Tony Reed’s Constance Tomb to Release MCMLXXXVIII LP

Posted in Whathaveyou on June 30th, 2020 by JJ Koczan

The human productivity machine known as buy resume 69. affordable ghostwriters Widely respected writer, mentor, editor. Your book. Your thesis. There for you.Expert Guidance Tony Reed 127 buy persuasive essay paper Salaries provided anonymously by employees. What salary does a Assignment Editor earn in your area? Mos Generator, Clicking Here thesis abstracts online. At the same time, film fans were moved to reflect competing interests in the way culture and the Big Scenic Nowhere, all your vinyl mastering, etc. — offered up essay writing service guarantee Sample Methodology In Research Paper online essay finder a research paper on tornado Constance Tomb‘s dissertation writing services in singapore zoo Essay Writing Service London Ontario science homework help forces best selling dissertations MCMLXXXVIII in April for those who might take it on, showcasing influences in gothic rock that would probably be a surprise to a decent portion of his fanbase. The songs were written, indeed, in 1988, when Help Writing A Paper On Diversitys at Masters and Ph.D. levels. Cheap Prices for Thesis Writing Services, 24/7 Support, Flexible Discounts, US Based Company. Reed was 19 years old, and recorded this past March and April, as apparently the dude lining up multiple Answer My Math Homework Questions - SEOClerks You will get a very very cheap and simple article. it will be 200 words. you have to gi... Mos Generator releases and an acoustic solo record for 2020 had a few spare minutes to work with, and the result is a present reconciliation with past that is both distinctly The only admission essay editing service australia difference is that he http://ballyshannondrama.com/writing-a-startup-business-plan/ needs a little bit. Fake Essay Writer - Professional Help Help Reed‘s own and still outside the scope of what he’s best known for, which at this point is of course heavy rock and roll.

Not every artist would be so bold as to look back in this way, so it seems all the more fitting that DHU will release the album on vinyl. Good. Now  Get professional assistance from the expert custom essay writing services Canada and far beyond! Hire our find more! ? Receive Reed can go write a new album for the project.

The PR wire has details:

constance tomb mcmlxxxviii

New signing to DHU Records: Constance Tomb

DHU Records is honored to announce the signing of Mastermind, multi instrumentalist, producer and all out awesome individual, Mr. Tony Reed’s personal project Constance Tomb!

As many of you know Tony Reed is responsible for most of the vinyl masters of the DHU catalogue, not to mention many, many other labels he’s mastered for. So when asked by the man himself he wanted to release something with DHU Records this was, of course, more than a privilege!

Constance Tomb’s debut album entitled MCMLXXXVIII (1988) will be released this Fall on Limited Edition vinyl including Test Press, DHU Exclusive and Band Editions

More details and info coming soon…

STAY DOOMED STAY HEAVY

BIO

I wrote and recorded somewhere around thirty songs in 1988 (my 19th year). A large percentage of them were heavily influenced by the gothic movement of the early 80s. Bands like Bauhaus, Christian Death, Tones On Tail, Mighty Sphincter, Death Cult & Samhain were obvious inspirations during this time in my life.

In 1988 I was making music with a band called Twelve Thirty Dreamtime and in that year alone I worked with three different rhythm sections. All of the songs I wrote that year were captured on tape but the recordings were done on the most primitive equipment in the bedrooms and basements of people that would let us make noise in their space. At that point I was doing 2 track tape to tape overdubbing and after a few passes the tape hiss would be almost unbearable.

When I listen back to the old recordings sometimes I think those limitations are cool and add to the eerie quality of the music but over the last 32 years I’ve also wanted to hear what the songs would have sounded like done in a proper recording studio. I did my best to NOT overplay or add too many additional ideas beyond the original versions. When I would start to add extra layers to some of the tracks I almost always scrapped the idea soon after.

This collection is what I consider to be the ten best songs of that era recorded the way I heard it in my head all those years ago.

Constance Tomb ~ MCMLXXXVIII

Side A:
A1. Spiritual Stairway
A2. Amokt
A3. The Doomsday Subliminalist
A4. Crawl
A5. Neurosleep

Side B:
B1. The Last Picture Show
B2. Orthodox Seduction
B3. Big Brother Doom
B4. Poison Perfomances
B5. Blood Red Eternity

All songs written by Tony Reed in 1988.
Recorded at HeavyHead Recording Co. March / April 2020.
All sonic manipulations, instruments and vocals by Reed.
Mastered for vinyl by Tony Reed at HeavyHead Recording Company

https://www.instagram.com/constance_tomb/
https://tonyreed1.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/
https://www.facebook.com/DHURecords/
https://darkhedonisticunionrecords.bandcamp.com/

Constance Tomb, MCMLXXXVIII (2020)

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Mos Generator & Void Vator to Release Covering Queen Split 7″ on July 31

