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A short, visible and audible exploration into (the ever-developing) Central Square in Lynn, Massachusetts. This once (fairly) quiet city center has now becom...

It’s been many moons since my last update/blog post. Roughly a year to be exact. I decided that in 2021 I would start focusing a little more on something that I have always wanted to focus on: Cinematography and Film Composition. I dabbled in the past but never brought myself to actually release anything.

I decided to get over this and just do what I wanted to do. Fuck it.

I wanted to do a short video on Central Square in Lynn, Massachusetts. Food, Art, Architecture etc. There’s a feeling in that city center and I wanted to capture it and hold it in my hands for a day.

Everything was shot on a Sony A7Siii with a G-Master 24-70mm/Ronin S Combination.

Visuals, Editing, Color Grading: Mosey Greams

Audio “Milkweed for Monarchs”: Mosey Greams and Valeska Gavotte

The music was an older piece that I had written in Thailand. When I got back I was asked to score a short film for the Salem Film Festival (Milkweed for Monarchs.) I knew I wanted the assistance of my good friend Valeska Gavotte (Kevin Leahy) to add some lush strings and his sharp ear for some producing/mixing. He delivered flawlessly as always.

In other news, we have new EP in the works and should be finished mid 2021. It has been a project in the works for roughly 3 years but it is coming to a close and we are thrilled to share it with the world.

Talk soon and thanks for watching + listening.

Love,

Mosey

2020 NPR Tiny Desk Contest Entry

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Very pleased with the way this came out and the work that was put into it. NPR holds their Tiny Desk Contest every year and every year I pass on it…

Why?

I guess it just never happened. But I wanted to do just the opposite this year and not only do it… But kill it!

We decided to shoot in the woods of Salem, Massachusetts. Already in a world of complete isolation and quarantine we wanted to take it up a notch and set up shop in the center of these reeds in the middle of the forest.

My partner Lauren had our 9 month old son (Mosey) strapped to her back and she handled all the cinematography/framing of this shot. She pushed me to play this song [Honing Hollow Stones] from the beginning. I was hesitant because it is one of the more difficult songs I have ever written. I back-burned it for years because of that reason. Yet, she urged me to do it and the more I played it I realized that she was right.

This. Song. Moves.

The triplets in the finger picking, the underlying message of the song and the rapid changes all pointed in the right direction when it came down to choosing this piece. I hope everyone out there can take something from it.

A very special thanks to Lauren + Mosey, my “shooting star of a Sister” Julia and to my dear friend Matt Page of Mapache Films who offered consult and input throughout the creation of this video. All of these people have contributed to this video as much as I did myself. Round of applause.

Good luck to everyone out there that enters this contest and good looks to NPR Tiny Desk for providing the quality content and intimate setting for songwriters in a world of constant hustles and shuffles. Enjoy + support the clip on YouTube if it moves you!

… Or maybe we don’t, just understand. Like a dog and a master, or a death and a laughter …

Tiny Little Treat: Shadow Boy

So incredibly thrilled to share this tiny molecular gemstone with your mind, face and brain.

Slow down. Where are you going? Where have you been?

A question you may have asked yourself recently due to COVID-19 and the lack of social interaction.

Perhaps it was:

  • In a bathroom stall

  • Eating a corndog that sucked

  • Full throttle drunky-poo in an outhouse

  • After that person in your life disappeared overnight.

I am sure you have been there. We have all been there.

Constantly lost in your own world - yet [somehow] always finding a way out. Somehow.

I’ve been there. Yet I’ve found myself knee-deep in great emotion after the birth of my first baby boy. Like an over-weight teen boy hunched over a plate of chili cheese fries: I had to give in. The long-legged short shadow boy by trade.

What are you gonna do?

This song was a special one for me. Are you switching lanes? Are you fully capable of driving in the first place?

Do you need a hand?

Sit down. Watch. Listen. This Shit Right Here.

x o x o - m o s e y g r e a m s

Nocturnal Parade feat. Valeska - Listen to the Collaboration

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“… Nocturnal Parade will take you by the hand, walk you into the forest and let you hang out there by yourself for a minute…”

When I began working with Valeska (Kevin Leahy) I knew I had struck gold. Always had it been a struggle to find musicianship with an individual who would understand the sound I wanted and be able to pinpoint it in a flash boil. This young man knocks it out of the part when it comes down the producing aspect, technicality aspect and overall craftsmanship of a piece of music.

We knew we wanted to flesh out a recording that we would be proud of. A recording with a particular facet and eye for detail. In fact, what you are listening to took roughly 3-6 months to complete. We took our time. Our sweet time. Some would say why would you do this? Just record a song and move past it…

Yet, after the few years that have passed on by - when I place these headphones on my head and listen to what we created I can’t help but want to cry. We were really proud of this piece and I don’t give a rat’s behind what anybody thinks. This is Nocturnal Parade. I wrote this song and Valeska titled it. We recorded it together.

Valeska and I still stay in touch but we haven’t found the time to release any new music together. He is always working on something brilliant and you can check out his bangers here.

Thirteen Important Questions & One Odd Comment - An Interview for The Noise

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MOSEY GREAMS
a.k.a. GUY ZACCARDI

Thirteen Important Questions & One Odd Comment

by Bradley Royds

Noise: How many lizards does it take to make Zaccardi-Saurian stew?

