I’ve listened to it front to back and I can honestly say this is the best podcast I’ve made in the last five months. Truth be told, I know there are plenty of people who do podcasts as their primary outlet, talk on them and whatnot (hey, I tried it once and reserve the right to do it again at some point), but if it’s between crossfading feedback from one song to another and writing a review of a new record, well, crossfading falls into the same category as just about everything else: Write first.
Fortunately, a longer span of time between casts makes it that much easier to pick tracks. Existence does not hand you a 45-minute Øresund Space Collective jam every day, so I thought that was worth featuring, and I just got Megaritual’s new vinyl for review, so I thought featuring their more recent single-song EP would work well too.
I’m happy with the blend overall, and with Asteroid setting the tone. Be patient with it. Let it unfold. Even with a rocking start, it gets pretty psychedelic pretty quickly, and only continues to move further out. My advice is go with it and see where you end up.
As always, I hope you enjoy.
Track details follow:
0:00:00 Asteroid, “Them Calling” from III
0:05:02 Stinkeye, “Orange Man” from Llantera Demos
0:08:31 Hornss, “Prince of a Thousand Enemies” from Telepath
0:11:36 Ice Dragon, “Broken Life” from Broken Life
0:16:08 Wasted Theory, “Odyssey of the Electric Warlock” from Defenders of the Riff
0:20:59 Pelander, “True Colour” from Time
0:29:41 The Freeks, “Blow Time Away” from Shattered
0:34:26 Baby Woodrose, “Freedom” from Freedom
0:37:27 Comacozer, “The Mind that Feeds the Eye” from Astra Planeta
0:45:21 Mos Generator, “Outlander” from The Firmament
0:51:13 Megaritual, “Eclipse” from Eclipse
1:16:25 Øresund Space Collective, “Visions Of…” from Visions Of…
Posted in Whathaveyou on November 9th, 2016 by H.P. Taskmaster
So, are Mos Generator back yet from their first-ever European headlining tour? [Does a quick check of the dates.] No they are not. That, however, has not stopped the Port Orchard, Washington, heavy rock specialists from announcing a follow-up stint along the West Coast. They play their last show abroad in Barcelona, Spain, on Nov. 19, and as you can see below, they kick off the next tour less than a week later on Nov. 25 in Seattle alongside Castle and Ancient Warlocks. And in the six days between? Probably some jetlag. Maybe a good meal. Knowing Mos Generator guitarist/vocalist Tony Reed, they’ll probably record a new album.
Mos Generator are on the road supporting three 2016 releases: the full-length Abyssinia (review here) on Listenable Records, and the two EPs The Firmament and Lies of Liberty ’87 (review here), the first of which is out on vinyl through Stickman and the second of which has secured an impending cassette issue through Red Cobra Records on a suitably crimson tape.
Here’s the latest from the PR wire:
MOS GENERATOR ANNOUNCES ADDITIONAL USA 2016 TOUR DATES!
Mos Generator has just announced additional 2016 USA West Coast tour dates in support of their two brand new EP releases, “The Firmament” (Stickman Records) and “Lies of Liberty ‘87” (Self released digital download), as well as their latest studio LP release, “Abyssinia” (Listenable Records).
The band will start the tour off in Seattle with a show alongside Castle & Ancient Warlocks, and then continue with the entire US West Coast, as well as Phoenix & Las Vegas, ending the tour in Tacoma with Year of the Cobra & Ancient Warlocks. This tour will include ten show dates with Castle, and six dates with ‘Year of the Cobra’.
San Francisco’s Castle, consisting of Liz Blackwell (vocals/bass), Mat Davis (guitar/vocals), and Al McCartney (drums), has maintained a relentless touring schedule since the release of “Under Siege” in 2014 with multiple expeditions throughout the US, Europe, and Canada. Castle will be headlining ten of the shows on this Mos Generator tour schedule!
Seattle’s Year of the Cobra, consisting of Amy Tung Barrysmith (vocals/bass) and Jon Barrysmith (drums) hit the ground running in 2015 with their EP release “The Black Sun”. They currently just released their debut LP, “In the Shadows Below”, with STB Records, and have announced touring plans for the US and Europe in 2016 & 2017. Year of the Cobra will be joining the bill on six dates during this Mos Generator tour!
