school, R&B revival act, but quirky enough to stand on its own.
“Getting Up” is followed by “Ghosts & Shadows”, which puts the spotlight on Crow’s vocals. The singing resembles a less marble mouthed Shane MacGowan crossed with a less “one Night in Bangkok” Murray Head. The song itself is reminiscent of Mudhoney in that it rises far above what is expected from a garage-y rave up and is better than the competition as well.
Given how well The Used Kids Session turned out, that’s not a bad description of the album as a whole, and of the band MORS ONTOLOGICA has grown into.

Recorded live last year at Used Kids, Mors Ontologica's fourth release highlights fresh combinations of Crow's eerie organs, Drew Clausen's righteous guitar and a perennially steady back beat. Thanks to local audio engineer Mike Rep, you hear the band's stage energy without the echo or crowd noise that can destroy a good live record. Armed with stronger songwriting, Mors seems more dedicated than ever to its central mission: tackling difficult metaphysical topics through rock. Life, death and decay provide the fodder for "Ghost & Shadows," "Don't Feel Alright" and "Voice of Degeneration"—three triumphs of form and function.
—John Ross

On a gorgeous Sunday afternoon, the members of Mors Ontologica sat huddled around a table on the patio at Bodega, enjoying food, drink and good company. And though the band had just outlined the motives behind their annual charity event, their camaraderie explained it better than words could have mustered.
When Mors guitarist Drew Clausen hatched the Black Box benefit in 2001, the idea was simple, and it remains so today—get together as many friends as possible and party for a good cause.
"I have a little black box on my desk that I've had since college," Clausen said. "Ever since I started working in the music industry and doing bands and all that stuff, I just put everyone's cards in this box. And then one day someone was talking about, 'You know, you could probably throw a really cool party by calling everyone in that box.'"
The first event packed Campus bar Ruby Tuesday with bands, DJs, art and variety-show style entertainment. Folks had such a good time that Clausen decided to revisit the event annually.
This year's show will feature six local rock bands, art from Jeff Fernengel, P-Don and others, DJ sets from the Beat Lounge, tribal belly dancers and free barbecue. The $5 door charge will go to the Epilepsy Foundation in honor of Daymon Dodson, a Columbus music fixture who died suddenly of complications from a seizure last year.
"Every year it's been more and more localized," Clausen explained. Last year the event benefited cancer research in honor of Clausen's hairdresser's daughter, who was battling the disease and is now in remission.
The focus of Black Box is community and a kinship Columbus musicians share, said Mors keyboardist Marcello Antifonario, aka Crow.
"It's such a diverse musical scene, which is awesome," Crow said. "You don't want to go out and see six bands that sound the same, you know? But it all hangs together because we're all having similar experiences in the same place. It's a real community-oriented scene."
This year's Black Box lineup shows a bulk of Mors Ontologica family ties. Rosehips recently added Mors drummer Tim O'Dell. Second State Butchers is helmed by Kyle Siegrist, who has hosted Mors performances at his Lost Weekend Records. Heroes of History has been on Mors' record label VSS for years. Adam Smith of the Unholy 2 has recorded Mors before. And punk veteran Mike Rep, whose band the Quotas is performing this weekend, recorded the upcoming Mors album The Used Kids Sessions.
With so many friends lending a hand, the band is visibly pumped to throw its benefit bash this weekend. "If you want to come have a little slice of our life and come help us out, come out and support it," Clausen said.
What: Black Box Benefit
When: Saturday, May 12
Where: Ruby Tuesday, Campus
Web: vssrecords.com

