Album Review: Bongzilla, Weedsconsin

Posted in Reviews on April 28th, 2021 by JJ Koczan

bongzilla weedsconsin

None crustier. None more stoned. That’s the reputation that precedes Bongzilla headed into Weedsconsin, their first album in 16 years. That’s the standard. And while the Madison, Wisconsin, trio of Michael “Muleboy” Makela (bass/vocals, formerly guitar/vocals), guitarist Jeff “Spanky” Schultz and drummer Michael John “Magma” Henry have no doubt been busy in the intervening years working as high-power lobbyists toward the ultimate goal of marijuana legalization on the federal level in the US — an argument they state efficiently if not clearly in Muleboy‘s rasp on “Free the Weed” — their return to more riff-led weedian proselytizing is notable on its own merits in addition to the influence the band has had largely in their absence on a generation of underground listeners and players who’ve come to prominence in the years since 2005’s Amerijuanican was issued through Relapse Records.

Weedsconsin finds the band aligned with Heavy Psych Sounds, and with production by the late John Hopkins, who passed away in Nov. 2020 following a heart attack, Bongzilla sound utterly unmistakable. Their closest sonic kin have always been Weedeater — they would seem to pay homage with a short interlude that opens side B called simply “The Weedeater” — but the six-song/43-minute run of this collection makes that North Carolinian outfit seem accessible by comparison. Of course, the album arrives some six years after Bongzilla returned to touring, so they’ve had plenty of time work work out material, but the truth is that in 95 percent of cases, the prospect of a new full-length from this band was going to be a no-doubter. What, Bongzilla were going to become math metal? Embrace their inner djent? They’re fucking Bongzilla. The biggest favor they might do their attendant listenership, new and old, is to sound like it, and that’s exactly what they do on Weedsconsin.

The album opens sharp and purposeful with “Sundae Driver.” It’s the shortest inclusion at about four and a half minutes, and it builds a massive wall of lumbering fuzz to set a high tonal standard for the rest of what follows. If the message is to reassure their audience that Bongzilla know what’s expected of them and are ready to deliver, the harsh-lung gutturalism of “Sundae Driver”‘s verse dispenses immediately with all doubt. Atop a chugging riff that opens into a rolling hook, Muleboy earns copious nodules in nothing-too-fancy lines that are made impressive through the excruciating-sounding execution. The great balance of Bongzilla has always been between the stoned and the brutal. “Sundae Driver” calls out both in deceptively clear fashion, and “Free the Weed” follows with a bigger central riff that holds its line out and lets Magma‘s hi-hat hold the procession together until the next round of lurch kicks in. It is pummeling and arguably the highlight of Weedsconsin for how its second half flows into its solo section with the bass and guitar taking their respective whims for a walk, but really, pick your poison. If it’s jams you’re looking for, the best is surely yet to come.

bongzilla

To wit, side A wraps with “Space Rock,” the first of two inclusions on Weedsconsin to top 10 minutes long. Time well spent. A first few minutes lull the listener into hypnotic nod before the full low end weight kicks in circa 2:30 and continues to cycle through until the big slowdown into the stoner softshoe riff about a minute later, all classic swagger as the bed for the verse, echoing and largely indecipherable. They pick up speed, subtly, but ultimately make their way back to the mellower movement and use that as the launch point for a jam that consumes the rest of the song leads the way out of side A, with the 35-second “The Weedeater” following its rumbling end with a slow drum beat, sample and maybe a keyboard of some sort or guitar playing some sparse notes. There’s a hard stop before the subsequent, 15-minute “Earth Bong/Smoked/Mags Bags” arrives, but the two pieces connect just the same, and the three stages of Weedsconsin‘s sprawling exercise in instrumentalist fuckall likewise flow into each other as they inevitably would.