Mos Generator USA Fall 2016 West Coast Tour Dates; November 25th – Seattle, WA @ The Funhouse (w/ Castle & Ancient Warlocks) November 26th – Bellingham, WA @ The Shakedown (w/ Castle & Year of the Cobra) November 27th – Olympia, WA @ The Obsidian (w/ Castle & Year of the Cobra) November 28th – Portland, OR @ The Raven (w/ Castle) November 29th – Eugene, OR @ Old Nick’s Pub (w/ Castle) November 30th – Grants Pass, OR @ The G Street Bar and Grill (w/ Castle) December 1st – San Francisco, CA @ Thee Parkside (w/ Castle) December 2nd – Santa Cruz, CA @ The Blue Lagoon (w/ Castle) December 3rd – Ventura, CA @ The Garage (w/ Castle) December 4th – Glendale, CA @ The Complex (w/ Castle) December 5th – San Diego CA @ The Merrow December 6th – Phoenix AZ @ TBA December 7th – Las Vegas NV @ The Dive Bar December 8th – Sacramento CA @ The Starlite Lounge (w/ Year of the Cobra) December 9th – Arcata CA @ The Alibi (w/ Year of the Cobra) December 10th – Medford OR @ Johnny B’s (w/ Year of the Cobra) December 11th – Tacoma WA @ The Valley (w/ Year of the Cobra & Ancient Warlocks)
Posted in Reviews on October 27th, 2016 by H.P. Taskmaster
It’s not often that a band issues their most forward-thinking and backward-looking releases back-to-back, let alone within a month of each other, but for Port Orchard, Washington, three-piece, there’s very little that’s out of their reach at this point. Lest we forget, the outfit led by its perpetually restless founder, guitarist/vocalist/engineer Tony Reed, already also issued a new studio full-length, Abyssinia (review here), earlier this year on Listenable Records.
Working with the same rhythm section of bassist Sean Booth and drummer Jono Garrett, the two new EPs, The Firmament (vinyl on Stickman Records) and Lies of Liberty ’87 (as yet a digital-only self-release) show opposite-ends-of-the-spectrum mentalities and foster two very, very different sounds while still retaining character as Mos Generator. In a manner bold and frank, they push the boundaries of what that character means, and respectively give fans an at-least-partial look at where Mos Generator came from and where they might be going.
The timing couldn’t be more convenient for both to arrive, especially after Abyssinia found Reed and company delving into more progressive fare on its B-side, and thereby moving forcefully beyond the kind of heavy rock proffered on their last two full-lengths, 2014’s moodier Electric Mountain Majesty (review here) and their 2012 return album, Nomads (review here), that woke them from several years of hiatus — but to have Mos Generator dive headfirst into live-recorded hardcore songs from 30 years ago at basically the same time they bring in two guest members to play second guitar and Rhodes on a Joy Division cover and reworked original material, also tracked live?
I don’t know if Reed had a master plan or if it’s just serendipity, but it would be harder to conceive of a clearer demonstration that, now well past the 15-year mark and having emerged since 2014 as a significant touring presence, Mos Generator feel free to do just exactly whatever the hell they want. All the better.
The Firmament was released earlier (Sept. as opposed to Oct.), but since the material on Lies of Liberty ’87 dates back further, it seems fair to tackle that first. Taking its name from Reed‘s early hardcore band, Lies of Liberty, and culling songs from a period between 1986-’87, the 17:47 blaster comprises 11 songs that brim with the adolescent fervor that no doubt drove their creation at the time and in so doing make for the rawest material Mos Generator have ever released.
Maybe that’s not a fair comparison, since it’s not like they’ve ever taken on hardcore punk so directly before, but minute-long shots like “The Smell of Death,” “Social Termination” (actually the shortest track at 44 seconds long), “A Pig’s Job is Never Done,” “Gore Reality” and so on plow by, one after the other, as they no doubt did three decades ago in some local VFW hall, Reed and his Lies of Liberty bandmates giving their friends a valid excuse to lose their minds and worry their parents. As they’re recorded now, those cuts and longer pieces like “Bring it Forward” (1:42), “Push Comes to Shove” (2:42) and the slower closer “Holocaust America” (a sprawling 3:36) benefit greatly from having been tracked live.
