Posted in Features on January 2nd, 2015 by H.P. Taskmaster
It was close for a long time, but in the last week or so, one record pulled ahead to stake a definitive claim on the top spot. Even so, more than the 2013 poll, this was a fun one to watch, three albums duking it out, trading back and forth in the raw votes depending on who happened to submit a list at any given time. In the end, 355 people participated in this year’s poll, which is an average of over 11 per day — there was a significant push at the end — and up from 2013, which now that it’s 2015 will no doubt soon feel like ancient history.
To that end, Happy New Year and huge, huge thanks to everyone who took the time to contribute a list to the poll. Even if it was one or two records, the simple fact that you felt it was worth your time to type out the names of bands and albums and take part in this thing is unbelievably gratifying to me. I do a lot of the talking around here, apart from comments and the forum, so to have your participation in this really means a lot to me. It’s nice knowing you give enough of a crap to take part.
You’ll find two lists below. The first, measured in points, is the weighted tally. A 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. After that comes the raw votes, a measure of what caught the most attention along the way.
After the jump, you’ll also find all the lists contributed to the poll — including my own, which seemed fair since I do a lot of reading on this site, mostly to experience shame at the typos and correct them hoping no one else noticed — presented in the order in which they were received. Thank you all again.
Top 20 of 2014 — Weighted Results
1. YOB, Clearing the Path to Ascend (560 points)
2. Wo Fat, The Conjuring (404)
3. Electric Wizard, Time to Die (367)
4. Pallbearer, Foundations of Burden (334)
5. Conan, Blood Eagle (275)
6. Orange Goblin, Back from the Abyss (254)
7. Greenleaf, Trails and Passes (240)
8. Truckfighters, Universe (237)
9. Brant Bjork and the Low Desert Punk Band, Black Power Flower (235)
10. Earth, Primitive and Deadly (230)
11. Fu Manchu, Gigantoid (225)
12. Blues Pills, Blues Pills (211)
13. Lo-Pan, Colossus (202)
14. Eyehategod, Eyehategod (198)
15. Monolord, Empress Rising (190)
16. Mastodon, Once More ‘Round the Sun (188)
17. Mars Red Sky, Stranded in Arcadia (161)
18. John Garcia, John Garcia (156)
19. Bongripper, Miserable (141)
20. Radio Moscow, Magical Dirt (127)
Honorable mention to:
Goat, Commune (126)
Swans, To be Kind (117)
Monster Magnet, Milking the Stars (116)
Blood Farmers, Headless Eyes (105)
Floor, Oblation (104)
Mothership, II (104)
Stubb, Elephant Tree, Thou and plenty of others also did very well in the voting, but everything else I could find was less than 100 points. Again, it was close for a while between Wo Fat, Electric Wizard and YOB — and Pallbearer wasn’t so far behind them, either — but YOB pulled it out in the end and jumped way in front of everyone else. A lot of number-one votes for Clearing the Path to Ascend, which I can understand completely, since I happened to agree with the position.
On to the raw votes:
Top 20 of 2014 — Raw Votes
1. YOB, Clearing the Path to Ascend (138 votes)
2. Wo Fat, The Conjuring (111)
3. Electric Wizard, Time to Die (104)
4. Pallbearer, Foundations of Burden (89)
5. Orange Goblin, Back from the Abyss (78)
6. Conan, Blood Eagle (72)
7. Fu Manchu, Gigantoid (71)
8. Truckfighters, Universe (66)
9. Earth, Primitive and Deadly (65)
10. Greenleaf, Trails and Passes (64)
11. Blues Pills, Blues Pills (63)
12. Brant Bjork and the Low Desert Punk Band, Black Power Flower (60)
13. Lo-Pan, Colossus (58)
14. Eyehategod, Eyehategod (55)
15. Monolord, Empress Rising (52)
16. Mars Red Sky, Stranded in Arcadia (48)
16. Mastodon, Once More ‘Round the Sun (48)
17. John Garcia, John Garcia (47)
18. Bongripper, Miserable (41)
18. Radio Moscow, Magical Dirt (41)
19. Goat, Commune (37)
19. Mothership, II (37)
20. Swans, To be Kind (32)
And some honorable mentions:
Dwellers, Pagan Fruit (31)
Floor, Oblation (31)
Monster Magnet, Milking the Stars (31)
Mos Generator, Electric Mountain Majesty (30)
Thou, Heathen (30)
The Well, Samsara (30)
A couple ties here make the raw votes list a little more inclusive, and since it’s not like we’re giving out olympic medals, it didn’t seem fair to count out ties and sacrifice other numbers. The top 20 has 23 entries? Yeah, sounds about right. Again, not much mystery ultimately to who came out on top, but it was a more thrilling race than the final numbers might suggest. Cool to see some differences in placement emerge between the two lists as well, Greenleaf and Brant Bjork doing really well in the weighted results since they obviously inspire some strong support, and a couple of others working their way into the raw votes top 20. I’m not really a numbers guy, but it’s been cool putting this together.
About not being a numbers guy: All the lists that came in appear after the jump below. If you find some glaring error in my math, or something seems like it really got enough votes to be included in one or the other, it’s possible I just missed it. I hope you’ll point it out in the comments so that if there is a mistake, I can get on correcting it as soon as possible. Your vigilance is sincerely appreciated.
And thank you again so much for being a part of this readers poll. It’s been a really great experience and I look forward to doing it again come Dec. 2015.
Please find everybody’s list after the jump, and have fun browsing:
Posted in Whathaveyou on December 29th, 2014 by H.P. Taskmaster
Sharing a base of operations with the Southwest Terror Fest in Tucson, Arizona, the upcoming Borderland Fuzz Fiesta will make its initial showing in 2015 an impressive round of acts including Fireball Ministry – as seen on Motörhead‘s Motörboat above, with none other than Scott Reeder on bass — Wo Fat, Mos Generator, Powered Wig Machine and plenty of others, plus a light show from the venerable Mad Alchemy to add visual psychedelia to what’s sure to be a well-distorted evening Feb. 21 at The Rock. Not a bad way to start out, if you’re starting out.
Put together by Wayne and Joseph Rudell of Powered Wig Machine, the whole deal was announced via the PR wire as follows:
BORDERLAND FUZZ FIESTA: Tucson, Arizona’s First Annual Riff Party Reveals 2015 Lineup Including FIREBALL MINISTRY, WO FAT, MOS GENERATOR & More
The desert city of Tucson, AZ is host to a wide array of annual events in the musical realm and this coming February will see the addition of a still another: The Borderland Fuzz Fiesta. Conceived and curated by the Rudell brothers of regional desert rockers Powered Wig Machine and Fuzz Evil, the inaugural show will take place on February 21st at The Rock.
Borderland Fuzz Fiesta 2015 Official Lineup:
Fireball Ministry Wo Fat Mos Generator Powered Wig Machine Goatroper Skulldron Asimov Yeti Ender Conqueror Worm Methra
When: February 21, 2015 Where: The Rock, 136 North Park Avenue, Tucson, AZ 85719
“My brother and I have always wanted to put together a stoner rock themed fest and we’re definitely excited about this first year’s lineup,” comments an enthusiastic Wayne Rudell. The bill for the event certainly serves up ample helpings of the stoner genre with its fine mix of bands from the Southwest region and beyond, including Fireball Ministry, Wo Fat, Mos Generator, Powered Wig Machine, Skulldron, Asimov, Goatroper, Yeti Ender, Conquerer Worm, Methra and the Mad Alchemy Liquid Light Show.
