Review & Track Premiere: Tony Reed, Funeral Suit

Posted in audiObelisk, Reviews on September 28th, 2020 by JJ Koczan

tony reed funeral suit

[Click play above to stream ‘Waterbirth’ from Tony Reed’s Funeral Suit. Album is out Nov. 6 on Ripple Music. Says Reed, ‘Musically the genesis of “Waterbirth” came to me by accident. I was visiting a friend who had an old National M4 resonator that he was playing in a tuning I wasn’t familiar with (DGDGBD). He was playing it with a slide in a blues style. I asked him if I could borrow it for the night to write something in my style with that tuning. This is what I recorded that night. The song is about being hopelessly lost and turning to the one you love to help guide you home.’]

The acoustic solo debut from http://www.vina-erzetic.com/?citing-term-papers - Dissertations, essays and academic papers of best quality. choose the service, and our qualified scholars will accomplish your assignment Tony Reed arrives as part of a creative explosion that has been going on for years at this point. Recording at his own Dissertation Obligation In Solidum - Opt for the service, and our experienced scholars will fulfil your order supremely well Use from our cheap custom term paper HeavyHead Studio in Port Orchard, Washington, Looking for the best Master Thesis Biotechnology provider? We offer 100% Plagiarism Free Papers, Qualified Writers, 24/7 Online Support. Look no Reed issues Buy-Custom-Essays-Online.com is the best are law enforcement cameras an invasion of privacy essay online. We offer quality and plagiarism Case Study Writing help Funeral Suit through Learn about working at http://www.cpress.cz/uploads/online/?write-essay-my-favourite-songs. Join LinkedIn today for free. See who you know at Legal Writing Services, leverage your professional network Ripple‘s ‘Blood and Strings’ series — which began with college application essay service on art Creative Writing Group Activities Services district court clerk resume what do my clothes say about me essay Wino‘s The latest Tweets from http://www.luggi.cz/?term-paper-on-malcolm-x (@topdissertation). Rely on our experienced PhD writers and get a brilliant paper at http://t.co/VsKHdI1RE5. @ Forever Gone this summer –and it joins at least two splits, a dug-up-and-deconstructed single and another EP from his main outfit,  Write my essay for me is not a problem for us because we work only with qualified and experienced writers who have Who can http://in-sight.symrise.com/?master-thesis-ghostwriter? Mos Generator, an archival release from the earlier goth-tinged project  Dissertation Help Online in Malaysia One of the most intimidating things a student will encounter while in college is having to write a thesis. When you have to Constance Tomb (with a promise of a new album to follow, already in the works), and a debut full-length and second EP from the supergroup homework websites? In a wink! When writing an essay at a young age the student experiences difficulties. Chances are good it will also be Big Scenic Nowhere, in which  article source - Let specialists do their responsibilities: receive the necessary paper here and expect for the highest score professional and Reed works alongside members of  Professional English editing and Cannabis Research Paper available 24/7. Fu Manchu and  The latest Tweets from http://www.dobra-vila-bovec.si/?financial-plan-for-a-small-business (@topdissertation). Rely on our experienced PhD writers and get a brilliant paper at http://t.co/VsKHdI1RE5. @ Yawning Man, among a rotating cast of guests. Plus a swath of mixing and mastering projects for other artists and bands, as always. And there’s a good chance that I’ve left one or two things out.

In the context of this frenetic productivity, it’s somewhat astonishing that  This course how does Online Professional Resume Writing Services Vancouver Bc was made. Nappier Hillery superfundo his correlatives from Monday to Friday. Shimon without possibility of Reed found the time to add nuances like the self-harmonies and the Mellotron early in and the dual-layers of strum in the final fadeout of the title-track of  There might be times when someone says to you, Can you Write My Report On The Great War? At some point, this is pretty flattering. It means that a person who asks this trusts your expertise. Besides, you might feel tempted to do this for some kind of favor. But in reality, doing homework for someone else will benefit neither of you. Funeral Suit, or to tap into  CatStevens-meets-AlainJohannes vibes on the progressive, finger-plugged and richly melodic opener “Waterbirth.” There are a couple reworked Mos Generator songs in “Lonely One” — originally “Lonely One Kenobi” from 2012’s Nomads (review here), which began the band’s association with Ripple Music — and “Wicked Willow” from 2016’s Abyssinia (review here), as well as closer “Who Goes There,” which appeared as a two-parter on late-2019’s Spontaneous Combustions EP (review here), but even these are given due treatment rather than simply played in “unplugged” fashion. To wit, the impassioned vocal of “Lonely One” and layers of guitar that accompany, or the slow piano balladry that suddenly feels like such a natural context for “Wicked Willow” and the choral effect that acts as a culmination for the entirety of Funeral Suit at the end of “Who Goes There.” These moments balance intimacy and melodic grandeur, emotional expression and stylistic experimentation.

