Friday Full-Length: Monster Magnet, Dopes to Infinity

Posted in Bootleg Theater on August 26th, 2016 by JJ Koczan

Monster Magnet, Dopes to Infinity (1995)

Have you looked to your orb lately? Of all the warning systems ever designed by humanity, orb-based is probably the most crucially overlooked. Nonetheless, Dopes to Infinity, Monster Magnet‘s third album, is 21 years old. In its and the band’s home state of New Jersey, it could drink legally, though something about cuts like “Dopes to Infinity,” “Negasonic Teenage Warhead,” “Third Alternative,” “Blow ’em Off” and “King of Mars” makes me suspect the record wouldn’t have waited until now to imbibe. Even more than two decades later, Dopes to Infinity is still way more the snotty 14-year-old kid in a way-too-big leather jacket in the woods with a bottle of his dad’s Whatever teasing anyone in the vicinity who sips and is surprised at the taste. I was fortunate enough to see the band perform this album live — though the songs weren’t in the same order, as I recall — in Brooklyn in 2012 with Naam and Quest for Fire on the bill, either of whom could easily be considered an acolyte on some level, and nearly five years after that, the resonant impression remains that this was the moment where the band’s early freakout impulses really began to meet with a more straightforward hard rock style that the band would develop to wider commercial success. Don’t get me wrong, their 1991 Spine of God debut should be considered among the finest East Coast psychedelic records ever tracked — we’re talking Velvet Underground-style pedestal-putting, in a perfect world — but even as “All Friends and Kingdom Come” tripped out, it also kept a sense of hook, and in the years to come, it was that impulse which more fully took hold.

What’s fortunate about that is that Monster Magnet — then Dave Wyndorf on vocals, guitar, bass, percussion, theremin, production, etc., Ed Mundell on guitar and bass, Joe Calandra on guitar and bass, and Jon Kleiman on drums and bass — had the songwriting chops to make landmark choruses seem like tossoffs, like something thrown together over the course of an afternoon. And maybe they were, I don’t know. The point is that although Monster Magnet would eventually become a much different band and be a much different band for a long time on 1998’s Powertrip, 2001’s God Says No and 2004’s Monolithic Baby!, Dopes to Infinity catches a crucial transitional moment in action coming off Spine of God and its 1993 follow-up, Superjudge, also essential. Of course, after 2010’s Mastermind (review here), the band — Wyndorf as the last original member still present — made a stylistic pivot back toward a more psychedelic vibe with 2013’s Last Patrol (review here) and would continue to develop their rediscovered weirdo impulses over the course of two revisionist works, 2014’s Milking the Stars (review here) and 2015’s Cobras and Fire (review here), revisiting Last Patrol and Mastermind, respectively. But even as they made that sonic shift, Dopes to Infinity could easily be said to be the model being followed more even than the two records before it, precisely because of that memorable songcraft one hears coming to the fore on “I Control, I Fly” and the brilliant lyrical proclamations of “King of Mars.”

Monster Magnet toured Europe this Spring “celebrating the A&M years” — A&M Records having released their work between 1993-2001 — and that’s fair enough, but as relevant as Dopes to Infinity still is, Monster Magnet keep moving forward even when looking back on older material. I don’t know what they’ll do at this point other than to say it’s a safe bet they won’t be touring the US anytime soon, but one hopes their progression will continue going into their next record. And I hope they keep getting weirder. We’ll see when we get there.

As always, I hope you enjoy.

Total comedown this week from the first-ever The Obelisk All-Dayer (wrap here) at Saint Vitus Bar in Brooklyn last Saturday. A return to real life that found me working at about 30 percent consciousness until, well, I’ll be generous and say Wednesday. Plenty of good music to help me keep my head up, but yeah. The week dragged and was a drag.

One more time, thank you if you came out to the Vitus Bar for making the day so special. The day had its ups and downs, but in the end it was exactly the vibe I was hoping to capture. I hope I remember it for as long as I can remember anything.

As I write this it’s early Friday morning and the sun is just rising. I can still hear nighttime crickets. It’s nearly 6AM now; I’ve been up since about four. I’ve been going to bed early at night and getting up early to write reviews and posts like this on weekdays, and it’s helped me keep sane during the work week and try to balance job things and Obelisk things in a way that might otherwise prevent my head from exploding. Doesn’t do much for my ability to get to shows generally — I’m 34 years old and can’t wait for that midlife crisis to kick in so I can start going out again to non-fest gigs — but I’m doing what I can to write as much as possible. That’s what matters to me.

