I’ve spent probably an inordinate amount of time these last couple months living vicariously through YouTube clips of the Spirit Caravan reunion. I didn’t get to see the reformed trio during their US run — I expect if they do more dates, I’ll travel to wherever they happen to be that’s closest, be it Rhode Island or New York or wherever — and they’re on the road now in Europe, having first gone over to perform at Desertfest in London and Berlin before starting the US tour with Pilgrim opening, so maybe they’ll come back and do more, maybe not. I’m trying to be cautiously optimistic about it.
In the meantime, there’s no shortage of video documentation of the US tour to wade through. This week’s Wino Wednesday clip was recorded video and audio by Michael “Lucifer Burns” Lindenauer, and it’s the full Spirit Caravan set, more than an hour long, from Columbus, Ohio, at Skully’s Music Diner, from April 9. Pretty much any classic you could ask for — from “Fang” to “Cosmic Artifact” to “Brainwashed” — they’re all in there, and the three-piece of Wino, bassist/vocalist Dave Sherman and drummer Henry Vasquez were air tight by then, just six days before the tour wrapped at the St. Vitus bar in Brooklyn.
Spirit Caravan play this weekend at Hellfest in Clisson, France. On Sunday, June 22, they play The Valley stage with Unida and a slew of enviable others. I’m sure I’ll be looking out for video of that too when the time comes. Until then, and without knowing how long the Spirit Caravan reunion is going to go, if it’s going to result in a new batch of songs or just sort of wrap up and dissipate, I’m glad to have videos like this one to tide me over. Hope you enjoy and have an excellent Wino Wednesday:
Spirit Caravan, Full Set at Skully’s Music Diner, Columbus, Ohio, April 9, 2014
Posted in Whathaveyou on March 10th, 2014 by H.P. Taskmaster
The three years since Lo-Pan released their landmark third album, Salvador (review here), have gone quick, but more importantly, they’ve gone. Ohio’s heavy fuzz four-piece have done no shortage of touring since that record came out (also before), but the time has come for them to get back in the studio, which they’re slated to do next month to record what’s already been dubbed Colossus for a release later this year on Small Stone. True to form, they’re hitting the road for one last go beforehand, turning the two nights of Small Stone‘s Boston and Brooklyn showcases into a 10-date run to honor their newfound alliance with Tone Deaf Touring.
They’re partnered with Whores for that stint, which starts on March 20, and expect more on the release of Colossus in the months to come. Until then:
LO-PAN: Ohio Riff Rock Perpetrators Enter Studio Next Month; Band Unites With Tone Deaf Touring – Live Takeovers Announced
Ohio riff rock perpetrators LO-PAN, will enter Translator Audio in Brooklyn, New York next month to record their forthcoming new full-length for amplification station, Small Stone Recordings. Titled Colossus, the offering will be mixed and mastered by Andrew Schneider (Unsane, The Brought Low, Keelhaul) with art direction by Jason Alexander Byers (Black Black Black, Disengage). A Fall release is expected.
In related news, LO-PAN recently joined forces with the roadburning heavyweights at Tone Deaf Touring (Corrosion Of Conformity, Weedeater, ASG) and will embark upon a short stint of live abrasions later this month alongside manic noiserockers, Whores. The ten-date motorcade will include two special Small Stone Showcases in Cambridge and Brooklyn. The following month, the band will join reunited iconic stoner rock sorcerers, Spirit Caravan, and the wicked doom bringers in Pilgrim for a performance in Columbus with additional bouts of onstage debauchery to be announced in the coming months.
LO-PAN Spring Takeover 2014: 3/20/2014 The Cactus Club – Milwaukee, WI w/ Whores 3/21/2014 Cobra Lounge – Chicago, IL w/ Whores 3/22/2014 Ruby’s – Columbus, OH Ruby’s w/ Fuck You Pay Me, White Wolves 3/23/2014 Grog Shop – Cleveland, OH w/ Whores, Fuck You Pay Me 3/24/2014 The Union – Athens, OH w/ Whores, Horseburner 3/25/2014 Brillobox – Pittsburgh, PA w/ Whores 3/26/2014 The Depot – York, PA w/ Neon Warship, Black Cowgirl, Witch Hazel 3/27/2014 The M Room – Philadelphia, PA w/ Neon Warship, Skeleton Hands 3/28/2014 Small Stone Showcase @ Middle East – Cambridge, MA w/ Roadsaw, Mellow Bravo, Gozu, Neon Warship 3/29/2014 Small Stone Showcase @ Saint Vitus – Brooklyn, NY w/ Wo Fat, Lo-Pan, Roadsaw, Neon Warship, Geezer 4/09/2014 Skully’s – Columbus, OH w/ Spirit Caravan, Pilgrim 4/17/2014 Pinned 4 – Columbus, OH w/ Neon Warship, Ride To Ruin, Beggers
Check out the revampedlopandemic.comwebsite for show updates, new merch and other LO-PAN-centric awesomeness.
