Live Review: Planet Desert Rock Weekend V – Night 3

Posted in Reviews on February 2nd, 2025 by JJ Koczan

Mos Generator (Photo by JJ Koczan)

Afternoon – Before Show

“Freelance Fiend” stuck in my head. I’ll talk about why tomorrow. You could do so much worse, though. Eternally.

Tonight is the apex of Planet Desert Rock Weekend V. Six bands, front-to-back with Green Desert Water opening, Omega Sun, Solace, The Watchers, Sergeant Thunderhoof and Mos Generator. A thing to look forward to, and I have been since the day-splits were announced. As has been the case over the last two nights, there will be ties between one set and the next, I expect, and I’m curious how it will all play out, though however it goes, holy mackerel, it’s gonna rock.

It’s also a venue switch, moving from Count’s Vamp’d, where nights one (review here) and two (review here) went down, to The Usual Place, which I know John Gist — of Vegas Rock Revolution; this is his fest — has done a bunch of stuff at, including as part of past PDRWs. I came here trusting it was going to be a good experience, expecting to have a good time, and it has exceeded that. I am fortunate to be here. Happy to be here. If I’ve mentioned that before, it’s worth repeating. Tattoo it in block letters on my forearm.

The room itself is bigger than Vamp’d — I’m not sure I can call it that having only been there twice, but I’m gonna throw it out there and see if I get in trouble — and it’s another cool spot; would expect no less. Gorgeous desert sky on the way in, with impossible blues and oranges and such like something off a non-denomonational-but-definitely-‘inspirational’ wall calendar. At the same time, it was probably as close as I’ve come to what people think of when you say you’re in Las Vegas, still at reasonable remove from the Strip itself, but a fun juxtaposition either way. Yes, I was good and stoned.

It was a relatively early start for club shows and still unlike the bulk of fests worldwide for its manageability, 6:30 or so, and there was some technical issue requiring a new bass head, but two minutes and a fog machine blast later, here’s how it went:

Green Desert Water

Downright electric was the heavy boogie blues and fuzz roller energy wrought by Spain’s Green Desert Water to open the night. It seemed early to bring the house down, but the three-piece called everyone up to the stage to party for Saturday, and I couldn’t help but wonder if the running theme for the evening hadn’t just revealed itself. I don’t know about you, but I dug the gosh darn heck out of the band’s 2021 LP, Black Harvest (review here), and they opened with the title-track, meeting old-soul vibes with not-old-yet energy, guitarist/vocalist Kiké Sanchis a frontman of classic leading-a-trio presence, impeccably suited to the songs, which are class in the leads and shuffle in the bass of Juan Arias García and drummer Dani Barcena, the latter of whom also backed Sanchis on vocals. They mellowed out mid-set and the bass held it with warmth while the guitar went stepping and every molecule coming out of that fog machine felt earned. They were here in 2019, so maybe it’s no surprised they were so comfortable on the stage now, but at a certain point, chemistry is chemistry. Green Desert Water were duly fluid, but what made them perfect to start was the fact that they were electric on stage. Engaging the crowd, thanking Scott from Small Stone Records (who’s here and I haven’t seen him in like 12 years and I got to hug him and it was wonderful), locking in a succession of monster blues nods and changing it up when it served the song, modern in spirit but coming from a classic place in influences. Plus soulful shred and thick low end. Sounds killer, right? They absolutely were. “The Whirl” was a highlight, but speaking as someone who’s had “Freelance Fiend” in his head all day, the strut in “Shelter” was no less suited to cap their set than they were to start the night.

Solace

I did not write one word during Solace. Not one. First time in three days I wasn’t writing during the set. That’s who Solace are to me. Tell your friends you love them. They’ve been on the road since last week. Their tour was over as of the end of the set, and though apparently two-fifths of the band were sick, they brought it as only Solace could, their stoner metal, hardcore intensity and ’90s tonal crunch still so much its own blend. A band able to be joyous while punching you in the face, and not in like some schlock Joker kind of way, I mean the music is a joy even at its hardest hitting — often especially at its hardest hitting — and while I’m not going to pretend I’m impartial about Solace. I have memories with those songs going back over 20 years, even aside from the Jersey connection, doing shows together, and so on. Just as a fan. Whether a club show or a fest, Solace was always the band who played last and blew it out. To have them play second — I thought Omega Sun were on after Green Desert Water; have not yet found out what happened there or if I was just wrong; you can imagine which is more likely — was different in my mind, but as with Green Desert Water, Solace did in fact blow out, they just started doing so before 8PM. Fair fucking enough. Accuse me of playing favorites if you want; you’re absolutely right and that’s the point. As long as Solace are a band forever we’re fine.

