Feature: King Buffalo Interview… Me…?

Posted in Features on October 5th, 2018 by JJ Koczan

king buffalo

Before we get to anything else, I want to say this: I am really, really, really uncomfortable with this whole idea.

I mean it. I’ve been kicking myself in the ass since it was brought up. King Buffalo are about to putout their second full-length, Longing to Be the Mountain (review here), on Oct. 12, and the record’s just great. 2018 has produced a glut of fascinating, exciting and kickass albums, but especially when it comes to potential lasting appeal, I’ll put King Buffalo up against any of them, including Sleep. Big words, I know, but I’m serious. At this point, I’ve been doing this long enough to know when a release is going to stick.

So it’s kind of a big deal. I didn’t get to do a track premiere for Longing to Be the Mountain or the album stream, which I assume will be on some cooler site with a wider reach next week. Okay. That happens to me all the time, and the truth is, King Buffalo neither owe me anything nor are exactly an unknown quantity around these parts. If you’ve been reading for any length of time, you might recall their early-2018 EP Repeater had a track stream with the review, and I hosted the premiere of their debut LP, Orion, when that came out in 2016. I’ve also covered them in live reviews, their 2016 digital live release Live at Wicked Squid Studios (review here), their 2015 split LP with Lé Betre (review here) and their 2014 demo (review here), and it goes back further than that if I felt like searching out more links. But I think I’ve made the point. In terms of reaching an audience, King Buffalo have “done” The Obelisk. They’re a known quantity, and with a record like Longing to Be the Mountain, which has the potential to catch ears not already familiar with the band, it deserves as much of a chance as possible to do that.

This interview, where drummer Scott Donaldson asks me questions and I answer instead of how it should be, which is the other way around, was not my idea. It wasn’t. Please know that. It was pitched to me and I was hemming and hawing on it until I spoke to my wonderful and brilliant wife, The Patient Mrs., and she told me in her sweet, diplomatic way to get over myself and do it. I did the latter, obviously not the former, and I still feel a little bit like my fragile writerly ego is being placated for the stream I didn’t get to do. I don’t deserve to be interviewed — least of all on this site! Jesus. It feels so self-indulgent. I’ve had a couple rare occasions where I’ve been fortunate enough to have someone want to talk to me about what I do, and that’s always massively appreciated, because absolutely, I’ll run my mouth (or at least my fingers on the keyboard) if you’ll let me. But to have to then post it myself? Oof.

That’s a bummer way to start a piece that’s actually pretty fun, with silly questions and silly answers and whatnot, but all I can do is be honest about where I’m coming from, and even after I did the interview and sent it back, the thought of putting it up on my own, here, has continued to feel weird and self-indulgent. They call me “important.” Cringe.

So I’ll throw The Patient Mrs. under the bus. It was her idea.

Thanks for reading. Here’s the Q&A, which I titled myself:

jj obelisk

Longing to Be Relevant: A Wrong-Sided Conversation with King Buffalo

So in an exciting twist, I (Scott from King Buffalo) have the privilege to interview one of the most important gentleman in the entire stoner, psych, and doom etc. community, Mr. Obelisk himself, JJ Koczan. If you don’t know JJ, then you’ve probably been listening to your Spice Girls cassette on repeat and should stop reading now. For everyone else, on to the interview……..

Besides “The Pecan,” what do you view as your greatest achievement?

The truest answer I can give you is my relationship with my wife. We’ve been together since I was 15 years old. It’ll be 21 years in about a week as I write this, and I’m so incredibly lucky to have her in my life. Through high school and college and into professional life, through grad school — which for her was about a decade-long process — and beyond, she’s this amazing, brilliant, beautiful person and she’s absolutely the core around which the rest of my existence revolves. To see her in a new way this past year as she’s become a mother to The Pecan has been even more astounding, but there was never a doubt in my mind she’d nail it, because that’s what she does. She’s kind and sincere, far more patient with me than I deserve, and she says things like, “I think you should go to Norway,” which is about as much as I could ever ask of a partner in life.

