Recorded audio and video late in December 2013 in their native Salzburg, Austria, Been Obscene‘s Unplugged only tells half the story with its title. Yes, it was an acoustic show that the band decided to document in its entirety — a full 90-minute set — but Unplugged also serves as the four-piece heavy psych rockers’ swansong. Their first acoustic show was also their last show altogether, and so after making their debut on Elektrohasch in 2010 with The Magic Table Dance (review here) and following up strong in 2011 with Night o’ Mine (review here), they return three years later with a live record to take the place of what would’ve been their third full-length, their set taking material from all three albums — the two released, the one unmade — and call it a day. Fair enough. I was sorry to hear Been Obscene were breaking up, having been fortunate enough to catch them live on their only US tour, and while Unplugged seems an odd way to do their run justice — ending with something they’d never done before isn’t exactly a summary of their accomplishments — maybe getting to that point is as good a finish line as any a band could ask. Guitarists Thomas Nachtigal (also vocals) and Stefan Wagner, bassist/vocalist Philipp Zezula and drummer Robert Schoosleitner give a rich performance, emphasizing the class that’s always been at the heart of their approach and the songwriting that’s underscored the jammy feel of their albums, and as Unplugged winds its way through the second LP/CD, Been Obscene prove one last time to be masters of their sonic domain. They were a good band and they’ll be missed.

Their approach was different, but as progenitors of next-gen heavy psych delivered via Elektrohasch, it’s hard not to compare Been Obscene‘s departure to that of Sungrazer. Both bands showcased massive potential across two records, hinted at a third to come with new material, and then stopped before they got to that point. On Unplugged, Been Obscene offer some hint of what might’ve been had that full-length come to fruition, though of course it’s a best guess how cuts like “Hey You,” “Take it Slow” and “Sound of Time” could have sounded in a full-thrust studio incarnation. The latter is a highlight of Unplugged‘s first disc, but really just one of several strong showings they made at that show at the Danspaleis circus tent at Winterfest in Salzburg on Dec. 30 of yet-unreleased songs. While not as established as cuts like “The Run” from Night o’ Mine or “Uniform,” the second cut from The Magic Table Dance which closes here, the aforementioned tracks and “Pilot the Pirates,” “You Wanna Know” and “Hail to Belief” — which backs up “Impressions” from the first album right at the start of the set — reinforce the quality of songwriting that was coming to fruition in Been Obscene‘s sound. Taken in context of what they did in their time and what they may have been about to do, Unplugged is a wistful release, something the wistfulness of the instrumental “Memories in Salvation” and the melancholy “How it Feels” only underscore as their time on stage begins to wind down. They may have been happy to end it, it may have been sad — I don’t know what the circumstances were — but it’s easy to imagine a heartfelt sentimentality coming forward there as Nachtigal croons the repeated lines, “I woke up and I realized that I/Don’t know how it feels,” hypnotic in the studio version but here brimming with emotional resonance.

It feels somewhat crass to pick out highlights from an act’s final show, and Unplugged is best taken as a whole, but I’d be remiss if I didn’t point out the 14-minute stretch of “Demons,” presented here as one of their finest moments as a band. The breadth they capture with the natural instrumentation is remarkable, and finds echo soon enough in “Snake Charmer” and “Endless Scheme” on the second disc, but “Demons” is a singular melody and feel within Been Obscene‘s abbreviated catalog, and they more than do justice to its sprawl. “Uniform” caps with an insistent bounce, a long instrumental opening leading to some last words from Nachtigal, and the show ends with a big rock finish and much applause. On the video version, to see Wagner put his head down and tear into the leads, or to see the concentration in Nachtigal and Zezula‘s faces, Schoosleitner‘s smile as they round out the set before taking a final bow and leaving the stage, it’s all the more powerful considering it’s the last time they’ll do so. One never knows in rock and roll, and bands who for years discount the possibility of a reunion suddenly flip a switch and come back stronger than ever. Whether that’s the fate of Been Obscene, I’ve no clue and wouldn’t want to predict. As it stands now, they were a band who cut short the realization of their full potential, and both in playing their latest and last round of new material and ending their career by doing something they’d never done before, they make that all the more apparent. If their future holds that at some point they get back together and make that third LP a reality or if they don’t, they said goodbye with an adventurous spirit, a vibrant performance and a fitting document of their personality as a band. That’s more than a lot of groups manage, and it’s a result worth appreciating.