The Patient Mrs. is going south to Connecticut this weekend. I am not. Aside from the fact that it’s August and that’s not exactly my idea of beach weather — I recognize this does not apply to the rest of humanity — I think a quiet Saturday in the air conditioning will go a long way toward continued recovery from last weekend and this week. Plus there’s laundry to do. It just seemed like the way to go. So yeah, I’ll be around. I’m sure by Saturday night/Sunday morning I’ll be so bored out of my head I won’t know what to do with myself. That’s the hope, anyway.

Next week, look out for a full stream and review of the Swans-related record from Quin Galavis that’s noisy and folky and bizarre in a lot of the right ways, as well as a review/video premiere (a rare one-two combo) of the new Monkey3 album, a review of the new and apparently final The Wounded Kings full-length, and a whole lot more. I’m also hoping to nail down my travel plans to Norway next month for Høstsabbat, and will keep you posted on how that goes.

In the meantime, thank you for reading. Please have a great and safe weekend and please check out the forum and the radio stream.

The Obelisk Forum

The Obelisk Radio

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Monster Magnet European Tour Starts Tonight

Posted in Whathaveyou on January 30th, 2015 by JJ Koczan

Beginning tonight, New Jersey heavy rock stalwarts Monster Magnet hit the road for a return trip to Europe in support of 2014’s Milking the Stars: A Reimagining of Last Patrol (review here), which took tracks from 2013’s Last Patrol (review here) and twisted them in different directions, whether it was mixing out the guitar, adding Hammond B-3, redoing the vocals, pretending it’s 1968, and so on. Monster Magnet‘s last tour in North America — also their first in more than a decade — was late 2013 heralding Last Patrol and wound up being canceled before it was finished owing to illness on the part of frontman Dave Wyndorf. No word on if they’ll tour again in the States, but Athens is the launch point for a month on the road and it’ll be March by the time these guys get home.

The PR wire invites you to let the circus burn:

MONSTER-MAGNET

MONSTER MAGNET – NOW ON TOUR IN EUROPE!

MONSTER MAGNET is Rock ‘n’ Roll at its best, Rock ‘n’ Roll in its strongest propagation, loud & flashy Psychedelic Rock! Right at the raging psychedelic maze: Front man Dave Wyndorf, is a dazzling figure of light and leading figure in personal union.

MONSTER MAGNET are now on tour all over Europe! Germany, Belgium, UK, Sweden, Norway, Denkmark – to name just a few stops! Catch them live on the road & check all upcoming tour dates here:

30.01.2015 GR – Athens / Stage Volume 1
31.01.2015 GR – Thessaloniki / Principal Club Theater
02.02.2015 CH – Lausanne / Les Docks
03.02.2015 DE – Frankfurt / Batschkapp
04.02.2015 DE – München / Backstage
06.02.2015 AT – Vienna / Szene
07.02.2015 CH – Lyss / Kufa
08.02.2015 DE – Oberhausen / Turbinenhalle
10.02.2015 NL – Deventer / Burgerweeshuis
12.02.2015 BE – Antwerp / Trix
13.02.2015 UK – Nottingham / Rock City
14.02.2015 UK – Glasgow / Garage
15.02.2015 UK – London / Electric Ballroom
17.02.2015 DE – Saarbrücken / Garage
18.02.2015 NL – Eindhoven / De Effenaar
20.02.2015 DK – Arhus / Voxhall
21.02.2015 SE – Gothenborg / Sticky Fingers
22.02.2015 NO – Oslo / Parktheatret Scene
23.02.2015 NO – Stavanger / Folken
25.02.2015 DE – Bremen / Schlachthof
26.02.2015 DE – Hannover / Capitol
27.02.2015 DE – Dresden / Reithalle
28.02.2015 NL – Rotterdam / VanNelle Fabriek

For More Info Visit:
www.monstermagnet.net
www.facebook.com/monstermagnet

Monster Magnet, “End of Time (B-3)” from Milking the Stars (2014)

