Posted in Whathaveyou on October 4th, 2016 by H.P. Taskmaster
The name just rolls off the tongue. Similar perhaps to the way in which sliders might roll on the tongue in quick enough succession to earn you $500 worth of band merch at The Decemburger at Hi-Dive in Denver, Colorado, on Dec. 3.
That’s the rather considerable prize for the first person to eat 10 sliders — sounds easy, right? — at an eating contest that’s set to take place later in the day at this new fest from Dust Presents, who also put on the Electric Funeral Festival this past June. They’ll bring together a raucous assemblage of acts — from skate rock forerunners The Shrine on down through Austin, Texas, riff ambassadors The Well and Duel to home-grown heavy classic prog upstarts Cloud Catcher, among many others — in order to complement this gluttony with a corresponding potentially-lethal dose of fuzz. It looks like it’s gonna be a party.
If you’re interested in trying your luck with the slider contest — and I mean, come on, it’s not like it’s full-sized burgers — there are only 10 spots available. I’ve never done any competitive eating, and I wouldn’t disrespect anyone who has because I’ve seen those videos and that Nathan’s Hot Dog Eating Contest looks hard as hell, but in addition to a killer show, this seems like an awesome way to get both a bunch of new t-shirts (provided they’ll still be the right size when you’re done) and a great story to tell about how you obtained them.
Tickets available now. Full lineup and show info follows, courtesy of the Thee Facebooks event page linked below:
DUST Presents: The Decemburger 2016
“Grass-Fed Rock n Roll”
Saturday, December 3 at 3 PM Hi-Dive Denver 7 S Broadway, Denver, Colorado 80209
The Shrine The Well In the Company of Serpents Zig Zags DUEL Malahierba Cloud Catcher The Munsens LOVE GANG
SLIDER EATING CONTEST **Want to share the stage with your favorite bands? There are 10 tickets available for the slider-eating contest (fest entry included), which will be held on stage before one of the last sets. First contestant to eat ten sliders will win a merch package worth $500!
[Click play above to hear a new track from The Well’s Pagan Science. Album is out Oct. 14 on RidingEasy Records.]
In 2014, Austin trio The Well offered up Samsara (review here), their first full-length, on RidingEasy Records. The album wasn’t a revelation in style from what they’d accomplished on their 2012 single, Seven (review here), or the subsequent First Trip EP, but it was a definitive step forward and, to my ears, represented a key piece in the arrival of a new league of US bands ready to take up the mantle of heavy rock.
With the follow-up, Pagan Science (also on RidingEasy), guitarist/vocalist Ian Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan confirm that supposition. They’ve put in no shortage of road time in the interim, and that would seem to have affected the songwriting in making their material tighter, with shorter, crisply executed songs that manage to fit four more tracks in and still only be five minutes longer than the preceding outing at a vinyl-able 44 minutes.
Not only that, but the arrangements of Alley and Graham‘s vocals, as heard on songs like “I Don’t Believe” and the closing Crosby, Stills and Nash cover “Guinnevere,” as well as the flow between tracks particularly earlier in the proceedings, how “Skybound” picks up from the curiously but rightly placed second-track interlude “Forecast” and leads directly into “A Pilgrimage”‘s tales of gypsy woes all speak to the growth the three-piece have actively undertaken over the last two years, and it makes Pagan Science an expansion of reach even as it seems to have tightened the reins on some of the loose, jammy feel of the first LP.
As in the best of cases, songs feel written to stand out and run together in kind. The band returned to work with producer/engineer Chico Jones at Micro Mega Studio (Mark Deutrom also worked on the last one) earlier this year, so there’s some consistency in overall sound. From the harmonies that signal the beginning of opener “Black Eyed Gods,” The Well still skulk around a murk somewhere between garage doom, heavy psych, classic stoner and yet-undefined Sabbath-born impulses.
Riffs lead the way through the shuffle of “Black Eyed Gods,” and the effect of pairing that with the 41-second low-end noise wash of “Forecast” isn’t to be understated in giving Pagan Science an open sensibility immediately.
The drive of the speedier “Skybound” is introduced and from there, The Well dig deeper into the heart of what their second record is all about — Graham and Alley coming together vocally over Sullivan‘s steady roll busting out memorable tracks that remain spacious in their intent and echo while working around a deceptive structure that even in a longer cut like “Skybound,” which is one of four songs to top five minutes, though none hit 5:30, holds the material together even as they directly tie songs into another to create the whole-album spirit.