Mike Rep's got about a good've set of ears as I know, so when he sends us a record for perusal, we respectfully peruse. The guy's credentials are right on, whether it's on the topic of the Quota's, Vertical Slit, the 'Propeller' lp, Times New Viking, you just can't say enough. It's the stuff of legend & not just in his mirrors. But there's also the side to Mike that will honestly tell you that Nico was great right up till that last bike ride, or that Lou Reed might "still surprise us". Sentimental? No doubt, but the man believes & while I don't share his Quixotic notions I'll still give him props for holdin on. I suspect this was the side of him that wanted me to hear this debut lp by Mors Ontologica called 'Don't Cry'. Why the hunch? 'Cause if I didn't know better I'd guess the record was 30 yrs old if it was a day. Mors Ontologica chug out gravel throated, sax fueled, mid tempo rock that's aggressive in a pre dawn punk sort of way, not unlike the halcyon sounds of earlier fellow staties such as Rubber City Rebels, Bizzaros, Tin Huey or Numbers Band. Challenging but not in your face. Not yet anyways. If I close my eyes when this is playin I can still count the mile markers on 77 between Cleveland & Akron, the smell of molten rubber flarin in my nostrils. A room full've flared jeans, down vests, earth shoes & feathered hair comes flashin back. And them's the girls! Not the most pleasant of memories, but what the hell? Somebody was pushin the envelope. And it was fun. Then. I don't know that I need a reconstruction now but I appreciate the spirit emanating out've of 'Don't Cry'. It's challenging-again-but this time there plenty of water under the bridge w/many swimmin holes to choose from. I ain't the same hopper I once was, fuelled on Black Label & Marlboro's, boogie'n down to aggressive strains of forward motion barroom rock. But maybe this is the current that floats your boat. Mike Rep's got his skipper's hat cocked at a jaunty angle & is on board w/Mors Ontologica. And while we obviously saunter w/2 different set've sea legs I'll have to agree w/his cabinboy on this; he might not always be right, but he's never wrong. Toot, toot, thar she blows!
(contact Mors Ontologica at; mors@vssrecords.com & ask for their limited edition cd while you're there).

Tuesday, 6-6-(0)6, is being celebrated many places in Columbus (and internationally, I'm sure) for obvious reasons, but for me, the main reason to rejoice on this date of numerical convergence is the Columbus release of Mors Ontologica's Dead And/Or Famous. This 14-track salvo does a great job of translating the intoxicating/ed fury of their live show to a recording you can take home. Co-lead singers/songwriters Crow Antifonario (keyboards/synths) and Drew Clausen (guitars) both do a fine job of helming their respective creations to success, whether it's the suicidal punk singalong of Crow's "D.Y.I." or Drew's pissed-off consumer anthem "Bad for Business." To add to the onslaught, drummer Tim O'Dell tastefully (yet powerfully) provides some drumset pyrotechnics and bassist Jeff Wiseman keeps things moving smoothly. Though I'm not a big fan of ballads, tunes like "Lazy Suicide" and "Shoes" are fine vehicles for Crow to belt out some back-alley soul. Overall, the album is paced pretty well, though closer "Me & A Gun" is a downer of a tune to close out a rather fun album. As originally stated, the main thing for me is that the drunken singalong of Mors' live show is maintained on disc, and the songs definitely grow in the studio space. Definitely recommended.
Of course, no 666 celebration is complete without a live show. Mors Ontologica will be playing a free show at the Carabar Tuesday night featuring two sets of Mors-y goodness. Opening is P-Don (of the Heroes of History) performing all of your favorite murder ballads. The show starts at 9, so get there early for the jams.

Mors will release its new disc Dead And/Or Famous tonight with a show at Carabar, 115 Parsons Ave, at 9 p.m.
Recorded at Columbus Discount Records and released on Very Small Scene (VSS) Records - which is run by guitarist Drew Clausen - the record is damn good.
Anyone who loved Neverwhere will be giddy over tracks such as "45 Revolutions" and "Lapse/Relapse" - which add a carnival-esque keyboard to the rock sound that made the once-great and now-defunct band so fantastic live.
Fun Mors fact: The record was mastered by noted studio whiz Chris Shepard, who has worked with Elvis Costello, Sonic Youth and KMFDM.

Anybody on the fence about this show should take these 3 songs into consideration

No Route
Jesus & Mary Chain but a bit better. (bet a but bitter)
-----

DYI
Glam against punk sung by punks against glam. Straight outta Rocky Horror.
-----

Shoes
Mott the Hoople w/o the dumb shit. Van Morrison w/o the Horns.
-----

Crow has one of the great rock and roll voices of our time. Almost as good as Lasche.
BTW, this album is all over the place, none of these songs are indicitive of anything else on the album.

FRONTSTAGE 101 FOR THE WEEK OF 6/5 - 6/9

MONDAY 6/5 - SEMISEXTILE
TUESDAY 6/6 - MORS ONTOLOGICA
WEDNESDAY 6/7 - CHURCH OF THE RED MUSEUM THURSDAY 6/8 - THE CROWN JEWELS FRIDAY 6/9 - RYAN SMITH

Frontstage 101. Weeknights at 9.
_________________
Sunday nights from 10p-12a and Thursdays from 11p-1a. Listen live at 101.1fm or online at http://cd101.com .

