MeteorCity reissued Egypt‘s originally self-released demo from 2004 (which was also released on vinyl in 2008 by Lyderhorn Records) on CD last year, and it was my first exposure to the band. Now, I know on paper Fargo, North Dakota doesn’t exactly seem like an exotic locale (the Coen Brothers notwithstanding), but it’s not every day you hear of bands coming out of there, so in a way it is. The disc, if you’ll recall, was decent, so I thought I’d post this PR wire update about their reunion this Friday.

Egypt is reuniting for a show Friday, May 21st in Fargo, North Dakota!!!! Here are the details:

Ralph’s Corner R.I.P. Fifth Anniversary Weekend
Friday, May 21st & Saturday, May 22nd 2010 @ The Aquarium (Dempsey’s Upstairs)

Featuring five special reunions:
Egypt & Starship Reducer (Friday)
The Soviettes , Floid Matrix & The Trans Ams (Saturday)

Friday’s show $5 adv, $7 door
Saturday’s show $10 adv, $12 door

A limited number of two-day passes will be available at reduced prices. Advance tickets on sale now at Orange Records, the Red Raven or get them online here.

Rare are the times in my life where the phrase, ?Fuck yeah, Dire Straits!? has crossed my lips. In fact, I can only think of one instance, and that was the first time I heard the ?ber-fuzz guitar tone on ?Dirty Witch,? the third of four songs on Fargo, North Dakota, trio Egypt?s self-titled EP. Originally released on vinyl in 2007 via Lyderhorn Records (since relocated to Norway), Egypt finds its first CD issue courtesy of MeteorCity?s ongoing reconnaissance program to unearth quality, unheard Sleep-style stoner metal.

Sure enough, Sleep is a chief reference here, as it is for much of MeteorCity?s latter day output, but Egypt work in an even more classic rock vein, bassist/vocalist Aaron Esterby having a far-off-the-mic feel to his approach that sounds like it would go well over an enthusiastic crowd at a sweltering summer festival. Likewise, Ryan Grahn?s guitar is warm and easy on the ear in a classic style, sounding particularly sweet on closer ?Touch Ground,? the first two and a half minutes of which unfold calmly and casually so that when the massive riff around which the song winds up being based comes in nearly 30 seconds later, it?s all the more grandiose. Kudos to drummer Chad Heille for morphing his style to suit the situation at hand, be it the jazzy snare work that starts the song or the rampaging crash cymbal that finishes it.

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