The Watchers

Definitely we’re working with the blowout as the narrative. The Watchers, whom I’ve never seen, carried forward a bit of Solace’s ’90s crunch in their dudely heavy grooves, and put it to a classic heavy swing with a thick charge. They went back to the band’s beginnings with “Today,” and gave a showing to the more metallic side of last year’s Nyctophilia (review here). John Gist, again, the guy throwing the party, likes a frontman. Doesn’t necessarily have to be a standalone singer like Goins from Solace or Tim Narducci from The Watchers, but someone with presence and a voice. At least that’s what comes through in the curation to me. I’ve always kind of been on the fence with the band, if we’re being honest, but there was no question going into the set they’d bring it, and they’re songwriters, so you know the songs by the end whether you know the record or not. I bet it was warm up there in a leather jacket, but The Watchers not only held their own after Solace, they brought the momentum of the webbing evening forward with force. They made it a party and closed out with “Sabbath Highway,” because duh. And I’m still hoping Omega Sun will show up sooner or later.

Sergeant Thunderhoof

Come over from the UK hot on the heels of last year’s The Ghost of Badon Hill (review here), Sergeant Thunderhoof brought Desertfest vibes to Planet Desert Rock Weekend V, and in the melody and presence, they were both a logical follow-up to The Watchers and in the role of adding texture to the night in a way that, granted, is less psych-based and more solidified as heavy rock/prog, felt like kin in purpose to JIRM last night or MR.BISON the night before. Sergeant Thunderhoof’s name isn’t all-caps, but their sound has a breadth and range, and the vibe is that much richer for what they’re bringing to it. They did “Blood Moon” and “Salvation for the Soul” (catchy catchy catchy and they nailed it; harmonies on point) from the new album, but they’ve got a catalog to draw from at this point and they’ve never been here before, so it makes sense they’d want to represent more than just the latest LP, which they did anyway. Some metal-feeling roots came through for sure, but they weren’t lacking for swing despite the push and sprawl and purpose behind each of their turns. The singer wrapping himself in a US flag near the end left me cold, but such are the times we live in. I have to wonder if they won’t be back in the US before too long.

Mos Generator

I was talking to someone earlier this evening about oldschool bands, second-gen stoner if we’re on the fourth now, maybe, not getting their due. Hi, Mos Generator. Draw that line right to Fireball Ministry headlining as well. My first time seeing the Mk. I lineup of the Port Orchard, Washington-based stalwart heavy rockers, with Shawn Johnson drumming and Scooter Haslip on bass, Tony Reed of course holding down guitar and vocals. Special band, and no, they’ve never really gotten their due. Their latest work, with the new lineup — Jono Garrett on drums, Sean Booth on bass — leans more into prog and is more introspective in spirit, but onstage they dove in hard. Reed: “I feel like boogieing, you feel like boogieing?” And then they go ripshit on “Breaker” from Electric Mountain Majesty (review here) — “Don’t waste your time trying to save my life/ I’m dying now the way I want to” — and even as dark as that sentiment is, that song just moves and moves. They followed it with the roll of “Step Up” and jammed out the solo a bit, which ruled, and then before I knew it they were wrapping up saying they needed to immediately drive 24 hours straight to get I’m not quite sure where and split. Get in, kick ass, get out. They could give a shit for getting their due. Places to go.