Posted in Questionnaire on December 12th, 2013 by H.P. Taskmaster
Ohio fuzz rockers Lo-Pan have been among the underground’s hardest touring bands for the last several years. In 2011, they reissued their 2009 sophomore outing, Sasquanaut (review here), through Small Stone, and followed it with Salvador(review here), a progressive and soulful look at the shape of riff to come. Last Fall, touring alongside High on Fire and Goatwhore showed increasing profile in the public eye for the four-piece, and stints alongside Torche and Weedeater have continued their momentum in 2013. Though he’s generally found positioned behind drummer Jesse Bartz on stage, vocalist Jeff Martin‘s powerful voice has been essential in pushing Lo-Pan beyond the confines of genre.
Last weekend, the band’s practice space in Columbus was robbed and they, among many others, lost gear in the burglary (info here). Prior to that, Martin answered The Obelisk Questionnaire as follows:
The Obelisk Questionnaire: Jeff Martin
How did you come to do what you do?
I often wonder that myself. If someone told me at 17 that this would be where I was at nearly 35, I wouldn’t have believed them. I look back and I wonder how it all happened, sometimes. I met this person who introduced me to this person who left me and another person came into my life and whamo… Here I am. Life flies by and you sometimes just have to marvel at it later.
Describe your first musical memory.
My mother was a music teacher and choir director when I was growing up, so music was just always around during my childhood. She gave piano lessons and voice lessons at our house, so the halls were always filled with the sound. Probably my earliest memory would be my mom singing me to sleep. In particular I recall that she would sing “O’ Danny Boy” to me while sitting on the edge of my bed. It always did the trick. My mom has a beautiful singing voice.
Describe your best musical memory to date.
The high point thus far would have to be December 22, 2012. My band played in San Francisco at Slim’s with High on Fire and Goatwhore. It was the end of a 45 day tour for us and it was a sold-out show in one of the best clubs in the country. We played really well for a packed house and it just felt fantastic. That was a special night.
When was a time when a firmly held belief was tested?
When I was in high school I believed that the government had the best interest of its citizens at heart. Does that answer your question?
Where do you feel artistic progression leads?
I suppose it depends on the person. With someone like David Bowie I would imagine it leads to free expression and artistic respect that puts him in the upper echelon of musicians that have ever walked the earth. For someone like me it can lead to despair and total frustration. Progression does not always denote growth. Serial killers progress and their crimes become even more horrid. Artistic progression can lead to unfocused blather if it isn’t tempered by rational argument at some point of the process.
How do you define success?
If you attempt something and it goes as you hoped… that’s success. In any field, any size project. Did you accomplish your goals? Yes? Then you are successful. There are many rungs on that ladder, though. Incremental success is something most people have to come to terms with. Measured success, as opposed to complete success must sometimes be enough.
What is something you have seen that you wish you hadn’t?
One time I came in contact with a musician that I have idolized for many years and he was a total mess. It was gross. He was rude and awful. It changed my opinion of him and of his music. A total bummer.
Describe something you haven’t created yet that you’d like to create.
I would like to learn more tools and fabrication of different materials. I would like to have a talent for building furniture, or other items.
Something non-musical that you’re looking forward to?
I’m looking forward to finishing and actually performing a comedy routine that I have been working on for some time.