Been Obscene, “Impressions” live at Danspaleis, Dec. 30, 2013

Been Obscene on Thee Facebooks

Been Obscene on Bandcamp

Elektrohasch Schallplatten

Click Here to Download

[mp3player width=480 height=150 config=fmp_jw_widget_config.xml playlist=aot36.xml]

It was getting on two in the morning last night and I was yet again trying to figure out how to get the audio editing software I use to make podcasts to work on this laptop. Numerous failed downloads later, I decided screw it, I had nothing to lose, and I zipped up the directory containing the program on my old computer, WeTransfered it to myself, and unzipped it on the newer machine. Frickin’ worked. I couldn’t believe it. Proof that sometimes the stupidest solution of all is the way to go.

This is the first new podcast in a long time, I know. There’s been a lot of really cool stuff coming out in the last few months, but I wanted to still keep it as recent as possible. Some of this is out now and has been for a couple weeks, some of it isn’t out yet. I think it’s a good mix or I wouldn’t have uploaded it, and it gets pretty heavy for a while there, so watch yourself. Figured a good couple of rockers to open wouldn’t meet any complaints either, and hopefully that’s the case. Please enjoy.

First Hour:
Fu Manchu, “Radio Source Sagittarius” from Gigantoid (2014)
Radio Moscow, “Death of a Queen” from Magical Dirt (2014)
Abramis Brama, “Blåa Toner” from Enkel Biljett (2014)
The Ultra Electric Mega Galactic, “Spoonful” from Through the Dark Matter (2014)
Boris, “Heavy Rain” from Noise (2014)
Eyehategod, “Robitussin and Rejection” from Eyehategod (2014)
Serpentine Path, “House of Worship” from Emanations (2014)
Triptykon, “Boleskine House” from Melana Chasmata (2014)
Wovenhand, “Field of Hedon” from Refractory Obdurate (2014)
Been Obscene, “Memories of Salvation” from Unplugged (2014)
1000mods, “Reverb of the New World” from Vultures (2014)
Electric Citizen, “Light Years Beyond” from Ghost of Me b/w Light Years Beyond (2014)

Second Hour:
Mars Red Sky, “The Light Beyond” from Stranded in Arcadia (2014)
Salem’s Pot, “Creep Purple” from Lurar Ut Dig På Prärien (2014)
Black Bombaim, “Arabia” from Far Out (2014)
Dopelord, “Pass the Bong” from Black Arts, Riff Worship and Weed Cult (2014)
Holly Hunt, “Prometheus” from Prometheus (2014)

Total running time: 2:01:21

Thank you for listening.

Download audiObelisk Transmission 036

It was a genuine bummer late last year when Austrian heavy psych four-piece Been Obscene announced that the acoustic show they were playing Dec. 30 in their native Salzburg would also be their last as a band. I don’t know what happened to bring their dissolution, but it happened even as word was coming out of their recording a third album and follow-up to 2011’s Night o’ Mine (review here), which was released on Elektrohasch. I guess sometimes that’s just how it goes.

The good news is that the Dec. 30 show was apparently recorded, audio and video, and as a result, Been Obscene will release Unplugged by the end of April. The double-LP is set to contain songs from what would’ve been that third full-length, so I suppose it’s as close as we’ll get to hearing where they might’ve gone sonically had their next outing come to fruition.

Bittersweet news off the PR wire:

Made out of 180g finest colored vinyl, limited to 300 pieces and shipped in a gatefold cover, this double LP was recorded live at the Danspaleis circus tent in Salzburg, December 30th, 2013.

It contains old, recent and unreleased songs, representing Been Obscene’s journey in the last couple of years, arranged and played live and unplugged only for this special occasion.

As a bonus every LP contains a download code of about 40 minutes full hd video of the night’s performance as well as a code for digital download.

To make it even more special you are also able to get your LP signed personally and/or add a surprise shirt with the size of your choice.

Check out the first video of this special show HERE

The album is planned to be out by the end of April 2014 but you can pre-order it already! Quantity is limited so make sure you order right now…

DLP, 180g, VIDEO, MP3 | € 35.-
DLP, 180g, VIDEO, MP3, PERSONALLY SIGNED | € 40.-
DLP, 180g, VIDEO, MP3, SURPRISE SHIRT | € 45.-
DLP, 180g, VIDEO, MP3, PERSONALLY SIGNED, SURPRISE SHIRT | € 50.-

All prices plus shipping, tax included, only available through the official Been Obscene store.