There are tempo shifts throughout — and maybe the coughing 10 minutes in signals a turn to “Mags Bags,” which puts the bass more forward before oozing out its central riff, more stoner than sludge if it even matters by then — but Bongzilla were right to put all this stuff into a single track and just roll it out, because by the time the drums and whatever percussion is included finishes out, they’ve well established they can do whatever the hell they want anyway and still come out on the other end red-eyed but otherwise unscathed. Slow stick-clicks later and the six-minute “Gummies” wraps with more mostly-instrumental plodding — there’s voice there, but it’s buried deep — as the band cap their first album in more than a decade and a half by getting willfully lost in the fog of their own making and inviting their listenership to do largely the same. That’s not to say they’re not following a plan throughout Weedsconsin, but the plan sounds like it was to get high and wander off, letting one heavy riff after the next lead where they will.

If you can think of a more fitting showing for Bongzilla to make than to return with a six-track album and jam out for more than half its runtime, I’d love to hear about it. The fact of the matter is Bongzilla after a quarter-century since their inception know what they’re about, and Weedsconsin is Bongzilla being Bongzilla. I don’t know what various hyperbole has been tossed the album’s way, but its central achievement is that it is Bongzilla. If you know the band, you know what they do, and this is what they do. If you’re new to the band, then consider Weedsconsin your representative start as you head deeper into their catalog. It’s not that they’re not trying anything new here, but the overarching context is so much the band’s own that it is simply inescapable. And that’s the point. You would ask no less of Bongzilla. That’s their standard, and they meet it dead-on, without flinching.

Bongzilla, Weedsconsin (2021)

Bongzilla on Thee Facebooks

Bongzilla on Instagram

Bongzilla on Bandcamp

Bongzilla website

Heavy Psych Sounds on Bandcamp

Heavy Psych Sounds website

Heavy Psych Sounds on Thee Facebooks

Gungeon Records on Bandcamp

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Bongzilla Post Lyrics for New Album Currently Being Recorded

Posted in Whathaveyou on November 3rd, 2020 by JJ Koczan

It does not matter your perspective on politics or social issues. Even if you’re someone who stays out of that particular fray, keeps your head down to the best of your ability and just tries to get through one day and into the next, there’s no question that doing so this year and in this moment is harder and more stressful than it was, say, in 2019 at this time. That’s as blanket a statement as I can make, and whether or not you believe in math, the numbers bear that out. “Everybody had a hard year,” said John Lennon.

Fine. You see where this is going. Wisconsin weed-sludge institution Bongzilla are currently in the studio recording their next LP — reportedly a double-album, maybe and hopefully called Weedsconsin — and their first in some terrifying amount of years and they’ve posted the lyrics for it. And much as one might seek and/or find some measure of momentary escape in smoke or edibles or whatever it is the kids do these days with their super-weed, I find too I’m able to put a modicum of distance between myself and the day’s anxious air just by reading the lyrics to “Sundae Driver” or “Earth Bong” or, indeed, “Weedsconsin.” The band posted the full markerboard on social media and have a couple quick studio updates to coincide. I’ve gathered and posted them below, in case they might also help you roll out your own brief escapism. Or whatever.

Incidentally, legal weed is on the ballot in my beloved home state of NJ today, and as someone who was arrested at the age of 18 for possession, I happily voted in favor. I doubt I’d be able to afford any at this point in my life, but it’s nice to think some other kids might not get screwed over by cops in that specific fashion, however else they still might.

Free the weed, and so on:

bongzilla lyrics

BONGZILLA STUDIO UPDATES:

Oct. 27 – Back in the studio! Home for the next week is Future Apple Tree Studios in Rock Island IL. Thank you to Jason Parris for loaning us the furnaces and 74 Slingerland kit for this session. Gt120mv and a od120. Full length coming soon brothers and sisters.

Oct. 30 – Vocals are done!! On to Spanky’s Geetar over dabs!!