“A Pilgrimage” has a landmark chorus and laid back solo that should translate well to the stage if it hasn’t yet, with Alley and Graham trading parts back and forth to conversational effect and though “Drug from the Banks” seems to shift the narrative, its build and chug balance an airy feel in the verse and far-back hook that keep the momentum going, underscoring the efficiency that’s taken root beneath the spiky leaves of The Well‘s sound.
Further in that argument, the chants that mark the arrival of centerpiece “Byzantine” make that song feel all the more appropriate for its position and its gradual unfolding, but it’s still under four minutes long, despite leaving a much grander impression.
I’m not sure where the vinyl split is, if it’s before “Byzantine” or after, but that track is a definite landmark for Pagan Science either way, and “One Nation” picks up with Graham‘s vocals introducing the hook before the rest of the band crashes in with a two-and-a-half-minute nod of some lyrical social comment cloaked in suitably ethereal language.
Could that be The Well showcasing a punk side? Possible, but it fits nonetheless, and “One Nation” ends with a cymbal wash that leads into the ultra-languid bass-highlight start of “Choir of the Stars,” the back half of the album’s own instrumental (save for some samples that may be shouting, may be dogs barking; it’s all pretty obscure) that works to a mirror the effect of “Forecast” in broadening the context of its surroundings. Again, it’s just three minutes, but the effect is longer lasting.
With a sort of Eastern minor-key flair that draws on Om without directly emulating them, “Brambles” introduces the closing trio with a purposefully repetitive course no less memorable than that of “A Pilgrimage” earlier, and “I Don’t Believe” provides immediate complement in that regard, with its long-since-dropped-out-of-life righteous vibe and sing-along section in the second half leading to a faster charge to close out.
Might be fair to think of “Guinnevere,” since it’s a cover and since “I Don’t Believe” caps with such a push, as a bonus track, but it works exceedingly well with the rest of the material here and offers one last vocal highlight from Alley and Graham while taking the central progression of the original and turning it into a more malevolent, thickened riff backed up by atmospheric noise.
It ends Pagan Science on a somewhat understated note, but if anything, The Well‘s second offering makes the clear point that the band is ready to keep rolling onward on their forward course, progressing and expanding and refining what they do as they go, but going most of all. As a part of that up and coming surge in American heavy rock, they only prove themselves more crucial here.
Posted in Whathaveyou on September 8th, 2016 by H.P. Taskmaster
Kind of nice to post some US tour dates for a change. Don’t get me wrong, I love covering stuff from Europe or happening in Europe, and as regards this fall, that’s clearly where the party’s at, what with the 7,000 festivals — exact number — happening every weekend and all, but it’s nice to know that as the heavy underground turns its focus toward the old world, the new won’t be entirely bereft of good times.
To wit, the teaming up of Oakland psych-proggers Mondo Drag, who’ll be out supporting this year’s The Occultation of Light (review here) after a European run this Spring, a residency in L.A. and a stop at Psycho Las Vegas, with their RidingEasy Records labelmates in Austin troublemaking trio The Well, who’ll have their new one, Pagan Science, out on Oct. 14, and San Marcos upstarts Crypt Trip is sure to take some of the sting out of not being in Switzerland, or Belgium, or Germany, or wherever on any given day. It’s nice to know somebody still cares, that’s all.
Hope you go to a show and make it worth their while, because that’s how tours keep happening. You don’t need me to tell you that shit. We’re cool. It’s all those other jerks we need to worry about.
RidingEasy announced the dates thusly:
Mondo Drag, The Well and Crypt Trip are hitting the road! What show will you be at???