While the lineup is definitely under the wider umbrella of the stoner rock genre, there is a great diversity of sounds among the bands, from sprinklings of the psychedelic to slabs of doom and scorching thrash riffs, or pretty much something for every pair of ears inclined towards heavy music. Mr. Rudell certainly believes so: “We really feel that fans of this music would appreciate this event and will hopefully get behind it in the time to come, we’re going to be striving to make the Borderland Fuzz Fiesta bigger and better every year.”
Tickets for Borderland Fuzz Fiesta are $15 in advance, $20 at the door, and are available nowRIGHT HERE.
Sponsored by Eminence Speakers, Lace Pickups, Hovercraft Amplifiers, Greeson Custom Guitars, Tucson Maidens of Metal, Electric Beard of Doom, Radio, Sludged.com, and Wildcat Screen Repair.
Here is the Music Player. You need to installl flash player to show this cool thing!
Since I don’t do theme podcasts or anything, the thoroughly unofficial subtitle of this latest one is “SOME of the Best of 2014.” Truth be told, it’s four hours long and I feel like I barely scratched the surface, so definitely the emphasis should be on “some.” By no means is it meant to be comprehensive, or am I claiming that it’s all the best and the rest sucked or anything like that. But some of the best stuff is here, so, you know, I hope you enjoy.
My intent was to make it three hours long, and then I got there and it just didn’t feel done without another hour’s worth of extended psych jams. That’s an odd habit to have. Could be worse. For what it’s worth, I was thinking of this as a companion for some of the year-end coverage that’s already been posted and is still to come. Some of this was inspired by picks from the Readers Poll, the submissions for which are still open. If you haven’t added your list yet, I’d greatly appreciate it.
And once again, hope you dig it:
YOB, “Nothing to Win” from Clearing the Path to Ascend
Fu Manchu, “Radio Source Sagittarius” from Gigantoid
Radio Moscow, “Death of a Queen” from Magical Dirt
The Golden Grass, “Stuck on a Mountain” from The Golden Grass
Monster Magnet, “No Paradise for Me” from Milking the Stars: A Reimagining of Last Patrol
Pallbearer, “The Ghost I Used to Be” from Foundations of Burden
The Skull, “Sick of it All” from For Those Which are Asleep
Electric Wizard, “Time to Die” from Time to Die
Orange Goblin, “The Devil’s Whip” from Back from the Abyss
Moab, “No Soul” from Billow
Sleep, “The Clarity” from The Clarity 12”
Mars Red Sky, “Hovering Satellites” from Stranded in Arcadia
Floor, “Rocinante” from Oblation
Slomatics, “And Yet it Moves” from Estron
Conan, “Foehammer” from Blood Eagle
Druglord, “Feast on the Eye” from Enter Venus
Apostle of Solitude, “Die Vicar Die” from Of Woe and Wounds
Pilgrim, “Away from Here” from II: Void Worship
Blood Farmers, “The Road Leads to Nowhere” from Headless Eyes
Lo-Pan, “Regulus” from Colossus
Elephant Tree, “Vlaakith” from Theia
The Well, “Mortal Bones” from Samsara
Lucifer in the Sky with Diamonds, “Counting Time” from The Shining One
Brant Bjork and the Low Desert Punk Band, “Stokely up Now” from Black Power Flower
Joy, “Driving Me Insane” from Under the Spell of Joy
Greenleaf, “Depth of the Sun” from Trails and Passes
Mothership, “Priestess of the Moon” from Mothership II
Truckfighters, “Get Lifted” from Universe
Mos Generator, “Enter the Fire” from Electric Mountain Majesty
Mammatus, “Brain Drain” from Heady Mental
Øresund Space Collective, “Beardlandia” from Music for Pogonologists
My Brother the Wind, “Garden of Delights” from Once There was a Time When Time and Space were One
The Cosmic Dead, “Fukahyoocastulah” from Split with Mugstar
Montibus Communitas, “The Pilgrim to the Absolute” from The Pilgrim to the Absolute
Posted in Features on December 22nd, 2014 by H.P. Taskmaster
Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.
This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.
I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.
Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.
The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.
A darker affair from Port Orchard, Washington’s Mos Generator, Electric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.
Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.
His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”
An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.
Icelandic four-piece Sólstafir hit on a rarely attained balance of gorgeousness and melancholy, and while Ótta is expansive, it’s also gripping front to back and is the best execution of its style I’ve heard since Anathema‘s Alternative 4, which is not a comparison I make lightly. A challenging record, but satisfying in kind and universal in its expressiveness.
The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.
Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.
Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.
Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.
Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.
Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.
For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.
You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.
Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.
Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.
14. Brant Bjork and the Low Desert Punk Band, Black Power Flower
Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.
An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.
What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.
My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which Graham, Alley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow Season, The Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.
10. Montibus Communitas, The Pilgrim to the Absolute
Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.
Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew Giacumakis — Fu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”
Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.
Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.
A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.
What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.
A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angelsthat brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.
In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon Davis‘ Skyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.
Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.
Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.
Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend – YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.
First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.
A few other honorable mentions:
Mothership, Mothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.
Alunah, Awakening the Forest — Every time I make a list, no matter what kind of list it is, there’s a band I wind up kicking myself for forgetting about at the time. This is the case 100 percent with why Alunah aren’t in the Top 30. In fact, I might go in and swap them out with somebody.
Ice Dragon, Seeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.
Truckfighters, Universe – I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.
Steak, Slab City — An impressive debut following two strong EPs.
Godflesh, A World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.
Thou, Heathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.
Corrosion of Conformity, IX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.
Spidergawd, Spidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!
Monster Magnet, Milking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.
Slomatics, Estron — Another one I’m just getting to know, but am very much digging.
Electric Wizard, Time to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.
Pallbearer, Foundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.
The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.
Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.
More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.
And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.
At best, this stuff is a crapshoot. Until something’s just about in your hand, you never really know when or if it’s going to come out. But they’re fun, and it’s exciting to think of good music being released, so you do it anyway. On the whole, I don’t think I did that badly between the two lists. Of course there was stuff that wasn’t anticipated — Colour Haze‘s new album, To the Highest Gods We Know, walks by and waves en route to its Dec. 15 release date — but for what we got, it worked out well.
That’s the general overview, but because I hold myself to a standard of accountability more rigorous than, say, my nation’s torture-happy secret police, here’s a full rundown of the list as it was, now (as then), presented alphabetically and with the titles listed as they were at the time:
42 of 2014’s Most Anticipated Albums — REVISITED!
1. Acid King, TBA: Word is Acid King‘s first in 10 years was mastered last month and will be out in Feb. 2015 on Svart.
2. Alcest, Shelter: Was way less post-black metal than their prior stuff, and I think it threw a lot of people off. Not a bad record (review here), but worked against lofty expectations.
3. All Them Witches, TBA: I remember including this because they said they were going back into the studio. Turned out they were recording the Effervescent EP/jam (review here). No regrets.
4. Alunah, TBA: Their new one was their Napalm Records debut, Awakening the Forest (review here). It was awesome. Score one for the list.