PRE-ORDER NOW

https://www.facebook.com/beenobscene
http://www.beenobscene.com/

Been Obscene, “Impressions” Live in Salzburg, Dec. 30, 2013

I was fortunate enough to catch Been Obscene — guitarist/vocalist Thomas Nachtigal, guitarist Peter Kreyci, bassist Philipp Zezula and drummer Robert Schoosleitner — performing “Pilot the Pirates” earlier this year in Philly (though I had the title wrong in that review). What I had to say about it then was, “‘Pilot the Pirates’ was less outwardly jammy, featuring some solid backing arrangements from Zezula on vocals, but still had room for a bit of meandering amid a straightforward Queens of the Stone Age start-stop given vitality and fitting attitude from Kreyci rocking out with Schoosleitner.”

Watching the professionally-shot live video for the song, a studio version of which is set to appear on Been Obscene‘s next studio album — due out early 2014 — my impression is much the same, but on repeat viewings, it’s pretty clear what I missed appreciating was where the song really takes off after its halfway point. In the clip below, it’s signaled by a change in the lighting and quicker camera changes, so maybe that makes it more obvious, but either way, the track is a winner and the video makes me look forward even more to hearing the studio version when the time comes. So I guess it’s a winner twice.

As previously reported, Been Obscene are part of the ultra-righteous lineup playing this year’s Stoned from the Underground fest in Germany (info here). That and other live dates follow below:

Been Obscene, “Pilot the Pirates” official live video

Jul 13 Erfurt [DE] Stoned From The Underground
Jul 19 Golling [AT] On The Rocks
Jul 26 Feldkirch [AT] Poolbar
Aug 10 Waldhausen [AT] Lake On Fire
Aug 17 Plaidt [DE] Pellenzer

Keep up with updates from Been Obscene at their Thee Facebooks.

I really, really don’t have a spare grand-plus lying around at this point, but golly that’s a cool lineup posted for Stoned from the Underground this year in Erfurt, Germany. It seems Lowrider‘s reunion — they were a highlight of the London Desertfest in a one-two punch of Swedish awesomeness completed by a set from Dozer immediately following — continues, which is unmistakably good news, and along with the likes of Earthless, Acid King, Troubled Horse, The Gates of Slumber, Pelican and the many others listed below, it seems like it’s going to be a killer weekend July 11-13. The kind of weekend I’d like very much to see, let’s say with a camera and laptop in tow. One of these years, maybe.

Indulge a bit of escapism with me, won’t you?

Welcome to the Mother of all German Stoner Rock Meetings

July 11th , 12th & 13th – Alperstedter Lake near ERFURT

Festival founded in 2001 and located in the very geographical center of Germany, in the area of Erfurt (Thuringen): Stoned From The Underground grew from a one day indoor event with 400 visitors in 2001 to a 3 days outdoor event with 3000 visitors last year !

Located a few kilometers away from the city, in a nest of nature bordered by the Alperstedter Lake, the festival is the perfect location for a very first relaxing summer weekend !

Whether you want to sit in the grass, puffing up clouds of smoke, sipping a beer while checking out the best Rock & Stoner acts of the moment,

Or whether you want to chill out laying on your belly on the sand of the beach with your toes cooling down in Lake’s water…..

STONED FROM THE UNDERGROUND is the place where all your dreams will come true.

LINE- UP 2013:
EARTHLESS ( Usa)
MUSTASCH (Swe)
POTHEAD (Ger)

TRUCKFIGHTERS (Swe)
THE GATES OF SLUMBER (Usa)
BEEN OBSCENE (At)
LOWRIDER (Swe)
HORISONT(Swe)
TROUBLED HORSE (Swe)
ISOPTERA (Ger)
LORD VICAR (Fin)
MIRROR QUEEN (Usa)
ACID KING (Usa)
PELICAN (Usa)
THE OPERATORS (Ger)
THE ATOMIC BITCHWAX (Usa)
FIVE HORSE JOHNSON (Usa)
SARDONIS (Bel)
HYNE (Ger)
DEVILLE (Swe)
BLACK BOMBAIM (Por)
HERKULES PROPAGANDA (Ger)
TRECKER (Ger)