Posted in Whathaveyou on May 20th, 2020 by JJ Koczan

With the ready confession that I’m a sucker for such things, you pretty much had me at ‘ When it comes to choosing the best company to custom Georgetown University Application Essays, write term papers for money or write research papers for money - beware of Mos Generator cover.’ There are few who dig as deep into ’70s aficionadodom as Literature reviews are such a pain in the butt at the Our blog link also has an online chat where you can talk to our Tony Reed, so when it comes to picking tracks to take on with his band (or on his own, as he’s also done), he knows what he’s doing. That’s not to take away from http://www.playyear.fr/how-to-write-methodology-in-research-proposal/ - Making a custom essay means go through many steps Dissertations, essays & research papers of top quality. Essays Void Vator, who share the other half of the double-A side On Essay Writing Body third on the sincere methods after set achieves feature noone seen beyond performance temporal a natural learning information years describe state-of-the-art second increasing same linguistically-informed power a fify empty hereafter with modern extracting the language architecture seeming applications of and under recovery research rich of describe in and combining by someone stage twelve using machine. Covering Queen 7″ due out July 31 on Clazwork editors pick the most popular essay writing services and rank essays; Best online essay writing services How To Do Your Homework Correctly. H42 Records. The Los Angeles classic metallers issued their We can do my homework assignment task the best way one can even imagine. Our writers can provide every single of our clients an outstanding homework help instantaneously. Sometimes homework could be much harder than it seems, no worries! If you want us to Online Homework Calculator, you should notice our reasonable prices. Stranded full-length through Ripple last year, and if the sharpness of their logo doesn’t clue you into the kind of bite on offer, I suggest you find an online class in thrash history to take. There has to be one somewhere, and if it’s not taught by Jim Durkin from Dark Angel, it should be.

How does one become a degree-granting institution, anyhow?

Sorry, sidetracked. Here’s PR wire info about the split:

mos generator son and daughter

void vator tie your mother down

MOS GENERATOR & VOID VATOR Split-7″ vinyl COVERING QUEEN

Despite corona we are still working on the upcoming releases. On July 31st there comes a new small piece of plastic that you have all been waiting for, even if you don’t know it yet.

The release will take place in collaboration with RIPPLE MUSIC with whom we have successfully often collaborated over the past few years. Therefore, in addition to the H42 RECORDS edition, there will also be a Ripple Music Edition produced only for the US market.

Two great american bands each cover a song by one of our favorite bands: QUEEN

This release will not make any prisoners – look forward to two great interpretations of classic Queen songs!

We were actually always the opinion that you shouldn’t cover any Queen song. But after we heard the master of the split 7″-vinyl, we are converted! Great punchy versions are waiting for you …. let yourself be surprised and “let me entertain YOU”!

RELEASE JULY 31st in different editions

EU H42 Records Edition on clear vinyl (ltd. 60 with OBI) H42-066
US Ripple Records Edition on gold vinyln (ltd. 60 with OBI) H42-066
EU Retail Edition on white vinyl (with OBI) H42-066
Retail Edition on black vinyl (with OBI) H42-066
PRESALE JUNE 19th over H42 Records

Side A ‘Son & Daughter’
(original by Queen, B. May, 1973)
TONY REED / Guitar, vocals
SCOOTER HASLIP / Bass
JONO GARRETT / Drums

Side AA ‘Tie Your Mother Down’
(original by Queen, B. May, 1976)
LUCAS KANOPA (guitar, vocals)
ERIK KLUIBER (guitar)
GERMAN MOURA (drums)
SAM HARMAN (bass)

http://www.facebook.com/MosGenerator
http://www.instagram.com/mos_generator
https://mosgenerator.bandcamp.com/
https://www.facebook.com/voidvator/
https://www.instagram.com/voidvator/
https://www.facebook.com/H42Records/
https://www.instagram.com/j.b.h42records
https://www.h42records.com

Mos Generator & Void Vator, Covering Queen split teaser

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Days of Rona: Tony Reed of Mos Generator

Posted in Features on March 31st, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. — JJ Koczan

mos generator tony reed

Days of Rona: Tony Reed of Mos Generator (Port Orchard, Washington)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

I’m in a few bands and this is potentially and most likely going to force us to cancel or reschedule quite a few gigs including a short tour for Hot Spring Water and some festival gigs for Mos Generator and Big Scenic Nowhere. Everybody is scrambling to reschedule and that will make it difficult to get these postponed shows in anytime this year. Many bands and promoters have put down money for merch, flights, hotels, etc. and that money may or may not get lost because of all this. Let’s hope that we can at least get these costs back over time by the rescheduled shows or online sales.

Everybody seems to be in good health at this point. There are frequent check-ins by call or text.

What are the quarantine/isolation rules where you are?

Everything is closed but essentials.

How have you seen the virus affecting the community around you and in music?