Posted in Reviews on December 10th, 2013 by H.P. Taskmaster
Birthed in a not-at-all cosmic reality known as Columbus, Ohio, the four-piece space rock outfit EYE nonetheless execute their sound with classical majesty on their sophomore full-length, Second Sight. Their first outing, 2011’s Center of the Sun(discussed here and here), was gorgeous enough to get the attention of Kemado Records, who issued it on vinyl in 2012, and the still-quick follow-up comes preceded by a 7″ single (discussed here) and a live tape (review here). Clearly, EYE — who also self-recorded the new long-player — aren’t ones for sitting still, and that sense of movement extends to the music on Second Sightas well, beginning in the gong hits and synth waves that patiently establish the psychedelic course of 21-minute opener “Lost are the Years.” Here EYE begin to unfold not just the first side, but the LP as a whole, and though it’s only been about a year and a half since Center of the Sunwas released, the sense is that something ancient has awakened. There is a near-immediate sense of texture to “Lost are the Years,” also the longest track on the 45-minute outing (bonus points), and that comes in large part from the wash of Moog and analog synth effects created by Adam Smith. Guitarist/vocalist Matt Auxier has no shortage of effects on his guitar either, and even drummer Brandon Smith gets in on the ambience with chimes, congas, the aforementioned gong and other percussion in addition to regular old rock drums, so while bassist Matt Bailey would seem to be the one charged with holding the five tracks of Second Sighttogether, actually it works out more that the four-piece never really lose control. As spaced-out as they go — and they go plenty spaced out — the record keeps a mood that’s calm-ing if not calm-ed, and when they want to, EYE drift with futuristic efficiency into atmospherics that even the first record only seemed to hint at, a song like “Wooden Nickels” retaining some human element through harmonized vocals from Auxier and both Smiths.
Vocals are never really the complete focal point (Amy Michelle Hoffman and Anthony Jacobs contribute as well), but they’re gorgeous anyway and make the band that much richer and more lush-sounding. It is nearly five minutes of build-up before they arrive over bass and acoustic guitar on “Lost are the Years,” signaling the start of the song’s peaceful second movement. Tension is minimal, melody is rampant, and EYE are immediately the masters of the universe they’re exploring. Auxier takes a bluesy, echoing solo over acoustic strum and Bailey‘s bassline, and Adam keeps the texture varied while Brandon seems to rest until about the seven-minute mark a fill leads to the next progression, a more upbeat, distorted and somewhat foreboding swirl. The vocals are deeper in the mix, part of that swirl, not above it, and the swaying riff that backs the subsequent guitar solo calls to mind some of Hypnos 69‘s more recent progressive triumphs. The course of “Lost are the Years” is winding as the third movement builds to a crashing finish and the acoustic strum of the second movement returns, backed by subtle percussion and bathed in mellotron sunshine. It is even more graceful in its Floydian sprawl than when it first appeared, and it shifts fluidly into more exploratory acoustic guitars, a thunder sample signaling the change impending before a full stop brings back the heavier swirl, all channels full and vibrant as they transition into a shuffle led by Brandon‘s drums and soon joined by Adam‘s keys, rising, cresting and receding. They’ve departed the back and forth of one part to another that they’d previously established in favor of an extended jam, the guitars, bass, drums and keys all serving to further the atmosphere, layers of lead and rhythm guitars coming forward for a King Crimson-style push after 16 minutes in even as Auxier is in mid-rip on another solo. A series of hits ensues and backed by a jazzy snare roll, the guitars lead down a psych rock rabbit hole, ending up in a winding line that brings a return of vocals and precedes the key-driven push into the final payoff. It would need to be sizable to answer for all the twists and turns of “Lost are the Years” so far, and it is, but not necessarily any more grandiose than is warranted. Guitar is still are the fore, trading off lead lines and heavy riffing, and they cap with a return to the hits that led the way into the last movement, ending a song that, if you try to consciously keep pace with each of its changes, you’re going to wind up exhausted in the best way possible.
Posted in Whathaveyou on December 9th, 2013 by H.P. Taskmaster
Though in the past I’ve advocated its use in everything from cases of sexual assault to murder to someone cutting me off in traffic, I don’t actually believe in the death penalty. Among the strongest arguments in capital punishment’s favor, however, are people who steal from bands. Seriously, I don’t know how many times I’ve said it. Steal from corporations. They have money, and the tens of thousands of dollars’ worth of shit like the below is nothing to them. To take equipment from people who actually either broke their asses playing out to earn the money to buy it or who balance a dayjob existence with their insatiable need to create something is fucking disgusting. I hope when the cops find whoever did this, they’ve been hit by a bus.