Bongzilla are:
Mike “Muleboy” Makela – Guitar/Vocals
Jeff “Spanky” Schultz – Guitar
Cooter Brown – Bass
Mike “Magma” Henry – Drums

https://www.facebook.com/Bongzilla/
https://www.instagram.com/bongzillaband
https://bongzilla.bandcamp.com/
https://bongzilla666.com/
https://crawlspacebooking.com/

Bongzilla, “Sundae Driver” live rehearsal

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Twin Wizard Premiere “Ghost Train Haze” Video; Debut LP Glacial Gods Out Today

Posted in Bootleg Theater on March 13th, 2020 by JJ Koczan

twin wizard video

Say hello to Twin Wizard. The Illinois/Wisconsin duo brings together guitarist/vocalist Brad Van of long-undervalued rockers Droids Attack with drummer Anthony Dreyer, whose prior outfit, Telekinetic Yeti, flamed out hard — and, frankly, ugly — after a quick ascent following their debut album, but will nonetheless continue in some form or other, obviously without Dreyer involved. Twin Wizard, meanwhile, release their debut album, Glacial Gods, today (!), and will follow up with vinyl and CD availability on April 13. Preorders are up now direct from the band, and as the 35-minute seven-tracker culls together riff after pummeling, massively-fuzzed riff, locking in classic and humongous stoner metal grooves, a preorder seems well justified, particularly given the LP’s limited numbers (150 total).

I’m not just talking about riffs. I’m talking about riffs for the soul. “Ghost Train Haze,” which opens the album, is literally and figuratively only the beginning. “Sky Burial,” “Smoke Wizard,” the seven-and-a-half-minute centerpiece “Cult of Yeti” — these songs evoke the dare-you-to-climb-it tower of amplification in the video for the lead cut, and as the admirably bearded Dreyer pounds away at his kit and Van runs his guitar through bass and six-string tones alike, he also burls up his vocal approach, touching on the melodies that one suspects will emerge more over time and the band’s subsequent work while in the interim laying claim to a gruff, early-Cisneros feel that’s perfectly suited to the fuzz, keeps just an edge of punk, and fits well alongside the punctuation of the drums.

Twin Wizard Glacial GodsWith guitar effects/drone transitions between the tracks, a sense of atmosphere is created and manipulated, setting a world in which the songs take place, the riffs seeming to emerge from this ether one after the other. Still, as “Cult of Yeti” devolves gloriously into a noisy morass, undoing the structural clarity presented in “Ghost Train Haze” and the hookier “Smoke Wizard,” it is all the more hypnotic for its longer dronal excursion. It makes no attempt to return once it’s gone — a choice that’s hard to argue with once “Ghostwriter” crashes in, its balance of chug and gallop seeming to straighten out what “Sky Burial” so purposefully made cyclical in the rhythm, while keeping the song itself short at under four minutes long in order to provide an intro of manipulated and particularly doomy bells for “Apothecary.”

Only appropriate, though given the Sabbath and Sleep familiarity of some of the riffs, perhaps they should’ve titled “Apothecary” something related to ghostwriting as well. The righteous dig-in is obviously willful — it ain’t like Twin Wizard are trying to tell you they invented the riff to “Black Sabbath” or to “Dragonaut” — and even the ending nod to “War Pigs” is a dogwhistle to the doomed converted, which only brings to emphasis how much fun Glacial Gods is on the whole. Large credit for that has to go to Dreyer, who would seem to have imported some of the band’s mission from his prior tonally-minded two-piece, but even as “Cult of Yeti” rounds out the album as the second in a seven-song tracklisting to include the word “yeti” in the title — one hopes they keep the theme; like the many faces of the blues different artists have crafted over the last century-plus — it is also given an intro, this time of a stretch of looped guitar that slams into a brief but severe single-riff instrumental finish that, well, certainly gets its point across. The point is that it’s awesome. Message received and understood.