5. Blackwolfgoat, Drone Maintenance: Yeah, it was cheating to include this since I was there when it was recorded. Still a killer record though.
7. Conan, Blood Eagle: What does complete dominance sound like? Sounds like Conan to me.
8. Eggnogg, You’re all Invited: Was dying to hear what the Brooklyn trio came up with. No word on it yet.
9. Elder, Live at Roadburn 2013: Still don’t have a copy of this. Maybe I can pick one up when I get their forthcoming third studio album, Lore, out early next year.
10. 40 Watt Sun, TBA: More like “MIA” than TBA. Anyone heard from these guys?
11. The Golden Grass, TBA: Their self-titled debut (review here) was one of the finest first-albums I heard all year.
12. Greenleaf, Trails and Passes: Any Greenleaf is a treat. Trails and Passes (review here) was no exception.
13. Grifter, The Return of the Bearded Brethren: Solid follow-up (review here). Grifter‘s humor and lack of pretense serves them well.
14. Hull, TBA: Well, they had the Legend of the Swamp Goat single (review here) to coincide with their Euro tour. Waiting on the album.
15. Lowrider, TBA: I wouldn’t mind if this materialized right now. Or now. Or now. Or 2015. Or 2016.
16. The Machine, TBA: Might’ve jumped the gun on this. Hopefully in 2015.
17. Mars Red Sky, TBA: Easily one of the year’s best records. Stranded in Arcadia (review here) continues to get regular spins.
18. Mos Generator, Electric Mountain Majesty: A highlight of early 2014. Darker record (review here), but inarguable songwriting.
19. Mr. Peter Hayden, Archdimension Now: Fitting end to their trilogy and hopefully not their last outing.
20. Pallbearer, TBA: Their Foundations of Burden has topped year-end lists already. It’s still on my desktop. I’ve barely listened to it.
21. Papir, IIII: Very, very good. They seem to be developing, but IIII (review here) was a satisfying chronicle.
22. Pilgrim, TBA: Can’t say II: Void Worship (review here) wasn’t a win for the band since they did a month on the road with Spirit Caravan. Maybe overshadowed by more recent stuff, but a quality record.
23. Radio Moscow, Magical Dirt: Their incendiary heavy blues was in top form on Magical Dirt (review here). Glad I got to see them live once or twice (or 18 times) as well this year.
24. Sigiriya, Darkness Died Today: Also residing on my desktop. A vocalist switch caught me off guard and I feel like I still haven’t given it a fair shot.
25. Sixty Watt Shaman, TBA: Really? I had Sixty Watt on the list? That seems ambitious. No doubt they’ll have something new eventually, but that was a pretty high expectation it would be out this year.
26. Skraeckoedlan, Gigantos: If this came out, no one told me. Seems like not yet.
27. The Skull, TBA: A stunner. As much as I looked forward to it, For Those Which are Asleep (review here) exceeded the excitement.
28. Sleep, TBA: Included as wishful thinking. Their The Clarity single (review here) was something to celebrate.
29. Slough Feg, Digital Resistance: I was really looking forward to this one. Kind of fell off with Digital Resistance (review here) after a while. Hard to argue with Slough Feg though.
30. Snail, Feral: Waiting on it for 2015.
31. Steak, TBA: The London four-piece followed two strong EPs with Slab City(review here), as heartfelt a showing of desert rock loyalty as I’ve heard.
Damn, this was a long list.
32. Stubb, TBA: I had my doubts it would arrive, but Stubb‘s Ripple Music debut, Cry of the Ocean (review here), found welcome when it did.
33. SunnO))) & Ulver, Terrestrials: One of two collaborations SunnO))) would have out in 2014. Heard a lot about it at the beginning of the year. Less now.
34. Tombs, Savage Gold: Good band, doing interesting stuff. I have a hard time transitioning from appreciating it to actually being a fan.
35. Triptykon, Melana Chasmata: Sorry, but when Tom G. Warrior puts out a record, you hop to. I didn’t review it to save myself having to buy a copy, but dug it anyway.
36. Truckfighters, Universe: I feel like this one picked up steam as the year went on. I didn’t go back to it as much as its predecessor, but Universe (review here) was a logical next step for them.
37. Valley of the Sun, Electric Talons of the Thunderhawk: Nothing to complain about with the Ohio three-piece’s debut (review here) or the effort they put into supporting it throughout the year.
38. Weedeater, TBA: Nope. At least I knew it at the time.
39. Wolves in the Throne Room, TBA: Surprised a lot of people when Celestite (review here) was a companion piece for their last record instead of a new album proper, myself included.
40. The Wounded Kings, Consolamentum: 2014 was quite a year for doom, and The Wounded Kings were right there at the start. This lineup may be gone, but Consolamentum (review here) holds up.
41. Yawning Man, Gravity is Good for You: Rumor is guitarist Gary Arce has a few projects in the works for next year. Not sure if this is one of them or not.
42. YOB, TBA: We certainly know how this worked out, don’t we? If the votes in the Readers Poll are anything to go by, yes. Clearing the Path to Ascend (review here) was a landmark, and this won’t be the last year-end list around here on which YOB make a showing.
The list from July had a few winners on it as well — Apostle of Solitude, Blues Pills, Bongripper, Brant Bjork, Earth, Lo-Pan, The Well, Witch Mountain, etc. — but I think we’ve probably got enough as it is.
With the year starting to wind down, I’ll be putting together my Top 30 Albums of 2014 in the next week or so. Please keep an eye out for that, and thanks for reading.
Posted in Whathaveyou on November 17th, 2014 by H.P. Taskmaster
Some of today’s finest heavy bands covering some of the best rock and roll ever crafted, the Electric Ladyland [Redux] tribute to Jimi Hendrix from Magnetic Eye Records was going to be a hard one to beat from the start, but at this point what started out as a Kickstarter presale with a $5,000 goal has surpassed five times that. As of this post, it’s over $26,000. Today, Nov. 17, was to be the end of the presale. 500 copies sold, a bonus Best of Jimi Hendrix covers LP (the cover below) included as a thanks to those who contributed enough to get it, done and done. Well, the announcement just came through to the backers that Magnetic Eye is continuing the push.
The new goal? $30,000. That ups the pressing from 500 copies to 1,000. Less than $4,000 to go, and given the scale of the project at this point, that seems infinitely doable. Kudos to the label on coordinating such a powerful assemblage. It’s rare to see the heavy rock scene so universally agree on anything, but I’ve yet to hear any dissent when it comes to this, and the amount of money put in speaks for itself.
Here’s the announcement and the tracklisting for who’s covering what:
Electric Ladyland [Redux] by Magnetic Eye Records: Smashed Right Thru SOLD OUT Status! 2nd Stretch Goal, $30,000.00!
Being that we are smashing thru 500 backers and a pressing of 500 LPs we are deciding to put the pedal to the metal and go for 1,000. There will only be a 1 and only first pressing of Electric Ladyland [Redux] so the time to act is now. Tell your friends, your neighbors, etc…. EARTHLESS, ALL THEM WITCHES, THE BUDOS BAND, SUMMONER, ELDER, OPEN HAND, KING BUFFALO, TUNGA MOLN, CLAYMATION, ELEPHANT TREE, GOZU, MOTHERSHIP, WO FAT, MOS GENERATOR, SUPERCHIEF, THE PHUSS covering Electric Ladyland in full with cover art by David Paul Seymour, COME ON!