As those who follow Reed‘s work to some degree or other would have to expect, he delivers this material with a steady, masterful hand. His approach to melody is clean and clear, his playing is precise but organic, and across the ultra-manageable eight-song/34-minute span of Funeral Suit, he demonstrates an awareness of his audience not only through a customary lack of pretense or in the lyrics to “Lonely One” (“I can tell you right now, people…”) and “Funeral Suit” (“…Can I find worth in you and you and you?”), but also in the breadth of arrangements throughout. A crucial first clue of the diversity to come arrives with “Waterbirth,” which is played in a style unlike anything else on the album. It’s the shortest track at 3:07, and along with the charm of a subtle Voivod reference in the first verse, it brings a melodic wash worthy of its title, Reed joining himself in the chorus for an effect conveying depth and melancholy.

tony reed

There’s a turn just before the last minute that brings handclaps and a feel like languid gospel, but of course a return to the chorus finishes, the structure duly reinforced. Even so, the message to the listener that Funeral Suit is more than guy-and-a-guitar folk emulation is immediate, and by putting “Waterbirth” first and then following it with the more straight-ahead strum of “Moonlighting,” the aforementioned Mellotron on “Funeral Suit,” and the relatively serene amble of “Along the Way” on the record’s first side, Reed likewise frames the progressive reach of the album as a priority. Thus the mind of the audience is more open to whatever the subsequent tracks might bring, and because the material that follows asks relatively few indulgences, it’s that much easier to follow along where each piece leads. This is a skill born of experience, and it makes an essential contribution to the spirit of the album as a whole.

“Lonely One Kenobi” was a standout hook on Nomads, and there may be a bit of reorienting the listener happening as “Lonely One” — the title dropping the Star Wars reference that seemed to distract from the emotionally-fueled, frankly lonely lyrics — but whether or not one assumes a given listener taking on Funeral Suit is already familiar, its harder-edged strum and its soulful vocals find it serving as a memorable inclusion here as well. It is followed and complemented by “Wicked Willow,” which departs from guitar in classic side B fashion, taking its own familiar basis and from it bringing a new texture to Funeral Suit only previously hinted toward. Slow, mellow and wistful as only a slow piano can be, it’s about as stripped-down as Reed gets here, and as it inevitably would, it highlights the songcraft that underscores all of these pieces, new or old. The same applies to the subsequent and penultimate “Might Just…” which feels stylistically like a reset back to where the album was on side A circa “Moonlighting” or “Along the Way,” with doubled-vocals in the repeated-line chorus of “Rolling along…,” melodic and straightforward, short at 3:30 but enough to satisfy and do its job between “Wicked Willow” and “Who Goes There,” which is the longest inclusion at 5:37 as well as the already-noted finale of the record, encompassing and ready for judgment-free sing-alongs as it is.

A linear build, it holds a tension in the guitar of its first half, the title lyric delivered with due paranoia. A break after two verse/chorus cycles comes at 3:25 in, and from there, the song launches into its righteous capstone movement, not a departure from what’s come before throughout Funeral Suit, but an extension thereof that speaks to one more prevailing factor of Reed‘s work across the LP, which is the forward potential. Not that he doesn’t have plenty going on besides, but having so risen to the challenge of this first offering, as a fan (I also wrote the bio for the album, which I’ll note was uncompensated only because I knew I’d want to review it as well), one only hopes he’ll continue to explore outward from the already-broad reach he establishes here. If Funeral Suit is a one-off, fair enough, but what it conveys to the listener feels far more substantial.

Tony Reed, Funeral Suit (2020)

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Mos Generator & Di’Aul Premiere Split LP in Full

Posted in audiObelisk on September 23rd, 2020 by JJ Koczan

mos generator diaul split cover

Port Orchard, Washington’s Mos Generator and Milan, Italy’s Di’Aul will release a split LP this Friday through Argonauta Records. It’s a vinyl-only, limited-to-250 copies pressing, and if the pairing of bands seems random or at very least plucked out of the ether, the story behind how it came together could hardly be simpler. Reportedly, members of Di’Aul went to see Mos Generator on tour a few years back and hit up guitarist/vocalist Tony Reed about making something happen. Couple years after the fact, here we are. The life lesson is you lose nothing by sending that email, and maybe you get to put out a split with Mos Generator.