BlogThis!
scamp radio (oh shit... and beyond)
Friday, June 09, 2006
MORS ONTOLOGICA
"DEAD AND/OR FAMOUS"
(VSS RECORDS, 2006)

It's like living in the 1970's all over again. I've been to Columbus a couple of times, but I ain't ever driven into town on a Harley Davidson... maybe that's the key to the chrome underworld where the Olentangy meets Nessie. The Godz created this motor hell, Rep & The Quotas are the gatekeepers- and Mors Ontologica are standing at the gates awaiting their ultimate gray-haired judgement. Short and sweet: they are just on the cusp of capturing an extremely original but classic hard rock sound (much like The Godz and The Quotas) without seeming to stray too far off the mark. Their new album, "Dead and/or Famous," is at it's best when the subject matter dabbles in familiar territory but given a sincere and personal spin, such as on "DYI," "Me and a Gun," "45 Revolutions," and "Lazy Suicide," whenever the subject matter strays into anti-corporate shitspeak generalities the results are pretty terrible (imagine a Jane's Addiction armed with a weak strain of Fugazi-esque politics). Thank the lawd, that good blows the other shit out of the water so that you end up with something that is ultimately worth your time to listen to. Obviously the group has some sort of punk-rock ideology, as they seem allow fairly inferior songwriters an even share in the final release, but perhaps that ideology a shortcoming of the band. Promote the Bon Scott/Stiv Bators/??? singer to handle the singing; his voice is amazing, filled with the type of nuances that get you to pull out the lyric sheet and read along with the music (for songs like "DYI," "Lapse Relapse," and "Me and a Gun," I wish I could read a long with the music) like some giggly girl reading the Lennon lyrics on "I Am The Walrus." I am the walrus, and I assure you that you will be frustrated (not disappointed) with "Dead And/or Famous," because if you cut away the derivitive and hesitant Mike Patton-isms which cloud up about 1/5 of the album, you are left with (surprise!) a seemingly timeless, and invigorating work, that only uses obvious influences such as the Godz, Mott the Hoople, Aerosmith, Alice Cooper, the Dead Boys, and AC/DC as the foundation of their adventurous dynamic. Let's hope Mors Ontologica can build from their many strengths and leave some of those punk ideologies behind; I really can't wait to see what they do next, but this one should have me content for quite a while. Go to VSSrecords.com

June 3, 2006
USEDKIDS.COM
have you gotten your local music fix? NEW RELEASES
from USED KIDS
FINALLY!!!!!!!!!!!
THE NEW NECROPOLIS ...available on LP and CD...you must buy
and...
BRAND FREAKIN NEW MORS ONTOLOGICA on CD
we all agree this CD is mas gut

Jun 14, 2006 1:43 pm Post subject:
donewaiting.com friendship farm?! Forum Index -> Album and Concert Reviews
Favorite Local Release So Far This Year??
While I love Western Reserve and all things Necropolis, I have to say that Dead and/or Famous is probably my absolute favorite. I understand that Mors has gone through some style changes and I recommend that anyone who has preconceived notions about them being some kind of blues outfit should forget them.

Dead and/or Famous is full of edgy songs that will rock you socks off. If you aren't tapping your foot, slapping the steering wheel or trying to retsrain yourself in public while listening to your I-pod, check your pulse because you're dead. 45 Revolutions, Lovesick, D.Y.I. and Lapse/Relapse are the garage rock lover's dream.

There are also some other really amazing songs on here I just love. Uneasy is quirky, smooth and sultry and Shoes really is just beautiful.

The understated song that did not jump out at me the first couple of times through is Life in a Box. Really catchy song with a great hook and I could imagine it getting some serious attention. It does have a more maintream radio-friendly appeal.

What I like best about Dead and/or Famous is that each member of the band seems to be giving 110% the effort. There are so many great guitar riffs and base lines. The drumming is clean and sharp, and brilliant keys and vocals. Everybody gets to shine.

The overall feel of this record, for me anyway, is a sense of hopelessness (i.e. there are three songs about suicide), but I get from this that maybe sometimes it is just enough to get through/survive the day. It's honest. It's a great record.