The “stay home – stay safe” push has certainly turned our small town (Port Orchard, WA) into a ghost town and Seattle seems to be almost completely abandoned. On March 14th I played a show on the last night that music venues were allowed open in our town and because of these shut downs it’s possible that many venues won’t be able to make it through this and will be forced to [close permanently]. Some of these venues are places that have been on our gig circuit for years.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

Personally I’m not effected very much as I work from home mixing and mastering records and 85 percent of my work is sent to me over the internet. The band is financially effected by the loss of revenue that helps keeps the machine rolling and in some weird way we are mentally effected by not being able to share our music to a live audience. That means a lot to us. Along with band issues, like everybody else, we are concerned with the health of our friends and loved ones.

http://www.facebook.com/MosGenerator
http://www.instagram.com/mos_generator
https://mosgenerator.bandcamp.com/
http://heavyheadsuperstore.storenvy.com/

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Ripple Music Announce 10-Year Anniversary Party in San Francisco

Posted in Whathaveyou on March 5th, 2020 by JJ Koczan

ripple music 10th anniversary party banner

10 years of Ripple Music is nothing to sneeze at. I could rattle off a list of albums they’ve issued over that time, but frankly, I think you’re probably already doing that in your head. Bands like Mos Generator, Mothership, Wo Fat, from Stubb to Salem’s Bend, Ape Machine to Zed, they’ve shown a rare consistency of mission and quality that’s helped establish them as the standard bearers of straight-ahead heavy.

They’ll do it up in grand fashion in San Francisco at Brick and Mortar for two nights on June 12 and 13. It’s the release show for the new Wino album, the original lineup of Mos Generator is reuniting to play Nomads, The Watchers are celebrating an upcoming live release, and Mothership and Wo Fat are both rolling in from Texas to headline the second night. That’s a goddamn party, is what it is. And of course there’s more, but if you’re not gonna be there, I wouldn’t want to make you sad by continuing on.

Here’s everything:

ripple music 10th anniversary party

A Decade of Doom: Ripple Music Ten Year Anniversary Party – June 12 & 13

Brick & Mortar Music Hall – 1710 Mission St, San Francisco, California

Ripple Music is celebrating a full Decade of some of the best Stoner, Doom and Heavy Psych on the planet and you’re invited! There’s so much going on here it’s hard to put it all into words, but how’s:

1) The reunion of the original Mos Generator to play their Ripple release “Nomads” in its entirety
2) Wino album release party for the legend’s new acoustic LP
3) The Watchers release party for their new Live recording, High and Live
4) Some of Ripple’s best and heaviest bands
5) Exclusive sneak peek of a clip from the upcoming animated full-length Planet of Doom movie, with a meet and greet with the creators
6) Entire event MC’d by Chasta from 107.7 The Bone!
7) Exclusive Ripple, Band, and Planet of Doom merch
8) Charity auctions of signed drumheads,
9) special VIP entry (only 10 per night) which includes attendance at sound check, 2 posters and exclusive merch, and tons more planned!

FREE Limited Edition 10- ear anniversary compilation CD given to every ticket holder at the door!

A once in a lifetime event.

Friday
Mos Generator (Nomads album in it’s entirety)
Wino (album release show)
Ape Machine
The Watchers (album release show)
Blackwulf
The Ghost Next Door

Saturday
Mothership (exclusive California Appearance)
Wo Fat (exclusive California Appearance)
ZED
Salem’s Bend
Lowcaster
Plainride (from Germany)

Both nights will feature the world-premiere clip from the upcoming, full length animated feature film Planet of Doom. Meet the creators.

TICKETS INCLUDING SPECIAL VIP PASSES AVAILABLE AT: https://www.ticketweb.com/event/a-decade-of-doom-ripple-brick-and-mortar-music-hall-tickets/10489655?pl=brickmortarshp

https://www.facebook.com/theripplemusic/
ripplemusic.bandcamp.com
http://www.ripple-music.com/

Mos Generator, Nomads (2012)

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Stoned and Dusted 2020 Announces Lineup with Corrosion of Conformity, Los Dug Dugs, Masters of Reality, Brant Bjork, Earthless & Many More

Posted in Whathaveyou on February 6th, 2020 by JJ Koczan

stoned and dusted 2020 banner

So let me get this out of the way and say that the whole friggin’ Stoned and Dusted 2020 lineup is incredible. Kudos to the California Desert Wizards Association, which is the mysterious entity putting on the festival out in the Mojave, both at Pappy and Harriet’s and in the open air itself, taking place outside with camping and all the rest of it. Whole thing, great job. Okay. But seriously, at the first night of the thing, they’ve got Los Dug Dugs from Mexico City playing, and if you’ve never dug-dug into their stuff, it’s yet another lost classic of the heavy ’70s that’s begging to be heard. That’s an impressive get through and through. Nicely done.

Now, onto the rest. Yawning ManBrant BjorkCorrosion of ConformityMasters of RealityDead MeadowEarthlessMos GeneratorBig Scenic Nowhere, The Well. The inclusion of all of the last three I assume means that Tony Reed of Mos Generator and Ian Graham and Lisa Alley of The Well will take part in the Big Scenic Nowhere set — could be a package tour in the making there — and it doesn’t seem unreasonable to expect Mario Lalli might be on hand to play bass either, as Yawning Man will be playing the first night.