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Monster Magnet, Milking the Stars: Second Launch

Posted in Reviews on November 4th, 2014 by JJ Koczan

monster-magnet-milking-the-stars

For Monster Magnet fans, there are two things to like about Milking the Stars: The concept and the execution. The long-running New Jersey outfit seemed to be making a turn to come full-circle on 2013’s Last Patrol (review here), bringing in a more psychedelic feel for the first time in over a decade, not quite trying to recapture their brilliance in early albums like 1991’s Spine of God, 1993’s Superjudge and 1995’s Dopes to Infinity, but definitely making a departure from the hard rock sound they’d developed since then on 1998’s landmark Powertrip, 2001’s God Says No, , 2004’s Monolithic Baby!, 2007’s 4-Way Diablo, and 2010’s Mastermind (review here), their sound becoming more straightforward and — though the 2010 outing was probably the “biggest” they’ve ever come across on tape — increasingly formulaic. Last Patrol boldly turned that progression on its head, daring to brood on songs like “Paradise” and “I Live behind the Clouds” and jamming out righteous wah-soaked space rock on “Last Patrol” and the driving “End of Time.” Particularly for those who’d been longing for such a step from the band, it was the best Monster Magnet outing in 15 years’ time and one of the highlight releases of 2013. With Milking the Stars (out on Napalm Records), the full title of which is Milking the Stars: A Reimagining of Last Patrol, frontman, founder and principal songwriter Dave Wyndorf pushes himself further into satisfying a weirdo trippy impulse, reworking cuts and including material not included on the original Last Patrol to get something new from them and create a record that, even if you didn’t hear the first one, stands on its own, its John Sumrow cover art dogwhistling its companion status to the album before it.

The reason I say the concept should be pleasing to Monster Magnet fans is because what it shows is that Wyndorf — joined at this point in Monster Magnet by guitarists Phil Caivano and Garrett Sweeney, bassist Chris Kosnik (who makes his recorded debut with the band on a couple live bonus tracks), and drummer Bob Pantella — is not only in a place feeling creative enough to take on the material of Last Patrol and give it a thorough screwing with, which is something that’s never been done before in Monster Magnet‘s 25-year history, but also that he’s making it weirder. Some of Milking the Stars‘ cuts, like “End of Time (B-3)” and “I Live behind the Clouds (Roughed up and Slightly Spaced)” don’t depart as much from their original incarnations — though neither will I downplay how much of a game-changer that Hammond is on “End of Time” — but in “No Paradise for Me” Wyndorf takes the moody original to a more open-sounding place and changes the lyrics to more directly address his disappointment with pop modernity: “I guess I’ll have to make up what I want to see.” And so he does. That’s basically what this album is, but that only makes it a more honest work. Opener “Let the Circus Burn” (also the longest cut at 7:26; immediate points) tweaks, slows down and spaces out the original “Last Patrol,” and “Mindless Ones ’68” pulls back on the heavy rocking original for a more garage-rock interpretation, bright lead guitar forward in the mix, tambourine and organ taking the place of snare stomp and a wailing solo. The title-track, “Milking the Stars” was left off Last Patrol and it’s easy enough to speculate why. At 7:26, it would’ve pushed that album to nearly an hour long, and while it has an effective linear build and might’ve bridged a gap between “End of Time” and “Last Patrol” and some of that record’s shorter, more verse/chorus-minded cuts, it makes a better focus cut than secondary player, even if its title can give the idea that the band are simply “milking” their last album for more material — a notion that no doubt occurred to them in picking the title and was taken on with tongue in cheek.