Mors Ontologica
7 - Offramp Stage
This Washington Beach quartet has been kicking out some fiery jams for a few years now, but now, for the first time, they have a full-length CD. 'Dead And/Or Famous,' a fine album that you can read more about here, is a definite front-runner for my favorite album of the year. In case you have any doubt, let their rowdy, yet musical, stage show convince you. -- Patton

oh yeah and look how cute Crow looks in this picture:

http://www.columbusalive.com/2006/0622/images/m-playlist.jpg
Columbus musicians' favorite records

By Crow

I'm not sure the world needs another list of records. I know there's nothing much left to say about Iggy, Lou, Bowie, et al, and I ain't gonna waste your time trying to look cool talking about the Holy Modal Rounders or something. So here's some records I've been listening to in this drunken summer of our discontent.

The Blue Revision, "Day Terrors"

This record starts off all pissed but gets pretty depressing real quick. It's the perfect thing for drinking by yourself trying to drown out the nasty voices in your head. It really wells up from deep within the shadow of a fading heartbeat, man. Gives me chills every time.

The Donnybrook Boys, "The Donnybrook Boys"

I think this is self-titled, but I can't remember right now (hangover). This is an awesome party record. It brings me to some mystical eternal Saturday night house party with six kegs of Guinness and eternal blunts, hanging with skins and street punks and dancing all night long. Nobody fights except for fun, you wake up with strange bruises in a basement somewhere and there's a few cold beers left in the morning. You'll want to sing along and break stuff the first time you hear it, I swear.

A Slipping Glimpse, "Earth Mach 3"

This is one of those records that just keeps changing from moment to moment. Is it punk, hardcore, psychedelic, rock 'n' roll, art rock? I don't know and I don't care, 'cause it has all the right moves and it moves me. It's the smartest rock record of the year, but it's grounded in the gutter.

Kola Koka Death Squad, "Kola Koka Death Squad"

More rock from two people than should be humanly possible. Brutal, soulful, nihilisticlike the Rolling Stones being smashed with sledgehammers by the cutest little girl you know. It's really great for getting wasted with that special someone and passing out in the middle of sex.

Heroes of History, "You'll Love Us When We're Dead"

This isn't actually out yet, but I managed to get my grubby little hands on an unmixed/unmastered bootleg and it REALLY REALLY REALLY ROCKS! Less sci-fi than the previous EP and more death, murder and revenge than you can shake a stick at, it's like some weird Dead Boys/Ramones/Nick Cave mutant zombie love child, and it's so damn negative it makes me smile for days.

Crow is the keyboardist/vocalist for Mors Ontologica, who will perform at Comfest's Off-Ramp Stage at 7 p.m. on Saturday, June 24.

Show Previews - Triple threat

With cold weather upon us and fewer touring bands making their way through town, it's up to the local talent to give us a reason not to hibernate through the winter. The best impetuses to get out of the house are the eclectic ones, and it doesn't get any more diverse than the bill at Skully's Music Diner on Friday, December 9, featuring a trio of locals: the Lab Rats, Two Cow Garage and Mors Ontologica.

The Lab Rats are a duo that combines turntablism with live instrumentation, concocting a funky (in both senses of the word) hip-hop brew. Two Cow Garage are a trio from the other end of the spectrum, chugging out blue-collar rock 'n' roll littered with just the right amount of country grits. Mors Ontologica, on the other hand, is a band of an entirely different breed, grafting artful skronk with a good deal of barroom huff. What the three acts share is an aptitude for what they do, so it should be a good night of Columbus making its own fun.

-Stephen Slaybaugh

Cringe.com 12/13/05
http://www.cringe.com/current/

Later Friday night I went back to Skully's for the well-rounded bill of Two Cow Garage, Mors Ontologica and the Lab Rats. While I'm not a huge Two Cow fan, they almost never disappoint in terms of raw onstage energy. This was probably the weakest and uninspired I've ever seen them on stage. But for Two Cow that means it was fun and full of energy rather than being rockingly transcendent. I usually describe Mors Ontologica as schizophrenic - a mixture of early New York experimental punk (early Talking Heads, James Chance), some sort of take on War/Steely Dan and some raw 50's influenced rock. Sometimes it comes together as a form of psychedelic Hawkwind space rock noise. Sometimes it doesn't.  While maybe not their most inspired show either, they mixed all those styles pretty evenly across the set which keeps an easily bored person like me quite happy. The Lab Rats (pictured) were last. Their "thrift shop hip hop" tag probably says it as well as I could. One of the things that sets them apart is that their rapper plays some guitar solos and their DJ plays some pedal steel, percussion, keys and probably anything else ya might hand him. I guess stylistically they're a bit like a slimmed down, less aggressive sounding Beastie Boys, but that could just be my limited exposure speaking. It's fun, danceable and I like much of it.