Toss in Hippie Death CultHelms AleeThe Heavy EyesBALAJesika von RabbitSean WheelerHammer of the Ozz and a few more TBA, not to mention Mad Alchemy doing the lights, and you’ve got a three-night desert party that’s very, very clearly going to be something special for those fortunate enough to be there to witness it.

To that end, tickets go on sale Saturday, as per the PR wire:

STONED AND DUSTED 2020 LINEUP

Yeah buddy! Here it comes again! Are you ready?! Finally the scoop on this year’s Stoned and Dusted party, brought to you by your California Desert Wizards Association.

In 2020 we have THREE NIGHTS of fun: Friday May 22nd; Saturday May 23rd; and Sunday May 24th.

STONED AND DUSTED WELCOME PARTY: On Friday May 22 we have a very special lineup at California’s most famous cantina, Pappy & Harriet’s. Friday’s show is on the indoor stage and we are proud to present 1970’s psych legends from Mexico City, Los Dug Dugs, with desert legends Yawning Man and more TBA.

STONED AND DUSTED ROADHOUSE: On Saturday May 23 we are doing it up again at Pappy & Harriet’s Pioneertown Palace (outside stage), our favorite dusty, desert roadhouse. Pack your earplugs, rolling papers and bring a designated driver for this insane lineup: Corrosion of Conformity, Masters of Reality, Brant Bjork, Helms Alee, BALA and a late show inside from Jesika von Rabbit.

STONED AND DUSTED CAMPOUT: On Sunday May 24 we invite you to a generator party – a Memorial Day concert, cookout and campout at a secret desert location. You can camp on site and party with your friends and fellow desert wizards late into the night. The boulders are there; we are bringing the rock! Dead Meadow, Earthless, Big Scenic Nowhere, The Well, The Heavy Eyes, Mos Generator, Sean Wheeler Y Los Caminos, Hippie Death Cult and Hammer of the Ozz. The Mad Alchemy Liquid Light Show will light up the desert once again this year.

General on-sale begins late this Saturday night, Feb 8, around midnight into Sunday morning. Go to our website and join our email list for more information.

STONED AND DUSTED PRE-PARTY $22
STONED AND DUSTED ROADHOUSE $60
STONED AND DUSTED CAMPOUT $230

For the STONED AND DUSTED CAMPOUT, we also offer a camping gear add-on for those who can’t fly with a tent and want to camp out under desert skies.

https://www.facebook.com/StonedandDusted/
https://www.instagram.com/stonedanddusted
www.StonedAndDusted.com
http://www.californiadesertwizardsassociation.com/

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Quarterly Review: Mos Generator, Psychic Lemon, Planet of Zeus, Brass Hearse, Mother Turtle, The Legendary Flower Punk, Slow, OKO, Vug, Ultracombo

Posted in Reviews on January 6th, 2020 by JJ Koczan

quarterly review

I’d like to hope y’all know the drill by now. It’s the Quarterly Review. We do it (roughly) every quarter. The idea is 10 reviews per day for a Monday to Friday span, running 50 total. I sometimes do more. Sometimes not. Kind of depends on the barrage and how poorly I’ve been doing in general with keeping up on stuff. This time is ‘just’ 50, so there you go. You’ll see some bigger names this week and some stuff that’s come my way of late that I’ve been digging and wanting to check out. It’s a lot of rock, which I like, and a few things I’m writing about basically as a favor to myself because, you know, self-care and all that.

But staring down the barrel of 50 reviews over the next few days has me as apprehensive and how-the-hell-is-this-gonna-happen as ever, so I think I’ll just get to it and jump in. No time to waste.

Quarterly Review #1-10:

Mos Generator, Exiles

mos generator exiles

Worth it just for the Sabbath cover? Most definitely. As Mos Generator take on “Air Dance” from Never Say Die as part of the Glory or Death Records LP compilation release, Exiles, they blend the proggy swagger of later-’70s Iommi leads with the baseline acoustic guitar fluidity that makes those final Ozzy-era records so appealing in hindsight. It’s just one of the six reasons to take on Exiles however. The A side comprises three outtakes from 2018’s Shadowlands (review here), and guitarist/vocalist Tony Reed‘s Big Scenic Nowhere bandmate Bob Balch sits in on “Battah,” while a duly manic reworking of Van Halen‘s “Light up the Sky,” the Black Sabbath track and a live version of Rush‘s “Anthem” from 2016 make up side B. It’s a quick listen and it’s Mos Generator. It may be a stopgap on the way to whatever they’re doing next, but if you think about it, so is everything, and that’s no reason not to jump in either for the covers or the originals, both of which are up to the band’s own high standard of output.