The Pacific Northwest heavy rock institution offer three tracks on side A of the quite-manageable 32-minute outing, and bring forth an installment of their ‘Plundering of the Vaults’ series with demos recorded between 2014 and 2018. As self-sufficient as they are in the studio with Reed working as producer as well as helming mixing and mastering, it’s hard to imagine the vaults aren’t overflowing at any given time, but the three inclusions here run shortest to longest and feel particularly choice.

“I Spoke to Death” opens in Sabbath-rock fashion while also invoking Americana folk, while “The Paranoid” rolls at a lumbering pace in contrast to its own obvious reference while the lyrics nod to The Stooges‘ “TV Eye” and vocal lines intertwine behind one of the most outwardly doomed progressions I’ve heard from the band. Somehow fitting, a cross-lineup (explained below) cover of Pink Floyd‘s “Fearless” — also recently taken on by Seattle/Los Angeles heavies Snail — caps Mos Generator‘s portion of the release with clarity cutting through psychedelia and a kick of energy bolstering the mellow vibe of the Meddle original while still ending with a crowd chant, maybe backwards in this case.

Meanwhile, in Milan, Di’Aul crush it. The four-piece of vocalist MoMo, guitarist LeLe, bassist Jeremy Toma and drummer Diego Bertoni celebrate 10 years of the band’s existence in 2020, and their two assembled cuts — “The House on the Edge of the World” (8:47) and “Three Ladies” (7:56) — stand in immediate contrast to side A in their focus on sheer tonal heft and impact. Beginning with two minutes-plus of ambience and stark guitar, “The House on the Edge of the World” builds into a massive and righteous nod without losing its hook in the ensuing fray.

It is H-E-A-V-Y, and harsher in its approach than Mos Generator, but makes a better complement for the fact that each act brings something different to the release. There’s sludge underlying what Di’Aul are doing, and some jabs and turns of riff in “The House on the Edge of the World” remind of YOB, but as the track chug-stop-chugs to its end, its gravity is its own. More immediate, “Three Ladies” starts out with bass and drums and is underway soon enough with its own stomp and drawl, a solo break as it heads into its midsection proving only a brief respite from the willful repetition and concrete-on-skull vibe that surrounds.

If you think you can hang, you probably can. Splits like this often become a footnote in the respective catalogs of the bands that take part in them. Mos Generator always have a slew of things going on, and Di’Aul are two years removed from their second LP, Nobody’s Heaven (review here), but for an offering that asks next to nothing of the listener beyond the time involved in hearing the thing, and for the quality of work put in by both groups, you can’t really go wrong, whether either band is new to you or not. The relatively few physical copies that exist create some urgency around it, so I’m that much more appreciative of being able to host the full stream of the split for you to check out in advance of the proper release this Friday.

More PR wire info follows under the player.

Please enjoy:

Mos Generator & Di’Aul, Split official premiere

Heavy rock icons, Mos Generator, have teamed up with Italy’s doom and sludge rock heavy weights Di’Aul for the release of a 5-track split vinyl-only LP, coming out on September 25th, 2020, via Argonauta Records!

Preorder here: www.argonautarecords.com/shop

Mos Generator’s plundering of the Vaults continues with three demos recorded between May 2014 and June 2018. Says Tony Reed, “All three of these songs were recorded live in our rehearsal space and then layers were added later in the studio. There are a few interesting things about these songs. First, they are loosely arranged ideas that were only played two or three times before we recorded them, and I think that is what helps give them the raw edge that they have. And two, there is a crossover of band line-ups. On the Pink Floyd cover “Fearless”, original drummer Shawn Johnson is playing with second line-up bassist Sean Booth. That has happened before with other configurations and I enjoy it. Someday I would like to record with both rhythm sections at once.”

After a decade of shows across Europe and four albums to date, Di’Aul have grabbed the chance to team up with one of the best rock bands of our time: Mos Generator. “We saw them live with Saint Vitus during their European tour, completely astonished from their sound, MoMo and Rex decided to write a message to Mr. Tony Reed and ask him to make a record together. And so it is!”

Di’Aul recorded two brand new songs in a one day session with longtime friends and producers Federico Lino and Alessio Massara of the Iron Ape Studio in Vigevano (Pavia – Italy), mastered at HeavyHead Recording Co. by Tony Reed himself.

