Ernest D’amaso, Michael R.P. Morales and Willie Chen created Generator Ohm in 2010. Their union, facilitated by the genesis of EndAnd, took place in the heart of Brooklyn. Because of the friendly, cooperative, and productive environment of King Killer Studios, where Gen Ohm calls home, their certain fate was sealed on the terms of the affable and the dreamer. This was a place where musical endeavors could blossom: A place where work could be accomplished. And by the summer of 2012, Generator Ohm had produced in the company of the venerable Dan Kramer, a record of their last two musical years, a record of high fidelity.
Generator Ohm’s debut album, Upon the Me Om I, is an aural panacea against the spirit of sloth settling in digital sediment. We play with dirt and find creatures of life between our fingers. We jump the tires and see with closed eyes what is on top of that summit beside us. We forget to bring our cameras, and settle for focusing on the things we want to remember. We take the day on our backs, and unpack the burdens at night to seek the fruits of a bard’s labor. We do it the way we heard our heroes do it; with guitars, drums, and our voices. But, we have something new to talk about. We have a new set of sounds to express, and a new set of tools to use. Upon the Me Om I is a genre-bending collection of songs written by Ernest D’amaso, or by Willie Chen, or as a collective writing unit. With this infrastructure of writing akin to the Beatles, a vast array of personal influences can be heard, and the listener will be surprised at the range of ability Generator Ohm can express. The two gentlemen even swap instruments so that their individual styles change with the frequencies of the songs. While the songs are different, the tie that binds is the spirit of Rock n Roll that all three members hold to high esteem. Michael, who came late into the band after the songs of Upon the Me Om I were constructed and arranged, brought the fulfilment Ernest and Willie long sought for in the second year of Generator Ohm. His eclectic style of varied influences from jazz and world music, to pop and punk was the exact rhythmic counterpart Generator Ohm songs needed. And as a man of high stature, the power he puts into his playing sounds like that of a man who can reach higher than you can. This is the sound of passion. It’s Elton John through a Marshall stack, it’s Pink Floyd hiring Tommy Ramone, it’s Leonard Cohen with a fuzz pedal and Hendrix without the blues scale. There are Pop sentiments everywhere hidden under the raw tone of Ernest and Willie’s unpredictable playing styles. This is an album that will stand in perpetuity. It is an album on the mantel in the annals of distortion. It is neo and classic…but not neo-classic. To truly understand Generator Ohm’s pursuit of passion, one must see with their own eyes and hear the music as it is produced by the electricity of the human heart.
Generator Ohm refers to the heart in every man and woman, and the resistance they must face when accepting the will to live.”
King Charles the Martyr
Inspired by the temperament of Mr. Charles Edward Malcolm Berry, King Charles the Martyr aims to reconstruct the Mississippi whiskey sounds of a forgotten generation. Corrupted by the wandering radio waves and phonographic debris of their previous lives, the dizzy lads of King Charles the Martyr pump out a rock and roll mash hardly recognizable to modern ears. The up-tempo melodies spilling from the fingers and feet of King Charles demand dangerous dancing and drunk dreaming. King Charles ain't peddling gold or diamonds - unconscious gyrations and illicit speculations are the currency this band trades. So, grab a warm bourbon and a pretty lady and come break a sweat with King Charles the Martyr.