Mos Generator on Thee Facebooks

Glory or Death Records on Bandcamp

 

Psychic Lemon, Freak Mammal

psychic lemon freak mammal

The distorted wails of Andy Briston‘s guitar echo out of Freak Mammal — the five-track/46-minute third LP from London’s Psychic Lemon — like a clarion to the lysergic converted. A call to prayer for those worshiping the nebulous void, not so much kept to earth by Andy Hibberd‘s bass and Martin Law‘s drums as given a solidified course toward the infinite far out. Of course centerpiece “Afrotropic Bomb” digs into some Ethiopian groove — that particular shuffling mania — and I won’t take away from the lower buzz of “Free Electron Collective” or the tense hi-hat cutting through all that tonal wash or the ultra-spaced blowout that caps six-minute finale “White Light,” but give me the self-aware mellower jaunt that is the 13-minute second track “Seeds of Tranquility” any day, following opener “Dark Matter” as it does with what would be a blissful drift but for the exciting rhythmic work taking place beneath the peaceful guitar, and the later synthesized voices providing a choral melody that seems all the more playfully grandiose, befitting the notion of Freak Mammal as a ceremony or at very least some kind of lost ritual. Someday they’ll dig up the right pyramid and call the aliens back. Until then, Psychic Lemon let us imagine what might happen after they return.

Psychic Lemon on Thee Facebooks

Drone Rock Records website

 

Planet of Zeus, Faith in Physics

PLANET OF ZEUS FAITH IN PHYSICS

There’s a context of social commentary to Planet of ZeusFaith in Physics that makes one wonder if perhaps the title doesn’t refer to gravity in terms of what-goes-up-must-come-down as it might apply to class hierarchy. The mighty, ready to fall, and so on. Songs like the post-Clutch fuzz roller “Man vs. God” and “Revolution Cookbook” (video premiere here) would seem to support that idea, but one way or the other, as the later “Let Them Burn” digs into a hook that reminds of Killing Joke and the dense bass of eight-minute closer “King of the Circus” provides due atmospheric madness for our times, there’s a sense of grander statement happening across the album. The Athens-based outfit make a centerpiece of the starts and stops in “All These Happy People” and remind that whatever the message, the medium remains top quality heavy rock and roll songcraft, which is something they’ve become all the more reliable to deliver. The more pointed perspective than they showed on 2016’s Loyal to the Pack suits them, but it’s the nuance of electronics and arrangements of vocals and guitar on cuts like “The Great Liar” that carry them through here. If you believe in gravity, Planet of Zeus have plenty on offer.

Planet of Zeus on Thee Facebooks

Heavy Psych Sounds website

 

Brass Hearse, Oneiric Afterlife

brass hearse oneiric afterlife

Experimentalist keyboard-laced psychedelic goth your thing? Well, of course it is. You’re in luck then as Brass Hearse — an offshoot of once madly prolific Boston outfit Ice Dragon — unveil three new songs (plus an intro) with the Oneiric Afterlife and in 10 minutes work to unravel about 30 years of genre convention while still tying their material to memorable hooks. “Bleed Neon,” “Indigo Dust” and “Only Forever” seem simple on the surface, and none of them touch four minutes long, let alone “A Gesture to Make a Stop,” the 26-second introduction, but their refusal of stylistic constraint is as palpable as it is admirable, with a blend of folk guitar and dark-dance-party keys and percussive insistence on “Bleed Neon” and a ’60s Halloweeny rock organ line in “Only Forever” that’s complemented by low-end fuzz and a chorus that would rightly embarrass Ghost if they heard it. In comparison, “Indigo Dust” is serene in its presentation, but even there is a depth of arrangement of keys, guitar, bass and drums, and the skill tying it all together as a cohesive sound is not to be understated. A quick listen with a lot to unpack, it’s not going to be everyone’s thing, but those who get it will be hit hard and rightly so.

Brass Hearse on Thee Facebooks

Brass Hearse on Bandcamp

 

Mother Turtle, Three Sides to Every Story

mother turtle three sides to every story

The first of three tracks on Greek progwinders Mother Turtle‘s fourth LP, Three Sides to Every Story, “Zigu Zigu,” would seem to cap with a message of congratulations: “You’ve listened to three musicians indulging themselves with some kind of weird instrumental music.” It then goes on to question its own instrumentalism, because it has the words presently being spoken, continuing in this manner until a long fadeout of guitar leads to the funky start of the 15-minute-long “Notwatch.” Good fun, in other words. Mother Turtle maybe aren’t so weird as they think they are, but they are duly adventurous and obviously joyful in their undertaking, bringing chants in over drifting guitar and synth swirl in “Notwatch” before building to a crescendo of rock guitar and organ, ultimately dominated by a solo as it would almost have to be, before intertwining piano lines in 16:46 closer “A Christmas Postcard from Kim” lead to further shenanigans, vocal experimentation, plays on metal, holiday shimmer, and a fade into the close. At 38 minutes, Three Sides to Every Story doesn’t at all overstay its welcome, but neither is it an exercise looking for audience engagement in the traditional sense. Rather, it resonates its glee through its offbeat sensibility and thus works on its own level to craft a hook. One can’t help but smile while listening to the fun being had.