Along with a slew of others robbed early this past Saturday morning in a Columbus, Ohio, rehearsal space, Lo-Pan lost equipment and sent out the following updates via Thee Facebook. Goes without saying that if you’re in that part of the world and you see any of this stuff, do whatever you can to help the bands get it back.
Bummer note to start a week on, but imagine how the bands feel:
Our hearts go out to friends from Brujas Del Sol, Ride to Ruin, Fevernest/Struck By Lightening, Prosanctus Inferi, and others that had gear stolen in the break-in at our rehearsal facility. We also lost items but our lost gear pales in comparison to that of some others.
Be on the lookout for lists of stolen gear from these bands and others and let’s try to help them find their stuff. Mostly lots of guitars were taken and a couple of larger items.
Stealing a bands gear is one of the most low-bottom things you can do. Don’t do that. Just don’t.
A big thank to everyone for the outpouring of interest following the theft of our rehearsal space Friday night/Saturday morning. We had over 240 shares of our status with the gear list in 15 hours…that is amazing. Word has spread far and wide and we thank all of our friends for your assistance.
Let’s keep up the good work and get this equipment back where it belongs. The police are working hard and progress is happening. You may not see specifics regarding leads or suspects in the interest of preserving the investigation but rest assured that work is being done.
Special thanks to the amazing Columbus Arts Community, which has come together in a manor seldom seen. Respect.
Here is an up to date list of all things taken from our rehearsal space last night. PLEASE REPOST THIS EVERYWHERE.
A. Yakuza Heart Attack Brat Curse – white Japanese Fender Mustang B. Struck By Lightning/ Earthburner/ 200? Gibson Les Paul Custom – Black w/ Gold hardware Lace drop and gain pick ups installed. Dimarzio strap locks. Oversized string gauge set up. 1978 Gibson RD Artist – Vintage Burst w/ Gold hardware Lace drop and gain pick ups installed Chris Krump engraved on the trus rod cover Schaller strap locks Oversized string gauge set up. 60th Anniversary eddition American Fender Telecaster – Tri Burst w/ Black pick guard. Oversized string gauge set up. Jackson Rhodes – Black. String through body. 1979 Gibson G3 Bass Guitar – Vintage Burst. Missing bridge cover. Oversized string gauge set up. 200? Gibson Les Paul Studio – Black w/ Gold hardware. Neck repair. Dimarzio strap locks. 200? Gibson SG Special – Ebony w/ Chrome hardware. Dimarzio x2n bridge pick up. Dimarzio Air Norton neck pick up. Dimarzio strap locks. 198? Peavy Dyna Bass Guitar – Black Dimarzio strap locks. Mexican Fender P Bass – Black w/ Black pick guard. EMG active pick ups. Chip on top horn. Dimarzio strap locks. 2 198? Peavy Mark IV Bass Amps. Electrical tape on the front. Roadrunner RRMBGABS Molded bass guitar case – Black. Monster cables and Mogami cables inside.
C. Bummers/Tight Bros Fender Telecaster (made in mexico, 3 saddle bridge, brown sunburst with paint chipped off the entire back) Fender Stratocaster Standard (made in Mexico, black with white pickguard, large amount of sticker residue on body)
D. Lo-Pan 1 off brand custom stratocaster in case…pieced together not really traceable 2 – JBL PA towers 2×15 1- Shure SM 57
E. Brujas del Sol 2002-4 LAKE PLACID BLUE (white pickguard) crafted in japan Fender Jaguar 2009/10 TWO TONE SUNBURST (black pickguard) American Special Fender Stratocaster 2003/04 ALL BLACK Made in Mexico Telecaster 2002-5 Ibanez Omar Rodriguez Pro Model. White with Red tortoise guard. 1988/89 MIJ White Jazz Bass Warmoth Custom P/Jazz Bass Surf green/Black pickguard. (one of a kind) 2012 Fender Pawn shop Bass XI. Black. Tortoise guard.