10/7/2016 Rock Island, IL @ Rock Island Brewing Co 10/8/2016 Chicago, IL @ Cobra Lounge 10/9/2016 Detroit, MI @ El Club 10/11/2016 Pittsburgh, PA @ Spirit 10/13/2016 Cleveland, OH @ Now That’s Class 10/14/2016 Asbury Park, NJ @ Wonder Bar 10/15/2016 Brooklyn, NY @ Saint Vitus 10/16/2016 Baltimore, MD @ Metro 10/17/2016 Philadelphia, PA @ Voltage 10/18/2016 Richmond, VA @ Strange Matter Thursday 10/20/2016 Atlanta, GA @ Drunken Unicorn Friday 10/21/2016 New Orleans, LA @ Siberia Saturday 10/22/2016 Houston, TX @ End It Fest Sunday 10/23/2016 Austin, TX @ Hotel Vegas Wednesday 10/26/2016 Phoenix, AZ @ Yucca Tap Room Thursday 10/27/2016 San Diego, CA @ Soda Bar
Posted in Whathaveyou on June 29th, 2016 by H.P. Taskmaster
There hasn’t been any kind of official announcement from the PR wire about it, but savvy social media types that they are, both The Well and RidingEasy Records have been dropping hints about the former’s follow-up to 2014’s most excellent debut, Samsara (review here). The most solid word from the label has come down to confirm the title of the Austin, Texas, trio’s second outing as Pagan Science and an Oct. 14 release date. Preorder info, reportedly, is coming soon.
The Well — bassist/vocalist Lisa Alley, guitarist/vocalist Ian Graham and drummer Jason Sullivan — toured hard behind Samsara, so it seems reasonable to expect that Pagan Science will benefit from that. Like its predecessor, Pagan Science seems to have been tracked at Ohm Recording Studio in Austin, though if it was Mark Deutrom (also of Bellringer) once again at the helm as producer and Chico Jones engineering — the team that handled Samsara — I don’t know for sure. Doesn’t seem unlikely, considering how well that album captured the band’s live sound.
Doesn’t seem at all unlikely either that they’ll hit the road hard once again either before, after or during the release of Pagan Science, but The Well also recently had a song feature as the opening theme of Ride with Norman Reedus, starring the titular actor best known at this point for his role as Dale on The Walking Dead. That’s not likely to hurt exposure-wise either, especially leading into a new record.
RidingEasy‘s announcement was short and to the point. Will keep you posted when I hear more about a firm release date, tour in the US or abroad, or any of that other good stuff.
For now, here’s what the label had to say and the Samsara stream if you’d like a refresher:
[UPDATE 6/30: The PR wire sent the album art as well. It follows here.]
Stay tuned for @thewellband pre-sale info on the new album “Pagan Science” out worldwide October 14th. Are you ready for some new Jams?
The title The Planet of Doom has been tossed around for the last eight months or so as artists Tim Granda and David Paul Seymour assembled the team that would bring their story to life. Today the real process of completing the animated film for its stated 2017 release date really begins, with the premiere of the first trailer and the launch tomorrow of a Kickstarter to help fund the remainder of the project.
One need only to look at the roster of bands — The Well, Goya, Mos Generator, Summoner, and so on — to know this is a project made with a strong love of music in mind. I’ve only seen the trailer, but it’s plain to see the inheritance from a landmark blend of heavy music and animation like 1981’s Heavy Metal, and the elements of fantasy, beard-clad motorcycle warriors, bizarre (and mostly unclothed) Amazonian-type tribes, and of course a fair heaping of monsters, not only bring these ideas to a new generation of fans, but push those boundaries further with the scope of the project itself.
That said, I could gush and go on and on about the admirable undertaking that is bringing so many artists and bands together for one special project, never mind the distribution at film festivals and three-band package tour (will be very interested to see who winds up on that) to come, but this isn’t a time for a review. You’re better off watching the trailer itself — you’ll notice the Mos Generator right away — getting the details and grabbing the Kickstarter link so that when they open it up tomorrow, Monday, April 11, for contributions, you’re ready to go.
Trailer and info follow, with thanks to Seymour and Granda for letting me host the premiere.
The Planet of Doom official trailer
Riff Lodge Animation has launched the full-length trailer and Kickstarter campaign for its highly anticipated animated tale of metal and art, “The Planet of Doom.”
The creative duo of Art Director/Writer David Paul Seymour and Director/Animator Tim Granda—the team behind the heavily buzzed-about music video for Conan’s “Throne of Fire” (watch it here)—now offer a full-length animated tale set to 14 of the heaviest new stoner-rock and doom-metal tunes this side of Valhalla.
“‘The Planet of Doom’ is very much in the spirit of music/animated films like ‘Heavy Metal’ and the works of Ralph Bakshi,” said Granda.