Tracklist:
A Side Mos Generator – “Plundering of the Vaults : Vol II”
1. I Spoke to Death
2. The Paranoid
3. Fearless ( Pink Floyd Cover )

B Side Di’Aul
1. The House on the Edge of the World
2. Three Ladies

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The Obelisk Show on Gimme Metal Playlist: Episode 41

Posted in Radio on September 4th, 2020 by JJ Koczan

the obelisk show banner

I guess the last couple episodes I’ve been trying to mix up the approach a little, pull back from starting off with rock tracks, then getting heavy, then tripping out. It was feeling a little formulaic, maybe. Not that we didn’t trip out at the end last time, but I pushed a block of noise up front and that was different at least. This time I’m pulling back from just doing new music and throwing in some older stuff that’s just been on my brain. Some Elder, some Mars Red Sky, and mixing that in with Neurosis and Isis and new Bitchwax and a few bands from Latvia just because I found them all at the same time and figured I’d present them the same way.

Simple change, right? I don’t know about you but I get locked into modes of doing things — even the format of these posts carries over from one to the next — and every now and then I want to shift how it’s done. Not so much to take myself out of my own comfort zone — heaven forbid — but mostly so I can tell myself I’m not completely compulsive about everything even though, yes, I very much am. Whatever. You know what I’m saying.

I hope you enjoy the show.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmemetal.com

Full playlist:

The Obelisk Show – 09.04.20

Elder Dead Roots Stirring Dead Roots Stirring
Mars Red Sky Way to Rome Mars Red Sky
Saturndust Saturn 12.c Saturndust
VT
Saturn’s Husk Black Nebula The Conduit*
VVZ Dzeguze >>z*
Zintnieks Tumsais Zintnieks Demo Ieraksti
Acid Moon and the Pregnant Sun Creatures of the Abyss Speakin’ of the Devil
Pelican March into the Sea March into the Sea
Mos Generator Stolen Ages Shadowlands
Floor Sister Sophia Oblation
The Atomic Bitchwax Scorpio Scorpio
VT
Isis False Light Oceanic
Neurosis Reach Fires Within Fires

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Sept. 25 (subject to change). Thanks for listening if you do.

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Ripple Music to Release Dominance and Submission: A Tribute to Blue Öyster Cult

Posted in Whathaveyou on August 24th, 2020 by JJ Koczan

Initially a project of Steve Hanford — known for his work in Poison Idea and a slew of others, including most recently Portland, Oregon’s Ape Machine — the various artists project Dominance and Submission: A Tribute to Blue Öyster Cult will see release in the coming months via Ripple Music. What began as a loving homage from Hanford to his favorite band has become a meta-tribute, as it fell to others to complete the project following Hanford‘s death earlier this year. It is, then, honoring as much to him and his work as much as Blue Öyster Cult, since Hanford sits in on many the tracks, including those featuring the likes of Billy Anderson, Rob Wrong (Witch Mountain) and Andrea Vidal (Holy Grove), Jeff Matz of Zeke and High on Fire, Year of the Cobra, Mos Generator and others.

No audio yet, and I expect a solid release date is forthcoming, but the heart with which this has been put together, on both ends, comes through clearly in the announcement below — also the cover art rules — so dig into that in the meantime and when I hear about the rest, I’ll let you know.

Here goes:

va dominance and submission tribtue to blue oyster cult

Dominance and Submission: A Tribute To Blue Öyster Cult

Californian powerhouse RIPPLE MUSIC is proud to announce the upcoming release of their all-star tribute album to Blue Öyster Cult: ‘Dominance and Submission: A Tribute to Blue Öyster Cult’. The album will feature covers by Steve Hanford, Mark Lanegan, Billy Anderson, Jeff Matz, Zeke, Mondo Generator and other major names of the heavy rock world.

This special tribute album was initiated by Poison Idea’s departed drummer Steve Hanford, in conjunction with Ian Watts of Ape Machine. Founded in 1967, Blue Öyster Cult are considered pioneers of occult rock’n’roll, marking generations with timeless anthems such as “(Don’t Fear) The Reaper”, “Burnin’ for You”, “Cities on Flame with Rock and Roll” or “Godzilla”. The New-York outfit has since then remained a reference act of the 70s rock scene alongside Black Sabbath, MC5, The Stooges or Steppenwolf.