Can’t help but wonder how much Reed rehearsed the songs with Booth and Garrett before rolling tape, since the performances are tight, but for the kind of aesthetic with which they’re working, they could easily run the risk of becoming too much so at the sacrifice to the intensity with which they were written. That is, one wouldn’t want them to sound too adult. Mos Generator strike a fitting balance in giving their audience a feel for where “World of Hate” or “Negative Change” come from without necessarily cleaning them up so that they lose their edge. It’s a quick shot, but one imagines Lies of Liberty ’87 surprising a lot of listeners who happen upon it without the context of knowing the origin of the tracks included. Likely that’s part of the fun for the band.
As you’ve probably already gathered, The Firmament is an altogether different beast. Recorded as the audio portion of a live video called Songs for the Firmament taped by Chris Mathews (now also of Ancient Warlocks) of Joonior Studios, the five-song outing spans a decade of Mos Generator‘s catalog (and beyond) but ultimately boasts a quieter, more melancholy feel.
Reed, Booth and Garrett are joined by second guitarist Bo McConaghie and Rhodes pianist Andy Sorter to make what I’m reasonably certain is the first five-piece incarnation in the band’s history, and the songs they run through — “Fall of Megiddo” and “Zero to Infinity” from 2006’s The Late Great Planet Earth, “Wicked Willow” from Abyssinia, the Joy Division cover “Dead Souls,” and “Outlander,” also from Abyssinia — set an atmosphere that is as righteous in its patience as Lies of Liberty ’87 was in its furies.
In fact, it’s not until “Wicked Willow,” here presented with acoustic and electric guitar side by side, that Reed even steps forward with vocals, and by then the first 10 of The Firmament‘s 26 minutes have passed. The roll from the album version is recognizable, but the veneer has changed, and so too the context in which “Wicked Willow” is framed, so that even when the chorus kicks in it seems to be a gentler more wistful delivery, marked out by Booth‘s runs on bass, a final wash of crash, and a round of applause from those lucky enough to be at the recording.
“Dead Souls,” which children of the ’90s will recall Nine Inch Nails taking on for the soundtrack to The Crow, turns out to be the most active track of the bunch, pushed forward by Garrett‘s toms and the cyclical riffing that going along with them. Mos Generator‘s version might be a little faster than the original, but they settle into it fluidly, and the final comedown, followed by more applause, makes an easy transition into the Mellotron and Rhodes combo that begins “Outlander,” those and the harmonized vocals that accompany ensuring the finale is the highlight of the short set.
There’s room in the six minutes for a build into a fervent guitar solo to answer the Rhodes, and the last chorus’ gradual ending only seems to underscore the entire spectrum of stylistic development in Reed‘s songwriting over the last 30 years. That’s really what it’s all about. One release purposefully regressing, another brazenly embarking on new territory. Again, I doubt it was a conscious decision on Mos Generator‘s part to put Lies of Liberty ’87 and The Firmament out in such proximity to each other, but in so doing, they’ve not only given further evidence of the apparently ceaseless productivity that has become a defining aspect of their approach over the last half-decade or so, but shown creative range to match.
One usually feels pretty comfortable in one’s expectations when it comes to a Mos Generator release — they regularly deliver high-quality songcraft and crisp performances of traditionally-styled heavy rock — but after these two, I’m not sure I’d even dare to predict where they might go next. Reed played drums at one point in death metallers Woodrot, so who knows? Their future’s more open than it’s ever been.
Mos Generator, Lies of Liberty ’87 (2016)
Mos Generator, “Outlander” from Songs for the Firmament
I’ve never used Prisma, but putting together 5,800 of any kind of image to make an animated video out of it that then has to synch up with an actual song being played sounds like a ridiculously complicated editing job. Again, I’ve never done it. Maybe there’s some fabulous modern technology that makes that not at all a pain in the ass, but however they got there, Mos Generator‘s new video for “Catspaw” from their 2016 Listenable Records album, Abyssinia (review here), looks pretty sweet.