Two hopes for Twin Wizard. One, they do more. Two, they tour. That’s all there is to it. Given the quality of the work they do here and the pedigree Dreyer and Van bring, it’s hard to imagine some label won’t pick them up should they want to go that route, but whether they do or not, Glacial Gods is loaded with forward potential that only shows the project as being worth pursuing in a real, dedicated way. The video for “Ghost Train Haze,” which captures the band playing to and then as — wait for it — a sasquatch, is a blast and though I wouldn’t want to be standing in front of the stage as Van tosses his half-full beer onto the floor, it is a show I’d want to see. And one that, given what they do on the record, I’ll hope to see sooner than later.

Enjoy “Ghost Train Haze” below:

Twin Wizard, “Ghost Train Haze” official video premiere

Twin Wizard is proud to make their debut with their first single from their record entitled “Glacial Gods”. Here is the debut music video for the song “Ghost Train Haze”.

Twin Wizard is a two piece band consisting of Anthony Dreyer previously of Telekinetic Yeti and Brad Van of Droids Attack. Glacial Gods was recorded and mixed at Flat Black Studios by Luke Tweedy. Mastering by Carl Saff. Video produced by Natalie Hinckley of Hinckley Productions.

Track listing for Glacial Gods
1. Ghost Train Haze
2. Sky Burial
3. Smoke Wizard
4. Cult of Yeti
5. Ghostwriter
6. Apothecary
7. Electric Yeti

Digital release Friday 3/13. Vinyl & CD 4/13.

Pre-order the record on vinyl/cd at https://twinwizard.bigcartel.com/

Twin Wizard are:
Anthony Dreyer – Drums
Brad Van – Guitar/Vocals

Twin Wizard on Thee Facebooks

Twin Wizard on Bandcamp

Twin Wizard webstore

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Bongzilla Reissuing Apogee on Vinyl Through New Label

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

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!!!

https://crashassailantrecords.com/product/bongzilla-apogee/

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

https://www.facebook.com/Bongzilla/
https://www.instagram.com/bongzillaband
https://bongzilla.bandcamp.com/
https://crawlspacebooking.com/

Bongzilla, Apogee (2001)

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Bongzilla to Release Thank You… Marijuana Compilation Nov. 15

Posted in Whathaveyou on October 29th, 2018 by JJ Koczan

bongzilla

Though it’s kind of a wonder they can manage to cross state lines let alone international borders, Wisconsin’s Bongzilla toured Europe this past summer, and they had copies of their compilation Thank You… Marijuana, along with them for the ride. The 2LP brings together the band’s off-album catalog — tracks from splits, EPs, singles and so on. Other songs that presumably got high and wandered off. With a suitably stonerly respite between, Totem Cat will release Thank You… Marijuana on Nov. 15, with preorders starting next week.

Bongzilla releasing a comp called Thank You… Marijuana is nothing if not “on theme.” But any new outing from them is welcome, as it’s been some 13 years since they issued Amerijuanican, their most recent studio album. I of course don’t know what their plans are, but in noting this was coming, Totem Cat also hinted at another announcement to follow shortly behind, and it seems entirely possible that’s a new Bongzilla record or the long-awaited debut LP of side-project Aquilonian, which rumors had circulated might actually take shape sometime this or next year. I wouldn’t complain with either.

When/if I hear something I’ll put a post up, so if you want to consider this the first half of Totem Cat news going on, that’s fine. Certainly worth noting either way:

bongzilla thank you marijuana

[NEW RELEASE ANNOUNCEMENT] Bongzilla – Thank You… Marijuana

Compilation of all their previous splits & EPs, specially remastered for this release.

Available on CD / 2xLP / Totem Cat Exclusive 2xLP / Tour Edition 2xLP.

Tracklisting:
A1 Lighten Up 3:23
A2 Smoke Like The Wind 5:24
A3 Brownie 3:17
A4 Gungeon 4:21
B1 Hemp For Victory 5:17
B2 Smoke 4:26
B3 Budgun/THC 5:48
B4 Witch Weed 5:32
C1 Satan’s Calling 4:21
C2 Smell The Jar 5:39
C3 Proper Stoning 6:26
C4 Dealer McDope 6:49
D1 Gestation 3:46
D2 Trinity 6:44
D3 Witch Weed 6:37

Preorders will start October 30. Release date is November 15.