Mosey: Oh lordy… I can see what dimension we are traveling to for this gamut of polished questions. It takes three delicate saurians: Ambrose Bierce and The Devils Dictionary, an alternate guitar tuning for your everyday life and my father’s 19th century Victorian attic where the stew got a-stirring and the song got recorded.

Noise: Are all of your dreams blue?

Mosey: They were always more of a Greco-Roman sepia hue. That all changed when I resided in Portland, Oregon a couple years back to write and enter the nucleus of my songwriting. It was then when Mosey Greams floated down from the skyline offering frankincense and blue, blue dreams. I had to jump in his skin suit—I had to take the deal.

Noise: Did you cry when Bambi’s mom died? In other words, tear-for-deer or time for venison?

Mosey: It was more of a Tears For Fears moment for me. I embraced the casualty and then face planted into a homemade venison burger the proper way that vegetarians don’t. Although, there will always be a cryogenically frozen tear (in my heart) for that deer departure.

Noise: International Beer-Pong tournament, mixed doubles: Obama-Venus Williams vs. Putin-Anna Khournikova: who takes the trophy?

Mosey: Not a big fan of anything you just said. Obeenus and Putinkova can do anything they want as long as it is not in my radar. However, if you were to ask who would win a clean, sportsman-like competition of Edward Forty Hands: My little lady, or I? I would humbly admit to an ample draw.

Noise: Tattoos: art in an embrace with the human form, or garish artifice in the desperate quest for cool?

Mosey: What’s a tattoo and how does it work? My epidermis is a virgin to the ink, but I dig ’em. I am juggling the thought of getting the Pee Wee’s Playhouse blueprints inked on, or the beautiful word SisterGun—in honor of my sister, Julia. Feel free to check the Twitter account—that I don’t have—to stay up to date with the groundbreaking news.

Noise: You profess to prefer playing shows for dogs and children. What’s your take on cats, and is it a simple case of size differential in terms of whether or not they eat us?

Mosey: The music I write does seem to electrify the children and the dogs in a very bizarre way. Undivided, substantial attention I would say. That was the real inspiration behind the Children in the Park EP. When I was writing and recording it, I found myself performing for an array of children, and dogs, at random locations—primarily in local parks beneath the sunbeams of the great Northwest. I would spot them from a distance and somehow they would just gravitate towards me, sit down and watch and listen. They had these stone-cold stares [in what seemed to be] admirable appreciation. Complete concentration. It’s a real honest pleasure when people can just put the bullshit aside and listen—even if it is a dog, or a child. On another note: you can hold the cats good sir—unless I can ride one into the sunset on a saddle made of dreams.

Noise: A moment of genius: like an expensive truffle hangover or more like a cheap massage with release?

Mosey: Before I started licking envelopes in a warehouse, I mongered cheese for years and went for long walks with the swanky fungi. Therefore I am good with the truffle hangover. I would have to say my inner genius puts on his party hat with a cheap massage and a special beer. You may now enter Madame Grand Release.

Noise: What IS lurking in the muckdew?

Mosey: Muckdew. It’s the swampy muck junk that we struggle to lurk through on a daily basis. I got hold of The Devils Dictionary, I read the first page and I was beside myself—it was a gold mine. It was like being at a half-assed carnival—rolling hills of material. I’ve always been into wordplay and word placement when it comes to lyrical content, and the song “Saurian’s Lurking in the Muckdew” definitely abuses that preference of mine. Google “muckdew” and the music video is the first thing that pops up. The video was shot in Arizona by two very dear friends of mine—Matt Page of Mapache Films and Rhema Marshall—my other musical half. They’re good blokes and both were there during the birth of Mosey Greams.

Noise: Focus on the game or cut to cheerleaders?

Mosey: If the game were a musical performance and the cheerleaders were my audience, I would multi-task that beast. If you are referring to a sports game, and cheerleaders were dancing with pom-poms in regard to team spirit, I would have some explaining to do as to why I was there. I did the sports thing in a past life. That life has passed.

Noise: God: yes, no, maybe, other?

Mosey: Harry Nilsson is a god in my mind. That’s as far as I’ll go with religion.

Noise: Boys, girls, appliances?

Mosey: Give me a Bunsen burner and a box of Crackerjacks and we shall call it even. I got a good girl by my side—I couldn’t ask for more.

Noise: Do you feel it is un-American to publicly embrace a European air and/or heir?

Mosey: Absolutely not. I think we could all learn a little bit more than a thing or two from European culture. Originally, I was going to move there to pursue music, and study Italian full-time, but it just panned out differently. Who’s to say that can’t happen now, but I have a different agenda at the moment. Maybe one day I will get signed to some label, and a structured tour in Europe will be an option… Not banking on it, but it would be the cat’s pajamas. Until then I will just imagine what it would be like to perform in a European cathedral under rustic chandeliers and amongst dusty pews.

Noise: Mosey Greams, Guy Zaccardi. Hmmm… Zac Mosey, Zaccardi Greams… wait… how about Greamy Zaccalingus? Whip the whole moniker thing up to another level—sexy or wtf?

Mosey: Guy Zaccardi was a stand-up guy, but I am going to ride the masterful wave with Mosey Greams. Let’s let it marinate and see what type of tender beef it can bring to the table. Greamy Zaccalingus sounds like some sort of repulsive zucchini cream sauce that Aunt Mabel would prepare for Sunday dinner. So, “wtf” is in the lead by ten points.

Noise: Surf on through the sonic fog! Thanks!