And if that is not enough, a ‘Best Of’ including Child, Ironweed, Geezer, Stubb, Rosy Finch, Elephant Tree, etc! with cover art by Caitlin Hackett. Out of control. So we made a final stretch goal. Here is the info:
FINAL STRETCH GOAL: $30,000.00 = 1,000 Electric Ladyland [Redux] LPs Pressed
Clearly, we are thrilled with the support and interest this project and these releases are receiving. We are creating a $30,000.00 stretch goal to allow us to increase the amount of records pressed 1,000 to accommodate additional backers. We planned to hit $25K and press 500 copies, as we pass 500 backers we will continue to adjust our plan based on the number of backers and amount pledged. We are already so humbled and grateful. Thank you!
the Electric Ladyland [REDUX] track list: Elephant Tree “…And the Gods Made Love” Open Hand “Have You Ever Been (To Electric Ladyland)” Superchief “Crosstown Traffic” All Them Witches “Voodoo Child” The Phuss “Little Miss Strange” The Budos Band “Long Hot Summer Night” Earthless “Come On (Let the Good Times Roll) Wo Fat “Gypsy Eyes” Mos Generator “Burning of the Midnight Lamp” Gozu “Rainy Day, Dream Away” Summoner “1983… (A Merman I Should Turn to Be) Claymation “Moon, Turn the Tides… Gently Gently Away” Mothership “Still Raining, Still Dreaming” King Buffalo “House Burning Down” Tunga Moln “All Along the Watchtower” Elder “Voodoo Child (Slight Return)”
Posted in Whathaveyou on October 22nd, 2014 by H.P. Taskmaster
Washington rock purveyors Mos Generator and Italian four-piece Isaak have set a Jan. 12, 2015, release date for a new split 12″. Heavy Psych Sounds will be handling the release. Earlier this year, the label got together Naam, White Hills, Black Rainbows and The Flying Eyes for a split that was promised as the first in a series, but I’m not sure if this is a continuation of that same idea — it’s half as many bands, for one thing — or a whole new deal. Either way, new Mos Generator and Isaak is nothing to complain about, however it might be positioned in the label’s catalog.
Mos Generator already have a couple recent releases under their collective belt, between their 2014 Listenable Records label debut, Electric Mountain Majesty (review here) and the self-released demo compilation Electric Nomads covering material from their last two full-lengths (review here). For Isaak, they’ve spent much of the year supporting their 2013 Small Stone release, The Longer the Beard the Harder the Sound, and they’ll hit the road in December once again, this time with copies of the new split in tow.
Some preliminaries on the pressing from Heavy Psych Sounds:
Mos Generator/Isaak Split Album is the new Heavy Psych Sounds Records release printed in Black Vinyl and 150 copies
LTD Red Splatter Black Vinyl Awesome Album Artwork by SoloMacello
release date 12/01/2015
We are proud and honored to announce our upcoming new split album with the amazing Mos Generator!
It will be released on a very limited edition 12″ vinyl by the great HEAVY PSYCH SOUNDS Records on January 12, 2015 but you can grab a copy during our European Tour in December. Here you can find a sneakpeek of the stunning artwork made by our brother SoloMacello.
We really can’t wait to let you ear it, we’re sure you’re gonna dig it. SEE YOU SOON ON TOUR, STAY HEAVY! \M/
Posted in On Wax on September 17th, 2014 by H.P. Taskmaster
There are a couple lessons to be learned from Electric Nomads, the first arrival in Mos Generator‘s “Heavy Home Grown” series of DIY releases. First, swirl wax is pretty. This is something we already knew, but it comes into relief even more with Electric Nomads since, but for a sticker on the front, liner notes sheet inside (click here to see it) and a handwritten tracklist on back with the numbering — I got #14 out of the 100 pressed — autographs from Tony Reed (guitar/vocals), Scooter Haslip (bass) and Shawn Johnson (drums) and a handwritten ‘A’ on the label of the vinyl itself to show which is the first side, there’s no cover to stare at. Second, even Mos Generator‘s demos are impeccably produced. Hell, Reed even double-tracks his vocals on some of these songs. For a demo! I guess it’s handy when your guitar player is also an accomplished engineer, but still, if you’re thinking the long-running Port Orchard, Washington, heavy rock trio were going to just cobble together a bunch of rehearsal tapes recorded on somebody’s iPhone, that’s not what Electric Nomads is all about. Culling together songs from Mos Generator‘s last two albums, this year’s Listenable Records debut, Electric Mountain Majesty (review here) and 2012’s return from hiatus, Nomads (review here) — you can see where the title comes from — Electric Nomads presents followers of the band with a look at their material in progress, but still basically brings finished versions of the songs. “Enter the Fire” from the latest record isn’t as elaborate melodically as the album track, and “Beyond the Whip,” which appears here at the end of side A, is one of several songs that feels faster than its album counterpart. They cap side B with a raucous jam, and there are some flourishes of psychedelia in the soloing that got stripped down by the time Reed recorded them for real, but structurally and in the clarity of their sound, a lot of what you get on Electric Nomads is finished work.
I suspect that has to do with the band’s writing process, and that by the time they’re ready to do pre-production for a studio offering, they’ve already worked out the kinks in a song like “Cosmic Ark.” That track opened Nomads, essentially announcing Mos Generator‘s resurgence from several years away while Reed worked with his Stone Axe and HeavyPink projects (the latter released on The Maple Forum), and it opens Electric Nomads as well — some psychedelic keyboard accompanying the guitar solo — starting a mirror version of the salvo that began Nomads itself: “Cosmic Ark” into “Lonely One Kenobi” into “Torches.” Three immediate, irresistible hooks put next to each other for maximum immersion. It worked well on Nomads and works well here. The break into sides isn’t clean in terms of Nomads on one side Electric Mountain Majesty on the other, but after the first three and “For Your Blood” from the earlier record, “Enter the Fire” and “Beyond the Whip” move into the later album material, which continues on side B with “Breaker,” “Spectres” and “Early Mourning,” which feeds directly into the concluding jam, aptly titled “Jam.” Reed harmonizes on the chorus of “For Your Blood” much like the finished version, and the classic metal boogie was apparently there early on as well, and I could be wrong, but the demo seems a little more uptempo even than the final was. Mos Gen are no strangers thrashing out when they want to, and they show that here, but the point is there are subtle differences on Electric Nomads in these songs, and for fans of the band — a category in which I’m glad to count myself — it’s an interesting piece to get a sense of how these tracks were built. They must have been tempted to keep Haslip‘s bass recording on “Enter the Fire” from this demo, and I wouldn’t argue with them if they had. Kind of funny to think that without this release, these recordings, into which clear effort was put and which sound crisp and clean and professional, would just be sitting around, probably on some hard drive in a closet at Reed‘s Heavy Head studio. Wild.