More to the point I think of what you’re asking, probably best of all as relates to The Obelisk is the fact that people tell me words I’ve written have mattered to them. Usually that’s in the form of, “Hey dude I found such and such band on your site thanks!” and I really dig that and feel incredibly fortunate for it, but every now and then someone actually says something about the writing itself and that means a lot to me because such a big part of that project is that the voice it all comes from is my voice. I’m writing like I speak. I interrupt myself all the time. I jump from thought to thought. I have run-on sentences. I think in repetitive lists, etc. When that touches somebody and they feel strongly enough about it to let me know, whether it’s an email or a note on social media or coming up to me at a show, that’s a pretty astounding feeling.

If you could go on tour with one band, during any time period, dead or alive, who would you choose?

I’ll give you two that could’ve actually happened. I had a chance to tour Australia and New Zealand with Kings Destroy and Radio Moscow a couple years ago and I couldn’t do it because I didn’t have the money. It’s someplace I’ve always dreamed of going and the KD guys are good friends and I’ve been on the road with them and Radio Moscow before, so it’s all a familiar group to be with, and I just couldn’t get the cash together for a flight. I’ve never made much money, and I have no savings or anything like that, so it just wasn’t an option. They got to meet the cats from Beastwars and to see Arc of Ascent — I’m a huge fan of Craig Williamson (also of Lamp of the Universe and Datura), so that would’ve been amazing — but it just didn’t happen. My understanding from the guys afterward was it was a pretty rough tour, but I still regret it. A lot. Just to go there, in that context.

A year or two later, there was a chance The Patient Mrs. was going to get a grant to go to Australia and do research — she’s a college professor — and it looked like a lock. I got in touch with the guys from Hotel Wrecking City Traders and they put together like this whole festival thing in Melbourne that I presented because I was going to be there and everything, and again, the trip fell through. I missed that show. It was put on because I was coming and I didn’t make it. Still stings.

When Lo-Pan played Roadburn a few years ago and they had Adrian Zambrano on guitar, there was some talk about me joining them on the road for a week or two in Europe after. I could hardly think of a more righteous opportunity, but again, money. That’s the reason I haven’t been to Desertfest in a half-decade, it’s the reason I missed SonicBlast Moledo in Portugal and Freak Valley in Germany this year, both of which I was invited to — see also: baby — but yeah. I don’t make any money from The Obelisk and it’s times like that where it really hits home.

What’s the worst band name you’ve ever heard?

Any of them that I’ve forgotten. There are a lot of generic stoner-band names out there, but I actually don’t mind that, because it’s part of a whole aesthetic. It’s like fuzz riffs, or kind of slower rolling grooves. It’s part of the thing. There are a couple shitty names out there — I got called a “whinny liberal” (sic) on Instagram once for saying Black Pussy was a shitty name. Since then, I’ve wanted to start a band called Whinny Liberal, but am restrained, as ever, by lack of both talent and time.

Marry, Fuck, Kill – Lemmy, David Bowie, Prince and why?

Fuck Prince. Obviously. Anyone who tells you otherwise is lying. Plus he was like a Seventh Day Adventist or something, so he was probably a total freak in bed. Isn’t that how it always goes with fundamentalists? They don’t celebrate Xmas, but they’ll break out the sex-swing and make a holiday of any occasion?

Marry Bowie. If you’re getting married, you want stability, and Bowie and Iman stood the test of time.

Kill Lemmy. HOWEVER. After you kill him, you take his brain and put it in a cyborg Lemmy so he can live forever and still never quite reach the microphone on stage. Who keeps making those things so tall?

Who’s the most underrated singer / lyricist of all time?

Paul McCartney. He’s also the most overrated.

You’ve been tied to the railroad tracks by Boris Badenov, and there’s a train hurtling towards you. You’re surrounded by your music collection, and you’re able to break loose, but only have time to save 5 albums. What albums do you save?

I would certainly hope to be saved by Moose and Squirrel before the train hits, but if we’re talking my collection, I’d take mostly stuff that was gifts. I’ve got a signed Enslaved CD that was sent to me by Nuclear Blast because they weren’t getting a lot of press in the States at the time. That has sentimental value. I’ve got a bunch of Sabbath and Beatles bootlegs and a couple Type O Negative bootlegs that I bought decades ago that I’d save. I’d save the copy of Saint Vitus’ Lillie: F-65 that Season of Mist used my quote on the front-sticker for, I’d save whatever of the Man’s Ruin Records stuff I could grab, and I’d save the original copy of Alice in Chains’ Dirt I swiped from my older sister when I was like 10. I don’t know if that’s five or 50, but it’s some of the stuff I have that has value to me beyond whatever cash I may have paid for it.

