Nashville-based singer-songwriter and guitarist Sebastian Mogan, the creator of The Rhythm Bullies, recently released a brand-new EP, The Dysnomia.

Explaining the EP, Sebastian shares, “In large part, I would say this album is kind of a rebuke to the post-modern times we live in. “On ‘Through the Glass,’ I am seeking truth and challenging the subjectivity of what truth can be. ‘Escape’ is a continuation of the title track, portraying with music the intense war of ideologies. One of the most personal is ‘So Far Away,’ a depressing, dissociative song written during a low point in my life a few years ago which practically runs the gamut of humanity as it tackles a search for truth amid isolation.”

He goes on to add, “On the title track, a lot of the lyrics address political opportunism – and I bring in the metaphor of Notre Dame burning because it was almost like a sign of the times. It takes you through a sequence which I equate to putting three Star Wars films in a four-and-a-half-minute span – with ups and downs and great triumphs yet we’re still left with an unresolved chord. The battle is between what the West was vs. what it’s trying to become, and how we see our own country in this age of people having different ideas about what the truth is.”

Sebastian, who is vision and hearing impaired due to a genetic disorder called NF2, despite his impairment has performed at The Venetian, Las Vegas, scored films, and played with Michael McDonald to raise money for NF2 research.

Produced by Bobby Holland, the EP features Jeff Coffin (saxophone) of the Dave Matthews Band, who plays on “Through The Glass,” a track Sebastian calls “a Fellini soundtrack meets Gogol Bordello.”

Encompassing five tracks, The Dysnomia begins with the title track, blending elements of Goth rock with potent garage rock. Riding a loose, brawny rhythm, Sebastian’s voice exudes the luscious impudence of punk rock grimaces.

“Escape From Dysnomia” opens on dirge-like coloration, trembling with delicious sleaziness as scrummy strings full of sepulchral suffusions imbue the tune with the black, ominous energy of symphonic rock. “So Far Away” conjures up hints of Ozzie on the intro, emanating eerie shadowy hues topped by Sebastian’s dreamy, rasping tones. When the drums enter, the tune takes on viscous, mid-tempo savors rife with imminence.

“Theo” rolls out on thick droning hues, and then mousses up to resonant textures topped by Sebastian’s intimidating, unsettling timbres, at once murky and portentous. A searing, fulminating guitar solo injects the harmonics with incandescent energy.

“Through The Glass” travels on a rococo melody full of gypsy flavors and squeeze-box tones. As the tempo shifts, gathering momentum, the tune takes on an edge of wild, fierce brio.

The Dysnomia is both imaginative and decidedly original, unlike most of today’s cookie-cutter music. Sebastian Mogan has a rare talent.

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