“Beyond the Whip” digs into speed-boogie and over on side B, “Breaker” picks up the theme and runs with it. Mos Generator‘s propensity for catchy songwriting is certainly on display, but perhaps the most closest look at that comes with “Jam,” which hints at the process of creation from which cuts like “Breaker” and “Torches” emerge, the three players all locked in and moving through different parts, seeing what works, what doesn’t, what to keep, what not. I would not at all doubt Reed has an archive of such excursions, but “Jam” represents its ilk well, his own solo a ripper coming off of “Early Mourning” as Johnson and Haslip hold the rhythm. Particularly after “Breaker” and “Early Mourning” — some of Electric Mountain Majesty‘s moodier lyrics — the rawer glimpse at Mos Generator‘s process is welcome, though “Spectres” might be my pick for highlight of the release. The Electric Mountain Majesty cut slowed down some of the rush on that record, and on Electric Nomads, it sits well between “Breaker” and “Early Mourning,” Reed announcing “solo” where one isn’t written yet and dropping out to let Haslip‘s bass cover that spot for a few measures. Many of these songs start out with an off-mic “we’re rolling,” or some other announcement that the recording has started — “Enter the Fire” has a few electronic beeps — but they’ve also been mixed, additional vocals layered in during their making, and mastered for this vinyl release — “Early Mourning” is an “oof” of a fuzz punch to the gut but it’s especially interesting to have “Jam” take off from it and close out. That’s about as raw as Mos Generator get on Electric Nomads, and it seems to be speaking to more nascent material, whereas by the time they recorded these versions of much of the rest of these songs, they were already solidified. I’d be interested to hear the missing link between the two — what comes in the middle with the trio screwing around on one side and a finished song on the other — but it might just be parts hammered out, and while an interesting academic piece, that rarely makes for fun listening. Electric Nomads, on the other hand, doesn’t need me to sell it to Mos Generator fans. The band’s reputation for delivering quality product is well established by now, and as they continue down the road with the “Heavy Home Grown” series, I’ll look forward to seeing just how deep into the vaults they go.
Posted in Features on June 23rd, 2014 by H.P. Taskmaster
It’s custom around here to do a Top 10 of the First Half of the Year, in advance of doing a Top 20 of the Year in December. The idea is that the later list will basically build on the earlier one. That’s never really how it works out — albums always drop off or appear unexpectedly depending on what gets listened to most, what gets reviewed late, etc. — but it always works out to be a good time anyway, and that’s really what it’s all about.
The difference this year is that instead of doing a Top 20 in December, I’m planning on expanding to a full Top 30, so to do a Top 10 of the stuff from January until now makes less sense. So here we are with a Top 15. A slightly longer list, but still the same basic idea as years past otherwise. These are albums I’m expecting will turn up again at the end of the year on the final Top 30, and though some will and some won’t and almost all of them will move around, there are more than a handful — particularly if we’re counting by fingers — of essential records released over the last six months recounted here.
If you missed something, I hope it’s something cool you get to check out, and if I missed something (as I inevitably did), I hope you’ll let me know in the comments. Please note that this is full albums only, no EPs, splits, singles or demos.
I’ll freely admit I was more than a little thrown off by the change in approach on Greenleaf‘s fifth album. Where prior outings like 2012’s Nest of Vipers(review here) and 2007’s megatriumph Agents of Ahrimanhad been lush heavy rock affairs helmed by Dozer guitarist Tommi Holappa with a slew of guests on vocals, organ, etc., Trails and Passesdialed back the “extras” in favor of a more stripped down, stage-ready approach. Holappa‘s songwriting alone would likely be enough to have Greenleaf on this list one way or another, and Trails and Passesis one of the year’s best. The turn was just unexpected and I feel like I’m not caught up to it yet.
Initially put out in a limited tape run in late 2013 (review here), the Enter Venus full-length from Richmond-based sludgers Druglord codified the noisy murk of their prior outings into one devastating wave of lurching riffage and echoing shouts. The Virginian three-piece recorded with Garrett Morris of Windhand and the STB vinyl topped off with artwork by W. Ralph Walters, making for a package both visually and sonically devastating, and though it’s short for an album at under a half-hour, the 12″ still earns the nod for the unmitigated heft its four songs carry. It’s one you can either dig or miss out, but Druglord show there’s more room for invention in sludge.
There really isn’t much left to say when it comes to Wovenhand and their driving force, frontman David Eugene Edwards. Their first for Deathwish Inc., Refractory Obdurate is the latest document of one of this generation’s most accomplished songwriting progressions. It follows a brilliant record in 2012’s The Laughing Stalk (review here) and likely precedes one in whatever they decide to do next, and the enduring fascination on Edwards‘ part with tonal weight and groove continues to push Wovenhand into a creative territory that is without genre. Nobody else comes close.
Quick-working Danish jammers Papir made a strong impression with IIII early in the year, offering a progressive take on the style of heavy instrumental jamming that has flourished throughout Europe over the last half-decade or so. Immediately individualized, the Copenhagen three-piece carried across four intricately constructed pieces, most open with the 21-minute “III” but never lacking for twists and turns that were an utter joy to follow. A band that has already collaborated with the even-jammier Electric Moon and who’ve aligned themselves with Causa Sui‘s El Paraiso Records, they seem like a safe bet to continue to grow into reliable purveyors of high-quality instrumental heavy psychedelia.
Its arrival was heralded by the righteousness of a Lego video for “Nine Princes in Amber,” though even that was little preparation for the classic doomery that would take place on the return long-player from Portland, Maine’s Ogre. The trio of guitarist Ross Markonish, bassist/vocalist Ed Cunningham and drummer Will Broadbent broke up in 2009, got back together in 2012, and with their fourth album, they made it clear they still had plenty to offer those who worship trad-style riffing, Sabbathy grooves and the kind of hooks that stay with you for days. The Last Neanderthalhad plenty of those, and “Warpath,” the aforementioned “Nine Princes in Amber,” “Bad Trip” and “Son of Sisyphus” tapped into what makes the best of doom so ready for repeat listens.
Another reunited trio, Floor had it tough coming into their first album in a decade, Oblation. The legacy of their 2002 self-titled would loom large over anything they put out, and guitarist/vocalist Steve Brooks had since gained a huge following as the spearhead of Torche, but four years after they started playing shows again, Floor met the challenge head-on with Oblation‘s 14 tracks, showing a natural progression from where they left off so long ago without seeming like they were trying to recapture a past that inevitably would prove irretrievable. Instead, they’ve set themselves on a course for continuing to develop as a band, and though Torche have a new album expected out this summer on Relapse and doubtless that will take some time and focus away from Floor, hopefully they keep pursuing that growth.
I’ll claim no impartiality when it comes to Port Orchard, Washington, heavy rock purveyors Mos Generator or the craftsmanship of guitarist/vocalist Tony Reed, but if half the point of a list like this is to nerd out over albums you dig (and I’ll gladly argue that it is), then Electric Mountain Majestyis right where it should be. Reed, bassist Scooter Haslip and drummer Shawn Johnson are clockwork-reliable when it comes to putting out high-grade material, and their second record since getting going again after Reed‘s few years in Stone Axe pushed beyond the considerable accomplishments of 2012’s Nomads(review here) and brought their sound to new and at times surprisingly doomed places while still keeping their core in a love of classic heavy rock songwriting. From where I sit, new Mos Gen is never one to pass up.
