Posted in Whathaveyou on January 22nd, 2020 by JJ Koczan
Wisconsin-based masters of the stoner crust riff Bongzilla announce they’re reissuing 2001’s Apogee on vinyl through their newly-formed label. The album has been remastered by Adam Gonsalves at Telegraph Mastering and features revamped artwork based on the original cover’s theme by gERM?. Info is pretty sparse on the label end at this point, but Crash Assailant Records and Flail Records are handling distribution and orders are being taken now.
Among Bongzilla‘s discography, it’s fair to consider Apogee a classic for “H.P. Keefmaker” alone, never mind “Grim Reefer” or the live tracks. The nastiness of Bongzilla‘s scorched-lung approach is on full display, to be sure, and as they celebrate the release with a slew of tour dates in March — there may be more in addition to what you see below; that’s around SXSW time, so keep an eye out — and herald an upcoming appearance at Muddy Roots this summer in Tennessee, a new visit to Apogee‘s weedian fields could hardly be more suitable. I don’t care how stoned you think you are. You ain’t more stoned than Bongzilla.
Art, info, links, and exclamation points came down the PR wire:
Bongzilla – Apogee – Repress
For the first time in about 20 Years Apogee will be released on Vinyl!!! Remastered!!! New Album Art!!! Available now for pre-order in Clear, Opaque Green, Purple Kush, and Black Vinyl!!!
The members of Bongzilla are putting this one out independently as they start their own label. More to come about that soon! New Artwork by gERM?! Cascade Record Pressing is handling the pressing!!! Adam at Telegraph Mastering did the Mastering!!! And Crash Assailant Records and Flail Records are helping with the distribution!!!
BONGZILLA Live: – Minneapolis!!! March 11th!!! Bongzilla w/ Lord Dying at First Avenue & 7th St Entry!!! – Milwaukee!!! March 13th at Walker’s Point Music Hall!!! Bongzilla w/ Gravedirt and Cold Black River!!! – Bongzilla in Omaha, NE!!! March 16th at Lookout Lounge!!! – Bongzilla in St Louis on St Paddy’s!!! March 17th at Red Flag!!! – March 18th!!! Bongzilla at the The Riot Room in Kansas City!!! – March 20th!!! Houston, TX!!! Bongzilla at Secret Group!!! – Bongzilla will be blazing up at Muddy Roots Music Festival 2020
Bongzilla are: Mike “Muleboy” Makela – Guitar/Vocals Jeff “Spanky” Schultz – Guitar Cooter Brown – Bass Mike “Magma” Henry – Drums
Posted in Reviews on January 22nd, 2020 by JJ Koczan
On a level of ambition, a series of split releases is second perhaps only to a series of compilations in terms of the massive amount of work that is involved in coordination. Most ‘Vol. 1’-type outings do not get to ‘Vol. 2.’ An exception to this rule was Ripple Music‘s The Second Coming of Heavy, which, though its title wanted for generational context (the heavy ’10s were at least the third coming), was a deeply admirable 10-installment series that brought bands into the Ripple fold who otherwise wouldn’t have gotten the exposure while staying tied together through artwork as well as the titular presentation. It allowed the label to expand its reach and had a curated, carefully-picked sensibility behind it.
Those 10 offerings were not haphazard. Ripple would hope to bring the same mindset to Turned to Stone, a new series that essentially picks up where The Second Coming of Heavy left off. I guess they’re gluttons for punishment when it comes to logistics? There’s no end-figure stated for Turned to Stone so far as I know — that is, they haven’t said “10 and done” as they did with the prior series — but however far it ends up going, its first installment, the full and somewhat cumbersome title of which is Ripple Music Presents: Turned to Stone Chapter 1 – Mr. Bison & Spacetrucker: Enter Galactic Wasteland, already crosses continental borders in bringing together its component acts.
From Pisa, Italy, come the trio Mr. Bison, whose moniker continues to immediately touch of Gen-X nostalgia for the lost hours of my youth playing Street Fighter II, and from St. Louis, Missouri, the three-piece Spacetrucker, whose three tracks run across side B in deceptively atmospheric fashion. The two bands are complementary in some ways, contrasting in others, but one suspects that’s the idea, and like most landscapes described as a wasteland, one finds the LP’s 38-minute run not at all void of life, but a vital ecosystem of heavy rock and roll that helps to demonstrate just how multifaceted the genre has become.