Omega Sun

Found them! Turns out the Slovenian trio were closing out in a post-headliner position. They appeared lower on the poster, hence my confusion. In any case, they held a fair amount of people in the room and the songs left no question why. This is their second time here, but my first, and they brought big-groove riffs in classic desert rock fashion. Nothing too fancy — bassist/vocalist Igor Kukanja, guitarist Aris Demirović, drummer Sebastian Vrbnjak — but they’ve got riffs, melody, hooks and volume and they know what they’re doing with them. Their second full-length, Roadkill (review here), came out in 2023, and though it was late by the time they were done, the showing they gave was righteous. If you’re in this for more than five minutes, you know that desert rock outgrew Californian geographic exclusivity decades ago, so a Slovenian desert band isn’t super-crazy, but you sure don’t get to see one kill it as Omega Sun did every day, even if you’re entrenched in the country’s native underground. They shouted they last song out to John, as will happen, and hit into a drive that was both of-genre and their own chemistry, stamp and tone. One last big-riff finish, and it was over, a final emphasis for the day on the idea of community; people from different places coming together to share common interest and experience. In that, they were no less suited to cap than Green Desert Water had been to open, and the flow of the night in sound, style, idea and logistics was ideal, right unto the thanks and goodnight. They bought a $100 Epiphone guitar to play their tour and gave it away when they were done.

This was a really, really good day.

I still kind of have “Freelance Fiend” in my head, but I’m too tired to strut. More pics after the jump, and more words tomorrow as Planet Desert Rock Weekend V moves back to Count’s Vamp’d to close out.

Thank you for reading.

Read more »

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Ripplefest Texas 2025: Dates and First Bands Announced

Posted in Whathaveyou on September 23rd, 2024 by JJ Koczan

The sun hadn’t even set on this year’s Ripplefest Texas this past weekend and the Austin-based festival announced its dates for 2025. No headliners have been revealed yet — and fair enough; it’s a year away — but Unida return to top the thus-far bill, and along with Mos Generator, Left Lane Cruiser and Kind, the first of no-doubt-several international acts has been announced, with London’s Steak making the trip over.

You may recall Steak recorded in the California desert in the past, and they may have done a couple gigs around that, but I’m assuming there will be a more substantial stint of touring around their slot at Ripplefest. I haven’t seen dates for Desertfest NYC 2025 yet, but the two fests were closely interlinked in terms of lineup this year, somewhat akin to the on-the-same-page togetherness Europe will see between various events on successive weekends next month, and given Steak‘s connection to Desertscene London, the team from which is also behind Desertfest New York, it wouldn’t be terribly surprising to see that relationship continue to develop as Ripplefest Texas 2025 adds more bands building on the initial names here.

And if you saw the lineup for 2024 or — congratulations on your weekend if this is the case — you were there to actually see the show, you know Ripplefest Texas packs its four-day expanse front to back at a scale that few outside of Maryland Doom Fest could hope to, and with an increasing reach to boot. If you’re not yet looking forward to the next Ripplefest Texas, here’s a cue to do so:

Ripplefest Texas 2025 first names

RippleFest Texas 2025 dates are officially announced! We are selling 100 4 Day Passes only at a ridiculous price of $100! That is worth seeing these bands announced so far and we haven’t even announced our headliners yet! Get them while you can!!!

Tix at www.lickofmyspoon.com

Lick of My Spoon Presents:
Ripple Fest Texas 2025
September 18-21
The Far Out Lounge and Sagebrush Austin, TX

First announced bands:

Unida
Left Lane Cruiser
Mos Generator
Steak
Mountain of Smoke
Thunder Horse
Kind
Sundrifter
Fostermother
And Many Many More!

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

https://www.facebook.com/LOMSProductions
https://www.instagram.com/LOMSProductions/
http://www.lickofmyspoon.com/
https://linktr.ee/Lickofmyspoon

Unida, “Thorn” live at Ripplefest Texas 2023

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Mos Generator Release Forging Behind 2002-2012 Compilation LP

Posted in Whathaveyou on April 16th, 2024 by JJ Koczan

Mos Generator

Today — I think maybe right now — Mos Generator release Forging Behind 2002-2012, a compilation LP of material taken from the decade listed. That covers the era from their 2002 self-titled debut (reissue review here) through 2005’s Nasoni-issued The Late Great Planet Earth, 2007’s Songs for Future Gods (which was on Roadburn Records and Small Stone), and their 2012 Ripple Music post-hiatus resurgence, Nomads (review here). Also included is the harmony-laced “Dyin’ Blues” from the 2007 10″ EP Tales From the Vault, which saw new life in 2021 as The Lantern (review here) on Argonauta Records. Long and winding road, as the fella said.