Not that I didn’t expect a new Blood Farmers release to be cool, but Headless Eyes was still a surprise when it arrived earlier in 2014. Who was to say what the New York trio would concoct after a 19-year studio absence? Of course, what they came out with was dead-on horror-loving doomly plod, cuts like the instrumental “Night of the Sorcerers” and the deceptively catchy “Headless Eyes” not only worthy of Blood Farmers‘ substantial legacy but building on it. Void of pretense, Headless Eyesresonated with a brooding atmosphere capped by the surprising closer, “The Road Leads to Nowhere,” a cover of the theme from The Last House on the Left and positioned the three-piece of vocalist Eli Brown, guitarist/bassist David Szulkin and drummer Tad Léger among the fore of traditional doom’s practitioners.
After seeing them live late last year (review here), digging their 456th Div. tape (review here) and putting their debut single on the best short releases of 2013 list, I had little doubt that their self-titled debut full-length would deliver a satisfying listen. Sure enough, the five-tracks of the quality-over-quantity release did precisely that, the Brooklyn three-piece harnessing unashamed positive vibes to mesh with a burgeoning psychedelic feel, catchy hooks and classic-style road songs serving as a reminder of the good times that rock and roll both provides and complements. Now that summer is here, I expect to revisit The Golden Grassplenty of time over these sunny, hot months, since it would seem the year has finally caught up with the band’s warmth and day-long spirit. The Golden Grass are reportedly headed to Europe later this year, so more to come on them for sure.
Every time I think I’m out, Cabalgata Hacia la Luz pulls me back in. The third full-length from Argentina trio Ararat seems to hit me with a different song each week. This week, it’s the six-minute “El Hijo de Ignacio,” with the insistent, punkish drums from Alfredo Felitte, backing noise and later keyboard eeriness from Tito Fargo and the low bass rumble of Sergio Chotsourian (ex-Los Natas), whose vocals seem to hover over the rest of the mix as though piped in from someplace else entirely. The whole album had a hypnotic effect that pulled the listener away from how diverse it actually was, moving into and out of heavy psych atmospherics with expert smoothness, but the more attention you paid, the more rewarding the experience became, as Ararat defied any expectations that might have come from their 2012 sophomore outing, II(review here), and boldly pushed toward new avenues of progression.
Who’s heavier than Conan? The superlative UK trio have spent the two years since the release of their full-length debut, Monnos (review here), solidifying their dominance, and their first album for Napalm Records plays out like a victory lap over the skulls of lesser riffs. Opening with the near-10-minute lumber of “Crown of Talons,” Blood Eagle solidified the two-sidedness of Monnos into a back-breaking doom assault, and their pummel remains unparalleled as they continue to grow as players and songwriters. This year has also seen producer Chris Fielding join the band on bass, and as badass as Blood Eagleis — one would rarely think of a song called “Gravity Chasm” as being so aptly-named — I can’t help but look forward to hearing what Conan do from here and how they continue to refine one of doom’s most bludgeoning approaches.
It’s the songs. I really, really dug Dwellers‘ 2012 debut, Good Morning Harakiri (review here) as well, and I won’t say a bad word about that album, but Pagan Fruit is in a different class altogether. And you know, it’s not just the songs. It’s how the songs play next to each other, the mood they create, and the hooks that Dwellers bring to the table with so much stylistic poise, calling the bluffs of any number of heavy psych blues rockers on “Totem Crawler,” or “Creature Comfort,” or “Son of Raven” or “Spirit of the Staircase.” The Salt Lake City-based trio of guitarist/vocalist Joey Toscano, bassist Dave Jones and drummer Zach Hatsis brought new levels of cohesion to their sound throughout Pagan Fruitand it remains an album that I have yet to get enough of hearing, one that seems to offer more each time I put it on and let my mind drift to its patient, open spaces.
From here on out, on any given day, any one of these is my album of the year. What a thrill it was to put on Fu Manchu‘s first album in five years, Gigantoid, and have it roll out such a tight-knit collection of heavy rolling excellence. The West Coast stoner riff gods of gnarl stripped down their production inspired in part by a reissue campaign of their earlier work on their own At the Dojo Records label, and the punkish feel suited them better than even they likely could’ve expected. With its opening four-song punch, the no-frills shot of “No Warning” and the closeout jam at the end of “The Last Question,” Gigantoid felt like more than one could’ve reasonably asked from a Fu Manchu long-player 20 years on from their debut, but the vitality they showed in its tracks, paired with the efficiency with which the songs were executed, showcased a timeless, perpetual appeal. They know what they’re doing and how they want to do it, and just because there was no doubt going into Gigantoiddoesn’t make the end product any less of a payoff.
I’ve gone on at some length about what I find so appealing in the second full-length from Bordeaux trio Mars Red Sky, so even putting aside the deft hand with which they incorporated further heavy psych soundscapes into their songwriting, let me just focus on how memorable Stranded in Arcadia actually is. That was true as well of Mars Red Sky‘s 2011 self-titled debut (review here), but these songs are more ambitious, from the eight-minute opener “The Light Beyond” to the gorgeous melody-wash in the chorus of “Join the Race” and the stomp in the de facto closer “Seen a Ghost” before the leadout/refrain “Beyond the Light” calls all the way back to the first track. The development of Mars Red Sky‘s take isn’t necessarily such a surprise — the debut had its psychedelic, jammy feel as well — but the fact that the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz managed to elicit such development while remaining true to the warm tones and humble, unpretentious vibe of the debut only makes Stranded in Arcadiamore remarkable. I wouldn’t stop listening to it if I could.
It wasn’t easy to hold off on reviewing the fifth album from the Texas power trio for as long as I did, but I thought the record was too good to jump the gun on, and so yeah, it’s a pretty recent writeup, but I feel comfortable putting The Conjuring at number one here because I’ve actually had a while to live with these songs. Or maybe “live in” them would be a better way to say it, since the dense wall of fuzz and jammed-out distortion Wo Fat create across this record is basically thick enough to take up residence. Recently back from a European tour, Wo Fat hit the road supporting their finest work to date, and as the lineup of guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer/backing vocalist Michael Walter are more or less self-sustaining in their own Crystal Clear Sound studio in Dallas, there’s no reason they can’t just keep developing along the path they are. The Conjuringboasts their best jams yet but also holds firm to the already-planted-in-your-consciousness hooks that Wo Fat have long since established a penchant for, and one could just as easily put the band at the fore of traditional heavy rock riffing as of American heavy psych jammers. Any way you look at them, they’re at the top of their class.
Quick honorable mention goes to Radio Moscow, The Wounded Kings, 1000mods (review forthcoming), Eyehategod, Abramis Brama, Truckfighters, Valley of the Sun, the live Causa Sui record and Alcest. Been a hell of a year so far, and I’m already putting together a list of anticipated records for the next six months, so there’s much more to follow.
Posted in On Wax on June 6th, 2014 by H.P. Taskmaster
I had some pretty high expectations for Teepee Creeper coming into their split 7″ single with Mos Generator in no small part because the latter band’s most recent split with a Washington-based heavy rock band found them aligned to Ancient Warlocks, whose subsequent self-titled debut offered thrills aplenty. It’s intriguing to think Mos Gen guitarist/vocalist Tony Reed — who also recorded Teepee Creeper‘s included track, “Galactic Oblivion” — might be endorsing newcomer acts in such a subtle way, and Teepee Creeper justify the backing with a steady rolling groove on “Galactic Oblivion,” open-sounding and large but not over the top, somewhere between Wo Fat and Goatsnake‘s deceptively catchy stonerisms.