Mr. Bison don’t make it through the seven-minute “The Grace of Time” before they break out the organ and work in elements of psychedelia and classic prog — and that’s just fine. There are shades of Golden Void in the dramatic arrival of organ amid the guitar, bass and drums, but I wouldn’t call the all-Matteo lineup of guitarist/vocalists Matteo Barsacchi and Matteo Sciocchetto and drummer Matteo D’Ignazi overly derivative. Rather, the drift they inject into moments like the opening stretches of “The Stranger” and “Oracle Prophecy,” which builds as it moves forward, receding in the middle only to surge again at the conclusion in not-unforeseeable but still exciting and progressive fashion.
Their 2018 album, Holy Oak (review here), was like-minded in its somewhat deceptive approach, appearing simpler on the surface than it actually was, and as Barsacchi and Sciocchetto arrange vocals here, layering solos and effects all the while to create a sense of swirl as “Oracle Prophecy” comes to a head, the impression is that the band have obviously continued to solidify and become more assured of their approach. This creative next step is, of course, the ideal, though I don’t actually know how long ago the songs were recorded.
Either way, that Mr. Bison would leave one feeling like the band is making forward progress is, indeed, forward progress, and as their three inclusions are longer than those of Spacetrucker by about four minutes, running 21 minutes, their time only seems to be well-spent in setting up an atmosphere and flow. Listening digitally, this flow is immediately, strikingly contrasted by the shift in production value to Spacetrucker‘s three tracks, which are rawer and more directly fuzz-driven. Guitarist/vocalist Mike Owen, bassist/vocalist Rob Wagoner and drummer/multipadder Del Toro present a ready charge in the five-and-a-half-minute “Nosedive,” eschewing the proggier aspects of their side A counterparts in favor of a more direct attack.
That’s not to say that “Nosedive” or the subsequent instrumental “Distant Earth,” which is the longest track on the release at 7:56, don’t have a sense of atmosphere, just that said atmosphere is more based around the sheer punch of what they do. And when the low-end on “Distant Earth” kicks in there’s no shortage of punch to be had. “Distant Earth” resolves itself in some prog-metal-style chugging completed by a chiming bell, and then moves into a solo before rounding out in similar rhythmic terrain, an impressive more-than-jam that’s fluid if less sonically lush than some of what appeared on the split’s first half. Spacetrucker round out with the shorter “King Cheeto,” an early-Fu Manchu-style fuzz punker that revives some of the more aggressive thrust of “Nosedive” and finishes in a satisfying rush of noise and cut momentum. If that’s what being turned to stone sounds like, then so be it.
In terms of what ties the two bands together, aside from the basic umbrella of “heavy” that is horoscope-vague enough to be applicable on all counts, there’s an undercurrent of stylistic depth shared by Spacetrucker and Mr. Bison that comes through in different contexts, but is there just the same. Spacetrucker are not unaffected by Truckfighters-esque energy, but like Mr. Bison before them, they seem to be engaged in the project of internalizing their influences in order to craft their own sound from them.
In that case, the sheer thrust and rawness of production works for them, standing them out from Mr. Bison and adding to their own take, which doesn’t necessarily shy away from aggression. As Ripple Music stares down the prospect of this new series, one wonders just what will emerge from Turned to Stone. Standing astride The Second Coming of Heavy helped the label become among the foremost purveyors of American underground heavy rock and found them increasingly branching out in aesthetic. If Turned to Stone furthers that mission, it can only be considered a worthy cause.
[Clarification: The digital version of the release lists Mr. Bison as the first band, where on vinyl it’s Spacetrucker on side A. Apologies for any confusion this causes.]
