#mos generator

Longtime scene musician and producer TONY REED meets with debut Doomed & Stoned contributor Doob Solo for an interview that meanders through Reed’s prolific career.

Have a seat with these two heavy rock heads as they talk about minimalist mods and retro recording techniques, gear, lyricism, and Tony’s favorite ways to connect with you, the audience.

We hope you enjoy this deeper look into his musical life with Mos Generator, Hot Spring Water, Stone Axe, Big Scenic Nowhere, and more, with a few Pentagram teasers thrown in.

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Various Artists: The Wall [Redux] (2018)

What’s this?

A lovingly executed recreation of Pink Floyd’s The Wall by a 26-strong lineup of hard rock bands, sludge bands, stoner bands, psychedelic bands, doom bands, and even a grunge icon?

That’s what’s in store on this double LP compiled by independent Magnetic Eye Records, but I won’t lie to you: it was the stunning blue-fade vinyl that made me take them for a spin, ‘cos I normally don’t care for this kind of revisionist musical exercise.

But, having taken the time, I can vouch for the following high-points, beginning with the Melvins, uh, “Melvin-izing” “In the Flesh?” and arguably cresting with Mark Lanegan doing his vocal black magic on “Nobody Home,” in a set that boasts as many surprisingly faithful remakes as it does actual surprises.

Mos Generator, for example, handle my beloved “Goodbye Blue Sky” with kid gloves (you really can’t improve it), Low Flying Hawks go very soft/very hard on “The Thin Ice,” Sasquatch bury “Another Brick in the Wall, Pt. 2” in fuzz, and The Slim Kings nudge “Young Lust” towards reggae.

Poland’s Spaceslug reinvent “Don't Leave Me Now” to reflect their name, but Summoner are too awestruck at “Hey You” to fuck with it; Ruby the Hatchet turn “Vera” into a funereal hymn while Mars Red Sky pump “Comfortably Numb” full of distortion.

Open Hand go the opposite route on a dreamy “The Show Must Go On,” Pallbearer gallop like never before on “Run Like Hell,” Blue Heron make the best of their 49 seconds on “Stop,” and Church of the Cosmic Skull do the same, going full-blown rock opera, across all five minutes of “The Trial.”

All in all, I was generally captivated, rarely bored by this reinterpretation of The Wall (which says something when such a looooong album is in play), and I’ll wager that anyone who loves Pink Floyd’s arguable magnum opus will be equally entertained.

Clutch

Red Fang

Mos Generator

~Live At McDonald Theatre~

Words & Photographs by Stephanie Savenkoff

I drove down to Eugene, Oregon from Vancouver, Washington to see Clutch at McDonald Theatre. I couldn’t resist with such an amazing line-up that included two Northwest favorites, Mos Generator and Red Fang. I left in time to be able to catch the rise of The Hunter’s Moon at Skinner’s Butte, but alas the horizon was shrouded in clouds. My spirits were lifted, however, when I arrived at the theater. It was a beautiful venue with a large, well lit stage.

I was pleased to see a lot of young people, as it was an All Ages show. So many acts play venues where minors aren’t allowed, so it was great to see the youth taking advantage of the opportunity. Tony Reed gave a shout out to those youngsters during Mos Generator’s set. He asked for a show of hands of those under 21 and thanked them for coming out and supporting rock music and live performances.

MOS GENERATOR

Mos Generator was up first. I have had the pleasure of seeing them perform a number of times in Portland and Seattle. I ran into Tony right before they went on and asked if I might be able to shoot their whole set instead of just the first three songs and he graciously agreed. That was an amazing treat and much appreciated! As a fan and audience member I love to see a performer lose themselves in their performance and have what I call a “bliss moment.” For me, it elevates the energy and feeling of connectedness and I enjoy the live experience even more. Tony did just that at many points throughout their set. He radiated pure joy as he played and it was heartwarming to see.

Jono was thunder on the drums. It truly felt like he put his whole being into his playing. Everything was engaged and his intention was, well, intense.

Sean Booth on bass was intense, as well. Wearing his traditional (dare I say iconic) checkered shirt, Sean stayed planted and he dug down deep. His hair tends to hang over his face as he leans into his playing, but every once in a while it becomes visible, like the sun moving in and out of clouds.

Between sets another concert goer described their performance as tight, groovy, and jammy. A very concise and accurate summation to be sure.

RED FANG

Red Fang went on next and I have to say, they play with raw energy and pure fun. The killer bass drum by John Sherman thudded like a heartbeat while the controlled growl/scream of Aaron Beam tickled all the right places. The virtuoso shredding of David Sullivan on guitar was like lightning! He barely moved and his gaze was always low, but he was all business and all fire.

Bryan Giles alternatingly took the lead and his raw power was stunning. His deep voice added to the heavy even as the songs sped along like a freight train.

Red Fang fans like to mosh, but things stayed low key for the most part, in contrast to the show the night before in Bend. With the young people in attendance, I was glad that things didn’t get out of hand.