The “Dominance and Submission: A Tribute To Blue Öyster Cult” record will highlight some of the finest work from the legendary American band, with unique contributions from JEFF MATZ of ZEKE and HIGH ON FIRE, MONDO GENERATOR, MOS GENERATOR, GREAT ELECTRIC QUEST, QUASI, HOLY GROVE, WAR CLOUD, APE MACHINE, ZEKE, YEAR OF THE COBRA, FETISH, SPINDRIFT as well as MARK LANEGAN and BILLY ANDERSON. The artwork was designed by Dave Snider.

The concept:

Steven Hanford AKA Thee Slayer Hippy lived the rocky road of the rock and roll veteran. As drummer and producer in Poison Idea he played on two of the most influential records of hardcore – War All The Time and Feel The Darkness. As producer he worked on indie rock projects such as Heatmiser (with frontman Elliot Smith) and punk albums for notable names like The Hard Ons. Due to some struggles with addiction which he later attributed to repressed sexual abuse as a child, Steve found himself in prison on multiple occasions, most recently in 2008 for a seven-year sentence after robbing a Walgreens. While in prison, Steve turned his life around and started recording albums for prisoners with a fellow inmate named Sam Redding (Sam appears on this record). After being released in 2015, Steve jumped on a tour playing drums in The Skull and was soon after introduced to Ape Machine by mutual friend Tony Lash (Heatmiser). Steve quickly joined Ape Machine on drums and also as producer for Darker Seas. While on the road with Ape Machine, Steve decided he wanted to produce a tribute record to one of his favorite bands, Blue Öyster Cult.

Steve had a vision of building a studio and originally wanted to use funds from the sale of the tribute record to get some gear. The goal was to be able to work in his own studio, producing records for other bands. The idea was to have bands come and record BÖC tribute songs in his fledgling studio (temporarily using borrowed gear from Ian Watts) which he would produce, simultaneously making a name for the studio, his production techniques, and his drumming skills. Much of the gear and engineering would be provided by Ian Watts.

Unfortunately, Steve didn’t make it to see the project through to release due to his suffering a heart attack on May 21st 2020. Fortunately for music fans though, he had completed most of the recording for the project, leaving Ian Watts to gather the final pieces and mix the record.

Steve was an accomplished and respected musician and was able to round up a star studded cast of bands for the tribute, including members of Mondo Generator, Quasi, Holy Grove, War Cloud, Mos Generator, Great Electric Quest, Ape Machine, Zeke, Year of the Cobra, High on Fire, Fetish, Spindrift as well as notable names such as Mark Lanegan and Billy Anderson.

With Steve no longer being with us, the proceeds of the record will go to benefit his widowed partner, Kitty Diggins who was left with some financial hardships, including much needed house repairs.

TRACK LISTING & LINEUP
1) ME262 (Steve Hanford, Nick Oliveri, Ian Watts, Mike Pygmie)
2) Dominance and Submission (Steve Hanford, Mark Lanegan, Sam Coomes, Sam Redding)
3) Wings Wetted Down (Steve Hanford, Billy Anderson, Rob Wrong, Andrea Vidal)
4) Tattoo Vampire (Mondo Generator)
5) Stairway to the Stars (War Cloud)
6) Veteran of the Psychic Wars (Ape Machine)
7) Flaming Telepaths (Great Electric Quest)
8) Transmaniacon MC (Mos Generator w/ Steve Hanford)
9) 7 Screaming Dizbusters (Fetish)
10) Cities on Flame with Rock and Roll (Zeke w/ Jeff Matz and Steve Hanford)
11) Fireworks (Year of the Cobra w/ Steve Hanford)
12) Don’t Fear the Reaper (Spindrift and Steve Hanford)

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Poison Idea, War All the Time (1987)

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Mos Generator Release “In the Upper Room” Digi-Single

Posted in Whathaveyou on August 19th, 2020 by JJ Koczan

Bottom line here? ‘Hey everybody, Tony‘s got a thing!’ I really can’t break it down any more than that. Quarantine life would seem to suit Tony Reed‘s studio proclivities, as he and his band Mos Generator have a barrage of releases in the works for the coming months through a variety of labels, taking part in comps, releasing splits, EPs, and one-off singles like “In the Upper Room” here. I’ve stopped counting all the upcoming outings, to be perfectly honest with you — I know I need to write a bio for his solo record this weekend, so that’s on the calendar — but yeah, if you think you can keep up with him, you’ll probably have to quit your dayjob just to properly dedicate yourself to the task.