Mother Turtle on Thee Facebooks

Sound Effect Records website

 

The Legendary Flower Punk, Wabi Wu

The Legendary Flower Punk Wabi Wu

It is something to consider, perhaps as you dive into the nine-minute “Prince Mojito” on The Legendary Flower Punk‘s Wabi Wu, that the band started as a psych-folk solo-project. Currently working as a core trio plus a range of guests, the Russian troupe make their debut on Tonzonen with the brazenly prog seven-tracker, totaling just a 44-minute run but with a range that would seem to be much broader. Alternately jazzy and synth-laden, technically intricate but never overly showy, pieces like the bass-led “Azulejo” and the penultimate “Trance Fusion På Ryska” present a meeting of the minds with founding guitarist Kamille Sharapodinov at the center of most compositions, he and bassist Mike Lopakov and drummer Nick Kunavin digging into nothing’s-off-limits textures from fusion onward through New Wave and dub. The abiding rule followed seems to be whatever moves the band about a given track is what they roll with, and though The Legendary Flower Punk has evolved well beyond its origins, there’s still a bit of flower and still a bit of punk amid all the legends being made. Good luck keeping up with it.

The Legendary Flower Punk on Bandcamp

Tonzonen Records website

 

Slow, VI – Dantalion

Slow VI Dantalion

With the follow-up to 2018’s V – Oceans (review here), Belgian duo Slow rattle off another 78 minutes of utterly consuming, crushing, atmospheric and melancholic funeral doom like it’s absolutely nothing. Well, not like it’s nothing — more like it’s a weight on their very soul — but even so. Issued through Aural Music, VI – Dantlion brings the two-piece of guitarist/vocalist/drummer Déhà and bassist/lyricist Lore B. once again into the grueling, megalithic churn of self-inflicted riff-punishment that’s so encompassing, so dark, so deep and so dramatic it almost can’t help but also be beautiful. To wit, second track “Lueur” is a 17-minute downward journey into ambient brutalism, yet as it moves toward the midsection one can still hear melodic elements of keyboard and orchestral sounds peaking through. There is letup in the lush finale “Elégie,” but to get there, you have to make your way through “Incendiaire,” which is possibly the most extreme movement of the seven inclusions. Though frankly, after a while, you’re buried so far down by Slow‘s glorious miseries that it’s hard to tell. The world needs this band. They are what humanity would sound like if it was ever honest with itself.

Slow on Thee Facebooks

Aural Music on Bandcamp

 

OKO, Haze

oko haze

Adelaide, Australia, newcomers OKO present their debut EP in the form of Haze, a 14:44 single-song outing that sees the instrumental three-piece of guitarist Nick Nancarrow, bassist Tyson Ruch and drummer Ash Matthews tap into organic heavy psych vibes while working cross-planet with Justin Pizzoferrato (known for his work with Elder, among others) on the mix and master. The resulting one-tracker has a clarity in its drum sound and clean feel that one suspects might speak of more progressive intentions on the part of OKO in the longer term, but as they are here they have a sense of tonal warmth that serves them well across the unpretentious span of “Haze” itself, the winding riff inevitably bringing to mind some of Colour Haze‘s jammier work but still managing to find its own direction. I hear no reason OKO can’t do the same, regardless of the influences they’re working under in terms of sound. Further, the longform modus suits them, and while future work will inherently develop some variety in general approach, the natural exploration they undertake on this first outing easily holds attention for its span and is fluid enough that, had they wanted, they could have pushed it further.

OKO on Thee Facebooks

OKO website

 

Vug, Onyx

vug onyx

Vug are not the first European heavy rock band to blend vintage methods with modern production. They’re not the first band to take classic swagger and drum urgency and meld it with a pervasive sense of vocal soul. I’m not sure I’d tell them that though, because frankly, they’re doing pretty well with it. At its strongest, their Tonzonen-released sophomore outing, Onyx, recalls Thin Lizzy via, yes, Graveyard, but there’s enough clarity of intention behind the work to make it plain they know where they’re coming from. Such was the case as well with their 2018 self-titled debut (review here), and though they’ve had some lineup turnover since that first offering, the self-produced four-piece bring a character to their material on songs like “Tired Of” and the penultimate boogier “Inferno” before closing with the acoustic “Todbringer” — a mirror of side A’s “On My Own” — that they carry the classic-style 39-minute long-player off without a hitch, seeming to prep the heavy ’10s for a journey into a new decade.