CLUTCH

At last, Clutch took the stage and opened with the classic "The House That Peterbilt" from 1995 and the audience lit up. The energy level rose the moment Neil Fallon hit the stage and started belting. I just became acquainted with Clutch about a year ago and this was my first time experiencing them live. The quality of their sound is amazing and just as good as the studio. Seeing them live is better, though, as you get to watch Neil perform the songs and not just sing them. He prowled the stage like a caged panther, moving from one side to the other and the animation of his body and face was continuous

The only time I saw him stand in one place was when he played guitar on a couple songs toward the end of the set. Clutch has a considerable catalogue and I was impressed by the depth and breadth of it. I find it hard to name a favorite, but after experiencing the show I am leaning heavily toward "Sucker For The Witch." (Side note: I discovered that all of the band members had writing credit for that song, which I think is rather rare.) Jean-Paul Gaster was a master on the kit. Tim Sault never looked up from his guitar and had absolute focus on his playing. Dan Maines on bass was fairly still himself, all of which I think allowed the focus to stay on Neil and his dramatic, animated performance.

Neil asked the audience if Clutch had played that theater before. The audience responded affirmatively. Neil admitted that he couldn’t recall doing so, but that he would remember this night for sure. I know all of us will!

Clutch ended their set with "Electric Worry," which is often their encore song. I wasn’t sure if they would come back out, even though the audience was clapping, shouting, and the front row people were thumping the photo pit barrier, but return they did. When they came back out, Neil confessed that his guitar player informed him that they had indeed played McDonald Theatre before with Primus and that it wasn’t that long ago (August 13th of 2017).

He then announced the first song they intended to play which was "Willie Nelson," whom Neil declared “a National Treasure.” They finished with "X-Ray Visions" and I swear Neil put just as much energy into that number as he did his first. I don’t know how he had anything left in him after the constant movement onstage and the amount of passion and punctuation he puts into every song.

Clutch was a class act from start to finish. The band members gathered up the set lists from the stage and handed them to fans over the barrier and shook hands with many of them.

~By Tom Hanno~

Album Art by Adam Burke

The prolific Port Orchard, Washington trio MOS GENERATOR has been cooking up another feisty full-length rocker for us. The eight songs of 'Shadowlands' (2018), out May 18th, make up one incredible release and I’m very happy to be reviewing it for you guys. I know this band is a big one for a lot of people out there and this, full disclosure, is my first proper initiation into a Mos Generator album, as I’ve previously only listened to a song or two here and there. I am happy to report that this is an excellent album full of powerful riffs and influences that range from Led Zeppelin to Lynyrd Skynyrd, not to mention some fantastic vocal work.

The title track introduces the album and is one of the more rocking tunes on the album (not that they all don’t rock). The opening riff is southern-flavored, with a heaping helping of Zeppelin swagger. As it leads into the first verse, it gets heavier and then lightens for the verse itself. This surprised me, but generated some genuine excitement to hear how this song would play out. I love the verse riffs, especially, and Tony’s vocals are suitably matched with them. "Shadowlands" is a killer song any way you slice it and a great way to open up the album.

Photo by Chris Schanz

The album closes in grand fashion, too, with "The Wild and the Gentle Dogs." The acoustic guitar that ushers us into the opening moments the track is beautifully written. Sean Booth's bass work is deliciously well-played. Vocally, this sounds like Dave Brockie has returned from the grave to add his truculent style to this wicked number, only in the visage of Tony Reed. The midsection of the song is an ominously toned riff. Listen on for a lead that Jimmy Page would be proud to call his own. This is just a seriously badass song from start to finish.

"Drowning in Your Loving Cup" is awesome, too. I really like the lyrical content, which is well suited to the thematic power and catchy rhythm of the music. There are once again spots where Tony has that Dave Brockie tone to his voice. I love that, as I sorely miss Dave Brockie’s musical escapades.

My top pick here, though, is "The Destroyer." It's easy to get into Tony's driving guitar play, which works perfectly with the Jon Garrett's steady-on drumming. The breakout leads and guitar licks bear a distinct Jimmy Page influence, an element of Mos Generator that I feel never gets old. The chorus is enormous and as catchy as anything on the album. Every aspect of this track speaks to me in a phenomenal way.

Shadowlands is a fantastic listen, brilliantly conceived and executed, an LP that fans old and new alike will be able to really sink their teeth into. Mos Generator has stacked the deck with everything a good album ought to have: killer riffs, strong songwriting, great vocal work, and the ability to wear one's influences on the sleeve, while carving out a distinct sound. May 18th is the street date for this Listenable Records spin. I think you'd be well advised to grab this great album and give it a prime place in your collection.

Mos Generator on Tour

(with Fu Manchu)

May 1st - Rebel Lounge – Phoenix, AZ

May 3rd - Curtain Club – Dallas, TX

May 4th - Barracuda – Austin, TX

May 4th - White Oak Music Hall – Houston, TX

May 7th - Vinyl – Atlanta, GA

May 8th - Kings – Raleigh, NC

May 9th - Rock & Roll Hotel – Washington, DC

May 10th - Brillobox – Pittsburgh, PA *

May 11th - Underground Arts – Philadelphia, PA

May 12th - Bowery Ballroom – New York, NY

May 13th - Brighton Music Hall – Allston, MA

May 14th - Mohawk Place – Buffalo, NY *

May 15th - Grog Shop – Cleveland, OH

May 16th - Ace Of Cups – Columbus, OH

May 17th - El Club – Detroit, MI

May 18th - The Baby G – Toronto, ON *

May 19th - Bottom Lounge – Chicago, IL

May 20th - Total Drag Records – Sioux Falls, SD *

May 22nd - Streets of London Pub – Denver, CO

May 23rd - Streets of London Pub – Denver, CO

May 25th - Substation – Seattle, WA*

May 26th - The Manette – Bremerton, WA *

* Mos Generator only

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