monster-magnet

And as for the execution, while I’m not prepared to say Milking the Stars is a better or worse album than Last Patrol — the two are best considered in league with each other — several of the songs are markedly improved here from their originals. “Hallelujah (Fuzz and Swamp)” even more calls Larman Clamor to mind in its blown-out revivalism, “Stay Tuned (Even Sadder)” lives righteously up to its parenthetical, and the drum track and extra guitar that appear in closer “The Duke (Full on Drums ‘n’ Wah)” give that song a personality beyond what one could’ve expected from the first incarnation. Not only are these particular cuts well conceived, but the reality of the listen proves just as satisfying as the idea, and Milking the Stars works as a whole front-to-back listen, rather than a collection of one-off reinterpretations, like a remix record or something. It’s not that. “Reimagining” sounds ambitious, but it’s as close to the fact of what’s taking place here as anything I can come up with, and works all the better perhaps in conveying the adventurous spirit behind the motivation in making the album in the first place. Last Patrol was a brazen step, but Milking the Stars makes it seem like just the beginning of a new phase in Monster Magnet‘s ongoing evolution. As someone who’s a fan of the band, and a fan of Last Patrol, it’s all the more exciting to think that Wyndorf and company might approach songwriting with such an anything-can-happen creative sensibility a quarter-century on from the group’s start. It makes the prospects for where they might go next all the more vast, considering if they can take on Last Patrol and remold it into Milking the Stars, there’s really no telling where they might go from here. All the better. What seemed like it might’ve been Monster Magnet‘s final round looks instead to have become the catalyst for a new phase in their career, and my only hope is they keep getting weirder from here on out.

Monster Magnet, “No Paradise for Me”

Monster Magnet on Thee Facebooks

Napalm Records

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Friday Full-Length: Monster Magnet, Spine of God

Posted in Bootleg Theater on September 27th, 2014 by JJ Koczan

Monster Magnet, Spine of God (1991)

Nothing against SPV Records — their reissue of Spine of God and other earlier Monster Magnet albums was fair game as they were out of print and unavailable to a bunch of fans who came aboard during the band’s more commercial hard rock era — but if you want to listen to Spine of God, you really need to go for the original. Caroline Records, in a jewel case, some of the finest heavy psych rock ever crafted. Still ahead of its time. We’re still playing catchup to where Spine of God is at. We’ll get there one of these days, then we’ll all crack our skulls doing airplanes and get our heads just right and so on. Cover me with skin and hair. Fucking a.

Spine of God is more than a great Monster Magnet record — they’ve got a few by now — but an absolute landmark. In New Jersey, the state in which I was born and raised, an entire generation of bands came up in the wake of Monster Magnet‘s branching out, and that scene is still going, moving forward. So are Monster Magnet, albeit with a much different lineup than they had 23 years ago, but to go back and look at the development of Red Bank, NJ, as a center in which heavy rock flourished on the East Coast in bands like GodspeedCoreThe Atomic BitchwaxSolarized, later Halfway to GoneSolace, The Ribeye Bros., and on and on, Monster Magnet are a big branch on that bizarre family tree, and Spine of God, which was their debut — to mix metaphors — was the root for a lot of what came after. Add to all that it’s an absolute masterpiece, and yeah, I’m gonna close out the week with it.

I’ll further admit that while it was ultimately the classicitude of Spine of God which made me break it out on this late night/early morning, a close second in motivation was the band’s upcoming Milking the Stars, the November release of which was announced earlier this month. I’ve been spending a lot of time with that record, which is comprised of reworked tracks from Monster Magnet‘s 2013 opus, Last Patrol (review here), as well as the previously unreleased title-cut and some other odds and ends, and almost as much as I dig what frontman/songwriter/founder Dave Wyndorf did in remaking the songs, I think the adventurous spirit of the album and the willingness to screw with work that by most definitions would be “finished” already emphasizes a lot of what’s made Monster Magnet so great all these years, and bodes ridiculously well for their proper follow-up to Last Patrol, since basically they can go anywhere at this point. I’ll have a review up of Milking the Stars sometime in the next month or so, but it’s on my mind already.

Enjoy Spine of God. It’s one of my favorite records.

Is is really three in the morning? Ah jeez. I rolled in not at all long ago from seeing Uncle Acid and the Deadbeats and Danava in New York. Quite a night. I was going to go to Boston last night, but as I mentioned on Thee Facebooks, it was my 10th wedding anniversary — the only holiday about which I give even the remotest of fucks — and, well, 10 years isn’t nothing. Kind of a big deal. If it was seven years, or some other in-between number, I might be able to get away with that. But 10? Nah. As of Sunday, The Patient Mrs. and I will have been together for a total of 17 years, which is more than half of both of our lives. Wild to think about. How stupid lucky I am.