Spacetrucker & Mr. Bison, Turned to Stone Chapter 1 – Enter Galactic Wasteland (2020)
Posted in Whathaveyou on January 22nd, 2020 by JJ Koczan
If I can be honest for a second here, I don’t even want to start talking about Elephant Tree‘s new album, Habits, yet because I know that if I do I won’t be able to stop. Let me say this, I know we’re early in the year, but they’ve made their candidacy for the best album of 2020 known, and in following up their 2016 self-titled debut (review here), they’ve blown the doors down in terms of sonic expansion. The new record is more psychedelic, heavier in places, and more progressive on the whole in terms of its sense of craft and clarity of intention. If you are madly anticipating its arrival, you are correct.
I’ll stop there and of course there will be more to come as we get closer to the release, but as the London four-piece unveil the first album details, cover art, tracklisting and video — as well as the preorder link; just go ahead and get it done — I felt it necessary to chime in. All that potential they showed on their first record is starting to come to fruition. I’m your friend out here and I’m telling you: don’t miss out.
Fresh off the PR wire:
Prog-psych-doom rockers ELEPHANT TREE announce new album and stream new single
Habits released April 24th via Holy Roar Records
‘Sails’ streaming now
London-based prog-psych-doom artisans ELEPHANT TREE have announced their highly-anticipated third album Habits, after four years of honing their sound on the international live circuit.
Released April 24th via Holy Roar Records, you can pre-order Habits here: http://smarturl.it/elephanttree
The champions of the underground have delivered perhaps their most cohesive record yet, a scintillating blur of prog, stoner, psych, and melodic heavy rock. Opening on a hazy note of foreboding dread on ‘Wake.Repeat (Intro)’, the band explode into life soon after and rarely let up.
Every aspect of ELEPHANT TREE’s previously established sound has been amplified to 11 and fine-tuned to perfection. Their heavy, driving, grooves hold a more calculated rhythmic swing counterbalanced with leads that hold a soberingly clear gentleness. This is all tied together with vocals that possess a charming hedonism to their timbre, sure to win over legions more fans.
Elements of a heavy Pink Floyd, Melvins, and Deftones all combine with exhilarating effect, cementing the status of this group who have already sold tens of thousands of records and streams into the millions.
The union of sonic density and yearning is captured wonderfully, thanks in no small part to the band’s production choice of The Church Studios, famed for the sounds of U2, Nick Cave, The Jesus and Mary Chain and Adele amongst others.
If the sound of Kyuss and Smashing Pumpkins partying with Hunter S. Thompson and Cult Of Luna in an arena sounds like a good time, then this is the album for you. If there’s any justice, 2020 will be the year ELEPHANT TREE bloom out of best kept underground secret into a household name.
Tracklisting: 1. Wake.Repeat (Intro) 2. Sails 3. Faceless 4. Exit The Soul 5. The Fall Chorus 6. Bird 7. Wasted 8. Broken Nails
Posted in Whathaveyou on January 22nd, 2020 by JJ Koczan
True to their word, two of the three now-former members of German noise rockers Deamon’s Child, who announced their breakup just last week, have now made their new project known to the public. Ana Muhi and Sven “Missu” Missullis will share vocal duties in the new band, MIGHT, who would seem to prefer their moniker in all-caps and would seem as well to be taking on a more atmospheric kind of sound than that of Deamon’s Child. Working as a duo with Missullis pulling double-duty on drums and guitar for the time being — shows will be tricky, but I suppose not impossible — and Muhi on bass, the two players are giving a quick glimpse of what MIGHT may be about in a video teaser of some apparently-already-recorded material.
And I know it’s already recorded, because it exists. Fancy that.
No doubt some of the punkier aspects of Deamon’s Child will bleed into MIGHT as well, but even from the brief look and listen they give in the clip at the bottom of this post, it’s understandable why they might see fit to embark on MIGHT as an outfit distinct from their former band together — shifting from a trio to duo of course is also part of that. I don’t know what MIGHT‘s plans are going forward, or just what kind of release the teaser might be teasing, but there’s a definite sense of aesthetic at work here and if you happen to have a space 30 seconds in your busy day, it’s a fair enough way to be introduced.
So say hello:
Hello, we are MIGHT
Only a few days after they quitted their old band, Deamon’s Child, Ana Muhi and Sven Missullis founded a new band, called MIGHT.