Artwork by Flog Diver | Illustration & Design

https://www.facebook.com/Bongzilla/
https://bongzilla.bandcamp.com/
https://www.facebook.com/totemcatrecords/
totemcatrecords.bigcartel.com/
https://totemcatrecords.bandcamp.com/

Bongzilla, “Gestation/Greenthumb” live in Paris, June 21, 2018

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Vanishing Kids Premiere “Reaper”; Heavy Dreamer Due Nov. 30

Posted in audiObelisk, Reviews on October 16th, 2018 by JJ Koczan

vanishing kids

Wisconsin’s Vanishing Kids will release their fifth full-length, Heavy Dreamer, Nov. 30 on Svart Records. It’s been 15 years since vocalist/keyboardist Nikki Drohomyreky and guitarist Jason Hartman made their debut with Rest the Glove that Wears You Down and five since their fourth LP, Spirit Visions, but their history seems to cross genres as much as time, and where their last outing found them dug into post-rock airiness, Heavy Dreamer carries a deep-running gothic heft, with the melodic wisps filling out the mix of “Mockingbird” reminding that indeed it’s the season of October Rust while the 7:57 title-track, second in the playlist behind “Creation” and very much part of an immersion-minded opening salvo with it, pulls elements of new wave into its chorus and transposes them onto the organ-laced doom of the leadoff. Deeply progressive and marked by the patient, standout performance of Drohomyreky on vocals and the low rumble of bass from Jerry Sofran, Heavy Dreamer is nonetheless fluid as it moves through psychedelic pastoralia on “Without a Sun,” creating a wash of tone and melody held together by Hart Allan Miller‘s drumming and the foundation of Hartman‘s guitar. The music is consistently, persistently adventurous, and there’s nowhere it goes to which it does not bring a stately, engaging presence.

The effect of “Creation” and “Heavy Dreamer” at the outset lingers. The latter is particularly memorable for Drohomyreky‘s soulful delivery of the title-line, and together they comprise more than 15 of the record’s total 51 minutes, so it’s not an insubstantial portion. Their placement seems purposeful, as only the nodding-doom-into-holy-crap-where’d-that-solo-come-from “Reaper” on side B hits the seven-minute vanishing kids heavy dreamermark otherwise, but more than runtime it’s a question of atmosphere and setting the mood. And whatever else Heavy Dreamer is — it is many things, and I suspect many different things for different listeners — it is a work of mood. Caked in echo and begun with a flourish of synthesized beats, “Without a Sun” projects a massive but not overwrought vibe, and while side B opener “Eyes of Secrets” isn’t without its shoegazing aspects, the flow between the back and forth swells of volume atop Miller‘s steady beat are nigh on hypnotic, with a finish of harsher guitar noise as though to willfully shock the listener back to consciousness. Following “Reaper,” which encases the aforementioned guitar showcase with a memorable chorus, “Rainbows” eases into a vision of post-rock and psychedelic doom that gracefully brings the styles together in a manner that’s an immediate highlight. A drifting figure on guitar in its second half opens to a blurring of the line between itself and keys — it’s all melody, right? — and once more the vocals provide a human presence in the wash of volume and tone, albeit an otherworldly one.

There’s a late spoken sample in “Rainbows” that’s somewhat obscured by the guitar solo, but the penultimate track ends with poise and gives way to “Magnificent Magenta Blue” as it once more revives the melodic reach of the keys and guitar and the dynamic they share with the earthbound drums pushing them forward. Hartman, who’s also played in Jex Thoth since 2013, doesn’t waste the opportunity to cast out one last stretch of deceptively shredding leadwork, and the vibe of culmination is palpable as he does so, with Sofran and Miller rolling the finale through its procession as the vocals recede and wait to return for a last chorus. Always, the keys remain, and the organ is not only essential to Vanishing Kids‘ overall approach, but it’s the base around which they’re able to shift between styles with such apparent ease while remaining sonically coherent. They’re not the only element doing so at any given time between the vocals, guitar, bass and drums, but the keys do a lot of work in tying the songs together throughout Heavy Dreamer, and ultimately allow the record to live up to its title with an unflinching sense of its own mission, knowing what it wants to be and how to be it. Or them, as it were for material so multifaceted.