Next week though I’ll review the Uncle Acid gig, and I’ve also got a new track from Eternal Tapestry going up on Monday. If I’m up to it Sunday, I might put up the first recorded demo from Righteous Bloom, which is the new spinoff band from Beelzefuzz. And of course there’s the podcast. Thanks if you got to check that out. Apparently I’m up to 40 of them. Got a thing for round numbers lately, I suppose.

Obviously there’s a lot more than that to come, but I have no idea what it might be. The Patient Mrs. and I are in Connecticut for the weekend, celebrando, so at least I didn’t have to go all the way back to Massachusetts tonight. Felt good to be back in New York. Even Manhattan on a Friday night, which is nightmare of inflated ego, inflated bank accounts and terrifying hawtness. Good to go a show there, I guess. City still smells like pee. I had some point about being in Connecticut. It’s long gone. God damn this Monster Magnet record is awesome.

Have a great and safe weekend. PLEASE check out the forum and radio stream.

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Monster Magnet to Release Milking the Stars: A Reimagining of Last Patrol on Nov. 18

Posted in Whathaveyou on September 10th, 2014 by JJ Koczan

monster magnet

There really isn’t a word for what Milking the Stars is in relation to Last Patrol. “Reimagining,” which is what they went with in the title, comes about as close as anything I can think of, but really what Monster Magnet are doing here goes beyond simple reinterpretation. It’s not like they’re just playing fast songs slow or heavy songs acoustic or vice versa, they’re tripping way the fuck out and giving a glimpse at just how liberated these cats are after making their “return” to heavy psychedelia. So the version of “The Duke (of Supernature)” on Last Patrol (review here) was kind of sweet and subdued? Well here’s Bob Pantella‘s snare drum to punch you in the face. “Mindless Ones” was a hard rock rager? Well here it is as echoed-out psych pop. Oh, let’s absolutely drench “End of Time” in Hammond! It’s like listening to Dave Wyndorf‘s studio impulsiveness come to life.

The pivotal New Jersey five-piece will release Milking the Stars: A Reimagining of Last Patrol on Nov. 18 through Napalm Records, complete with a new cover (you’ll notice the cosmic Bullgod is facing the opposite direction as on Last Patrol as he destroys whichever planet that was, probably ours) by John Sumrow. The title-track is also brand new, put to tape during the Last Patrol sessions, and other parts have been re-recorded as needed. Also worth noting that the two live bonus tracks are the recorded debut of bassist Chris Kosnik (The Atomic Bitchwax) in the band.

PR wire facts, comment from Wyndorf and audio of “No Paradise for Me” — a reworking of Last Patrol‘s “Paradise” — follow:

MONSTER MAGNET to Release Milking the Stars: A Reimagining of Last Patrol – Artwork, Track Listing and First Song Revealed

Available November 18th on Napalm Records

2013 saw the release of MONSTER MAGNET’s latest album Last Patrol. Now comes Milking the Stars a reimagining of Last Patrol. Met with critical acclaim and supported by a world tour, Last Patrol has become a staple in the MONSTER MAGNET discography.

Today the artwork, track listing and first song from Milking the Stars have been released. Wyndorf’s pick for the first song he wanted fans to be exposed to is “No Paradise For Me”. The song according to Wyndorf is ‘interesting, fucked up and old school sounding’. Listen to “No Paradise For Me” HERE.

Wyndorf on Milking the Stars:

“Milking the Stars is a “re-imagined” version of Last Patrol featuring four new songs and live tracks.

“This was a happy experiment for me. It’s not a re-mix record by the current definition. It’s more like Last Patrol in a “what if?” style alternate reality.

“What if these songs were recorded in 1968?” “What would happen if I turned a pretty song into an angry one?” How would adding creepy organs and Mellotrons affect the emotional vibe of a song?” These are just a few of the questions that roll around in my head when I write and record any album but this time I decided to actually answer them with fully fleshed out, recorded and mixed examples.

“The process actually created new songs. That’s the icing on the cake for me. New sounds, new vocals, different instruments and arrangements make for a weird 1960’s vibe totally apart from Last Patrol which was fun for Phil, Bob, Garrett, mixer Joe Barresi and myself to explore.

“Finally there’s expanded versions of the songs “Last Patrol” and “Three Kingfishers” as recorded live at the AB club in Belgium, 2014. Both those songs were re-arranged for “maximum rock and psych” before we hit the road last year and feature the debut performance of new MAGNET bassist, Chris Kosnik. Personally, I think they beat the original versions.