F. Magnumb Opus Fender Deluxe Reverb 1×12 22W Amp (serial on request) – black casing with silver face A second Fender Deluxe Reverb 1X12X22W Amp (serial on request) (Bypass switch is missing on this amp on the back panel) Ibanez AF 55 Art Core Hollow Body Guitar Red – Valued at 450.00
G. Little Professors 1 Fender Deluxe Jazz Bass(most likely Mexican made) Cream body w/ Tortoise pick guard 1 Maroon Hollow body Silvertone Guitar 1959 Danelectro Reissue guitar, black body w/ white pickguard
H. Smoking Guns/Matt Monta untouched
I. Weight of Whales Fender Modern Player Telecaster Thinline Deluxe Fender Frontman 212R with a bunch of local stickers on top Behringer XENYX X1622USB USB Mixer with Effects Dell Inspiron XPS Laptop Ibanez 1977 Acoustic Guitar Wood Fender Ukulele Black Rogue Mandolin Black Mexican Fender Stratocaster
J. ROEVY Pioneer DJM 900 Nexus Odyssey Black Flight Case
K. RIde to Ruin Black Gibson Les Paul with three pickups (two gold and one pearl) in an epiphany hardshell case with lots of stickers White 60’s Gibson Melody maker with a neck repair, one hum bucker in the bridge and one single coil in the neck in a gibson hardshell case (the serial number is painted over) Green Lotus double cutaway with two humbuckers in a heavy duty flight case with a billy preston stencil on it Black Epiphone Les Paul with two pickups and very heavy gauge strings in a soft-shell case. Black Samic Strat copy in soft shell case
L. Deadsea Modulus Quantum 5 5-string bass with graphite neck- dark green/black (serial number available upon request) Ibanez Professional Model 2681 blonde guitar with pearl inlay on body and neck (serial number available upon request) B.C Rich NJ Warbest Deluxe Ibanez Xiphos XPT700
Posted in Features on July 23rd, 2013 by H.P. Taskmaster
This Saturday, Lo-Pan will take the stage as headliners at The Eye of the Stoned Goat 3 in Brooklyn, New York. Sharing the bill with the stalwart Ohio road dogs is a litany of heavy rockers worthy of repute, some labelmates on Small Stone, others up and comers playing with a similarly fuzzed, riff-minded style. All told, The Acheron plays host to one of the sickest lineups of the year on July 27, with Lo-Pan at the top alongside Gozu, Supermachine, Black Black Black, Borracho, Wizard Eye, Lord Fowl, Geezer and Wasted Theory, whose own drummer, Brendan Burns (interview here), is responsible for booking the fest.
The Stoned Goat gig comes as the latest in a series of righteous happenings for Lo-Pan, whose considerable touring is beginning to pay off with — what else? — more touring. Making their way into Brooklyn as the final in a set of four dates with Gozu, Lo-Pan have been using July as a vehicle for long weekenders, first with Indianapolis-based rockers Devil to Pay, then a handful of shows including last weekend at StaVentfest in Pennsylvania with D.C.’s Borracho — also playing in Brooklyn — following a couple weeks off after spending the first half of June on tour with Torche and KENmode. All this is ostensibly to support a vinyl reissue through Small Stone of Lo-Pan‘s landmark 2009 sophomore outing, Sasquanaut, which also got a CD revisit in 2011 (review here), but really, it’s just Lo-Pan continuing to do what they do best, and that’s hand-deliver some of the finest fuzz being produced in the US, or anywhere else for that matter.
Since this is all going down even as the band continues to write and road test new material for a follow-up to 2011’s will-still-put-you-on-your-ass-two-years-later third album, Salvador(review here), it seemed to me a prime time to get on the phone with drummer Jesse Bartz (not for the first time) for a brief check-in about the band’s latest doings, how they see the effort and time they’ve put in starting to result in shows like those with Torche or with High on Fire last fall, the timing on when they’ll look to put the next record to tape, and much more. Bartz — joined in the band by guitarist Brian Fristoe, vocalist Jeff Martin and bassist Scott Thompson — was forthcoming and realistic as ever about the work Lo-Pan has done to this point and the work they still have ahead of them.
So, with The Eye of the Stoned Goat 3 this weekend, a tour with Weedeater next month, the Sasquanautvinyl out now and their focus geared toward a European tour in support of their next album in 2014, you’ll find my quick Q&A with Jesse Bartz after the jump.
Posted in Features on July 9th, 2013 by H.P. Taskmaster
Lo-Pan‘s touring adventures continue. In our last installment, the Ohio heavy rock four-piece stomped their way through Dayton, Ohio, and Chicago, and having covered that ground, this time around they’ve moved on to Madison, Wisconsin, and Indianapolis on their tour with Indy-based Devil to Pay.