The Port Orchard, Washington, trio led by founding guitarist/vocalist Tony Reed continue their multi-pronged, multi-tiered attack on heavy rock consciousness as we move into the waning months of 2016. In addition to Abyssinia, they’ve also just put out The Firmament via Stickman Records, which captures a live performance with an expanded lineup recorded by Chris Joonior — who as fate would have it also helmed the “Catspaw” clip and who also now handles guitar/vocals in Ancient Warlocks — and they’ve got another batch of recordings in the can at Reed‘s HeavyHead studio that dip back to a collection of old hardcore tunes from the late ’80s. Two are streaming on Soundcloud (linked below).
Not sure if they’ll actually see release, but it wouldn’t at all surprise me if Reed pressed them up himself in some limited numbers, so keep an eye out. Mos Generator — Reed, bassist Sean Booth and drummer Jono Garrett — have also toured the country coast to coast to support the new album, including a recent stop in Alaska. If you ever wanted a yardstick by which to measure a band’s touring habit, consider “driving to Alaska for a show” a pretty good one to use. They also play Erosion Fest in Missoula, Montana, on Oct. 15.
Bottom line? Mos Generator are out there breaking their collective ass to bring as much rock and roll as possible to as many people as possible. Expect the pace to continue, and enjoy the “Catspaw” clip below followed by some PR wire info and comment from Reed on their latest doings:
‘Catspaw’ is from Mos Generator’s new full length album “Abyssinia” available via Listenable Records.
Created using Prisma, neural network artificial intelligence, and lots of other pieces of software. Special thanks to Brian Mathews for hours of moral and technical support.
We would like to extend a massive thank you to Chris and Brian Mathews for using extra terrestrial intelligence to figure out how to make a video from 5800 Prisma images. We know it took a lot of time and effort. We truly appreciate it.
Out on Stickman Records (Motorpsycho, Elder, Spidergawd). THE FIRMAMENT. The soundtrack LP of our performance in the concert film “Songs for the Firmament”. We brought in some extra players for this and got quite Psych with it. Shows yet another side of our catalog. Check it out!!!
On august 1st we recorded 12 songs in 4 hours. All of them were hardcore songs I wrote circa ’86/’87 with my hardcore band “Lies of Liberty”. Here is a double shot of 2 of the tunes we have been throwing into the live set here and there. All of the songs will all be released on vinyl as soon as the tracks have a final mix and we find a label to put it out. This has been a super fun project, it’s great to hear these tunes properly recorded after 30 years.
Posted in Whathaveyou on August 24th, 2016 by H.P. Taskmaster
By the time they get over there, the bulk of the jam-packed European fall festival season will be over, and I can’t help but think that works to Mos Generator‘s advantage. True, they’ll play at Heavy Psych Sounds Fest 3 with a considerable lineup that also includes Fatso Jetson and others, but I’d imagine rockers in a lot of the cities listed below will be hurting for a band they haven’t already just seen three times in the span of weeks, and so Mos Generator seem poised to make a standout impression.
They go supporting their upcoming EP, The Firmament, on Stickman Records and their new album, Abyssinia (review here), on Listenable Records, on which the songs benefit from the overall energy that the band has been able to harness from emerging over the last couple years as such a hard-touring act. Part of that was guitarist/vocalist Tony Reed rebuilding the trio from the ground up, but that too was a measure of sheer drive on his part that has ultimately worked to spread their classic-style boogie and groove, as their delivery of same is nigh on irresistible for anyone who’s ever dug into some riffs.
Heavy Psych Sounds, which is presenting the tour, had previously announced the run, but posted the dates accordingly with a few still TBA:
This will be insane !!