Rock on!”

Milking the Stars Track Listing:
1. Let the Circus Burn
2. Mindless Ones ‘68
3. No Paradise For Me
4. End of Time (B-3)
5. Milking the Stars
6. Hellelujah (Fuzz And Swamp)
7. I Live Behind The Clouds (Roughed Up And Slightly Spaced)
8. Goliath Returns
9. Stay Tuned (Even Sadder)
10. The Duke (Full On Drums ‘N Wah)
11. Last Patrol (Live)
12. Three Kingfishers (Live)

For More Info Visit:
http://www.zodiaclung.com
https://www.facebook.com/monstermagnet
http://www.napalmrecords.com

Monster Magnet, “No Paradise for Me”

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Buried Treasure: Monster Magnet, Love Monster

Posted in Buried Treasure on May 20th, 2014 by JJ Koczan

I only purchased two CDs at this year’s Roadburn festival. One was Rotor‘s 2, which I was far less than thrilled to discover later that I already owned (it was their first one I wanted), and the other was Love Monster, a 2001 compilation of Dave Wyndorf‘s pre-Monster Magnet demos, recorded in 1988. This one, which I didn’t already own, has been on my radar for a while, and though I was royally, epically broke at the fest, I used some of the Euros left in my wallet from 2013 to pay for the disc, which came out on Wrong Way Records basically as a fan-piece for Monster Magnet heads who maybe by then were missing the band’s more psychedelic side.

Remember, this was 2001, the same year Monster Magnet put out God Says No, right around the height of their commerciality, so in a way a release like this was bound to happen. 3,000 copies were made, and indeed, the seven tracks do capture some of the space-rocking spirit of Monster Magnet‘s earliest work — their landmark debut, Spine of God, would see US release in 1992, following a self-titled EP in 1990 — but there’s more to it than that. The material was recorded on a 4-track by Wyndorf himself, so it’s pretty blown out and raw, but there are shades of pre-industrial new wave on “Atom Age Vampire” and Wyndorf adjusts his attitude-drenched vocals accordingly, and “Brighter than the Sun” coats classic garage riffing in echo like the prototype for a psychedelic punk movement that never really existed. Rawness notwithstanding, a lot of what would prove so pivotal to Monster Magnet‘s sound is there on Love Monster, which if nothing else underscores the clarity of vision at work in the band from its launch.

There are seven tracks on the CD, with the penultimate “Five Years Ahead” a cover of obscure New York psych rockers The Third Bardo‘s 1967 single, and the closer “Snoopy” a 10-minute effects-laden noise-buzz freakout, but really, the appeal of Love Monster when it was new would’ve been the chance to hear where Monster Magnet came from some 13 years earlier. Now, another 13 years after that, the EP still has that appeal, however rough it might sound, and in the clever lyrics of “Poster” and the bright-toned bliss of “War Hippie” one can hear one of psych rock’s most accomplished songwriting processes beginning to take shape. What Monster Magnet would go on to accomplish and the influence they’d wind up having didn’t come solely from the songs on Love Monster, but they were a step on the way to getting there, and for that, I was more than happy to shell out a couple of my remaining Euros for the disc.

Monster Magnet, “Poster”

Monster Magnet on Thee Facebooks

Monster Magnet’s website

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Riotgod’s Driven Rise Due March 18

Posted in Whathaveyou on January 27th, 2014 by JJ Koczan

With drummer Bob Pantella and guitarist Garrett Sweeny having spent much of last year working in Monster Magnet on the album Last Patrol (review here) and subsequent touring, there hasn’t been much word of late out of the Riotgod (or, alternately, RiotGod) camp since the release of their sophomore album, Invisible Empire (review here), in 2012. They did tour in support of that record that year, even going so far as to play the legendary Wacken Open Air festival, but 2013 was comparatively inactive, with their only show being a Halloween appearance at The Stone Pony in their native New Jersey. Things look to be picking up in 2014 for the four-piece, however, as they’re set to issue their third long-player through Metalville Records.