Like in Deamon’s Child, Muhi will sing and play the bass. Missullis will play guitar, but also the drums and will also sing on a few songs.
There is already a short teaser online where you can hear some first tunes.
And there is also a Facebook page where you can check out what is coming next.
Might is: Ana Muhi – Vocals, Bass Sven Missullis – Vocals, Guitar, Drums
Posted in Whathaveyou on January 22nd, 2020 by JJ Koczan
Following up on their announcement last November of the single Bone to Earth, Finnish heavy five-piece Orbiter have now put out word that their debut EP, a four-tracker titled The Deluge, will be out on Jan. 29. Rest assured, I have no frickin’ idea what day it is as I write this, but when I take the millisecond to glance downward at the calendar, it says that’s next week, so there you go. Quick turnaround.
“Bone to Earth” will lead off the EP, and its rolling groove is welcome to be sure. Orbiter‘s take is in a place between heavy rock and doom, and Carolin Koss‘ vocals highlight an edge of psychedelia in the guitar, but that only makes the overall outing richer in sound. The Deluge‘s scope might be familiar to experienced heads, but that does nothing to make it less enjoyable, particularly in the righteously atmospheric eight-minute closer “In Echoes.” Admittedly, I’m still digging into the release, but that’s an immediate standout.
One to keep an eye on. Maybe mark your calendar. Set a reminder. Do the thing. Get involved. Make your way. Blah blah blah. Whatever, it’s right on. You like music, right?
Dig:
Finnish doom metal band Orbiter to release debut EP “The Deluge” on January 29, 2020
The Finnish doom metal band Orbiter will release their debut EP The Deluge on Wednesday, 29 January. The four-song EP is a blend of heavy riffing, atmospheric psychedelia, and soaring vocals. The central theme of the record is human nature and its contradictions: over and over again people’s aspirations towards wisdom are in danger of being drowned under the waves of their own greed. The EP has been mastered by Brad Boatright (Audiosiege), one of the most renowned mastering engineers in the industry worldwide.
Orbiter released a pre-single Bone to Earth in late November. In addition to the Finnish media, the song also received international attention in Germany, Spain, France, and America.
Founded at the turn of the year 2014-2015, the band has been influenced by the genre’s founder Black Sabbath, 90s stoner bands like Kyuss, and 21st century doom bands. Additional influences have been drawn from psychedelic and progressive rock.
Orbiter’s new vocalist Carolin Koss joined the band last April. She’s an artist, filmmaker, and singer originally from Germany, and now residing in Finland. This is Orbiter’s first record with Koss. The band has previously released three singles, most recently Anthropocene in early 2019.
Upcoming gigs (in Finland) 6.2. Lepakkomies, Helsinki 10.4. Ravintola Cactus, Helsinki
Orbiter: The Deluge 1. Bone to Earth 2. Astral Racer 3. Orchids 4. In Echoes
Orbiter Carolin Koss – Vocals Alexander Meaney – Guitar Jere Remes – Guitar Tuomas Talka – Bass Sami Heiniö – Drums
Posted in Whathaveyou on January 21st, 2020 by JJ Koczan
Want to know something crucial about Omen Stones? At least as far as the sound on the Richmond, Virginia, three-piece’s 2019 self-titled, self-released debut (review here) is concerned, just have a look at their logo. Like the letters themselves, there’s just some aspect of Omen Stones‘ sound that’s a little bit twisted, a little bit working toward something darker and more sinister. You can hear it in the vocal sneer of guitarist Tommy Hamilton, also known for his work in filth-caked riffers Druglord, and in the tones that surround as the drums of Erik Larson (also Backwoods Payback, Avail, ex-ATP, etc.) punch through in the rush of “Purity Jones.” There’s a track on the record called “Fresh Hell.” That about sums it up.