HEAVY PSYCH SOUNDS Records&Booking is proud to announce the European dates for ***Mos Generator*** tour
This will be supported by Black Bone from Netherland
New album Abyssinia is just been released on Listenable records
here the dates: 20.10.2016 IT Ravenna-Bronson* 21.10.2016 IT Torino-Blah Blah* 22.10.2016 IT Milano-Cox 18* 23.10.2016 IT Mantova-Hostaria* 24.10.2016 IT Bologna-Freak Out* 25.10.2016 IT Zerobranco-Altroquando* 26.10.2016 AT Salzburg-Rockhouse* 27.10.2016 IT Trieste tba* 28.10.2016 IT Parma-Mu/Hps fest Vol 3* 29.10.2016 DE Berlin-Cassiopeia* 30.10.2016 DE Radebeul-Barnyard Club* 31.10.2016 DE Hamburg tba* 01.11.2016 DE Munster-Rare Guitar Shop* 02.11.2016 DE Koln-Sonic Ballroom* 03.11.2016 DE Stuttgart-Keller Klub* 04.11.2016 CH Luzern-Bruch Bros* 05.11.2016 CH Winterthur-Gaswerk* 06.11.2016 DE Wiesbaden-Schlachthof* 07.11.2016 DE Mannheim-Tba* 08.11.2016 BE Bruxelles-Magasin 4* 09.11.2016 FR Nantes-La Scene Michelet 10.11.2016 FR Paris-Dr Feelgood Les Halles 11.11.2016 FR Lorient-Le Galion 12.11.2016 SP San Sebastian-Tba 13.11.2016 SP Zaragoza-Tba 14.11.2016 SP Gijon-Casino Acapulco 15.11.2016 PT Lisbon-Sabotage 16.11.2016 PT Porto-Cave 45 17.11.2016 SP Vigo-La Iguana Club 18.11.2016 SP Madrid-Tba 19.11.2016 SP Barcellona-Boveda *date with Black Bone
Posted in Whathaveyou on July 21st, 2016 by H.P. Taskmaster
Based for the first time in Parma, Italy — the two prior editions had been held in Rome — Heavy Psych Sounds Fest Vol. III has announced a massive round of bands newly joined the proceedings, set for Oct. 28 and 29. The names have trickled out over the last couple weeks, but it seems a roundup is in order, considerable as the names are. In addition to The Atomic Bitchwax, who’ll be on the road with Pentagram at the time, and Fatso Jetson, whose slot was previously announced as part of their Heavy Psych Sounds-sponsored Italian tour, the likes of Mos Generator, Glowsun, Isaak, Komatsu, Void of Sleep and Black Bone have joined on.
I’d expect that means Mos Generator are about to announce a European tour, but I don’t think they’ve done so yet. They’ll head abroad supporting their new album, the excellent Abyssinia (review here), while hopefully Fatso Jetson‘s upcoming LP will be out by then as well. More on that if/when I hear it.
I’ve noted more than a handful of times how crowded the European festival circuit is for this fall, but Heavy Psych Sounds continues to put Italy on the map for heavy rock, its reach extended both domestically and internationally more than ever before, as you can see:
HEAVY PSYCH SOUNDS FEST VOL 3 with Atomic Bitchwax, Fatso Jetson, Mos Generator, Giobia, Glowsun, Isaak….
Here to announce the HEAVY PSYCH SOUNDS FEST VOL 3.
The Festival will take place in Parma, Italy at Mu Club, 90 minutes down Milan or 45 minutes up Bologna, both are the good spot to arrive with airplane. The shows will be divided between 2 stages.
***Friday 28 October ticket 15 euro **Saturday 29 October ticket 15 euro
[Stream ‘Catspaw’ from Mos Generator’s Abyssinia by clicking play above. Album is out July 15 in Europe and Aug. 5 in North America on Listenable Records.]
Nothing is 100 percent certain in life, but it’s a far safer bet that, when dealing with Mos Generator, you’re going to get straightforward, immaculately written heavy rock and roll, and that’s just what the Port Orchard, Washington, trio deliver on their third full-length since their 2012 resurgence (sixth overall, second for Listenable Records), Abyssinia. Now a seasoned road act after spending years functioning part-time, the band follows-up 2014’s Electric Mountain Majesty with 10 songs that sound as assured in their execution as in their construction, bringing stage-hewn chemistry between guitarist/vocalist/keyboardist/engineer/auteur Tony Reed, bassist Sean Booth and drummer Jon Garrett to a studio setting in a fashion that, as ever, is driven by a clarity of sound and purpose but maintains a heavy, classic presence beneath.