“In the Upper Room” — recorded in 2006, mixed presumably last week — has made its way to Bandcamp both in its completed form and in the isolated tracks that make it up. Guitar sounds pretty slick too. And if doing that seems weird to you, Tony‘s right, this kind of thing is all over YouTube. And what’s more? I kind of like hearing that drum groove after the full song. Apparently the song is going to be released as part of a thing next year — maybe the archival vault series? — but it’s name-your-price now, and Reed tosses in a nice “lookout!” near the end, so have at it.

He posted the following:

mos generator in the upper room

Mos Generator – In The Upper Room – 2020 mix with isolated stems

I am remixing a recording session from June 2006 that will be re-issued in early 2021. During the remixing of these sessions I thought it might be cool to share some stereo “stems” of the recording. In this download you’ll hear the final mix but also be able to listen to stereo mixes of each player separately. You can find a lot of this kind of stuff up on youtube. I really like listening to isolated tracks so I thought I would share some online.

Here’s a bit about the session. In The Upper Room was recorded to 16 track 1” tape in our 9’x12’ jam room in June of 2006. All of the bed tracks were cut live in the room and that is why you can hear audio bleed over in each performers microphones. Upper Room was only a few days old when we recorded this so being in close quarters helped us play off of each other. After the live track was finished I did quite a few guitar overdubs and the vocals (I had a cold). The microphone setup was very minimal for these sessions.

As far as I can remember it was like this (or close).

Kick (outside) EV re20
Kick (beater side) Shure sm57
Snare top: Shure sm57
Rack tom: Equitek E-100
Floor toms: Some kind of condenser microphone in the middle of both floor toms.
No overhead microphones. All cymbals were capture by the tom mics. That is why I used condensers.
Bass: AKG d3400
Guitar: Shure sm57

1. In The Upper Room (2020 mix) 05:08
2. In The Upper Room (stereo drum stem) 05:08
3. In The Upper Room (stereo bass stem) 05:08
4. In The Upper Room (stereo guitars stem) 05:08
5. In The Upper Room (stereo vocals stem) 05:08

Recorded on a Tascam MS16 to 1” tape.

Tony Reed: guitar, vocals
Shawn Johnson: drums
Scooter Haslip: bass

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Mos Generator, “In the Upper Room”

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Mos Generator to Release I’ve Got Room in My Wagon EP

Posted in Whathaveyou on July 22nd, 2020 by JJ Koczan

I went back and looked. It hasn’t even been a week since the last time I posted about something Mos Generator — or in this case, Mös Generatör — were up to. It was last Friday, when they were announced as part of Glory or Death Records‘ tribute to Deep Purple. Plus, the same day, there was the announcement of Mos‘ upcoming split with Italy’s Di’Aul. That’s two, and if you count the fact that Tony Reed mastered the Stubb self-titled that closed out last week, there were three mentions in one single day, less than a week ago. And here’s another new release.

Tony, you alright, man?

As Mos Generator continues its frenetic, perhaps manic, pace of offerings and Reed bounces from recording with one project to another — Constance Tomb, Mos Generator, his upcoming solo debut (which is freaking awesome, by the way), probably six or seven more — he’s got this EP announced through H42 Records even before the band’s previously announced split with Void Vator shows up on the same label! That’s out July 31. Mark your Releases of Reed 2020 calendar accordingly, and I’ll do the same.

Shit is nuts, is all I’m saying.

Here’s the EP info:

mos generator ive got room in my wagon

Mos Generator releasing new Vinyl EP of the series ‘The plundering of the vaults” called I’ve got room in my wagon.

Release September 4th 2020
Presale August 14th

New 12″-vinyl EP from Mös Generatör (MOS GENERATOR) coming September 4th. This will be a special Collectors Item limited to only 250 copies with exclusive silkscreened B-Side.

Diane is a Husker Du song I used to play in a band in the late 80s and when the idea of doing one of their songs came up, this was the first tune I thought about. I’m not sure what gave me the balls to reach out to Bent from Motorpsycho to play bass on it, but I did, and he agreed. I sent him a demo that I did of the song and he sent back bass (5 different tracks of it) and vocal tracks on the choruses, which was a nice surprise. Then I had Jono replace my demo drums and I re-recorded guitars (with that classic Bob Mould scratchy guitar sound) and did a proper vocal take.