Its tracks assembled and newly mastered by founding guitarist/vocalist, producer and bandleader Tony Reed, the stated intention of Forging Behind 2002-2012 is to simplify Mos Generator‘s back catalog a bit for people just getting to know their work. In 2020, the Strange Powers comp LP did likewise for 2014’s Electric Mountain Majesty (review here), 2016’s Abyssinia (review here) and 2018’s Shadowlands (review here) — all three of which first came out on Listenable Records — which took them into the Mk. II lineup of Reed, bassist Sean Booth and drummer Jono Garrett. On Forging Behind, it’s all the original trio: Reed, bassist Scooter Haslip and drummer Shawn Johnson.

OKAY… That’s a lot of info. A lot of text in bold. A lot of ‘review here’ links. I get it. Densely packed. But something else you need to know going into Forging Behind is that the original trio lineup — the band that first made these songs; Mk. I — is still active. In the promo info below, Reed says all these songs are in rotation for the current live set. The Mk. II lineup? Also still active. That’s right, kids. Mos Generator have split the timeline. My understanding is both incarnations of Mos Generator are writing for new studio albums, which is a dizzying thought even in the context of Reed‘s generally furious work ethic. Their most recent studio LP, Time//Wounds (review here), came out in Dec. 2022.

So what Forging Behind 2002-2012 is also doing is giving background to whatever it might ultimately be that surfaces from the ReedHaslipJohnson three-piece, and providing a gateway for those who discovered the band after they came back in the 2010s to dig into the output from their original run. How it differs from 2008’s 2LP/CD comp Destroy! The Mos Generator 2001-2008 is of course the years it covers — Nomads didn’t exist yet and it’s become a landmark for them — the new master, and the idea of being curated around the songs they play now as a single-LP/DL release. 300 vinyls.

And if you do get the download version, one last thing to note is that it’s Reed‘s own vinyl rip, not a straight digital transfer. Probably took a little longer to get together, but a cool idea that not everybody would think of doing.

They remain a treasure of the American heavy rock underground:

mos generator forging behind

Mos Generator Forging Behind 2002 – 2012

Forging Behind is a compilation of songs released between 2002 and 2012 and is kind of a “young person’s guide” to the early years of the band. Forging Behind can also be considered a companion album to Strange Powers released in 2020. Strange Powers was a compilation of songs from the three albums released on Listenable Records between 2014 and 2018 and together, these two albums make a comprehensive overview of highlights from the band’s career. All of the songs on Forging Behind are still in rotation in the current live set so this makes it easy for fans to choose an album to buy if they liked the set but aren’t familiar with the band.

Label: Music Abuse Records
Units pressed: 300
Vinyl colors: Black (no variants)

All sonic manipulations by Reed at ‘Vault’, Temple Sound, & HeavyHead Recording Co. between 2001 and 2012. Mastered by Reed at HeavyHead January 2024. Front cover art by Lex Waterreus. Artwork layout by #3. All songs written by Reed. Arranged by Mos Generator.

Side A
1. SILVER OLYMPUS (3:58)
(from the album Songs for Future Gods released September 2007)
2. DYIN’ BLUES (4:53)
(from the album Tales from the Vault released May 2007)
3. LONELY ONE KENOBI (single version) (4:28)
(from the album Nomads released October 2012)
4. ON THE EVE (promo edit) (5:44)
(from the album The Late Great Planet Earth released October 2005)

Side B
1. LUMBO ROCK (3:57)
(from the album Mos Generator released April 2002)
2. STEP UP (4:51)
(from the album Nomads released October 2012)
3. NANDV (3:37)
(from the album Songs for Future Gods released September 2007)
4. THIS IS THE GIFT OF NATURE (7:25)
(from the album Nomads released October 2012)

Mos Generator on Forging Behind:
TONY REED – guitar / vocals / keys
SHAWN JOHNSON – drums
SCOOTER HASLIP – bass

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

Mos Generator, Forging Behind 2002-2012 promo video

Mos Generator, Forging Behind 2002-2012 (2024)

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Rocky Mountain Riff Fest 2024 Announces Lineup

