THE DOOMED & STONED SHOW
It’s time to cut loose mighty Episode 5 (nearly 3 ½ hours!), which begins our look at the Spring edition of the Doom Charts, starting with the month of March. We’ll be meeting to record episode 6 next week, which will focus on April’s chart. Here’s your chance to catch up on a ton of new music and relevant commentary about the bands and tracks.
Hosted by Billy Goate (Editor, Doomed & Stoned), John Gist (Vegas Rock Revolution), and Bucky Brown (The Ripple Effect).
PLAYLIST:
INTRO (00:00)
1. DRYAD (no. 21) - “Gaia” (00:31)
HOST SEGMENT I (06:03) - March Doom Chart
2. Heezer (no. 25) - “Fourth Line” (24:03)
3. Goat Explosion (no. 16) - “Thundertower” (27:34)
4. OHHMS (no. 38) - “Eaten Alive” (32:16)
HOST SEGMENT II (36:13)
5. Swan Valley Heights (no. 12) - “Looking For Bird Pet” (51:07)
6. Zålomon Grass (no. 17) - “Cosmic Relief” (55:25)
7. Desert Storm (no. 13) - “Master of None” (58:57)
HOST SEGMENT III (1:02:59)
8. Witchthroat Serpent (no. 10) - “The House That Dripped Blood” (1:13:02)
9. Morass Of Molasses (no. 9) - “Wings of Reverie” (1:18:57)
10. Stoned Jesus (no. 8) - “Thoughts and Prayers” (1:24:27)
HOST SEGMENT IV (1:30:50)
11. Isaak (no. 7) - “OBG” (1:40:40)
12. Green Yeti (no. 6) - Witch Dive" (1:44:10)
13. Witch Ripper (no. 5) - “Icarus Equation” (1:48:14)
HOST SEGMENT V (1:55:33)
14. Håndgemeng (no. 4) - “Temple Of Toke” (2:29:21)
15. CHILD (no. 3) - “Moment in Time” (2:34:26)
16. REZN (no. 2) - “Possession” (2:41:21)
17. Acid King (no. 1) - “Beyond Vision” (2:47:17)
OUTRO (2:53:23)
18. L'ira Del Baccano - “Cosmic Evoked Potentials” (2:54:31) [BONUS]
19. Black Helium - “The Keys to Red Skeletons House (I Open The Door)” (3:01:09) [BONUS]
CREDITS:
- Theme Song by Dylan Tucker
- Incidental Music by Hellvetika
- Thumbnail Art by Adam Burke for REZN
Morass of Molasses Reveal First Single + Music Video from ‘End All We Know’
Every time I hear new material from MORASS OF MOLASSES, they seem more and more relaxed into their sound. It’s one thing to play the blues, but it’s quite another when you are the blues, like guitarist Phil “the Mountain” Williams in his solo on “Naysayer.” It’s the first single from the Reading heavy rock trio’s forthcoming third Long Play.
The song begins with busy early morning drums c/o Raj “the Guru” Puni and a dab of tone from the bass and guitar. Melody develops smoothly, like coffee before dawn. A Sabbathesque guitar v. bass counterpoint erupts, notching up the volume. Frontman Bones “the Beard” Huse is riled up, full of adrenaline, high on life. He brings us a lyrical stream of consciousness (“Your eyes, so blind, to sin/This weight, my neck, so thin”), delivered with raspy honesty and the kind of gusto that makes you wanna raise your fist and join the cause.
This and the 7 others on End All We Know experiment beyond traditional stoner-psych-garage boundaries, venturing into jazzy paradigms and taking progressive strides, all Southern fried in an “Iron Man” skillet.
Says the band:
The album is the first album we have written without first touring the material, and as a result all the songs were written remotely by sending ideas to each other. This led to a far greater degree of experimentation, and bravery in our songwriting scope. These then coalesced into a dynamic sweeping sonic vista, broader than anything tried before,“ the band explains.
End All We Know by Morass of Molasses is a swampy, heartfelt banger for fans of Orange Goblin, Elephant Tree, Green Lung, and Mos Generator. Issued on vinyl, compact disc, and digital formats via Ripple Music on March 24th (pre-order here).
Check out the music video for fourth track, "Naysayer,” which Doomed & Stoned is premiering today. Its muted colors remind me of better days.