Duality is nothing new for Mos Generator — of whom I’ll say both that I’m a fan and that I consider Reed a friend — as Electric Mountain Majesty showed in its moments of underlying depressiveness and dissatisfaction. Abyssinia, with a title that’s reportedly playing off the Washington-state accent’s version of “I’ll be seein’ ya” but nonetheless uses the word “abyss” to make that play, has its moments of melancholy as well, whether it’s the slower roll of “As Above so Below,” “Wicked Willow” before it or the closing duo of “Time and Other Thieves” and “Outlander,” but that brooding is offset by a thrust greater even than the band showed on 2012’s Nomads (review here), songs like “Catspaw” and its side B counterpart “Red Canyons” pushing into what would be manic territory were Reed and company still not able to keep such a handle on the material.
Add to that last grouping the blown-out “There’s No Return from Nowhere” and the Captain Beyond-style shuffle over which “Time and Other Thieves” contemplates mortality and the double-edge of Mos Generator becomes even more apparent. In that, it’s a fitting answer to Electric Mountain Majesty, but the tracks as individual pieces are stronger, and it’s almost too easy to attribute that to the fact that the band has spent the better part of the last two years on tour — but they have — and so are able to deliver a song like “Easy Evil” with a defined purpose and an energy that rings true throughout the record, starting with opener “Strangest Times,” which launches immediately — no time for intros — into its first verse and seems to be the road song that Reed has been dying to write all these years, the line, “I’m just a slave to the strangest times that I’ve ever known,” belted out before each of the two solos.
Garrett starts “You’ve Got a Right,” which is a roller with a multi-layered vocal hook that presages some of the harmonies to come later on and flows easily into the tempo kick of “Catspaw.” Some classic metal riffing in the verse is offset by melodic flourish in the guitar — one of Mos Generator‘s greatest strengths has become attention to detail — and a slowdown release in the chorus, but the prevailing impression left behind is still the gallop, which makes it that much more of a jump when the relative lumber of “Easy Evil” begins, its nod maintained for the duration of its five-minute run, an airy break, solo and hard-funk fuzz highlight riffing leading the way out with an irresistible groove only to have “Wicked Willow” pick up with a more mid-paced feel that showcases the range in Reed‘s vocals as he follows the guitar line on one last unpretentious bounce to close out the first half of the tracklisting.
I’m not sure if that’s where the vinyl split is or not, but either way, “As Above so Below” works quickly in its first couple minutes to set a different, more progressive vibe, and much of what follows builds on that. Yes, it still rocks — Reed tears into a solo and soulful chorus as Garrett and Booth lock in another righteous nod — but a quiet break in the first half establishes a tone that Abyssinia takes as a central element in its back half. Of course, Mos Generator need to get through “Red Canyons” first. The most vigilant push on the record is well placed to continue the momentum from earlier into the final three tracks, which are richer in their arrangements and of course more patient — catchy “Red Canyons” is, patience it has little time for — but less about physical motion. A simple verse/chorus interchange becomes one of Abyssinia‘s standout hooks, and the effect is clear going into “There’s No Return from Nowhere,” which is the most weighted-feeling of the cuts here, though it introduces its central riff acoustically before its full stomp kicks in.
Crashing and shouting and a wash of noise cut out suddenly to harmonies and softly-strummed guitar, keys and classically progressive boogie — a return of the acoustic alongside the synth — arriving as a surprise but somehow still working. The heavier riffs continue to lurk, however, and they do come back to finish out as Reed delivers the title line, ending cold so that “Time and Other Thieves” can start its already-noted shuffle, its movement marked by double-time hi-hat, frenetic choppy guitars and Booth‘s bass holding it all together in classic power trio form. A turn begins with the subtle arrival of organ at the halfway point, but Reed takes a guitar solo before they shift back into the main riff and then on to a closing section of key-led space-prog, Garrett holding onto some of the track’s initial energy but clearly heading someplace else with it.