Posted in Whathaveyou on February 2nd, 2024 by JJ Koczan

You can see in the lineup for Rocky Mountain Riff Fest 2024 that the festival, which is set for April 20 in Kalispell, Montana, is expanding its reach. Yes, Wizzerd, Sorcia, Merlock, The Gray Goo and Spliffripper have played before — The Old Ones played Erosion Festival in 2016; I remember thinking that looked awesome and it did — but returning parties are accompanied by newcomers like Lord VelvetChokesetter and Hot Milk and the Flower Pallets, who play the pre-show, and I think they’ll have two stages going and Mos Generator are popping eastward from their home in Port Orchard, Washington, which is probably like a 40-hour drive or something, to headline. I’d go to this in a second, man. That’s a good way to spend a day, and you’re in Kalispell, which looks gorgeous.

The full lineup was announced on social media — I know, crazy, right? — and notes a venue change that looks like it’ll actually be pretty cool having it all in one place. Dig:

Rocky mountain riff fest 2024

FULL LINEUP HAS ARRIVED!

We’re excited to reveal the lineup for #rmrf2024! We are welcoming back some heavy hitters, and introducing some bands to the Flathead valley for the first time.

-MOS GENERATOR-
-SORCIA-
-LORD VELVET-
-MERLOCK-
-CHOKESETTER-
-WIZZERD-
-GREASE CULT-
-THE GRAY GOO-
-THE OLD ONES-
-SURFBAT-
-SCHTICKY-
-SPLIFFRIPPER-
-FREE DRUGS-
-HOT MILK AND THE FLOWER PALLETS-

In years past, Riff Fest has been a block party between the legendary @oldschoolrecords134 and the Eagles in downtown Kalispell. Facing the closure of the 1st Street location of OSR, we are now taking over two levels of the Eagles! It’s going to be a party in the whole building, with our traditional free pre-party at the Glacier Park VFW.

We are also proud to bring on some local sponsors who are stoked to help bring some killer music to the valley!

-ALTITUDE-
-WHEATON’S-
-BIAS BREWING-

Spread the word, and see everybody in April!
🏔🤘🏔

Artwork by @isaacpasswaterillustration

Sorcia, Lost Season (2023)

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Mos Generator Release Remasters for Electric Mountain Majesty, Abyssinia and Shadowlands

Posted in Whathaveyou on January 10th, 2024 by JJ Koczan

mos generator

This was a pretty special run for Mos Generator, from when they signed to Listenable Records after coming back in 2012 with Nomads (review here) on Ripple Music through when they issued Shadowlands (review here) in 2018. Led as ever by founding guitarist, vocalist, sometimes-keyboardist, producer, etc. Tony Reed (also Big Scenic Nowhere and a veritable slew of others), the band had revamped its lineup and those were years of heavy touring and momentum on their side from one to the next, through 2014’s Electric Mountain Majesty (review here) and 2016’s Abyssinia (review here), the latter of which introduced bassist Sean Booth and drummer Jono Garrett.

But Mos Generator, and by extension Reed (and actually I think it’s the other way around), are always busy. In 2022, they released Time//Wounds (review here) and quickly set about tweaking its mix and master, the darker and more progressive feel providing ample sandbox space for it, and if you don’t follow their Bandcamp or socials or however it is you follow, it’s worth doing so for the off-album tracks, live releases, demos and other odds and ends that always show up in Reed‘s ongoing prolific mania. If you’d keep up with that, you’ll find three embeds below from their site. I’m not sure if the new Listenable pressings are of the 2022 remasters from the band’s Bandcamp or what, but chances are you’re reading this on a phone, so I don’t think we’re exactly splitting hairs on audio intricacies sitting in the exact mathematically calculated space between two giant studio monitor speakers either. Enjoy some songs.

Alright, I’m falling asleep as I type (it’s early), so it must be time for the PR wire:

mos-generator-electric-mountain-majesty

Hello and Happy New Year. This year starts out with an exciting announcement.

Our studio albums recorded for Listenable Records (France) between 2014 and 2018 are now back in print. All three have been newly remastered and sound stellar. Along with the new masters, there have been minor changes to the artwork and original audio. We are so stoked that these are available again. They are some of the most important albums in our evolution. We hope you enjoy them as well.
They are all available on vinyl in the corresponding digital link here on bandcamp.