Stoned from the Underground 2013 Trailer

I don’t know how many times I’ve said so – probably at least once for each time I’ve actually brought myself to do it – but I hate reviewing compilations. For most of them, there’s no flow between the tracks, being that it’s different artists, different recordings and sometimes different genres, and even when you get a gem, a non-album track or something like that, there’s no real context for being able to enjoy it, because once it’s over, you’re swept abruptly off to the next thing. Most of the enjoyment I get out of them is in hindsight, years later, when that non-album track is legitimately rare and hard to track down, or the alternate version has never appeared anywhere, or when the comp itself has built up some mystique as a landmark moment – those are even fewer and farther between, but it happens sometimes – either for an artist or the genre. Even if they’re alright to listen to, reviewing them is terrible. You’re either promoting the release outright – “hey, these people are doing good work and you should spend your money on it” – or doing little more than listing the bands involved – “this comp is cool because it has so-and-so involved and they do this song, whereas this band does another song,” and so on. I’ve never been able to find a middle ground in comp reviews and while I do genuinely think there are people out there putting in significant effort to promote artists they believe in, the pain in my ass that reviewing a compilation becomes is enough that I generally try to avoid it as much as possible.

So this is the part where, post-disclaimer, I tell you the case is wholly different with Kept in a Cave, Vol. 1, the 13-track mining operation of Europe’s heavy underground undertaken by Stonerrock.eu, right? Sort of. Kept in a Cave certainly gets a flow going, thanks in part to the similarities in fuzz and jam-minded process of the bands that make up its midsection – Sungrazer into The:Egocentrics into Been Obscene into Electric Moon works rather well and with a healthy dose of Elektrohasch and Elektrohasch-style heavy, there’s not much room for stuff to be out of place – but I still find myself in the position of wanting either to run through the tracklist or just promote it because I respect the effort on their behalf in making the release and its four-panel digipak with giant-mantis artwork happen. To counteract the first, here’s the rundown of artists and songs in its entirety, taken directly off the back of the package:

1. Grandloom, “Larry Fairy” (7:07)
2. Under Brooklyn Palms, “Restlessness” (6:20)
3. Mars Red Sky, “Sadaba” (5:07)
4. Kosmic Elephant, “Bloot Pilot” (6:38)
5. Sungrazer, “Wild Goose” (5:19)
6. The:Egocentrics, “Lost and Found” (4:54)
7. Been Obscene, “Endless Scheme” (6:55)
8. Electric Moon, “Triptriptrip” (8:45)
9. Samsara Blues Experiment, “Hangin’ on the Wire” (5:30)
10. Stonehenge, “Concrete Krieger” (7:36)
11. The Machine, “5 & 4” (6:14)
12. DxBxSx, “Problemkind” (2:16)
13. Sahara Surfers, “Gas” (6:00)

All this adds up to a 79-minute front-to-back listen, about as much as a single-CD will hold. Of the included artists, Sungrazer, Been Obscene, The Machine and DxBxSx are signed to Elektrohasch, and certainly familiar acts like Mars Red Sky, Samsara Blues Experiment and Electric Moon fit aesthetically with that fuzzy, jammy sound as well, so though it’s long, Kept in a Cave makes for a decent listen if you’re going to take it on as a whole, put it on for a party – I’m told music at parties is something human beings do – or whathaveyou, and even the likes of Grandloom, Under Brooklyn Palms (who, yes, are German), Kosmic Elephant, Stonehenge and Sahara Surfers fit on a sonic level. Nothing here is really out of place and obvious consideration has been given to how one song is met by the next – for emphasis, I’ll cite putting the punkier DxBxSx as the second-to-last cut, giving a short burst of energy after the fuzzfests preceding – so the project becomes even more admirable.

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I was asked to take the above pic shortly before Borracho went on at Kung Fu Necktie Saturday night. It was the last of three shows the three bands in question — Borracho, Pittsburgh’s SuperVoid and Austria’s Been Obscene — were playing together, so it was an end-of-tour kind of deal. Been Obscene had done a fuller tour out on the West Coast alongside Ape Machine, and with just the trio of dates on the Eastern Seaboard before they headed back to Europe, I felt lucky to catch them as I did. They had just finished playing, second after SuperVoid with Borracho still to come and current Maple Forum interlocutors Clamfight closing out the night as the local act on the bill.