Dubbed Driven Rise (or, alternately, Driven•Rise), the album is set to release on March 18 and will mark the band’s first studio outing without bassist Jim Baglino, who also parted ways with Monster Magnet last year, replacing him with Erik Boe, who came aboard in time for the band’s winter 2012 tour. The foursome’s classic heavy rocking approach is rounded out by the considerable pipes of vocalist Mark Sunshine, and if cuts like “Davos” and “Melisandre” are anything to go by, somebody in the band has been watching Game of Thrones.

The PR wire takes it from here with album art and track details:

RIOTGOD to Release Driven Rise March 18th on Metalville Records

Red Bank, New Jersey’s RIOTGOD (featuring Monster Magnet drummer Bob Pantella) are set to release their third album Driven Rise on March 18th in North America via Metalville Records. Today the artwork and track listing have been revealed.

Driven Rise Track Listing:
1. Driven Rise
2. They Don’t Know
3. Grenade and Pin
4. Sidewinder
5. Prime Moment
6. Positronic
7. Davos
8. Melisandre
9. You’re My Waste of Time
10. Beg For Power

RIOTGOD Lineup:
Bob Pantella – Drums
Garrett Sweeny – Guitar
Erik Boe – Bass
Sunshine – Vocals

For More Info Visit:
http://www.riotgod.com
https://www.facebook.com/riotgod999
http://www.metalville.de

Riotgod, Live at Wacken 2012

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On Wax: Monster Magnet, Last Patrol

Posted in On Wax on November 14th, 2013 by JJ Koczan

Maybe it’s not the deepest critique I’ve ever made, but what’s not to like here? Monster Magnet‘s Last Patrol (review here) is one of 2013’s best albums, so to have it arrive in a limited 2LP package geared specifically toward collectors and the types of fans who’d chase down such an artifact is all the better. Pressed by Napalm Records in what the back of the gatefold refers to in all-caps as “Strictly Limited Edition,” Last Patrol comprises two subtle magenta swirl platters and on vinyl feels even more like the sonic event it is in the band’s catalog.

Prior to its release, Last Patrolwas billed as a psychedelic return to form, and in a couple of the extended jammers — the title-track and “End of Time” — it certainly taps into some of the long-running New Jersey stoner innovators’ early Hawkwind fetishizing, but the prevailing sensibility is more brooding, and there are moments where that psych tendency crashes hard into a heavy reality, whether that arrives in the sarcasm rooted in the lyrics of “Paradise” or the underlying scathe of “Mindless Ones,” which in itself has some measure of swirl but still drives like heavy rocking Monster Magnet at their most unbridled.

The limited version of Last Patrol maintains the atmosphere overall, but the listening experience is far different. Spreading the nine tracks of the album proper and the two bonus cuts, “Strobe Light Beatdown” and “One Dead Moon” over the course of two LPs means that each of the four sides save for side A only has three songs on it. By the time opener “I Live behind the Clouds” and the following “Last Patrol” are done, it’s time to get up and flip the record, and where in a more linear mode of listening, one might just get carried off by the flow of one song into the next, here the process is more interactive. “Three Kingfishers” into “Paradise” into “Hallelujah” is a quick listen.

If there’s a downside, it’s that the changing of LPs takes away from the smoothness of some of the song-to-song transitions, like “Hallelujah” into “Mindless Ones” and “End of Time” into “Stay Tuned,” but the tradeoff is you’re a more conscious audience. Last Patrol in this form doesn’t let you get so swept away by psychedelic hypnosis that  you miss a minute of it, and ultimately this serves the tracks in a different way than either the CD, digital (or presumably) the single LP versions possibly could. The inclusion of bonus material, whether it’s the more upbeat “Strobe Light Beatdown” or the building “One Dead Moon” further distinguishes this version, and for fans who’d take on a package like this one, these are songs well worth hearing.

Casual Monster Magnet fans probably won’t feel the need to dig in on this level, but this doesn’t seem to be geared toward that audience anyway. It’s for the Monster Magnet fan who’s waited a long time for the band to put out something like Last Patrol — more complex in its personality than anything they’ve done in the last decade — and as I count myself among that number, I’m happy to be able to dig into a package that’s a gorgeous and honest as the album itself. To see the John Sumrow art alone in this iteration, I’d feel compelled to frame it if I didn’t want to keep listening so much.

Monster Magnet, Last Patrol (2013)

Monster Magnet’s website

Napalm Records store

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