I’m happy today to host the premiere of “Reaper” from Heavy Dreamer. You’ll find the track below, followed by more info from the PR wire.

Please enjoy:

Vanishing Kids, “Reaper” official track premiere

Svart Records sets November 30th as the international release date for Vanishing Kids’ highly anticipated fourth album, Heavy Dreamer. The somnambulic doom metal group’s new album will be available on CD, vinyl LP, and digital formats.

Hailing from Wisconsin, Vanishing Kids has been an ever-evolving artistic and musical journey since the early 2000s, with core members and founders Jason Hartman (Jex Thoth) and Nikki Drohomyreky on vocals. As kids of the ’70s and ’80s who grew up on metal, prog rock, krautrock, psych, punk, and goth, they have managed to carve out a niche of their own for themselves.

The band’s newest and most powerful culmination arose when Jason Hartman’s childhood hero – and Midwest metal legend – Jerry Sofran (Lethal Heathen, Mirrored Image) joined in 2013. Shortly thereafter, the hard-hitting Hart Allan Miller (Wartorn, Deathwish, Tenement) joined on drums to complete the lineup.

Being the first full-length outing from Vanishing Kids in over five years, Heavy Dreamer is soaked in captivating shoegazey fuzz vaguely reminiscent of what My Bloody Valentine would sound like had they grown up on a diet of psychedelic doom metal and occult rock.

Tracklisting for Vanishing Kids’ Heavy Dreamer
1. Creation
2. Heavy Dreamer
3. Without A Sun
4. Mockingbird
5. Eyes of Secrets
6. Reaper
7. Rainbows
8. Magnetic Magenta Blue

Vanishing Kids is:
Nikki Drohomyreky- Vocals, Organ, Synths, Percussion
Jason Hartman- Guitar
Jerry Sofran- Bass
Hart Allan Miller- Drums

Vanishing Kids on Thee Facebooks

Svart Records website

Svart Records on Thee Facebooks

Svart Records on Twitter

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Droids Attack Working on New Songs; Tour Announced

Posted in Whathaveyou on September 21st, 2018 by JJ Koczan

droids attack

Two-pronged good news from Wisconsin heavy rockers Droids Attack. After the unveiling earlier this summer of their Rye Lager, the latest brew collaboration with Ale Asylum, the trio have announced intentions to hit the Eastern Seaboard next month and further intentions toward a new album thereafter. Anyone who may have heard 2016’s Sci-Fi or Die (review here) already knows this is a win.

As raucous as they are underappreciated, the sheer heart Droids Attack put into the presentation of Sci-Fi or Die was evident on every level, from the tightness of the songwriting to the crisp production, the gorgeous cover art and the actually-hidden bonus track that was on a secret mini-CD under the plastic tray holding the disc proper. Every step of the way, Droids Attack put everything they had into that record, and I’ll admit I was a little nervous accordingly it might be a final go. I’m glad to discover I was wrong.

It’s been years since I last saw them, and I won’t on this tour — Frederick, MD, is the closest stop and it’s about seven hours by car, so yeah — but if you can make it to watch them hammer out new material before they hit the studio, tell them I say hi and enjoy.

They sent the dates down the PR wire:

droids attack tour poster

Droids Attack are hitting one more string of road dates before entering the studio to begin work on the follow up to 2016’s Sci-Fi or Die. Those who attend can expect to hear some new material mixed in with some familiar favorites such as Brahma Astra, Claw Hammer Suicide, & Die Glocke. Joining them on this stretch is Druids from Des Moines, Iowa, who’s heavy groove inspired hooks make for a perfect pairing.