Give ear…
SOME BUZZ
Swamp master generals of the Reading scene, Morass Of Molasses create a rich blend of lumbering Heavy blues riffs and emotive vocals. They have effortlessly established themselves as a force to be reckoned with live, and have shared stages with such luminaries of the scene as Crowbar, Orange Goblin, Ohhms, Elephant Tree, Desert Storm & Green Lung.
Their first gutsy performance at Bloodstock Festival in 2015 helped propel them into a relentless schedule of touring. During which they self-released the EP ‘So Flows Our Fate’. Which garnered a tidal wave of critical acclaim and brought them into contact with Hevisike Records which released their debut Album ‘These Paths We Tread’ in 2017. Closely followed by momentous performances on Sophie Stage at Bloodstock Festival, and HRH Doom vs Stoner. In 2019 Morass Of Molasses unleashed the much anticipated second Album ‘The Ties That Bind’. Produced by Ian Sadler (Ohhms, Faymne) and released via Wasted State Records. They have also recently been confirmed to play DesertFest London in 2023
In the post-pandemic world, the band decided to release their 3rd studio Album ‘End All We Know’ (2023) via US label Ripple Music. With this diverse collection of songs Morass Of Molasses are set to continue their trajectory into their own unexplored musical territory.
Morass Of Molasses trajectory of evolution and experimentation continues where the last album left off. ‘End All We Know’ is born equally from the fertile ashes of frustration as the illuminating light of Hope. This record reflects a band fully immersed in their own transition into something new. Experimentation, which has always been their lifeblood, has now become the most defining factor.
Doomed & Stoned in England, Vol. II
We fought through the sickness, haze, and malaise of 2022 to bring you a brand new compilation before year’s end. This 48-band survey features acts from across England, a follow-up to our 2019 smasher! Big thanks to longtime Doomed & Stoned contributor Reek of STOOM for compiling and curating this powerful listening experience.
By way of introduction, he writes:
Re-emerging from the grim isolation of pandemic and lockdown, the latest incarnation of English bands express the freedom and ambition of the post-COVID age. Striving ever onwards and upwards, The English Underground scene is as vibrant and vital as ever!
As with all our compilations, this is a free download. Our intention is to give you a current snapshot of the scene with a spectrum of heavy sounds to move you and grove you. If you dig a track, click “info” to follow the band and get their music!
Give ear…
Interview with Explosive UK Band Morass of Molasses
It was just a few months ago that Doomed & Stoned was bringing you new sounds from Reading, England heavies MORASS OF MOLASSES, including a review of their latest album, ‘The Ties That Bind’ (2019). It’s a record that the UK trio have poured heart and soul into and they were more than gracious in responding to a barrage of questions we had about it. Now, prepare to get closer than ever to the band as Doomed & Stoned brings you this exclusive, in-depth interview.
The Doomed & Stoned Show
It’s time for us to take a look at the top spins of the underground bloggers, album reviewers, DJs, and podcasters from the Doom Charts. What gems did June’s chart hold? Find out as Billy Goate (Doomed & Stoned) and Bucky Brown (The Ripple Effect) play their favorite tracks from the Top 25, including music by Beastwars, Duel, Nebula, Roadsaw, Slomatics, and much more!