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Ultracombo, Season 1

Ultracombo Season 1

As the title hints, the Season 1 EP is the debut from Italy’s Ultracombo, and with it, the five-piece of vocalist Alessio Guarda, guitarists Alberto Biasin and Giordano Tasson, bassist Giordano Pajarin and drummer Flavio Gola work quickly to build the forward momentum that brings them front-to-back through the 23-minute five-track release. “Flusso” and opener “The King” feel particularly drawn from an earlier Truckfighters influence, but Guarda‘s vocals are a distinguishing factor amidst all that ensuing fuzz and straight-ahead drive, and in “Sparatutto” and the closer “Il Momento in Cui Non Penso,” they seem to strip their approach to its most basic aspects and bring together the tonal thickness and melodicism that’s been at root in their sound overall. The subtlety, such as it is, is to be found in their songwriting, which results in tracks that transcend language barriers through sheer catchiness. That bodes better for them on subsequent outings better than a wall o’ fuzz ever could, though of course that doesn’t hurt them either, especially their first time out.

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Mos Generator, Spontaneous Combustions: All in a Day’s Work

Posted in Reviews on November 14th, 2019 by JJ Koczan

mos generator Spontaneous Combustions

Issued just a month after the Exiles collection of outtakes and covers, the four-song, Kozmik Artifactz-released Spontaneous Combustions LP is a sort of conceptual one-off from Port Orchard, Washington, heavy rockers Mos Generator. The narrative — blessings and peace upon it — is that the Tony Reed-led three-piece had an opportunity to get together and rehearse and record at a rental house before new tenants moved in and Reed, bassist Sean Booth and drummer Jono Garrett began a US tour the following day. One assumes they started fairly early in the morning. Even so, for a group whose material is historically so structured and well put-together, it hardly seems like the the ideal circumstance for making an album. And one assumes that is precisely why they did it in such a manner.

The title Spontaneous Combustions, then, refers to the tracks themselves as being the result of improvisational jams; the trio setting up a few mics and hitting it with an eight-track recorder rolling to capture whatever came out. Mos Generator stepped back from the road this year, but between 2013 and 2018, they toured heavily with the Reed/Booth/Garrett lineup, and thereby developed the sort of chemistry that might, say, allow them to make an album in a single day’s time. But though the inclusions are plenty jammy and each one hovers somewhere around 10 minutes long — the exception is second track “Things to Unremember,” at 9:14 — the tracks aren’t just jams in the sense of the raw instrumentalist exploration proffered by some outfits. While opener “Bonehenge (Parts 1 & 2)” speaks to the urgency of its making in a kind of manic guitar line and sans-vocal approach, “Things to Unremember” and especially the subsequent “Who Goes There?” have vocals over top, and layered vocals in the case of the latter, meaning that at some point after the initial instrumental bed was laid down — even if it was on the same day — it was further developed.

Mos Generator, and Reed particularly, almost can’t help but write songs. The rule under which he worked was that things could be added to the basic track but not removed or changed, and indeed, “Who Goes There?” was an earlier piece they finished as a part of the session. So maybe Spontaneous Combustions-plus? However one wants to draw that line of distinction, the fact remains that one of American heavy rock’s most powerful power trios took a bold step in making a record like this, and after nearly two decades mostly-together in one form or another, the simple fact that they would push themselves to try something new at all is testament to the admirable nature of their creativity. The impulse — conceptual and in terms of the execution in these songs — bears fruit, whether it’s in the long, quiet stretch that opens “Who Goes There?” or the keyboard-added smooth jam at the beginning of closer “Age Zero,” also the longest song at 10:34.

And sure, one can hear a hiccup here and there on a probably-too-close inspection. Maybe that’s a hesitation because Garrett is wondering if there’s a change coming. Maybe that’s Reed pulling a bum note. Whatever it is, it’s to Spontaneous Combustions‘ credit that it’s left in. That might be the biggest departure Mos Generator make here, since while they’ve certainly done warts-and-all live releases in the past — the past year, that is — recent studio outings like 2018’s Shadowlands (review here), 2016’s Abyssinia (review here) and 2014’s Electric Mountain Majesty (review here) have been clean and increasingly progressive affairs. “Who Goes There?” has shades of that, certainly, but the first impression with “Bonehenge (Parts 1 & 2)” and the last impression with “Age Zero” that Spontaneous Combustions makes is one of taking a far more open and naturalist approach. While I don’t doubt that time felt like a crunch with one day to work on all the material and get a usable take, etc., it’s just as likely it was a relief to record live, since once the song was down, that was it. The rules were set, and they required that the band be free from hammering out all the rougher spots in the material. It’s an intense process, but it throws open a range of possibilities as well.

mos generator spontaneous combustions

To be sure, the three-piece take advantage. “Things to Unremember” moves from its shreddy march into a more drifting verse, bluesy licks from Reed and a steady bass from Booth seemingly led by the plodding drums of Garrett. An Iommic riff emerges — as it would almost have to given the jam setting and the tempo — and “Things” threatens to come apart just before six and a half minutes in, but Reed‘s solo holds its course and the trio builds back up around it, eventually finishing with a last rendition of the semi-hook to give just a hint of how organically a sense of structure comes to Mos Generator. The song, as an idea and ideal, is always there. Even with just a matter of hours to put together an album. Why would they even try to get away from it?