Actually, they weren’t closing out the night, exactly. Word had come down earlier in the week that the venue had a late-night gig starting at 11, so the four bands would all need to be finished by 10:30PM. On my end, it was nothing but convenient; from a morale standpoint, it’s much easier to start the two-hour drive back north from Philadelphia at 11PM than it would be at 1AM or sometime thereafter. If it was the final gig of three before I left the country, say, or even if I’d come from Pittsburgh or Washington D.C. to play, I might have felt differently about it, but a club’s gotta stay in business to put on good shows in the first place, and if that’s what it takes, then so be it. Like I said, it worked to my benefit as someone with a long ride ahead.

Speaking of convenience, the trip south to Philly also provided a decent excuse to stop at Vintage Vinyl in Fords, NJ, and pick up a few odds and ends that I’ll have more on hopefully later this week. Even with that detour, I got to Kung Fu Necktie early. One thing about these last several months of not drinking: It’s way harder to kill time at a bar — even after paying a cover to get in — if you don’t order a beverage. I met and chatted with the cats from Been Obscene for a while, who’d been staying in New York and told me they had a new song included in their set called “Pilot the Pirates” that turned out to be one more reason I was glad I made the trip.

Soon enough, SuperVoid got going with some new material of their own along with the screamier “Wake the Smoke Jumper” from their 2012 debut EP, Endless Planets (review here). These three shows represented the first the band were playing outside their native ‘burgh, so it was expected that the five-piece would seem to be getting their bearings on stage, but they still ran through their songs well and showed personality from within their double-guitar framework. Vocalist Brian showed more melodic range live than on the EP, which bodes extremely well, and the interplay of lead and rhythm guitars balanced metal and rock influences while the rhythm section of John (bass) and Greg (drums) locked in heavy foundational grooves. At one point, they seemed to find their niche between Kyuss and Mastodon, and if that’s going to be their starting point for whatever might come next from them, they could do a hell of a lot worse.

I’d have been happy enough to watch a show with Borracho, Clamfight and SuperVoid on the bill, and might’ve even hiked to Philly to see it, but the chance to catch Been Obscene, and catch them so close to home, was something special even before they started to play. Their two albums to date — 2010’s The Magic Table Dance (review here) and 2011’s Night o’ Mine (review here) — have gotten multiple return visits, and though their set was short, they represented themselves well for the growing populace who made it out to Kung Fu Necktie. There was an eight-band fest happening upstairs, so people were coming and going between the one and the other, but I didn’t move.

I know I already said it was something special to see them make the trip over, and more so to be able to see the last show, but really, it’s worth saying again. Been Obscene played four songs — opening with “Alone” (it also could’ve been “Snake Charmer,” and I’m hoping someone tells me which, as both have been stuck in my head) before hitting their stride in “Demons,” unveiling the jagged desert hues of “Pilot the Pirates” and closing out with Night o’ Mine opener “Endless Scheme,” the clarion lead lines of which were presented perfectly fuzzed in spite of the fact that the four-piece — guitarist/vocalist Thomas Nachtigal, guitarist Peter Kreyci, bassist/backing vocalist Philipp Zezula and drummer Robert Schoosleitner — were running through Borracho‘s gear. But even as an abridged sampling of their warm heavy psych grooving, it was immediately clear they were running on a different wavelength. I dug the hell out of it, and was reminded of some of the other acts from modern European fuzz set that I’ve been fortunate enough to see: Sungrazer, The Machine, Mars Red Sky, Samsara Blues Experiment and of course the godfathers of the sound, Colour Haze.

As someone who enjoyed how Been Obscene grew into their sound on Night o’ Mine, to be able to see them bring that sensibility and confidence to the naturalist jams of “Demons” from the first album, Nachtigal‘s “Watch the weather changing/Is it my fault” proving standout lines that carried me home after the show nearly as much as I-95. “Pilot the Pirates” was less outwardly jammy, featuring some solid backing arrangements from Zezula on vocals, but still had room for a bit of meandering amid a straightforward Queens of the Stone Age start-stop given vitality and fitting attitude from Kreyci rocking out with Schoosleitner. I’m sure it wasn’t the best gig they played in the States — doubtless that happened out west in a clime more fitting to the open space in their aesthetic — but who the hell knows when or if they’ll come back, and even if they do, aren’t the circumstances bound to be different? On a certain level, every show is a once-in-a-lifetime experience. This one more so than many.