1. Electric Mountain Majesty (2014)
– Transparent yellow vinyl
– Remastered by Reed 2023. The audio on this is vastly improved by the new remaster.

2. Abyssinia (2016)
– Milky clear vinyl
– Remastered by Reed 2023
– Updated artwork with lyric insert (the original pressing had no lyric sheet)
– Original intro to ‘Red Canyons’ restored on this master

3. Shadowlands (2018)
– Transparent purple vinyl
– Remastered by Reed 2023
– 2020 mix of ‘Drowning in Your Loving Cup’ included on this master

European fans can shop here for better shipping rate
shop-listenable.net/en/search?controller=search&s=mos+generator

Cheers,
Tony/MG

Mos Generator:
Tony Reed: guitar/vocals/mellotron
Jono Garrett: drums
Sean Booth: bass

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

Mos Generator, Electric Mountain Majesty (2014)

Mos Generator, Abyssinia (2016)

Mos Generator, Shadowlands (2018)

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Rain City Doom Fest Announces Lineup for Dec. 16

Posted in Whathaveyou on October 16th, 2023 by JJ Koczan

An all-dayer set for Saturday, Dec. 16, at El Corazon and Funhouse in Seattle, Washington, Rain City Doom Fest was announced late last week by the bands. There are eight of those, which is probably plenty, considering you’ve got Matt Pike bringing his Pike vs. the Automaton solo band through with direct support from Witch Ripper and Mos Generator. Un, Sorcia, Sun Crow, Grim Earth and Mother Root round out, and if you know all of those bands or you don’t — Sorcia in July put out a record called Lost Season (review here); Witch Ripper gleaned fervent hyperbole around their The Flight After the Fall (review here) this Spring; Sun Crow are working toward their next LP; the list goes on — but if I’ve earned any trust in the last 14 years, I hope maybe you’ll take my word for it when I say it’s a solid lineup between established and newer acts, and that I hope it continues to be a regular thing.

Because a homegrown heavy fest isn’t anything to sneeze at and it’s not easy to put together, learning many invariably crucial lessons the only way they can be learned: by doing the thing. I didn’t know it when I first posted the lineup, but Jessica Brasch of Sorcia books this one and it’s been going for three years. This is the first time it will be at two venues — I think — and it remains a killer bill.

Have at it:

Rain city doom fest

El Corazon & The Funhouse present:

RAIN CITY DOOM FEST 2023

2 stages, 8 bands. Showcasing some of the heaviest music in the PNW and beyond.

Pike Vs The Automaton
Witch Ripper
Mos Generator
Un
Sorcia
Sun Crow
Grim Earth
Mother Root

Saturday, Dec. 16

Doors @ 6pm | Show @ 7pm
$20 ADV | $25 DOS | 21+

(#127903#)️ on sale Friday 10/13 at 9am

Poster: Brian Kim

Event page: https://facebook.com/events/s/rain-city-doom-fest-2023/1021960045617875/

Sorcia, Lost Season (2023)

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Mos Generator to Release Heavy Sevens & Spaced Oddities Compilation; Time//Wounds Reissue Coming Soon

Posted in Whathaveyou on July 6th, 2023 by JJ Koczan

Mos Generator releasing a thing can be news even if it’s not really a huge surprise. Led by the e’er prolific Tony Reed — also of Big Scenic Nowhere, Hot Spring Water, Constance Tomb, ex-Stone Axe, on and on — the Port Orchard, Washington, heavy rockers have posted 2022 remasters on their Bandcamp for  2018’s Shadowlands (review here), 2016’s Abyssinia (review here) and 2014’s Electric Mountain Majesty (review here), representing the most productive stretch in terms of full-length records in the band’s career, though along with studio LPs there’s always EPs, singles, and other odds and ends the band have going.

To wit, Heavy Sevens and Spaced Oddities is a compilation of off-album tracks from various releases over a 20-year span. That and a reissue of their latest album, 2022’s Time//Wounds, will be out through Glory or Death Records, deepening an association that’s been in place for several years, as Mos Generator has taken part in tribute releases for the label before — why I don’t write about those whole-album or best-of-whoever tributes more: it just got to be too much, there’s like a zillion of them, and as cool and novel as those are, with the hours in the day that I have, it seems more suitable to me to write about actually-new music — and Reed‘s Hot Spring Water project put out their 2022 album, In Session, via Glory or Death as well.