PLAYLIST:
INTRO (00:00)
1. Forrest - “To Lose A Whale” (00:25)
2. The Lumberjack Feedback - “Therapy” (03:28)
3. Drug Hunt - “Tristeza” (10:05)
HOST SEGMENT I (16:37)
4. Wolf Blood - “Opium” (26:35)
5. Black Galaxy - “Death Monster” (28:57)
6. Clouds Taste Satanic - “Pagan Worship” (33:23)
HOST SEGMENT II (40:59)
7. Green Lung - “Woodland Rites” (44:27)
8. Irata - “Tower” (49:02)
9. Duel - “Broken Mirror” (51:47)
HOST SEGMENT III (55:52)
10. Old Horn Tooth - “Follow The Demon” (1:02:37)
11. Saint Vitus - “Bloodshed” (1:15:49)
12. LowFlyingHawks - “Doors to Nowhere” (1:18:53)
HOST SEGMENT IV (1:25:39)
13. Morass of Molasses - “Death of all” (1:31:15)
14. Mammoth Storm - “Alruna” (1:35:36)
15. Doomstress - “Sleep Among The Dead” (1:43:26)
HOST SEGMENT V (1:50:22)
16. El Supremo - “Julius Pleaser (Rides Again)” (1:59:22)
17. Kaleidobolt - “Deadpan Blues” (2:05:26)
18. Lo-Pan - “10 Days” (2:11:25)
HOST SEGMENT VI (2:14:44)
19. Flesh of the Stars - “Rites” (2:19:17)
20. Valley of the Sun - “Faith is for Suckers” (2:26:00)
21. Eternal Black - “Sum of All Fears” (2:29:31)
HOST SEGMENT VII (2:34:25)
22. The Red Widows - “There Is No God” (2:40:19)
23. Salem’s Bend - “Ride The Night” (2:50:40)
24. Lightning Born - “Renegade” (2:53:49)
HOST SEGMENT VIII (2:56:17)
25. Roadsaw - “Under The Devil’s Thumb” (3:02:38)
26. Nebula - “Let’s Get Lost” (3:06:33)
27. Beastwars - “Storms of Mars” (3:11:13)
HOST SEGMENT IX (3:15:54)
28. Slomatics - “Telemachus, My Sun” (3:20:10)
OUTRO (3:27:49)
*if you dig the music, please show the bands some love. Info on purchasing the albums featured in today’s broadcast is available at www.DoomCharts.com).
Help The Doomed & Stoned Show to keep streaming strong by becoming a monthly ‘High on Fiver’ supporter at patreon.com/doomedandstoned. Patrons receive an exclusive show with Billy Goate’s choice picks from each month’s crop of new releases. Thank you for love and support!
Morass of Molasses Herald the “Death of All” in Fierce New Music Video
Just the other night, I was going through a couple dozen new releases. “Heard that riff before – skip!” It was pretty frustrating, actually. I long to hear fresh voices within a genre that, admittedly, is quite popular with both bands and fans, but can quickly get stale when you hear the same damned riff and rhythm played over and fucking over. What a delight, then, when I took ‘The Ties That Bind’ (2019) for a spin, the latest record from bluesy doom unit
Quite immediately, you could feel the joie de vivre in that opening number, “Woe Betide.” There nothing trite or carefully contrived about this band, consisting of Bones The Beard on bass and vocals, Phil The Mountain on guitar, and Raj The Guru on drums. They’re 100% committed and it makes a difference not only in their performance, but their music choices throughout. When Morass of Molasses sing about the “Death of All,” you feel the urgency. Occupying a space somewhere between Down, Doomriders, and Dozer, the Reading rebels affect a style I’d simply refer to shorthand as stoner-sludge, but perhaps it’s a compliment to the band that it felt tough for me to describe everything they’re doing on The Ties That Bind, outside of an oath: “Damn, this is bitchin’!”
“Death Of All,” Bones tells us, “is about the concept of Ego Death, in which a person has a complete loss of their subjective self-identity. Throughout the track, the ‘pulse’ veers back and forth between the calm, and frenetic feelings that this state induces.”
The greatest sin in any medium – movies, television, books, and music – is to be boring. That’s especially a danger with longer, slower numbers, where the strength of songwriting can be easily be exposed as thin and weak. Not so with Morass of Molasses. “Estranger” is a bonafide slow-burner that serves up steamy blues, dragged straight from the Mississippi Delta. The dissonant chords are especially effective when contrasted with the stingingly sweet solo passages.
“The Legend Of The Five Suns” delves into folk territory, a serene number that would make a great companion to “Space Cadet” by Kyuss. The song features guest appearances by Sian Greenaway from Alunah on vocals and Matt Ainsworth from Trevor’s Head on flute. It’s a reminder of how fitting wind instruments can seem in a heavier genre, in the right hands. A short improvised interlude, “As Leaves Fall,” sees the collaboration between Phil and Matt continue for another minute-and-a-half. Sian will make an encore appearance in “The Deepest Roots,” which closes out the record (don’t miss the irresistible vocal harmonies toward the song’s second half).
Nuanced musical choices abound throughout the album and this is no less the case in the fiery “Persona Non Grata” or penultimate track, “In Our Sacred Skin,” where unusual beats, gentle turns of a phrase, and witchy blues riffs make each song immediate and engaging. If it feels like there is a narrative afoot here, your instincts may be correct and I look forward to the opportunity to ask the band myself about it in the days ahead. Fans of Sourvein, Mad Season, and even Mos Generator will find much to love here. Look for The Ties That Bind on June 7th, releasing on Wasted State Records (pre-order here).