TEAM COLUMBUS! and Donewaiting.com
Posted by Andrew Patton at 01:28 PM October 01, 2005

High Five last night (9-30)
I knew I was in for a treat last night when I went to see Heroes of History and Mors Ontologica at the High Five. Both have been strong lately, as the VSS Empire is getting primed for world domination. I was sadly unprepared, however, for the awesomeness that is The Wayward.

The Heroes rocked shit as usual. Pat's "clean channel" (?!?!?) on his amp is busted, or something, so their two staple ballads (and my favorite Heroes song that they don't like to play) were out the window. So it was full-on hard rock assault. Though there were a few technical difficulties, it was still another good set for the boys. Their album You'll Love Us When We're Dead will be released on VSS sometime in the near future, so play like Team Columbus and be vigilant.

Woodsbridge, VA's Wayward was a proggy metal dream. It was just a guitar, bass, and drums, but with the notes and rhythms being cranked out, it felt like there had to be at least five dudes up there. The guitarist also sang, but with the metal onslaught being laid out around him, the vocals were pretty hard to make out. Though they have some brainy material, their songs are all about riffs coming in at the right time to keep the rock going (and to keep your brain from exploding). There was some '80s Metallica thrash with alot of the spirit of the current instru-metal bands now. I'm having a hard time describing these guys, but my friend Lucas and I, the two guys in the whole bar rocking out to this set (well, maybe Demetrius too), were blown away. They are supposedly coming through Ohio again in January, so check it!

Of course, Mors wrapped up the show with some more fine hard rock. Though I've seen them a fair amount of times now, I still don't have a great description of their sound, so I'll just say they are a loud rock band with keyboard and saxophone. Sexy. They kicked out some new material last night, which was pretty sweet. These guys always pack alot of energy into their sets, which is oh so necessary when you're playing (or watching) at 1:30 AM.

So yeah, rock was had by all (and all was not nearly enough people, people). Mors and the Heroes are playing The Basement next Saturday (October 8th) with the Kola Koca Death Squad, which should be hella sweet. And the Wayward is in the middle of a 10-week tour(!!!), so at least visit their website and check em out. Rocksome.

Big Takeover, Issue #56
p. 198 - Jack Rabid's Other Reviews

Various - Workbook Studio 25 Hour Grand Prix (Reverbose) "Here's the idea: Take 25 Columbus, OH-area bands, give them each an hour to record a song with one of five alternating engineers, and finish a 25-band compilation in 25 hours over October 15 & 16, 2004.  If the compilers hadn't told you the background, though, you'd be none the wise, as Workbook Studio betrays not one scintilla of being a rush job.  It's hard to sum up so many artists quickly, but the smashing, intense post-punk of such bands as House of Heroes, TUML, Pretty Mighty Mighty, Semisextile, Mors Ontologica, and the two best tracks by the only two bands I knew, Miranda Sound and The Stepford Five, are a good way to grab attention. Some folk falls flat, a couple of women badly oversing, and there's some punk-funk-junk I can do without, but overall, this is a revealing document of something only the locals knew existed."

February 24, 2005 - Columbus Alive
Mors Ontologica
Used Kids Records
Saturday, February 26

It is rare for a band or record label to completely forego the CD format when putting out a new release. But thats what Mors Ontologica and their VSS (Very Small Scene) label have done with MOs new Dont Cry. The eight-track EP was pressed to 500 vinyl copies, with the label planning to make the entire thing available for download through their website. It may be a sign of things to come; given the increasing prevalence of Internet-delivered music, CDs may be rendered obsolete and vinyl may resume its role as the prominent physical music carrier.

Locally based, Mors Ontologica make a hearty noise that recalls that of the Ex. (The band also seems to share a similar worldview with the Dutch socialists, talking about how its not useful to subjugate the process to a capitalist ideological template in their press materials.) They mesh rough vocals and ragged guitar riffs with sax squawking into an idiosyncratically swaggering of rickety rock that quickly ingratiates.

Stephen Slaybaugh

January 20, 2005 - The Lantern: Arts