Release dates? I don’t know. They put up test pressings over the weekend, signed and so on, so I’d imagine there will be more word soon. In any case, one to keep an eye out for:

mos generator glory or death

Greetings all, just letting you know that we have a few things coming out at the end of summer through Glory or Death Records.

First is ‘HEAVY SEVENS & SPACED ODDITIES’. This is a single LP collection of the original songs from our 7″ singles and also a few audio oddities from 2001-2021. Second is the Glory or Death version of our last album ‘Time//Wounds’. This version has different art layout and mastering and will be available in some different variants. Unlike the Music Abuse version which was only available in black vinyl. We will have some standard editions available on our bandcamp but if you would like to pre-order or find all the limited versions please go to:
gloryordeathrecords.bandcamp.com
www.gloryordeathrecords.com/

Signed test pressing go live Sunday July 2nd @ 12pm CST

Here is the tracklisting for the Heavy Sevens album. Music Abuse will be releasing it on Cd with extra tracks.

– Gus’s Boogie
– You Bring the Wine, I’ll Bring the Weather
– Step up (7″ Version)
– Godhand Iommi
– Downer Rock ’89
– Wicked Willow (rsd 7″ Version)
– Wroomb
– Tracks (tall Bodies)*
– Serpent’s Glance
– There’s No Return from Nowhere (video Version)
– Gamma/hydra (7″ Version)
– Nowarning (flexi Mix)

Mos Generator:
Tony Reed: guitar/vocals/mellotron
Jono Garrett: drums
Sean Booth: bass

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

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

Mos Generator, Time//Wounds (2022)

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Mos Generator: New Pressing of Time//Wounds Available

Posted in Whathaveyou on February 15th, 2023 by JJ Koczan

Released in the waning hours of 2022, Time//Wounds (review here) feels like an especially bold album for Mos Generator in terms of style. Yeah, the Port Orchard heavy rockers led by prolific madman guitarist/vocalist/producer Tony Reed have long since delved into progressive sounds, but never with such a surety of purpose as they do on their latest work. It’s not about “going prog” or something like that, like it’s 1974 and all of a sudden a what had been blues band sounds like Yes or some such, but about incorporating a new range of scope to Mos Generator‘s well established penchant for songcraft and melody. Not the kind of record a band would make out of the gate, rather, it is the beneficiary of the years and decades of experience of Reed in and out of the band as well as the chemistry he shares with bassist Sean Booth and drummer Jono Garrett.

They’ve settled down touring for the last several years, even since such a thing became possible again, and fair enough for how hard they went from around 2014-2018, but as they take more chances on this record, it’s satisfying in a way to see them meet with success on the listener end. That would seem to be what’s underlying this announcement of a second pressing of Time//Wounds since, inevitably, the reason they’re making more records is because they sold through the first pressing and think people will continue to buy. No doubt that’s the case, and bonus for fixing typos in the lyric sheet. As someone who regularly corrects spelling and grammatical errors from, say, a decade ago, on this site, I find it easy to appreciate that kind of thing, frustrating as it is that there’s no shortage of them wanting correction.

In any case, good for Mos Gen, and though it’s only been about three months since the record came out, you know Reed will have something new on tap for this year as well, whatever form that might take.

Here’s the band’s update:

Mos Generator Time Wounds

Hello friends. For those of you who didn’t get a copy of Time//Wounds on vinyl before it sold out or you just like to collect different versions of the same record…the second pressing of Time//Wounds arrived at my door yesterday and I’ve put it up in the store. 200 copies on black vinyl.

It has the same audio as the 1st pressing but there are many changes to the artwork layout of the second edition (including the fixing of MANY typos on the lyric sheet). We’ve been getting some amazing feedback on this album and we truly appreciate the support of people buying it and letting us (and the social media public) know how they feel about it.

Mos Generator:
Tony Reed: guitar/vocals/mellotron
Jono Garrett: drums
Sean Booth: bass

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

https://www.facebook.com/palewizard/
https://www.instagram.com/palewizard/
https://palewizard.bigcartel.com/
https://palewizardrecords.bandcamp.com/

Mos Generator, Time//Wounds (2022)

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