But there isn’t the mire one might expect from what Hamilton brought to Druglord, and Omen Stones are a more intense band. With Ed Fierro (also Tel) on bass, there’s venom if not Venom in their veins and not that they don’t sleek out a rolling groove every now and then, as in “Secrete,” but there’s an undercurrent of threat that never seems to be far from the their attention. As they look to head out on their first tour dates beginning Jan. 31, hitting spots in North Carolina, Indianapolis, Kentucky, Ohio, Delaware, Maryland and indeed Virginia, I’m wondering what the 10-day jaunt might lead to. More tours? New songs? It’s their first tour, and where I had the info I’ve included with whom they’ll be doing the shows. There are some good ones in there. Baltimore looks like a killer night.
Here are the dates, followed by the self-titled album stream from Bandcamp:
Omen Stones live: 01/31 Raleigh NC Slims w/ Crystal Spiders, Moryo 02/01 Asheville NC Odditorium 02/02 Indianapolis IN State Street Pub w/ Lavaborne, Drooler 02/03 Louisville KY Highlands Taproom w/ Problem with Dragons 02/04 Cincinnati OH Northside Yacht Club 02/05 Columbus OH Dirty Dungarees w/ Deprecator, False Teeth 02/06 Kent OH The Dome w/ Goosed, Ghost:Hello 02/07 Wilmington DE 1984 Arcade Bar 02/08 Baltimore MD Rituals Bar & Venue w/ Alms, Cavern, Almost Honest 02/09 Richmond VA Fuzzy Cactus w/ Hoboknife, Deathcrown
Omen Stones is: Ed Fierro – bass Tommy Hamilton – guitar/vocals Erik Larson – drums
Posted in Whathaveyou on January 21st, 2020 by JJ Koczan
When King Buffalo put out their early-2018 EP Repeater (review here) ahead of their second full-length, Longing to Be the Mountain (review here), it was an opportunity for the Rochester trio to explore new ideas and adventure into what at the time was new sonic terrain for the band. To try new things and introduce their audience to the same. It smoothed the transition between 2016’s Orion(review here) and the follow-up LP, and complemented both works.
Their new “short release,” Dead Star, is more substantial. As in, it’s 36 minutes long. From where I sit, that’s an album one way or the other, and certainly the flow of its six tracks bears that out as well. But the function is similar to Repeater in that King Buffalo once again embrace their creative drive in an open and exciting way. The six songs of Dead Star are thrillingly progressive, taking on aspects of synth and new textures and atmospheres that enrich the band’s core melodies and grooves so as to broaden their scope and make them all the more engrossing. Beginning with the 16-minute pair “Dead Star Pt. 1 & 2,” and running through the finale closing track, Dead Star works to push the boundaries of expectation of what King Buffalo can accomplish as a band, and thereby accomplishes them as well.
Preorders go up later this week, and they’ve got tour dates and a track streaming as of next week. Official release of Dead Star is March 20 and I’m hoping to have more to come as we get closer to then.
In the meantime, here’s a press release I kind of wrote:
King Buffalo Announce their 4th EP “Dead Star” and 2020 Tour Dates
King Buffalo will release their fourth EP, Dead Star, on March 20. The widely-hailed progressive heavy rock trio from Western New York will stream the single “Eta Carinae” Jan. 28 from the six-song, 36-minute release now via Bandcamp with preorders available atkingbuffalo.bigcartel.comon Jan. 24. Extensive tour dates will follow.
Their most brazenly experimental offering to-date, Dead Star will self-release throughout North America and see European issue via Stickman Records.
Self-recorded in late 2019 and early 2020 by guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson, Dead Star continues to push King Buffalo’s psychedelic aspects deep into the cosmic ether, and basks in elements of ambient drone, space rock, prog, mantra-style heavy and synthesizer soundtracking, as well as the bluesy, classic riffing and creative urgency that has underscored their particular style since their 2013 demo and 2016 debut album, Orion. A depth of mix comes courtesy of Grant Husselman, while Bernie Matthews mastered.
“In the early stages of Dead Star, we made the decision to make a strong commitment to experimentation,” explains guitarist/vocalist Sean McVay. “From exploring different time signatures, tunings and textures, to tweaking the song writing processes themselves. We’re extremely proud of these recordings, and feel it’s some of our most ambitious work yet.”