The blend will ring familiar to heavy riff heads, and Reed‘s production preserves a natural vibe that suits the three-piece well, guitarist/vocalist JonUnruh‘sdouble-tracked voice switching from a gutty verse delivery to a cleaner chorus and back fluidly over Jeremy Deede‘s bass and Will Armacost‘s drums. A “sky god” is liberally invoked throughout the five-minute push, but there’s a sense of build within the song as well and if you told me two years from now that this split was Teepee Creeper‘s launch point for a solid string of output, I’d believe it. Between Unruh, Deede and Armacost, Teepee Creeper is nobody’s first band, and accordingly, they sound like they know what they want to do and are setting about making that happen.
A couple interesting cuts from Mos Generator on side B. As the included liner explains, the Nirvana cover “I Hate Myself and I Want to Die” — which was originally streamed here in 2012 — was recorded in 2008 for a tribute compilation that never surfaced, and “Downer Rock ’89” was a song originally called “Daisy Buckle” that came together in 1989 working heavily under the influence of what was then Seattle’s nascent grunge movement. Reed, bassist Scooter Haslip and drummer Shawn Johnson rerecorded it in 2013, so they’re not bringing out old demos — presumably that’s saved for the recently-undertaken Heavy Home Grown release series — but it’s easy to hear the stylistic hallmarks of that era, however much of Mos Generator‘s modern persona factors in alongside.
As an introduction to Teepee Creeper and a fan piece for Mos Generator, the split — out through Music Abuse Records – gets a surprising amount done in its just-over-10-minute runtime. Art on the sleeve by Sean Schock for the A-side, a few vintage Mos Generator pics on back and the aforementioned liner round out the package, and while it’s a quick release, it’s also one you might wind up flipping back and forth a few times in a row to get a feel for how the two bands work together. Not to spoil it, but they work pretty well.
Posted in Whathaveyou on May 27th, 2014 by H.P. Taskmaster
As they get ready to hit Germany’s Freak Valley festival this coming weekend and play to a sold-out crowd supporting their recent Listenable Records debut, Electric Mountain Majesty(review here), Port Orchard, Washington, heavy rock specialists Mos Generator have officially launched their Heavy Home Grown series of DIY releases. Guitarist/vocalist Tony Reed has issued an update with info on the series, which begins with a live set recorded at Nuemo’s in Seattle back in 2006 and a collection of demos from their past two albums, and frankly, it looks like an awesome project. The demos have already sold out on preorders, and both come with minimal-but-handmade packaging and band-written info about each release.
From producing his own stuff to overseeing art and more, Reed‘s always been a hands-on kind of guy, so this kind of thing was really inevitable, and for fans, a great way to dig deeper into what Mos Generator do while supporting them directly.
We have started a series of releases that will be called “Heavy Home Grown”. These packages will be very DIY and assembled by us. The first in the series is Mos Generator Live at Neumos in Seattle 3/17/2006. The second will be the “Electric Nomads” demos hand crafted Lps that are limited to 100 copies and are already sold out just on pre-orders. I have been digging through the vaults and gathering a lot of cool material for future releases.
We have recorded hundreds of shows over the years on audio and video and we would like to make some of the better performances available for those who are interested. There are also 14 years of demos laying around so this series could see quite a few releases. Each one will also have an insert with a few paragraphs about what is on the disc. -TR
Things get pretty tripped-out in Mos Generator’s video for the title-track to their new album and Listenable Records debut, Electric Mountain Majesty(review here), the Washington trio appearing as silhouettes — also in the case of Tony Reed as a kind of disembodied head — while an array of images play out behind from vivid space images to a finale of flying sparks. The clip, directed by Chris Mathews, Jr., gives some firm visual realization to the idea of Mos Generator‘s branching out from their straightforward heavy rock vibes on the record, taking their sound to new places. It’s an intriguing and mesmerizing video much the same way the album itself piques interest in unexpected ways.
Mos Generator played this past weekend with former Euro-tourmates Saint Vitus and have more planned in the months to come to support the album, which was released April 15.
Until then, enjoy:
Mos Generator, “Electric Mountain Majesty” official Video
Washington state hard rock heroes MOS GENERATOR released their new LP Electric Mountain Majesty on April 15 via Listenable Records. Recorded at HeavyHead Recording Company by guitarist / vocalist and renowned engineer Tony Reed, Electric Mountain Majesty is the follow-up to MOS GENERATOR’s 2012 release Nomads and a record that has been hailed as a “heavy, doom-based take on rock and roll” for fans of High on Fire, COC and Down. Today, Guitar World premieres the new MOS GENERATOR music video — for the new album’s title track — calling the cut “fuzzy, heady, psychotropic hard rock” and advising music fans to “Break out your pipe and riff-rock slippers, things are about to get weird.”
“Electric Mountain Majesty’ is an attempt to fuse our live energy and our usual controlled studio sound into something that I think is a nice forward step in the Mos Generator sound,” says Reed. “We didn’t over think the writing and recording process and we let more of our unconventional influences creep into the songwriting. In both composition and recording technique, this is the most diverse Mos Generator album to date.”
Track Listing: 1.) Beyond the Whip 2.) Nothing Left but Night 3.) Enter the Fire 4.) Spectres 5.) Neon Nightmare 6.) Breaker 7.) Early Mourning 8.) Electric Mountain Majesty 9.) Black Magic Mirror 10.) Heavy Ritual
You’d probably need a week to sit down and list all the bands and projects to which Tony Dallas Reed has contributed in one form or another over the better part of the last two decades. From playing drums in death metallers Woodrot to self-recording all-instrument Pentagram covers in his “spare time,” Reed‘s substantial body of work is the result of a genuinely restless creative spirit. Over the course of the last 10 years, he’s bounced between the heavy rocking Mos Generator and more specifically ’70s-minded Stone Axe while also embarking on the side-project HeavyPink and building his own HeavyHead Studio, where he’s done not only his own recording, but tracked Saint Vitus‘ comeback album, Lillie: F-65, among others, as well as mixed and mastered outings from Wight, Trippy Wicked, Alunah and many more from the US and Europe, often between or while on tours.
Reactivated following a run focused on Stone Axe, Mos Generator released the full-length Nomads(review here) on Ripple Music in 2012, two live albums in 2013, and will shortly issue a follow-up, Electric Mountain Majesty(review here), as their first outing on Listenable Records. Reed is also recently returned to his Port Orchard, Washington, home after a trip to Australia to record Seedy Jeezus and remixed/remastered Mos Generator‘s 2007 Songs for Future Gods album for reissue through Ripple, available now. Mos Generator also has splits with Copenhagen’s Doublestone and Washington’s Teepee Creeper coming soon.
The Obelisk Questionnaire: Tony Reed
How did you come to do what you do?
As a musician I started when I was 12. After years of mimicking KISS and Rush in my bedroom I figured that I should actually learn how to play. I borrowed a guitar from a guy up the street and the first song I learned was “Iron Man.” I started playing drums around the same time. I just wanted to take it all in.
As a recording engineer I guess you could say it was around the same time. I started recording everything with a boom box from the get-go. I have a recording of the first time I played drums. Over time I collected a few mics and got a three-channel Radio Shack mixer and two cassette decks and I was into overdubbing. When I was 20 I got my hands on a four-track and the rest is history.
Describe your first musical memory.