Added Seymour, “It’s a tribute to heavy music and the art that accompanies that type of music. With this film, we’re seeking to encapsulate the music and art community that Tim and I are a proud part of with one epic body of work. We are also naturally bringing in all sorts of fringe countercultures who’ve attached to this same community—bikers, skateboarders, comic book and sci-fi fantasy fans. It’s a really vibrant and diversified community and we’ve certainly brought in the right ambassadors to represent it properly.”
“The Planet of Doom” contains no spoken dialogue, opting instead to regale the revenge tale of hero Halvar through the lyrics of the film’s original music. The story unwinds across 14 song-chapters, each interpreted by a different artist-and-band team, including Orchid, Conan, Phillip Cope, Wo Fat, Mos Generator, Slow Season and The Well, paired with artists like Skinner, Vance Kelly, Jason Cruz, Alexis Ziritt, Adam Burke, David Paul Seymour and legendary tattoo artist Forrest Cavacco.
The Bands Orchid Phillip Cope (Kylesa) Conan Mos Generator Wo Fat Slow Season Scorpion Child Summoner The Well Order of the Owl Mother Crone Destroyer of Light Goya Ironweed
The Artists Skinner David Paul Seymour Vance Kelly Jason Cruz Alexis Ziritt Adam Burke Maarten Donders Tony Papesh Scott Trerrotola Simon Berndt Burney Gorgeous George Brian Profilio Nicholas Coleman Tim Granda
Every fan of the project can now be a part of “The Helping Hands of Doom” fundraising campaign, which began last March when it raised more than $20,000 in support from company sponsorships. Through the film’s Kickstarter campaign, which launched today, fans can show their love by helping get this worthwhile film underway, while getting some prized goodies in the process—everything from an HHOD official shirt up to having yourself featured in the film as an animated “extra” and more! Fans and supporters can donate to the film atwww.theplanetofdoom.com.
“The Planet of Doom” will screen at major music and film festival events, as well as on a cross-country package tour with three of the film bands once production is completed.
Posted in Whathaveyou on December 3rd, 2015 by H.P. Taskmaster
Well, this one’s a no-brainer. A free download from RidingEasy Records that previews two of the label’s upcoming releases while at the same time wrapping up some of the best 2015 had to offer. The label is calling it the Winter 2016 Mixtape, and what it rounds out to is 14 tracks that demonstrate how huge a role RidingEasy has played in setting the tone for heavy rock in the last year. The West Coast label has established one of the strongest rosters of acts in the US, persistently released quality offerings in quality formats, and developed an aesthetic that’s individualized and expanding in kind.
All the tracks listed below are mixed into one molten 74-minute file that you can stream and download below. And if you’re only rolling into it interested in the new stuff — hey, maybe you heard the rest — that’s right up front for immediate access:
Here is a smattering of tunes that came out in 2015 and will come out in the first part of 2016. Hand selected and mixed by DJ Bonghits.
1. Electric Citizen – “Evil” from the forthcoming album “Higher Time” out April 2016 2. Mondo Drag “Out of Sight” from the forthcoming album “The Occultation of Light” out Feb 2016 3. Slow Season “Day Glo Sunrise” from the album “Slow Season” 4. Salem’s Pot “The Vampire Strikes Back” (Full Version) 5, Zekes “Box” from Brown Acid “The First Trip” 6. Old Man’s Will “Got It” from the album “Hard Times Troubled Man” 7. Sons of Huns “Philosopher’s Stone” from the album “While Sleeping Stay Awake” 8. Spiral Shades “Frozen Fear” (Originally performed and written by Bedemon) 9. Holy Serpent “Shroom Doom” From the album Holy Serpent 10. Spelljammer “The Pathfinder” From the album “Ancient of Days” 11. Monolord “Cursing The One” From the Album Vænir 12. Blackout “Tannered” from the album “Blackout” 13. The Well “Crawling Mist” (McPullish Dub Mix) 14. The Picturebooks “Hail These Words” from the album “Imaginary Horse”
Posted in Reviews on February 9th, 2015 by H.P. Taskmaster
I won’t lie and say it was easy to get off my couch Friday night and head into snowy-sidewalked Cambridge, but it was worth it. The city was running thick with unfreezable undergraduate blood and upstairs at the Middle East, All Them Witches were headlining a merciful three-band bill with The Well and These Wild Plains for support. It was the second time the Nashville four-piece made a stop at the venue, having come through last fall on tour with Windhand and sold the place out. Not to be understated is their months-only jump to the top of the bill, and not to be ignored were their compatriots in The Well, the Austin-based trio whose RidingEasy Records full-length, Samsara (review here), was my pick for the best debut of 2014. The three-piece’s sometimes-garage-rock-sometimes-tonal-overload made a suitable companion for the open spaces All Them Witches‘ neo-Southern jam-ready heavy rock, which met with fervent approval over the course of about an hour-long set.