Give ear…
Some Buzz
June 7th will see Swamp master generals of the Reading scene, Morass of Molasses, return with their sophomore album on Wasted State Records.
The low-tuned trio creates the kind of lumbering heavy blues riffs which induce involuntary head nodding; finally Morass of Molasses awake from a brief slumber and emerge from the shadows to deliver their latest musical offering, 'The Ties That Bind’! Taking on an altogether more earthly visage, this album is framed by themes of human connection. It delves into the deep-rooted interactions we share with each other and ourselves. The Dark Forest motif that runs throughout this collection is the manifestation of these themes and uses familiar archetypes to guide us on this journey.
Effortlessly establishing themselves as a force to be reckoned with, the promising career of Morass of Molasses has already seen the band sharing stages with such luminaries of the scene as Crowbar, Orange Goblin, OHHMS, Vodun, Elephant Tree, Desert Storm, Vodun, Mammoth Weed Wizard Bastard and many more. Their first gutsy Jägermeister stage performance at Bloodstock Festival helped propel them into a relentless schedule of touring.
During this time, they released the self-funded debut EP, 'So Flows Our Fate,’ which not only garnered a tidal wave of critical acclaim but also brought them into contact with HeviSike Records. The very label which released their debut album 'These Paths We Tread.’ Closely followed by another momentous performance to a packed Sophie Lancaster Stage at Bloodstock Festival. More recently they impressed crowds at Desertfest London and HRH Doom vs Stoner at the O2 Sheffield.
The original lineup of Morass of Molasses met back in 2013 at a gig in Reading. The band name was inspired by an article on Wired.com about the Boston Molasses Disaster, where a giant storage tank of Molasses exploded, sending a wall of thick sticky syrup through the streets of a Boston neighbourhood. The headline for the article was 'Morass of Molasses Mucks Up Boston.’
When Morass of Molasses unleash their second album 'The Ties That Bind’ on June 7th with Wasted State Records, coming as CD, Vinyl and Digital formats, better be prepared for a musical exploration: Heavy low-end walls of sound blended seamlessly with delicate introspective passages!
Morass Of Molasses Dish Out
A Stew of Doom and Heavy Blues
By Billy Goate
It’s been a pair of years since we last heard from MORASS OF MOLASSES. Having followed the Reading trio since the demo days, I was impressed by the rigor of their debut EP, ‘So Flows Our Fate’ (2015). I had no idea that their follow-up record – a seven-track full-length – was going to match that fearless performance and, in many ways, exceed it. 'These Paths We Tread’ (2017 - HeviSike) is yet further evidence that the United Kingdom hosts one of the heaviest scenes on the planet today, period. Bands like Morass Of Molasses, OHHMS, Ghold, Sea Bastard and their contemporaries are painting on a massive canvas with colors heretofore only hinted at by their predecessors.
Those enamored with the sludgey songs Morass Of Molasses served up in the first go 'round will not be disappointed in the slightest by these new numbers. Indeed, the Bloodstock alumni continue to earn their stripes as swamp master generals on These Paths We Tread. Frontman Bones “The Beard” Huse has always had a way with storytelling, drawing inspiration from mythical archetypes and backwoods folk tales. The songs are further enhanced by the virtuosity of guitarist Phil “The Mountain” Williams, whose brilliant flourishes and bluesy solos recall Corrosion of Conformity, Mos Generator, and the heavy metal panache of late '80s. Drummer Chris “The Beast” West joins The Beard on baritone guitar to give us one hell of a headbanging beat (I dare you to sit still during even one of these songs). All of the parts work together in exciting synchronicity, making this a record you’re likely to listen to in several consecutive spins, as did I.
“My Leviathan,” the song Doomed & Stoned is premiering today, is an impressive start to These Paths We Tread. The track is replete with thoughtful details, like those delicate opening moments that lead into a foreboding, melancholy theme. When the vocals arrive, we feel them in a powerful way. The singing morphs from stoic calm to unbridled rage. The riffs are hefty, the rhythm tight. Morass Of Molasses are masters of contrast, juxtaposing gentle rain with fearsome thunder. The net impact is a solid emotional punch that is bound to linger in your memory.