That’s a sudden change, even with the keys having appeared earlier on the album, but in addition to being somewhat satisfying to hear Mos Generator bust through the confines of even their own songwriting rules, it makes sense in light of the six-minute closer and longest track “Outlander,” which boasts Mellotron layers and a subdued groove initially before Reed begins his gloriously harmonized and intricately arranged vocals. Before they even get to the chorus, “Outlander” is sure enough foreign in its sound from everything else on Abyssinia — one might liken its intent more toward Reed‘s shortlived HeavyPink project — but its progression serves as the payoff for the album as a whole, moving in the chorus to a transfigured “I Want You/She’s so Heavy”-style riff that seems to answer everything the three-piece have done up to that point, be it heavy, melancholic or progressive.
They ride that to the song’s end, and rightly so, and cap Abyssinia on a striking and adventurous note, showing that while Reed has helmed the band for more than 15 years, there’s still growth underway in its scope and stylistic breadth. Mos Generator, as an outlet for his restless, relentless creative spirit, have never sounded more in command of their approach than they do on Abyssinia, and as they’ve embarked on a tour-as-much-as-possible ethic, that seems only to have brought more life into their already accomplished craft. Abyssinia stands among 2016’s finest heavy rock albums, easily.
Posted in Whathaveyou on July 11th, 2016 by H.P. Taskmaster
Port Orchard heavy rock specialists Mos Generator have not yet released their new full-length, Abyssinia (review tomorrow), but as ever, the Tony Reed-led outfit are looking forward already, this time toward a new EP release through Stickman Records called The Firmament. Set to be issued as a complement to a live video recorded earlier this year by Chris Mathews (now also of Ancient Warlocks) in an airplane hangar, it features tracks from the new album and others, a Joy Division cover and guest collaborators, giving it a really distinct feel among Mos Generator‘s output. That level of output has only grown more fervent over the last couple years as Reed has revamped the lineup, bringing in bassist Sean Booth and drummer Jono Garrett, and hit the road with the same intensity that for a long time was reserved just for studio work.
Still plenty of that happening as well though, but The Firmament shows just how spot on Mos Generator are as a live band. Release announcement and video for “Outlander” follow here, courtesy of Stickman via the PR wire:
Mos Generator The Firmament
Psychobabble 085 / LP (cd inluded)
Release date: September 9, 2016 VINYL + CD
Spring 2016, the northwestern coast of the United States. Strange alien lights are sighted amongst a number of uncanny solar phenomena. In response, the Joonior Space Administration develops a plan to make contact with the outsiders. And somewhere amid this interstellar singularity, a heavy rock band is blowing the roof off an airplane hanger in eastern Washington State. Welcome to The Firmament, the new album and film soundtrack by Port Orchard’s Mos Generator.
For those initiated in the world of modern heavy rock, Tony Reed and Mos Generator are most likely household names. Between writing and performing some of the most earnest rock n’ roll this side of the 1970’s and recording and producing dozens of albums, the man still finds the time to pick up unique projects that showcase the band’s diversity and creativity. So when filmmaker Chris Matthews approached Mos Generator to be part of an abstract live concert film titled “Songs for the Firmament”, it didn’t take long to realize this was the opportunity for something special.
Choosing an airplane hangar as their shooting and recording location, Reed and co. assembled a soundtrack fit for the movie’s interstellar affairs. What emerged was a collection of both new and old material (as well as a stellar Joy Divison cover), rewritten specially for the project. In the name of exploration of sound and space, guest musicians Bo Mcconaghie and Andy Sorter were recruited to pick up second guitar and Rhodes piano duties, adding another layer of lushness and complexity unique to the Mos Generator catalogue.
The Firmament is a milestone in Mos Generator’s history not only as their first film appearance or as a celebration of over 15 years of perseverance, but also as a presentation of the band’s first new recording lineup since 2000. Sean Booth (bass) and Jono Garrett (drums) are dynamic and powerful players that fit Reed’s soulful playing like a glove. In five songs, the album glides seamlessly though hard rock and progressive territory with genuine soul, both classic and eerily spacy at the same time. Stickman Records is proud to present this slab of cosmic dust on 18ogr vinyl with CD included for your listening pleasure.
Tracklisting: 1. Fall of Megiddo 2. Zero to Infinity 3. Wicked Willow 4. Dead Souls 5. Outlander