Please enjoy, and note that the lead photo here was taken by Devil to Pay‘s own Steve Jankiak:
July 6th and 7th — “Eat a Sandwich”
Did you know Otis Redding was from Madison, Wisconsin? Well, he was. So was Chris Farley. This auspicious town was the locale for our next tour adventure.
We woke up early in Chicago in order to get to Madison by the early afternoon. About a year ago a friend of ours took us to this amazing deli in Madison and hooked us up on some great sandwiches so we always like to revisit that spot when we are in town. Hospitality on tour is like a full tank of gas, or a clean load of laundry — it kind of sets everything back to zero and allows you to start fresh. In my experience, when you go on tour you start out with a plan. I’ve got so many so-and-so’s for so many days and this do-hickey goes in this pocket and that’s where it will be forever. Well, after about eight days, things start to become a little less concrete. Pockets of things change. Things break or get lost. You get hot and tired and you just plain stop caring about those things. After around 15 days you start to degrade into an animal state of instinct and muscle memory. 30 days in, you don’t even remember what home feels like. 40 days and wherever you are is your home. Then, when you go home, it takes a while to adjust. All of this is to illustrate that when you find hospitality — a welcome smile, a great plate of food, a person who lets you enter their home and use it as your own for a little while — all of these things serve to reset the dials, and get you centered to carry on. Madison is such a place for us because it is home to some very hospitable and kind people. It’s one of those places that when you are a few days away you start to hear the mantra, “If we can just make it to Madison, everything will be ok.” So we made it to Madison, our Midwest oasis.
The show was at a bar called Mr. Roberts. We had never played there before so we didn’t know what to expect. We were set to play with a band called The Garza. They are a three piece featuring our friend Nate Bush on bass. We made Nate’s acquaintance a couple of years ago when he was playing bass for Madison band Droids Attack. In addition, the drummer for The Garza [Mike “Magma” Henry] is also in Bongzilla. Hopefully for your sake, Bongzilla need no introduction. The last time we played in Madison was on tour with High on Fire. The show that time was at High Noon Saloon. This was certainly a different situation, but we did see quite a few people at this show that remembered us from the last show. It’s good to see that our travels and work are paying off.
Devil to Pay started off the evening with a killer set. DTP are one of those bands that seem to nail their recorded sound in a live setting, and do it with ease. We played second out of three bands and we decided to change up our set tonight. We were playing Sasquanaut start to finish but on the drive to Madison we decided we would rather play our newer material and that people would just have to deal with it. Whatever! We do what we want! The Garza closed out the night and after some drinks and laughs we packed up and headed to our accommodations for the evening.
Brian is a friend of ours and he owns a tattoo shop in Madison. He let us stay in his posh tattoo studio for the evening. I had an honest-to-goodness couch to sleep on. Jesse slept on his air mattress and Fristoe took up residence on an amazingly adjustable tattoo chair. Skot, however decided to sleep on the floor despite the availability of other tattoo chairs. Skot Thompson is a floor-sleeping sumbitch. He loves it. Got a hardwood, concrete, or tile floor? Skot will sleep on it. Got a dining room table? Skot will sleep under it. And he will sleep well.
We woke up around 9:30AM and tattoo Brian came to take us to breakfast. Nice guy, that Brian. We said our goodbyes and headed off towards Indianapolis.
Indianapolis, Indiana. Indy’s Jukebox Live. Devil to Pay is from Indianapolis. Do you know what else is from Indianapolis? I’m asking because I don’t know. Or maybe I just don’t care. If you have ever driven through Indiana, then you know what a wholly depressing place it can be. Unless you are into extremely flat, corn covered vistas, there is not much outside of DTP to lure you to the Hoosier State. Actually, President William Henry Harrison was from there. I stand corrected.
On the bill for this show were Death Trap and Stealing Volume. Death Trap seemed to be having some technical difficulties during their set. They got off to a rocky start but finally got it dialed in towards the end. It sucks when you are just trying to play some music but you end up wrestling your gear into submission the whole time instead. Stealing Volume was a surprise to me. They had a punchy punk sound and they were very tight. Really good stage presence and delivery. I liked Stealing Volume very much. We played what felt like a good set to a sparse but engrossed audience and Devil to Pay headlined for the home town. After the show we packed up rather quickly and headed for home. Real life loomed large on the horizon, at least for a few days until we pick back up with the DTP boys in Detroit.