Give ear…
These Paths We Tread was engineered and mixed By Matt Bew at Whitehouse Studios and mastered by Neil Pickles at Reveal Sounds. The album cover is work of UK artist Dominic Sohor, who also did a masterful job of conceptualizing their last record. The album drops May 19th via English label HeviSike, which released the Morass Of Molasses EP, as well as music by fellow UK bands Trippy Wicked, Bright Curse, Stubb, Prophets of Saturn, Grifter, and Gorilla. Stay tuned to www.hevisike.comfor additional details about These Paths We Tread in weeks ahead.
Track Listing:
- My Leviathan
- So They Walk
- Serpentine
- The Ritual
- Centralia
- Maenads
- Wrath Of Aphrodite
‘So Flows Our Fate’ by
Morass of Molasses
By Melissa Marie
About a year into their existence, Morass of Molasses now have a four-track EP with “the kind of lumbering, swampy riffs that induce involuntary head-nodding and deep, dark groove appreciation” (an apt description from the band itself). For me, this was a very highly anticipated release from one of the most promising of the up-and-coming UK stoned sludge bands. The Reading trio have created pure sonic art by carefully mixing stoner rock riff worship with copious amounts of sticky sludge, the kind you’d expect of a band called Morass of Molasses.
Those that keep a close eye on all that Doomed & Stoned does should have Morass of Molasses on their personal radar, especially after our interview with Bones, Chris and Phil a few months back (it’s fascinating, you really should give it a look). If you’re late to the show, no worries! Today, I’m going to give you the run-down on their new EP, So Flows Our Fate, the culmination of a year’s hard work. Or, in the band’s own words, “A forging of heavy, swampy blues and delicate haunting melodies.”
Morass of Molasses may be new, but already they’re showing the potential of a top-tier band. So Flows Our Fate starts with “Rotten Teeth,” which is an immediate attention-getter. It begins with some guitar fiddlings reminiscent of a fuzzy Truckfighters vibe. “Rotten Teeth” will go from high energy to slowed-down parts with whispered vocals, to heavy, in-your-fucking-face doom, then back to quiet before returning to the original motif that began the song. Some parts are light and misty, while others make you wanna let your hair down and headbang. “Rotten Teeth” is rather unpredictable, which is something I find refreshing in a doom-sludge scene that’s often oversaturated with sameness.
The following track, “Ashtabula,” carries many of the same stylistic distinctives of the previous song, which you’ll hear throughout the EP. The most noticeable quality of “Ashtabula” is the how groovy it is. Like the previous track, this one will incite a physical response without the listener even realizing it. One of the unexpected characteristics to “Ashtabula” is the hazy undercurrent. You’ll experience ambient moments mixed in with the most addictive groove. While some may be bored with generous amounts of atmosphere, it’s not overwhelming and manages to stays interesting with Chris belting out a massive percussive storm. Whether Bones is whispering or growling, he is successful in making it melodious. While this is the shortest song on the record, I would argue that it is the most memorable.
Let’s slow things down for the next track, “Fear To Tread.” Welcome back to pounding drums and distinct riffing. Morass of Molasses achieve a lot of tension in this song and it grows all the more sinister, just as the title suggests. “Fear To Tread” transitions us right into “Bear River,” the last track. This is my favorite track for a number of reasons. Number one? Fuzzy riffs, of course! While “Bear River” does have its mellow moments (including a rather haunting intro), I love this song because it’s boisterously noisy. While Morass of Molasses aren’t trying to outdo anyone in terms of volume, they amp it all the way up for the record closer. Pay extra attention to what happens about five minutes in, when the band speeds things up and throw a fun guitar solo into the mix. What a great way to end their debut EP!
So Flows our Fate very well may be the beginning of something wonderful for Morass of Molasses. These three guys have tinkered and fine-tuned the catchy stoner rock we all love by adding in evocative melodies, distinguished statements, and swampy sludge metal. They’ve wasted no time in hitting the road, spending most of April in back-to-back performances to get audiences better acquainted with them.
