Mondo Generator – A Drug Problem That Never Existed

(Ipecac/Rekords Rekords, 2003)

Nick Oliveri has a penchant for pissing people off. This is clearly evident on A Drug Problem That Never Existed which was inspired by Oliveri’s divorce, substance abuses, and the death of his father. The opening track Meth I Hear You Calling sets the tone for the album and is filled with abusive messages from a fuming (ex) girlfriend, before Here We Come (“We’re coming to get you!”) signals Oliveri’s intentions with his signature screams.

So High, So Low displays a collection of feelings ranging from love to regret, and was later re-produced for the 2006 Dead Planet album but became over polished and radio friendly which nullified the raw emotion seen here. Do The Headright is my pick off this album, it chugs along violently with Oliveri screaming throughout but a bouncy, fun vibe comes across.

Mondo Generator is largely Oliveri’s work; however he does call up some big name friends to help him out. Josh Homme features on Detroit and gives it a real laid back Queens of the Stone Age feel, a welcome respite from Oliveri’s screaming. Brant Bjork, Dave Catching, Josh Freese, and Alain Johannes also make an appearance or two and Mark Lanegan puts his stamp all over Four Corners, a slow, retrospective way to wind down the album.

Jr. High Love is a fun track from the past coming off Volumes 3 & 4 of the Desert Sessions while Girls Like Christ is the reworking of an old Dwarves track and, although interesting, does not really fit in with the rest of the album.

All I Can Do and Day I Die are sombre acoustic numbers and a prelude to later years when Oliveri undertook an acoustic tour. When I saw him in 2009 he seemed appreciative and humbled that the small crowd had come along to hear him, just happy to be playing music; a far cry from the intense and, at times, brutal delivery of A Drug Problem That Never Existed.

Masters of Reality – Pine/Cross Dover

(Brownhouse, 2009)

Desert rock pioneer Chris Goss continues to plod along with Masters of Reality in between all the other projects he has going on. 2009 saw the release of Pine/Cross Dover, their sixth studio album, and first since 2004.

King Richard TLH sets the mood with a typical upbeat Masters of Reality melody with soothing vocals over intricate guitar playing. Absinthe Jim And Me the upbeat dreamlike feel of the opening track and turns it on its head; an alarming few seconds leads the listener into a dark and mysterious new world, building up a sense of danger towards Worm In The Silk where the female backing vocals give the looming threat an eerie religious like feel to it. Perhaps this is appropriate given we are listening to a desert rock god. takes

Always provides a classic Masters of Reality mix of trippy rock before Johnny’s Dream once again lures the listener into an odd dreamy/nightmarish like state, reminiscent of the work of Goon Moon. The first five tracks make up Pine, a much darker side compared to the second half Cross Dover.

Up In It has all the modern desert rock characteristics, illustrating the influence Goss has over the likes of Josh Homme. Dreamtime Stomp, Rosie’s Presence, and The Whore Of New Orleans have a timeless quality and wouldn’t be out of place on any Masters of Reality album.

The dark, brooding Testify To Love has Goss searching for, and finding, hope and strength; this signals an end to the album before closing track Alfalfa provides a wonderfully improvised, 12 minute long, instrumental.

Pine/Cross Dover, an album which flew under the radar somewhat when it was released, takes the listener through a range of dreamlike stages, bordering on psychedelic, before the listener is put back at ease by the close; Goss’ distinctive, and at times delicate vocals often contrast the dark feel created by heavy bass and droning guitar.