King Buffalo’s discography includes two full-length albums, Orion (2016) and Longing to Be the Mountain (2018), as well as three prior EPs – 2013’s Demo, a 12” split with Le Bétre in 2015, and 2018’s Repeater.
Dead Star continues the risk-taking that fueled Repeater, honoring the core dynamic of King Buffalo as a band while boldly introducing new ideas and sides of their sound to their audience.
Recent years have found King Buffalo touring throughout North America and Europe, with highlight festival performances, support slots and headlining shows, and they bring that experience to the songwriting of Dead Star’s six tracks, be it the sprawling two-part leadoff “Red Star Pt. 1 & 2” or the John Carpenter-esque instrumental “Ecliptic” ahead of the chug-and-crash-prone “Eta Carinae.” All the while King Buffalo maintain a flow and atmosphere that has served as a hallmark of their approach.
“These six songs deviate and expand on horizons that we as King Buffalo haven’t yet reached,” says drummer Scott Donaldson, who also handled the graphic layout of Dead Star with Ryan T. Hancock’s striking cover art. “It’s extremely exciting to make something familiar, but unlike anything we’ve previously done. I can’t wait for everyone to hear it.”
Vinyl Details:
Test Press – Limited to 20, hand numbered, and ship mid-February. Includes a download code of the Deluxe version, poly bag, a signed “thank you” from the band with wax seal, an exclusive poster and hand numbered insert.
Deluxe Edition – Limited to 250 units and pressed to 12″ Black and White Vinyl. The Deluxe Edition includes a polybag, a hand numbered insert, and audio commentary by the band. A One-Time Only pressing. They’ll be shipped as soon as mid-March.
Standard Edition – Limited to 750 units and pressed to 12″ Bone White Vinyl. They include a polybag and download code.
Written and recorded by King Buffalo in Rochester, NY at the Main Street Armory in December of 2019 & January 2020.
All arrangements by King Buffalo (c) 2019 Produced & Engineered by Sean McVay Mixed by Grant Husselman Mastered by Bernie Matthews Artwork by Ryan T Hancock Fonts by Mike Turzanski Layout by Scott Donaldson
Dead Star Track list: Red Star Pt. 1 Red Star Pt. 2 Echo of a Waning Star Ecliptic Eta Carinae Dead Star
Tour Dates: 1/31 Montreal, QC @ Le Ministere 2/1 Ottawa, ON @ Dominion Tavern 3/19 Burlington, VT @ Higher Ground 3/20 Boston, MA @ Great Scott 3/21 New York, NY @ Mercury Lounge 3/26 Lansing, MI @ Mac’s Bar 3/27 Milwaukee, WI @ Colectivo 3/28 Minneapolis, MN @ 7th St. Entry 3/29 Winnipeg, MB @ Park Theatre 3/31 Calgary, AB @ Palomino 4/2 Vancouver, BC @ Fox Cabaret 4/3 Seattle, WA @ Barboza 4/5 Portland, OR @ Lola’s Room 4/7 San Francisco, CA @ Bottom of the Hill 4/8 Los Angeles, CA @ The Echo 4/10 Denver, CO @ Larimer Lounge 4/11 Denver, CO @ Larimer Lounge 4/13 Kansas City, MO @ Riot Room 4/14 St Louis, MO @ Duck Room 4/15 Louisville, KY @ Zanzabar 4/16 Cleveland, OH @ Beachland Tavern 4/17 Pittsburgh, PA @ Club Café 4/18 Syracuse, NY @ Funk N Waffles
King Buffalo is: Sean McVay – Guitar, Vocals, & Synth Dan Reynolds – Bass & Synth Scott Donaldson – Drums & Percussion
Posted in Whathaveyou on January 21st, 2020 by JJ Koczan
As they head abroad this week to begin a European tour centered around their Powertrip album that was announced last Fall, it seems only fair that Monster Magnet should announce their next run doing much the same in the US. Being someone who also hopes never to work another day in his life, that album’s central message rings pretty damn true to my ears and it kind of always has, but how could such dropping-out-of-life be anything less than relevant to the times in which we live? Of all Dave Wyndorf‘s many aggrandizing lyrical proclamations, Powertrip — the record that brought forth the mega-single “Space Lord” in addition to its title-track, “See You in Hell,” and so on — was the album that set the pattern for what the band would do over their next four, arguably five, albums, and it cast their influence wide in a way that has endured the 22 years since its release.