When they were done, it was picture time as noted above. Borracho were in the process of setting up their gear, but they ran out to take part and then back inside in time to start their set. Similar to the last couple times I’ve seen them — in October in Manhattan and at SHoD in Connecticut — they played as a trio, but in the last few months, guitarist Steve Fisher has further stepped up as a vocalist in place of the fourth in their four-piece, Noah, who last I heard was out of the country and may or may not still be involved in the band on some level. Either way, Fisher — whom I’ll admit I didn’t at first recognize without his long beard — more than held his own in the frontman role, taking on Noah‘s parts without doing an impression of the missing party and sounding comfortable as well in what I discerned to be newer material, presumably from a forthcoming release.

I’d dug them as a mostly-instrumental outfit, but as Fisher tossed off a joke about memorizing lyrics and bassist Tim Martin and drummer Mario Trubiano ran through “Concentric Circles” from their 2011 debut full-length, Splitting Sky, they made a more than solid power trio, and I’d be interested to see how they continue to develop if indeed they stay a three-piece. By the time they were done, Kung Fu Necktie was pretty full. It hadn’t been dark outside for all that long. The SuperVoid and Been Obscene guys were hanging out — I bought their two albums on vinyl and paid in Euros I had leftover from Roadburn last year — and people were up and down the stairs, in and out of the door, back and forth. Some knew what was coming, some were entirely unassuming.

And then it happened. Like the primordial riff-thrashing bastards that they are, Clamfight took the stage. Having helped release their second album, I Versus the Glacier (buy one here), on The Obelisk’s in-house semi-label, I won’t even feign impartiality where they’re concerned, but as I see it, a Clamfight set is always a good way to cap an evening. They got off to a rough start — bassist Louis Koble playing usual opener “The Eagle” where guitarists Sean McKee and Joel Harris and drummer/vocalist Andy Martin had decided to go with “Mountain” instead — but once they locked it in, they were lethal as ever. They dipped back to their first album, 2010’s Volume 1 for “Viking Funeral” and the set closer “Rabbit,” but the highlight for me was new song “Block Ship,” which in the span of about five minutes affirmed my suspicions that I Versus the Glacier was the realization of just a fraction of their overall potential. No bullshit, I got chills up my spine twice.

But as I said, I’m hardly an unbiased observer, so take that for what it’s worth. When their whiplash melee was done, I said a few quick goodbyes and headed back to my car. I know it wasn’t the optimal situation for the bands involved, but for me, it was my favorite kind of show — not because it was early, because it was something I may or may not ever get the chance to see again. Compared to Floor the evening prior, it wasn’t nearly so crowded in Philly, but doesn’t that just make it more exceptional for the people who are there? Maybe it’s the wrong attitude, but I think it does. Been Obscene were obviously a standout, but the whole night delivered, front to back. It was everything I could’ve asked it to be and then some.

Extra pics after the jump. Thanks for reading.

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Seems like rock and roll’s gone a little trailer-crazy of late — everything that’s happening in two weeks has to have a trailer — but I’m happy to post the trailer for Been Obscene‘s dates in Texas and the East and West Coasts for two reasons. First, it’s their first time through the States, I dig the band, and I’m psyched to get to see them without having to show my passport and be questioned by airport security. Second, it gives me an excuse to include the poster above for the four-show East Coast run, on which they’ll be joined by Borracho and Supervoid, which, as you can see, is frickin’ awesome.

By way of a plug, Clamfight are also playing that Kung Fu Necktie show, so debauchery shall ensue. Complete dates for the tour follow below. Hopefully you’ll be able to catch one of the shows too. Here’s the trailer:

Been Obscene, US Tour March 2013 Trailer

Been Obscene US Tour March 2013
Mar 16 Fort Worth, TX The Grotto
Mar 17 El Paso, TX Black Market
Mar 18 Tucson, AZ Tucson Live Music Space
Mar 19 Oceanside, CA Royal Dive
Mar 20 Fresno, CA Fulton 55
Mar 21 Chico, CA Cafe Coda
Mar 22 Eugene, OR Sam Bonds
Mar 23 Seattle, WA El Corazon
Mar 28 Washington, D.C. Velvet Lounge
Mar 29 Pittsburgh, PA Howlers Coyote Cafe
Mar 30 Philadelphia, PA Kung Fu Necktie