THURSDAY
May 11, 2017 | doors at 8:30pm
Sharing is Caring
A. Rippin Production presents:
THE OBSESSED
Karma To Burn | Lo-Pan | Insomniac
  • $18
  • $20
  • ADVANCE
  • DAY OF SHOW
The Obsessed
THE OBSESSED was formed in the late 1970’s in Potomac, Maryland by legendary guitarist Scott “Wino” Wenrich (Saint Vitus/Spirit Caravan). The band spawned in the realm of musicians/artists such as Black Sabbath, Frank Zappa, The Dictators and The Stooges. The earliest lineup consisted of Wino, Mark Laue (Bass), John Reese (Guitars) and Dave Flood (Drums). In 1983, Wino took over vocals duties and the band became a 3-piece to record the Sodden Jackal EP.

The band broke up in the late 80s after Wino moved to California to join Saint Vitus. At that time, a German label, Hellhound Records, and the booking agency that had signed Saint Vitus, released The Obsessed, originally recorded in 1985, prompting Wino to reform THE OBSESSED. After multiple lineup changes the band signed to Columbia Records in 1994 to release their third and final album, The Church Within. Despite highly acclaimed reviews, THE OBSESSED would breakup once again following the release, seeing Wino forming Spirit Caravan (Then Shine) and other projects.

In September 2011, THE OBSESSED returned to the stage at Roadburn Festival with The Church Within legendary lineup (featuring Wino, Greg Rogers and Guy Pinhas). The band played a few more reunion shows over the next couple years at Hellfest Open Air 2012 and Maryland Deathfest XI in May 2013 with Reid Raley (Bass).

Wino announced the full-time return of THE OBSESSED in March 2016 and the band’s official signing to Relapse Records to record the follow up to The Church Within. The new lineup originally consisted of Spirit Caravan bassist Dave Sherman and Wino’s longtime friend and former road crew member Brian Costantino (Drums). On October 31, 2016, Wino announced that The Obsessed will test the waters for the remainder of 2016 by adding Bruce Falkinburg on Bass and Seraphim on Guitar, making this the first time in over 35 years that the Obsessed have been a four piece band.

Now in 2017, THE OBSESSED will unleash Sacred, the band’s first studio album in in over 20 years. With renewed energy and purpose, THE OBSESSED sounds heavier and more relevant than ever before. On Sacred, the band doubles down on enormous, heaving riffs and pummeling low-end across 12 tracks of eternal doom. Rounded out by Wino’s lyrical honesty and iconic throaty vocals, Sacred is an album that further pushes THE OBSESSED into the annals of heavy metal history, well worth the two-plus decade wait. The band will perform once again as three piece featuring Wino, Reid Raley and Brian Costantino.
Karma To Burn

In 1993 ‘KARMA TO BURN’ put instrumental rock music on the map. Hailing from the Appalachian mountains, swigging on hip flasks full of cheap whiskey and 20/20 vodka, ‘KARMA TO BURN’ started their journey with only a backpack full of riffs and a bad at- titude for authority.
After signing to Roadrunner Records in 1997, ‘KARMA TO BURN’ released their first album (self titled). Roadrunner insisted that the album include vocals in order to mar- ket the release to a wider audience. The group ultimately gave in and found a vocalist, but the members knew this was a temporary fix. The music they were writing did not need vocals; it spoke for itself. After the album was released, the vocalist was ditched, leav- ing the band free to pursue their original purely-instrumental vision. This vision paved the way for two seminal and critically acclaimed masterpieces ‘WILD WONDERFUL PURGATORY’ (1999) & ‘ALMOST HEATHEN’ (2001). Each of these records, now regarded as classics, brought the group a steady stream of success and attention. Despite this tremendous musical success, controversy and inner tensions ripped through the heart of the band like a forest fire, and the group imploded in 2002.
In 2009 ‘KARMA TO BURN’ reunited, relocated to Los Angeles, and returned to pur- suing the instrumental vision that they originally created. While in L.A., the band produced two new albums, ‘APPALACHIAN INCANTATION’ (2010) and ‘V’ (2011), both released on Napalm Records.

In addition to writing new material, ‘KARMA TO BURN’ re- released their original self titled debut without vocals, as it was originally intended to be heard.

The two new albums, however, integrated a more experimental approach to their musi- cal style. For the first time ever, cover songs were introduced, solos were written, and vocals even made an appearance for the first time since the debut album. While dem- onstrating that they had matured as musicians, there was a primal craving for a record to match up to the groups earlier releases.
NOW, 20 years on from when ‘KARMA TO BURN’ first formed, they return with a record that demonstrates a true return to form. ‘KARMA TO BURN’ has moved back to the mountains, and ‘ARCH STANTON’ is the gold in those mountains.
This is ‘KARMA TO BURN’, this is 2014, and this is ‘ARCH STANTON’.
‘ARCH STANTON’ will be released by FABA Records/Deepdive Records on August 15th,
Lo-Pan
Lo-Pan’s fourth album, Colossus, is named for the Colossus of Rhodes – a 96-foot statue constructed in 280 BC to mark a failed siege and the indomitable nature of the city of Rhodes itself. No surprise it’s the Columbus, Ohio, four-piece’s most personal album yet and a testament to their growth and survival, as a band and as human beings.

Three years on from their third record, Salvador, Lo-Pan have logged countless miles, crossing the country multiple times over on headlining tours and supporting the likes of Torche, High on Fire, KENmode, Whores, Fu Manchu and Weedeater. They’ve become one of the most ferocious live acts in American heavy rock, and Colossus stands tall to reap the rewards of their experience.

For the first time in nearly a decade together, Lo-Pan knew exactly what they wanted when they hit the studio. They’d road-tested songs like “Eastern Seas” and “Colossus” for over a year, and partnering with producer/engineer Andrew Schneider at his Translator Audio studio in Brooklyn just days after headlining Small Stone showcases in that city and Boston this March, they belted out songs that show just how much they’ve moved beyond their influences and arrived at their own sound – a style built on aggression without caricature, fuzz without cliché, melody without redundancy and their meanest groove to date.

Completed with a cover courtesy of Jason Alexander Byers (ex-Disengage, Black Black Black), Colossus will be supported by numerous tours including a full US stint this fall alongside fellow road dogs Black Cobra and much more to come. Like its namesake, Colossus was built in defiance of gods and men, and while Lo-Pan’s loudest statement has always been made on stage, the material they craft and the power with which they execute it on this album is bound to stand for years to come.
INSOMNIAC
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Thu.5.25.17

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