Why now to bring it into this kind of focus? Who cares? Because it’s a party? Because it’ll bring people out? Maybe if we’re lucky they’ll make a live album.
Here are all the dates:
MONSTER MAGNET Announces “A Celebration of Powertrip” North American Tour
Nebula and Silvertomb to Support
Kicks off March 20th in Brooklyn, NY
Psych Rock Legends Monster Magnet will return to the road in North America this Spring to celebrate their historic release Powertrip. Their live set will feature select cuts from this seminal album as well as your Monster Magnet favorites. Support on the tour will come from Nebula and Silvertomb. The tour begins March 20th in Brooklyn, NY and runs through April 18th in Sayreville, NJ. A complete list of dates can be found below.
MONSTER MAGNET W/ Nebula and Silvertomb: 3/20: Brooklyn, NY @ Elsewhere 3/21: Boston, MA @ Sinclair 3/22: Philadelphia, PA @ Underground Arts 3/24: Pittsburgh, PA @ Rex Theater 3/25: Toronto, ON @ The Opera House 3/27: Flint, MI @ The Machine Shop 3/28: Chicago, IL @ The Metro 3/29: Minneapolis, MN @ Fine Line 3/31: Denver, CO @ The Oriental Theater 4/1: Salt Lake City, UT @ Metro Bar 4/3: Vancouver, BC @ The Rickshaw 4/4: Seattle, WA @ El Corazon 4/5: Portland, OR @ Hawthorne Theater 4/7: San Francisco, CA @ Great American Music Hall 4/8: Los Angeles, CA @ The Fonda 4/9: Las Vegas, NV @ The House of Blues 4/10: San Diego, CA @ Observatory North Park 4/13: Dallas, TX @ Gas Monkey Bar N’ Grill 4/15: Atlanta, GA @ The Masquerade 4/16: Charleston, SC @ The Music Farm 4/17: Baltimore, MD @ Baltimore Sound Stage 4/18: Sayreville, NJ @ Starland Ballroom
Monster Magnet European Tour: Jan 22 Glasgow UK The Garage Jan 23 Leeds UK O2 Academy Leeds Jan 24 London UK The Forum Jan 25 Utrecht NL Tivoliredenburg Jan 27 Oslo NO John Dee Jan 28 Gothenburg SWE Pustervikbaren Jan 29 Malmo SWE Kulturbolaget (KB) Jan 31 Leuven BE Het Depot V2W Feb 01 Berlin DE Metropol Feb 03 Cologne DE Essigfabrik & Sensor Club Feb 04 Munich DE Muffathalle Feb 05 Hamburg DE Markthalle Feb 07 Bremen DE Schlachthof Feb 08 Dresden DE Reithalle Feb 09 Stuttgart DE LKA Longhorn Feb 10 Dortmund DE FZW Feb 12 Antwerp BE Trix Feb 13 Wiesbaden DE Schlacthof Feb 15 Zagreb CR Mochvara Feb 16 Vienna AT Simm City Feb 17 Zurich CH Dynamo Feb 18 Trezzo Sull’Adda IT Live Club Feb 20 Pamplona Navarra ES Sala Zentral Feb 21 Santiago de Compostela ES Sala Capitol Feb 22 Madrid ES Sala Mon Feb 23 Barcelona ES Razzmatazz
Powertrip was the band’s commercial breakthrough, achieving mainstream success due largely to the hit single, “Space Lord”. Other hit songs on the album include “Powertrip”, “Temple of Your Dreams”, and “See You in Hell”. The album itself, reached #1 on the Heatseekers Charts, #21 in the German Charts, #65 in the UK Charts, and #97 on the Billboard 200. The album was certified gold by the RIAA on January 25, 1999.
MONSTER MAGNET line up: Dave Wyndorf (vocals, guitar) Garrett Sweeny (guitar) Phil Caivano (guitar) Chris Kosnik (bass) Bob Pantella (drums)