10/9: Madison, WI – High Noon Saloon
10/10: Chicago, IL – Reggie’s
10/11: Ypsilanti, MI – West Cross Station
10/12: Cleveland, OH – Now That’s Class
10/13: Frederick, MD – Guido’s Speakeasy
10/14: Pittsburgh, PA – Howler’s
10/15: Dayton, OH – Blind Bob’s
10/16: Indianapolis, IN – Black Circle Brewing
10/17: Lexington, KY – Cosmic Charlie’s
10/18: Nashville, TN – Springwater Supper Club
10/19: St. Louis – Fubar

http://www.facebook.com/droidsattack
http://droidsattack.bandcamp.com/album/sci-fi-or-die
http://droidsattack.com/

Droids Attack, “Die Glocke” official video

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Droids Attack Announce New Rye Lager & Beer Parties

Posted in Whathaveyou on June 14th, 2018 by JJ Koczan

droids-attack

If you might be the type who likes to knock back one or more frosty adult beverages on occasion, I can think of fewer bands I’d trust more to oversee a craft beer release than Wisconsin’s Droids Attack. Not only do they benefit from the Midwest’s way-ahead-of-the-curve-on-the-whole-thing craft beer culture (Dogfish Head and Magic Hat, etc., notwithstanding), but I have no trouble believing these dudes know what they like in beer. When they say something like “soft citrus aroma finish,” I honestly think they taste it. No bullshit.

Their rock and roll operates likewise as regards BS, so it seems all the better they’re bringing the two sides together at a series of beer parties supporting both their new Rye Lager release through Ale Asylum and 2016’s righteous long-player, Sci-Fi or Die (review here). The shows are next month, and I do believe they’ll have beers along for the ride (closed container, of course) in addition to what’s on tap, so if you’re in the neighborhood, might want to stop by and pick up a sixer.

Info from the PR wire:

droids attack beer parties flyer

 

We did that one beer awhile ago, and it ended up selling out so fast they decided to do another. When that one sold out they decided to turn it into a series of Droids Attack beers, so we did some more. After we did four successful beers, we picked up brewer that has out of state distribution, so now we can bring our beers into our neighboring states of Minnesota, and Illinois. Because of this, we have set up beer parties in Milwaukee, Chicago, Madison, & Minneapolis.

Come experience the latest flavor in Droids Attack’s Craft Beer series. This time Droids Attack has partnered with Wisconsin craft brewing juggernauts, ALE ASYLUM, to bring you MASHENOMAK: RYE LAGER. A crisp refreshing lager with a peppery rye kick, brewed with a late hop addition to achieve a soft citrus aroma finish.

Mashenomak is the first song in a two part epic on Droids Attack’s 2016 release, SCI-FI OR DIE. Based on a Native American folk tale, Mashenomak is a fish monster that terrorizes the local tribes, and swallows the souls of all living creatures. Manabush is a brave warrior who allows Mashenomak to swallow him in order to slice open his belly and rescue all of the animal spirits. This tale is beautifully captured in the beer label illustration by artist, ELI QUINN.

To celebrate, Droids Attack and Ale Asylum are bringing the party on the road. Special guests will perform with Droids Attack, and Mashenomak: Rye Lager will be available for a limited time on tap at these venues in the following cities:

7/5 – Company Brewing (Milwaukee) w/ Shogun
7/6 – Reggie’s Rock Club (Chicago) w/ Huntsmen, Archarus, & Attalla
7/7 – Bos Meadery (Madison) w/ Shogun
7/14 – Mortimer’s (Minneapolis) w/ High Graves, & Witchden

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http://droidsattack.bandcamp.com/album/sci-fi-or-die
http://droidsattack.com/

Droids Attack, Sci-Fi or Die (2016)

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