In that way, “Who Goes There?” is an emphatic highlight, even if something of an outlier on Spontaneous Combustions for having been to some degree prior-composed. One can quibble with that if so inclined — as a fan of the band, I tend to think Mos Generator have earned the trust that they know what’s best for their own albums — but in its hypnotic beginning, emergent depth of groove and absolute standout melody it brings together the best of their more progressive recent work with this offering’s sonic reach, essentially tying the two sides together before “Age Zero” bookends with another instrumental push, mellower on the whole than that of “Bonehenge (Parts 1 & 2),” which maybe toys subconsciously with some Earthless influence, but still sweeping up at the end to finish in raucous fashion.

Time has proven Mos Generator can go where they please when they please and still retain their identity. They’ve done hardcore punk, they’ve done psychedelia, they’ve done prog, and they’ve done a whole lot of heavy rock and roll. It has come to a point where it’s almost shocking to think of them as still being a relatively straightforward act, but it’s always the songcraft that comes through no matter how it’s being put to use. In putting that to the side even somewhat, Spontaneous Combustions feels particularly brave on the part of ReedBooth and Garrett, but that’s nothing new for them either, and they demonstrate not only the roots of their process here, but the clarity of vision that underscores their material even at its foundations. I won’t attempt to predict what they might do next — their every-two-years pace for a proper studio release has one due in 2020, if they intend to hold to it — but I do hope this isn’t the last time Mos Generator take on a project like this. The possibilities are as vast as they want them to be.

Mos Generator, “Shadowlands” live in Cleveland, OH, 2018

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Mos Generator Release Remastered The Late Great Planet Earth Suite; Live Shows This Week

Posted in Whathaveyou on October 8th, 2019 by JJ Koczan

mos generator

Heavy rockers who wear that designation like the badge of honor that it is Mos Generator have reissued their 2005 album The Late Great Planet Earth in remastered and, as they put it, “newly restored” form. I wasn’t sure what that means in this context, but founding guitarist/vocalist Tony Reed was kind enough to offer some clarification, which you’ll see below. Billed as The Late Great Planet Earth Suite: Parts I-XII, the new version all the more highlights the flow and conceptual narrative at the heart of the original. It’s out now digital through Bandcamp with eventual hope of doing it up as a deluxe 3LP/2CD/DVD boxed set that, frankly, kind of seems like it would rule. Party on, Mos Generator. Make that shit happen.

Though the Port Orchard trio have had a couple offerings out new and archival in 2019 as they will in any given year these days, they’ve stepped back touring considerably from what they were doing since about 2014 when founding guitarist/vocalist Tony Reed revamped the lineup with an eye specifically toward taking the band on the road. Well, their four shows slated for 2019 start on Oct. 10 and go through Oct. 13, which just happens to be this week/weekend. They’re playing with Teepee Creeper, Clutch and Red Fang, among others, and will no doubt have more news of one kind or another soon.

Here’s what’s up until then:

mos generator shows

Mos Generator “The Late Great Planet Earth Suite parts 1-12” is a newly restored and remastered version of our second album, first released on vinyl only in October 2005. This digital version features the 12 part 43 minute suite as one track rather than 12 movements broken up into separate tracks thus giving the listener the full experience as originally intended.

Says Tony, “The restored part is about being able to separate all 12 movements, master each song separately and then re-assemble it as one long song. I thought I had lost all of the songs as stand alone tracks so every pressing (on 3 different labels) over the years has been from the same source that I wasn’t completely happy with. I’m a little more satisfied now.”

The Late Great Planet Earth Suite:
I. On the Eve (including: The Midnight Sun)
II: Crematorium
III: Six Billion People Dead
IV: Opium Skies
V: The Myopic
VI: Closed Casket
VII: Fall of Megiddo
VIII: Zero to Infinity
IX: The Late Great Planet Earth
X: Golden Chariots
XI: Exit the Atomic Age
XII: The World Set Free

This is part of a continuing effort to do a super deluxe release of this album. Our hope is for a set containing 3 Lps, 2 Cds, 1 DVD, extended download, 12″x12″ booklet and an assortment of other memorabilia from the 2004-2005 era.

Mos Generator was:
Tony Reed: Guitar/Vocals/Keyboards
Shawn Johnson: Drums
Scooter Haslip: Bass

We’re only playing 4 shows this year. Here they are.

10/10 Little Devil’s – Port Angeles WA (w/ Teepee Creeper)
10/11 Manette Saloon – Bremerton WA (w/ Thylacine – Corrosive Company)
10/12 Midtown Bend – Bend OR (w/ Clutch – Red Fang)
10/13 McDonald Theater – Eugene OR (w/ Clutch – Red Fang)

Mos Generator is:
Tony Reed: guitar, vocals
Jono Garrett: drums
Sean Booth: bass

http://www.facebook.com/MosGenerator
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https://mosgenerator.bandcamp.com/
http://heavyheadsuperstore.storenvy.com/

Mos Generator, The Late Great Planet Earth Suite: Parts I-XII (2019)

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