The thing I respect most about Morass of Molasses is that they are simply endeavoring to be who they are. They’re not trying to have the fuzziest tone or become the planet’s heaviest band. They write songs from the heart, deriving inspiration from the strange anomalies of history. While they are not a prog band, I would love to see Morass of Molasses tread further into progressive territory. I am of the opinion that they could one day be in the same league as Elder. At just over half-an-hour, this EP is a fun as hell for the listener, whether you’re a fuzz junkie, a sludge addict, or just a casual listener looking for something different.
D&S Interviews
Morass of Molasses
By Melissa (D&S Midwest)
Photos by Oak Mist Photography
Not too many weeks back, Melissa traded words with UK sludgers Morass of Molasses. “Raised in the swamp to the Voodoo thump,” the three-member band promise to “rot your teeth” with a blend of “all your favourite sins” by way of the thick, filthy textures of their doom ‘n’ blues-laden sound. Lovers of both the UK and NOLA sludge scenes will certainly take delight in the “rich, odious syrup” of their songs. (BillyGoat)
Morass of Molasses is a relatively new band. How did everything come together for you guys?
We had known about each other about on the local scene in various bands, but never properly met. So after chatting one night at a gig, the idea to organise a rehearsal came about; all of us thinking we were only really going to have a jam. Yet from the moment we started playing there was instant chemistry. Two hours later, we’d written our first song ‘Rotten Teeth.’ It was all just there, right away, and we didn’t want to mess with it by getting other members. Our first gig was at the BBC Introducing night at The Oakford Social Club in Reading the following September.
You’re from Reading, right? What’s the scene like there?
Yeah we all live in Reading and the scene, especially for stoner-doom-sludge, is on the rise. Reading is like a little London, and tends to refelct what is going on there, so a lot of that music is starting to feed through here. People we meet, and see at gigs seem hungry for new underground music and want to go to great shows, with awesome bands.
I really dig your blues-laden murky sludge sound. How would you describe Morass of Molasses to someone who’s never heard of you guys?
Like a half submerged man slowing crawling onto dry land; Not yet completely visible. Dragging behind him all that he has experienced. Thick with mud, drenched with sweat. Feral, but subdued, waiting for the moment to drag you down.
Where’d the name come from anyway? There’s gotta be a story behind that.
It was inspired by an article on Wired.com about a disaster that happened in Boston on the 15th of January, 1919. A giant tank of Molasses blew up, sending a wall of thick, sticky syrup through the streets of a Boston neighborhood. The blast and the molasses flood killed 21 people and injured 150. The headline for the article was 'Morass of Molasses Mucks Up Boston’ In fact, our first song ‘Rotten Teeth’ was written about this very event.
Actually, my first exposure to you was in September last year when I came across “Rotten Teeth” and i just remember being floored so much by the lyrics…“Hold my eyes, so shut/ Rotten teeth, no luck.” The other songs seem to be written in the way, too. Can you tell us more about the inspiration behind your lyrics?
After the initial idea of the disaster behind our name (and our first song) the theme seemed to continue. More songs about terrible events in human history from a first-person perspective, as though we had experienced them first hand. “How would you react?” was the question we posed to ourselves. For example, another song, ‘Ashtabula,’ was written about a rail disaster that happened in 1867, and also ‘Fear To Tread,’ which is about the battle of Passcendale in World War I.
So you guys don’t have a bassist? Do you find it difficult for your music to not sound empty?
Luckily Bones is a sound engineer, and has worked long and hard on his particular tone. He uses a Baritone guitar played through both a guitar amp and a bass amp, as well as using two octave generator pedals. Needless to say, it sounds anything but empty. However, our sound is not static, but more fluid, continually evolving and improving.
Are there any American bands you’d enjoy touring with?
Probably one our favourite American bands right now are Elder. A tour with them would be amazing, and I think we would complement each other musically.
So what’s next for Morass of Molasses?
We are currently finishing off our EP in the studio, which scheduled to be released in April. As we are yet to have any label backing, this will be self-funded, unless our circumstances change between now and then. This means we are working hard to generate the funds for the release, as we are determined to have it on vinyl. One of our methods is a new band night we have started called ‘The Swamp.’ It is specifically geared towards stoner-doom-sludge bands, and has the aim of further expanding the growing scene in Reading. We are several shows in so far and the response has been overwhelming. It is the perfect way for us to give something back, while being able to help us release our record.
Thanks so much for taking the time to talk with Doomed & Stoned!
No problem, thanks for the interest. We’ll be sure to let you know when the EP is released.