Having dragged myself kicking and screaming into the twenty first century with an online social media footprint, the ubiquitous Facebook was kind enough to remind me that just over a year ago I was sweating in a packed out converted oyster cellar in Edinburgh, busy being blown away by local hard rock act Hair of the Dog, Elder with their psychedelic light show, and the relentless power of Mos Generator, a gig that was one of the a musical highlights of my year. Since that tour in support of the excellent 2014 album ‘Electric Mountain Majesty’ front man Tony Reed has released his solo tribute to the sounds that influenced him ‘The Lost Chronicles of Heavy Rock Vol.1’ (which he then proceeded to give away free on Bandcamp; get downloading now, it’s a cracker!) and now the band have returned with ‘Abyssinia’ via Listenable Records, a label that is starting to gather a cracking stable of acts.
‘Strangest Times’ opens the album where ‘Electric Mountain Majesty’ left off, with a swaggering slab of timeless power trio hard rock; if this track doesn’t get your head banging and fists pumping I suggest you book an appointment with an undertaker as you may just be already dead. The sheer quality continues unabated with ‘You’ve Got A Right’, the drums being the pummelling beat of an excited heart carrying the verses along on a wave of adrenalin, ‘Catspawn’ completing the opening trio of raw sonic goodness. The pace is taken down a notch with ‘Easy Evil’, a mellower sound delivering a stoner vibe to help the grateful listener chill after the aural assault of the album’s opener attack, a useful preparation for the labyrinthine twists and turns the album then takes.
‘Wicked Willow’ adds an almost funky sound to the rhythm section, sticks-man Jon Garrett and bass-master Sean Booth perfectly complimenting the groove of Reed’s guitars, whilst the psychedelic factor is upped with ‘As Above So Below’, complete with its gently blissed out middle section that builds into a wall of sound where the guitars and vocals blend into one. Just in case you might be put off by such a hippy sound, the band channel their inner garage punks with the stripped back chug of ‘Red Canyons’ before things get seriously mixed up on ‘There’s No Return From Nowhere’, opening acoustic guitars being replaced by a down-tuned riff and screamed vocals that would do Conan proud, the band that is, although I’m sure the Cimmerian marauder would happily use the beats to accompany the crushing of jewelled thrones beneath his sandalled feet. However, before you can settle down into a downbeat mosh, midway the track shifts into the realms of The Old Grey Whistle Test with soaring seventies style Moog keys and a note perfectly executed California rock solo that Joe Walsh himself would have been proud off, all before the sludge returns with a vengeance. Such disparate styles really should not work together on a single album, let alone crammed into one song, but such is the skill and reverence of the delivery that it plain and simply gels. ‘Time and Other Thieves’ follows, playing out like a personal tribute to the late lamented Chris Squire, guaranteed to please any Yes fan. Every time I’ve seen Mos Generator live they’ve just been the classic guitar/bass/drums combo, so for a three piece to recreate the sound of this track, complete with synth and electric piano playing against jazzy prog guitar would require Rush-like levels of technology and musicianship, a feat I do not put past this band. The album then closes with ‘Outlander’, a space rock number straight from the book of classic Pink Floyd, the keyboards paying far better tribute to Rick Wright than the yawnfest of studio floor sweepings that was ‘The Endless River’ (Dear Editor and readers, sorry to mention that abortion of an album again, but even two years after it came out it makes me angry about just how much of a dull missed opportunity it was!).
With its mix of styles, paces, and sounds, ‘Abyssinia’ could, in lesser hands, be a downright mess; instead, it is a triumphant showcase for the abilities of each band member, as well as being a tribute to so many great acts that have influenced the current generation of hard rock bands. A big US tour is ongoing for the band right now, and I just hope they hop across the pond and bring some of their magic to this island nation. Whilst it would be nice to see them in intimate surroundings like Bannermans Bar, the aforementioned converted oyster cellar/musical sauna, with an album like ‘Abyssinia’ they surely deserve greater recognition, and larger venues to showcase their talent.
(9/10 Spenny)
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