I actually think it is “Papa was a Rollin’ Stone” by The Temptations. I used to love that song. I also have recollections of the album cover for “Paranoid” being around the house and when I got that album in sixth grade I somehow already knew the songs on it, so I am assuming it was played frequently when I was a child. My mom also has a funny story of me stealing a “Nights in White Satin” 45 from K-Mart when I was two years old. She let me keep it.
Describe your best musical memory to date.
I would say that it would be 26-date Saint Vitus/Mos Generator European tour in 2013. It was a lot of hard work but we got to play for some rabid audiences and travel in style. Being on the road is all about making memories and of course later down the line you only remember the good bits.
When was a time when a firmly held belief was tested?
Where do you feel artistic progression leads?
I believe that there is really no ending point to a musician who is driven and passionate. Growth is constant and sometimes moves faster than other times. Sometimes it would appear to move backwards and hopefully something can be learned from that too.
How do you define success?
I define success by respect. Someday I would like to be well respect as a musician and songwriter and recognized for the passion and dedication that I put into the music I make.
What is something you have seen that you wish you hadn’t?
My grandmother’s eyes the day before she died. I think she had moved on already because I didn’t see her in there anymore.
Describe something you haven’t created yet that you’d like to create.
I would like to create and album or song that moves people the way that certain songs move me. Sometimes I am so humbled by the songs I love that it makes me want to stop writing music because I believe I may never achieve these emotions in what I write. I also look at it as a goal and a challenge.
Something non-musical that you’re looking forward to?
Even though this is musical in its subject, it doesn’t directly affect me musically. I am looking forward to watching the musical journey my son is going on. He has the passion in his blood and it’s great to see him doing things to make music his life.
Mos Generator, “Breaker” from Electric Mountain Majesty (2014)
Posted in Reviews on March 14th, 2014 by H.P. Taskmaster
To look at the grim cover art for the two full-lengths Mos Generator have released since guitarist/vocalist Tony Reed got back together with bassist Scooter Haslip and drummer Shawn Johnson, one might expect rambling, depressive miseries. Their 2012 return, Nomads (review here), on Ripple Music, boasted a cawing black crow on a gravestone silhouetted against a red sky, and though its tones are brighter in beiges and yellows, the trio’s follow-up, Electric Mountain Majesty — which also serves as their Listenable Records debut — features an Adam Burke painting that’s striking and ultimately no less mournful, cavernous skull eyes staring directly at the viewer while a totem eagle drawn on hints at some lost sense of ritual. If that’s the titular majesty that waits on top of the Electric Mountain, we’re boned, however, within the 10 tracks of the album itself one finds a much different picture being crafted by the Port Orchard, Washington, heavy rock specialists, though Electric Mountain Majesty is a bleaker album thematically and in its execution than was Nomads. Well comfortable in his role as auteur, Reed once again engineered, mixed and mastered the album himself, but in so doing seems to have pushed the sense of physical space in the recording much further than the last time out, giving tracks like the bass-heavy “Enter the Fire,” richly grooved “Neon Nightmare” and even the speedier title-track an open-air feel. It’s a bigger sound, but it suits the songs well, and as ever for Mos Generator, it’s the songs themselves that come across as the primary concern.
Whether in Mos Generator, Stone Axe, HeavyPink or any number of the other bands and projects he’s had along the way, Reed‘s genius has always rested in the crafting of memorable, structured songs, and no, I don’t think “genius” is too strong a word. He’s a natural and practiced songwriter, and over Electric Mountain Majesty‘s press-it-to-vinyl 43 minutes, there resound in songs like “Black Magic Mirror,” “Nothing Left but Night” and opener “Beyond the Whip” the kinds of choruses one anticipates from an artist of such accomplishment. The chief distinction is in the character of these songs. In “Nothing Left but Night,” which is the second cut behind “Beyond the Whip,” Reed intones, “You may find me on the edge of the light/But deep inside me there’s nothing left but darkest night.” This after one of the album’s several already-impressive solo sections. It’s a long way from Nomads‘ “I’m a traveler in a cosmic ark,” and more along the lines of some of the sorrowful lyrical ground Stone Axe covered in its heavy ’70s style, leaving an underlying moodier side to what still remain upbeat heavy rock numbers. Maybe Electric Mountain Majestywas to be Mos Generator‘s doom album, and if so, fair enough in their pushing stylistic bounds, but musically, “Beyond the Whip” still shuffles, and “Breaker” and “Electric Mountain Majesty” have a motoring rush, all the more so the latter, that works in contrast to lines like, “You can believe what you want to believe/But we all die in the end/Don’t waste your time trying to save my life/I’m dying now the way I want to,” from “Breaker.” Taken as a whole, it’s hard to decide where the real heaviness on Electric Mountain Majesty lies, in the music or the lyrics.
Posted in Whathaveyou on February 24th, 2014 by H.P. Taskmaster
An update off the PR wire today brings a solidified April 15 release date for Electric Mountain Majesty, the new album from Port Orchard, Washington, heavy rockers Mos Generator. With preorders available through Listenable Records, the reinvigorated trio also have a video planned for the title-track to the follow-up of 2012’s Nomads (review here), and while I’m looking forward to that and to the album as a whole, past experience tells me that when Mos Generator decide to cap an album with a song called “Heavy Ritual,” it’s going to be one worth hearing. You might recall “This is the Gift of Nature” from Nomadswas one of that record’s many high points.
One or two songs have started to leak out from the record, and you’ll find “Enter the Fire” under the news below. Cheers:
MOS GENERATOR to Release New Album “Electric Mountain Majesty” April 15
Highly Respected Power Trio Returns at the Very Top of Its Game with Fuzzbombing New LP
Washington state hard rock heroes MOS GENERATOR will release their new LP Electric Mountain Majesty on April 15 via Listenable Records. Recorded at HeavyHead Recording Company by guitarist / vocalist and renowned engineer Tony Reed (who co-produced SAINT VITUS’ return album Lillie: F-65), Electric Mountain Majesty is the follow-up to MOS GENERATOR’s 2012 release Nomads. Electric Mountain Majesty is available to pre-order now atthis location.
A sprawling celebration of heavy amplification, fretboard psychotropics and kick ass heavy rock, Electric Mountain Majesty is unquestionably MOS GENERATOR’s finest hour of its decade-plus existence. From chest-beating metal salvos like the massively loud “Nothing Left But Night” and “Black Magic Mirror” to more nuanced, slow-burning fare like the spellbinding “Enter the Fire” through to colossal closer “Heavy Ritual”, the album is an amalgam of nasty and effervescent, alternating between ugly doom tones and lofty emotiveness, resulting in an epic, colorful listen brimming with richly-nuanced, timeless music that drips with melody, muscle and cool.
“Electric Mountain Majesty’ is an attempt to fuse our live energy and our usual controlled studio sound into something that I think is a nice forward step in the Mos Generator sound,” says Reed. “We didn’t over think the writing and recording process and we let more of our unconventional influences creep into the songwriting. In both composition and recording technique, this is the most diverse Mos Generator album to date.”
Track listing: 1.) Beyond the Whip 2.) Nothing Left but Night 3.) Enter the Fire 4.) Spectres 5.) Neon Nightmare 6.) Breaker 7.) Early Mourning 8.) Electric Mountain Majesty 9.) Black Magic Mirror 10.) Heavy Ritual