The other three songs are what I’m calling “the plundering of the vaults”. This has been going on for a few years now and it’s hard to believe there is still a nice well of material. “Flower & Song” is a live demo from 2017 with overdubs on it. The song is taken from a side project I have called HeavyPink and was being re-recorded for the Shadowlands album but never made it past this demo. I forgot how good it turned out and I’m glad it’s getting released. The other 2 songs, “Slow/Moody” & “Early Mourning (live at Freak Valley)”, were both previously issued on cassette only by H42 in the deluxe edition of a split 7″ we did with Daily Thompson in 2015. Slow/Moody is another live demo with overdubs we did in 2014. We were testing the sound quality of Shawn’s living room to see it was worth recording in and we wrote this song on that day. It has a very ambient sound that works well for the song. The record cover was done by my old friend Mike the Pike in the style of the Pettibon / SST records album covers and I did the Husker Du style MG logo to finish it off.
(Tony Reed, Mos Generator)

The vinyl will be available in following editions:

lim. 50 copies on clear red vinyl with gold silkscreened b-side
lim. 70 copies on clear red vinyl with white silkscreened b-side
black vinyl with white silkscreened b-side

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Glory or Death Records Confirms First Bands Bow to Your Masters Vol. 2: Deep Purple; Crowdfunding Launched

Posted in Whathaveyou on July 17th, 2020 by JJ Koczan

Glory or Death Records announced their intentions to do a second installment of their Bow to Your Masters tribute compilation series back in 2018, when the first volume paying homage to Thin Lizzy was still new. Today, with the launch of a Kickstarter to help fund vinyl production with an eye toward a late-2021 release, the label announces the first two bands taking part in Bow to Your Masters Vol. 2: Deep Purple, and it’s abundantly clear that with YOB doing “Perfect Strangers” and Mos Generator doing “Love Child,” they’re looking to make an impression.

Mos Generator took part in the first Bow to Your Masters as well, alongside High on Fire, Wo Fat, Great Electric Quest and an entire festival’s worth of other killer acts, so I tend to believe Glory or Death when they say it’s a monster undertaking. Certainly giving tribute to Deep Purple would demand no less.

Art and Kickstarter info/links follow here, along with a teaser and a stream of the Thin Lizzy comp, courtesy of Glory or Death‘s Bandcamp:

bow to your masters vol 2 deep purple cover

The long awaited follow up to “Bow to Your Masters Volume One: Thin Lizzy” has begun! This time it is Deep Purple’s turn! In an effort to raise funds for this monster of a project we will be unraveling the artists, song choices, art and more as the kickstarter unfolds. We are committed to this project either way, but of course are very appreciative of the early supporters that help fund these things.

We have set the deadline for bands to turn in their tracks as December 2020. Turnaround for Vinyl production is roughly 5-7 months. We are playing it safe and guesstimating a November 2021 Delivery of the rewards in this kickstarter. Thank you all for your support! We are beyond excited to make this next “Bow to Your Masters” release a reality. LONG LIVE DEEP PURPLE!

Launch: Friday 7/17 at noon pacific
Kickstarter end: Saturday August 15th at noon pacific

Vinyl Editions available on Kickstarter:

-Gimme the Purps: unlimited standard edition
-Burn: limited to 50, kickstarter only *Includes Album Art Print
-Wax Mage: 15 available on kickstarter in the Shades of Deep Purple package
-Shades of Deep Purple (Purps 2LP, Burn 2LP, Wax Mage 2LP, Test Press 2LP *Shipped Early* and Album Art Print): 15 available on kickstarter

Bands/songs announced so far:
Mos Generator: Love Child
Yob: Perfect Strangers

Full link: https://www.kickstarter.com/projects/gloryordeath/bow-to-your-masters-volume-two-deep-purple
Short URL: http://tiny.cc/BTYMv2

https://www.facebook.com/Gloryordeathrecords/
gloryordeathrecords.bigcartel.com/
https://gloryordeathrecords.bandcamp.com/

VA, Bow to Your Masters Vol. 2 teaser

Various Artists, Bow to Your Masters Vol. 1: Thin Lizzy (2018)

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Mos Generator & Di’Aul to Release Split on Argonauta Records

Posted in Whathaveyou on July 17th, 2020 by JJ Koczan

I feel no shame in admitting that at this point I can’t keep up with Mos Generator‘s release schedule. Founding guitarist/vocalist Tony Reed has an acoustic record coming out and I’ve heard that and it’s brilliant, but the full band also has this split in the works with Italy’s Di’Aul, as well as another split if I’m not mistaken and Reed‘s writing for at least one side-project concurrently, so yeah, there’s a fair amount to take it at any given point. To the best of my knowledge, this is the first time Reed/Mos Generator has released through Argonauta Records. Di’Aul, on the other hand, put out Nobody’s Heaven (review here), through the label in 2018.