Posted in Whathaveyou on July 2nd, 2013 by H.P. Taskmaster
This week, Ohio fuzz rockers Lo-Pan kick off a round of tour dates with Devil to Pay that will begin roughly a month and a half of gigs. Before they even get to that, however, the foursome are marking the first time that 2009’s Sasquanaut— a classic of modern heavy rock if e’er there was one — is released on vinyl.
Previously issued through Small Stone in remixed/remastered fashion in 2011 on CD, Sasquanautmakes its debut on LP today, July 2, in a variety of colors and in a limited edition first 100 copies that come with a signed poster and much more.
Here’s the latest on all of the above:
LIMITED EDITION 180gr VINYL – Deluxe Version – First 100 Only!
Small Stone Records is proud to announce the release of Lo-Pan’s highly acclaimed album “Sasquanaut” for the first time on limited edition 180g vinyl. Remastered for vinyl release, this limited edition LP will be available for pre-order July 2, 2013. The release will be available in five distinct color variations (silver, solid light green, translucent red, translucent green, and classic black). Additionally, each copy of the LP release will come with a download card, redeemable for a digital copy of the album.
Get it while you can. Sasquanaut finally on vinyl. When it’s gone, it’s gone. Help us out. Tell anyone you think might be interested. We are trying to sell 100 of these today!
180 gram vinyl, deluxe jacket and poly-lined sleeves. Limited to 100 Black, 100 Trans Red, 100 Light Green, 100 Silver, 100 Trans Green.
This package includes: – you choice of color variation – 12” x 18.7” full color poster signed by the band – limited edition patch – lo-pan sticker
Vinyl track listing:
Side Alpha: Dragline Savage Henry Kurtz Callahan
Side Beta: Kramer Vega Wade Garrett
Catch Lo-Pan live at the following upcoming tour stops: Jul 4, 2013 Dayton, OH Blind Bob’s w/ Devil To Pay, Neon Warship Jul 5, 2013 Chicago, IL Cobra Lounge w/ Devil To Pay Jul 6, 2013. Madison, WI Mr. Roberts w/ Devil To Pay, The Garza Jul 7, 2013 Indianapolis, IN Indy’s Jukebox w/ Devil To Pay Jul 11, 2013 Detroit, MI PJ’s Lager House w/ Devil To Pay Jul 12, 2013 Cleveland, OH The Temple w/ Devil To Pay, Venomin James Jul 13, 2013. Columbus, OH Kobo w/ Devil To Pay, Barely Eagle, the Girls! Jul 18, 2013 Pittsburgh, PA Howler’s w/ Borracho, Sistered, Supervoid Jul 19, 2013 Washington DC Rock N Roll Hotel w/ Borracho, Kingsnake, King Giant Jul 20, 2013 Stroudsburgh, PA The Sherman Theater w/ Borracho, Kingsnake Jul 21, 2013 York, PA The Depot w/ Borracho Jul 24, 2013 Worcester, MA Ralph’s Rock Diner w/ Gozu, Birch Hill Dam Jul 25, 2013 Manchester, NH The Shaskeen Pub w/Gozu, Birch Hill Dam Jul 26, 2013 Boston, MA O’Brien’s w/Gozu, Black Thai Jul 27, 2013 Brooklyn, NY The Acheron *The Eye of the Stoned Goat 3 w/Gozu, Supermachine, Black Black Black, Borracho, Wizard Eye, Lord Fowl, Geezer, Wasted Theory Aug 01 2013 Chicago, IL Ultra Lounge w/Weedeater Aug 03 2013 Nashville, TN Exit/In w/Weedeater Aug 04 2013 Johnson City, TN Hideaway w/Weedeater Aug 06 2013 Asheville, NC Broadways w/Weedeater Aug 07 2013 Charlotte, NC Chop Shop w/Weedeater Aug 08 2013 Richmond, VA Strange Matter w/Weedeater Aug 09 2013 Raleigh, NC The Maywood w/Weedeater Aug 10 2013 Wilmington, NC Soapbox w/Weedeater Aug 24 2013 Kent, OH The Outpost w/Rebreather, Mockingbird, The Unclean, The Ravenna Arsenal, Vulture, Deathcrawl, Fully Consumed, Venomin James, Super Predator, Showboy