The show was 18+, and kids came out on solid force, standing among older rockers. From what I saw, nobody looked like they were there by accident, and when All Them Witches‘ set started, the four players sort of lurching to life with a quick, noodling jam led by guitarist Ben McLeod that shifted smoothly into “Funeral for a Great Drunken Bird” from 2013/2014’s self-released sophomore long-player, Lightning at the Door (review here), drummer Robby Staebler, bassist/vocalist Michael Parks, Jr. and Fender Rhodes wizard Allan Van Cleave soon joining in, easing their way and the crowd’s way into a wash of immersive tones that only ran deeper from there, the raucous “When God Comes Back” and that album’s closer, “Mountain” following. Truth be told, momentum and the room were on their side before they started playing, but even if All Them Witches had had to win the Middle East over, they’d have done so quickly.
All Them Witches arrived in Massachusetts fresh from a seclusion that resulted in the recording of their yet-untitled third album, set to release later this year. Presumably this tour with The Well was a way of shaking off the dust in anticipation of more road time to come. Accordingly, I thought there might be a chance of getting to hear some new material done live, which even if it might not represent the entirety of their next offering would at least give a glimpse at some of the scope and direction of the thing. No such luck. What their plan is for the release — i.e., if they’ve signed with a label and if so, which one — I don’t know, but they kept the setlist primarily to Lightning at the Door material, the satisfying deep-toned chug of “Swallowed by the Sea” a little lighter on its feet as it was when I saw them in Pennsylvania last fall and “The Death of Coyote Woman” hypnotic in its repeated vocal lines from Parks and bluesy guitar, McLeod not at all shy with the slide when called upon to break it out.
No setlist written down, songs were called out on the fly. They dipped back once to their debut, 2012’s Our Mother Electricity (review here), for a rendering of “Elk.Blood.Heart” that elicited an off-mic “You gotta be kidding me” from Parks when it started, but wound up as a singularly powerful moment in the set. It was pretty clear that material wasn’t as familiar to the crowd as the stuff from Lightning at the Door, but at least those standing near me showed no signs of trouble getting on board. They closed out with “Charles William,” which is as close to a single as they’ve come, its blend of bounce, tonal richness, Van Cleave‘s Rhodes — an element not to be understated in any appreciation of what they do — and Staebler‘s hard-hitting swing in the finishing lines necessitating no further statement from the band. All were sent into the cold night having received due communion.
They were reason enough to show up — All Them Witches are a special group of players and watching them solidify on stage even as their sound becomes more fluid offers a rare breed of satisfaction — but I was anxious to see The Well before them. The trio of guitarist/vocalist Ian Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan were robbed on their last tour, which was also their first, so warranted immediate respect for getting back out, all the more so filling in for original supporting act Mount Carmel at (or close to) the last minute. My big question was whether or not The Well would be able to conjure the same kind of garage-doom atmosphere and air-push live that they do on record. As the feedback hum of Graham‘s guitar grew in volume until it felt like my head was surrounded by it on all sides, my curiosity had its answer. The thrust punctuated by Sullivan‘s kick in songs like “Trespass” and “Mortal Bones” from Samsara every bit delivered what one might’ve hoped from hearing their studio work and then some, the rawness of the stage giving Graham more of a showcase for soloing.
It was an opportunity he seemed to relish. The memorable psych-spooky “Refuge” made its primary impression in its early bounce, but the languid wah in the song’s second half pushed it to highlight territory, and likewise the midsection jam of the extended set-closer “Eternal Well.” Alley and Sullivan both had their share of fills and no question make for a dynamic rhythm section, but I hadn’t fully realized how much Graham‘s guitar brings to the band on a level deeper than “hey bro, cool riffs.” Tonally and in their presentation, they represented high grade stoner-heavy modernity, and as much as one could hear shades of Sleep and Sabbath in their sound, touches here and there of Uncle Acid and so on, the most exciting thing about The Well was how much they seemed to be moving forward from that starting point. I hope they keep touring and keep growing.