Di’Aul‘s songs are new, Mos Generator‘s are older demos, but you get a Floyd cover in there too, and that’s a win. The PR wire has the details:

mos generator diaul split cover

MOS GENERATOR and DI’AUL team up for crushing split LP!

Coming September 25th on Argonauta Records!

Heavy rock icons, Mos Generator, have teamed up with Italy’s doom and sludge rock heavy weights Di’Aul for the release of a 5-track split LP, coming out on September 25th, 2020, via Argonauta Records!

Tony Reed’s Mos Generator, who formed in 2000 in Port Orchard, Washington from the ashes of a ten year off & on collaboration between it’s three members, all of which are long time veterans of road & studio, inspired the heavy music scene since decades. The need to strip down to the basics of hard rock was apparent from their start and continues to be the foundation for all the bands recent material. Mos Generator have released 9 full length studio albums, a retrospective album, 2 live albums and a plethora of split 7″ and 12” singles on such labels as Listenable, Roadburn, Small Stone, Ripple, Nasoni, Lay Bare, Hevi Sike, H42, Devil‘s Child, Kozmik Artifactz and Heavy Psych Sounds. Touring has been just as important to the profile of the band as making records has. Over the years Mos Generator has shared the stage with many great heavy rock bands across Europe and North America including extensive tours with Saint Vitus, FU Manchu, Elder, Spirit Caravan and Atomic Bitchwax. They have also played many prestigious festivals throughout Europe including 2 appearances at Hellfest in France, opening up a whole new fan base to the Mos Generator sound. After 20 years of making music Mos Generator show no signs of slowing down. September 25th, 2020, will see them release a split with Di’Aul, says Mos Generator mastermind, Tony Reed, about the upcoming record:

“The plundering of the Vaults continues with three demos recorded between May 2014 and June 2018. All three of these songs were recorded live in our rehearsal space and then layers were added later in the studio. There are a few interesting things about these songs. First, they are loosely arranged ideas that were only played two or three times before we recorded them, and I think that is what helps give them the raw edge that they have. And two, there is a crossover of band line-ups. On the Pink Floyd cover “Fearless”, original drummer Shawn Johnson is playing with second line-up bassist Sean Booth. That has happened before with other configurations and I enjoy it. Someday I would like to record with both rhythm sections at once.”

Ever since their inception in 2010, Di’Aul, who are no longer one of Italy’s best kept doom metal and hard rock secrets, strive a distinctive, heavy yet catchy sound. Their latest, fourth album “Nobody’s Heaven”, released in 2018 on Argonauta Records, gained the band high praise from both fans and critics alike. The four-piece collective mixes the elements of ’70s rock, a modern metal groove with a heavy dose of the doom. From a harsh distortion to slow-paced sludge infusions, powerful, fuzz-fueled riffs, big grooves and expressive vocals, Di’Aul take you on a trip through all that is heavy.

After a decade of shows across Europe and four albums to date, Di’Aul have grabbed the chance to team up with one of the best rock bands of our time: Mos Generator. “We saw them live with Saint Vitus during their European tour, completely astonished from their sound, MoMo and Rex decided to write a message to Mr. Tony Reed and ask him to make a record together. And so it is!”

Di’Aul recorded two brand new songs in a one day session with longtime friends and producers Federico Lino and Alessio Massara of the Iron Ape Studio in Vigevano (Pavia – Italy), mastered at HeavyHead Recording Co. by Tony Reed himself.

Both tracks represent a vibrant sound of heavy as hell rock, sludge-infused doom tunes with a melancholic atmosphere: a mix between the ’70s Sabbath sound and the power of 90’s heavy music.

The split will be available as Vinyl only on September 25th, 2020, via Argonauta Records, the pre-sale has just started at THIS LOCATION!

Tracklist:

A Side Mos Generator – “Plundering of the Vaults : Vol II”
1. I Spoke to Death
2. The Paranoid
3. Fearless ( Pink Floyd Cover )

B Side Di’Aul
1. The House on the Edge of the World
2. Three Ladies

www.facebook.com/MosGenerator
www.mosgenerator.bandcamp.com
www.facebook.com/DIAUL111
www.diaul.bandcamp.com
www.argonautarecords.com

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