If their heaviness was the aspect they shared with All Them Witches, then for the pedal-steel-infused openers, These Wild Plains, it was no doubt the rural sprawl. The local five-piece — whose debut album is due out Feb. 27 — had been crowded on the stage, but their blend of countrified twang and atmospheric post-rock fit the room, and there were plenty who showed up early to see them. Acoustic, lap steel and electric guitar, the latter reminding me distinctly at times of Yawning Man‘s airy tone, and multiple vocalists drove home the Americana vibe, and for a group of Northern boys taking on a distinctly Southern sound, they acquitted themselves well. People were still coming in as they got going, but by the time they finished, there was little doubt the evening had begun.
Posted in Whathaveyou on January 15th, 2015 by H.P. Taskmaster
True to their word, it’s Jan. 15 and Psycho California 2015 has announced the headliners for what looks like the best American festival lineup I’ve seen since the days of Emissions from the Monolith. That’s not to take away from the hard work anyone else is doing, but just look at the list of bands. It’s unreal. You’d want to be everywhere at the same time to see all of it. Absolutely wild.
Sleep and Pentagram were pretty clear choices to headline. Not only for being legends in the heavy underground, but for also being just about two of the only bands left. Sweden’s Cult of Luna were something of a surprise, but for a festival already showing a European reach in bringing aboard the likes of Samsara Blues Experiment and Stoned Jesus, they make sense. Hell of a bill. Kudos to anyone who actually gets to go to the thing.
Announcement follows, courtesy of the PR wire:
PSYCHO CALIFORNIA ANNOUNCES HEADLINERS: SLEEP, PENTAGRAM AND CULT OF LUNA
WEST COAST METAL FESTIVAL HAPPENING MAY 15, 16 & 17 AT THE OBSERVATORY IN SANTA ANA
FIRST WAVE OF ARTISTS ANNOUNCED INCLUDED KYLESA, EARTH, OM AND RUSSIAN CIRCLES
Psycho California, the west coast’s first annual metal festival and a must see for fans of doom, heavy psych and sludge, has announced the headliners for this year’s event: Cult of Luna (May 15), Sleep (May 16) and Pentagram, who will perform First Daze Here in its entirety (May 17).
“2015 is going to be a slow year for Cult of Luna. However as much as we are musicians we are also fans,” said Cult of Luna’s Johannes Persson. “Evaluating if the offer to play Psycho California was worth dusting off our instruments was not hard after looking on the line-up. Being on the same bill as Pentagram, Sleep and a festival packed with the best bands around is a privilege in itself and we’ll try to live up to that honor.”
The lineup for Psycho California is: Sleep, Pentagram, Cult of Luna, Kylesa, OM, Earth, Russian Circles, Bedemon, Conan, Wrench, Eyehategod, Indian, Earthless, Pallbearer, Stoned Jesus, Old Man Gloom, Cave In, Acid Witch, Truckfighters, Tombs, Bang, Electric Citizen, Coffinworm, SubRosa, Eagle Twin, Mammatus, True Widow, Anciients, Bellwitch, Dead Meadow, Lord Dying, Death By Stereo, Radio Moscow, Ancient Altar, Samsara Blues Experiment, Atriarch, Elder, Mothership, The Well, Deathkings, Wo Fat, Rozamov, Destroyer of Light, Highlands, Bloodmoon, Slow Season, Goatsnake, Crypt Trip, Wrench, Lords of Beacon House, Tumbleweed Dealer, Sinister Haze, Blackout, Red Wizard, Banquet and Loom.
Festival interludes will be provided by Housecore Records’ artist Author & Punisher and vinyl DJ set from Bob Lugowe (Relapse Records) and Sean Pellet (Last Daze Here).
Previously announced early bird tickets sold out immediately. Tickets for the festival are on-sale this morning with both a 3-day pass ($149.50) and a 3-day VIP pass available ($256.66)
VIP packages include a 3-day festival pass, a signed screen print concert poster by David D’Andrea, express entry via artist check-in booth, access to artist VIP lounge, a limited edition Thief X Obey festival tee, a Psycho record bag and patch as well as access to a complimentary craft tequila bar, premium microbrews and artisan snacks.