Why do people say “cheese” before being photographed?

Traditionally I think because to say “cheese” stretches out the sides of the mouth and provides a natural smile. It’s not true, though. In my experience — and this may just be my own bitchy resting face — saying cheese draws the sides of the mouth downward, so you’re not smiling for the camera, you’re just looking like you’re having your face pulled. But who the hell smiles for a camera anyway when you can make a weird face or just be metal and scowl. That’s probably my preference.

A monkey is shot into space and comes back to earth with all the knowledge of the cosmos. He will only talk to you, and will allow you to ask one question. What is it?

Why bother? Fuck that selfish monkey. He should probably get a press conference together and start unraveling the mysteries of the universe to everyone instead of one question to my ass. You know what my one question would be? “Why are you such a prick that you’re unwilling to share this vast knowledge you’ve acquired?” Monkey should be too busy in a lab somewhere curing cancer and on the fucking senate floor saving democracy from imperial populism to answer my shitty question in the first place. “Hey monkey, how ‘bout those riffs, huh?”

A lot of websites, blogs, magazines and livejournals have come and gone since The Obelisk’s inception. What drives you to be able to continue on this journey?

Compulsion. I need it so much more than anyone else needs it that it’s laughable. I started The Obelisk after the magazine I worked for went under and I wanted to keep my contacts and I still had a stack of stuff to review and nowhere to put it. So my buddy Slevin put together a WordPress for me and I stumbled through learning how to use it. Since then, it’s consumed such a major portion of my identity that I don’t know what I’d do without it. I’m “JJ from The Obelisk” for so much of my day. At this point, it’s what I schedule my life around. I wake up at two or three in the morning to write before the baby gets up so I can get work in before I have to go be daddy, and if I don’t, I’m out of my mind the entire day. I have a very, very compulsive personality. It makes me a complete asshole in many situations, but it means that when I do something like this, I do it all the way. I’m dedicated to developing a critical aesthetic and all that, and I believe strongly in the music and whatever role I play in talking about it as I do, but the simple truth is I need it. It’s been long enough and it’s a big enough part of my life that I can’t really be who I am without it.

If you could form a supergroup out of any musicians from the past and present, who would you pick?

Nah, you never really know how a supergroup is going to work out, and I feel like if you pick a band with “stars” from other bands, often it’s ego-driven and kind of falls flat. I’ll just take my Shrinebuilder record and the Munchen Sessions from when Los Natas jammed with Stefan Koglek from Colour Haze and be happy with that.

Crunchy or creamy peanut butter?

Fun fact about me: I love peanut butter. You nailed this question. Peanut butter anything — I’m in. It’s the fastest way to my heart. These days I grind my own from dry roasted, unsalted peanuts — because I want to taste peanuts, not salt — and I usually stop the food processor before it’s all the way smoothed out. It’s not “crunchy” like in the Jif or Skippy sense, where there’s like half a nut just mysteriously inserted into otherwise smooth peanut butter, but if I can get it to where it’s got a bit of texture and still get the good oils out from the peanuts and bring out that flavor, I’m happy. I also recently started grinding almond butter as an alternative. Different process, takes longer, but also yields satisfying results.

You’re the smartest man alive, you’ve just built a machine that can travel through time and teleport you to any destination. Where do you go, and why?

I’d travel to a dimension outside of conventional hours and give myself more time to write

Then I’d go back to when I was like 15 and tell myself to go see Kyuss and White Zombie on tour together. And Sleep whenever.

Lastly, if you had to describe how awesome King Buffalo is in one word, what word would you choose?

As regards your new album, “breakthrough” is the single word that most comes to mind, but I think generally the forward step you’ve taken has been to make your sound more your own while also developing your songwriting, upping the level of presentation via production, and generally showcasing the lessons you’ve learned both from Orion and from the touring you’ve done since that record came out. These are some of the things I think can be most admirable from a band going from one LP to a follow-up. I knew you guys were onto something the first time I heard the demo, but Longing to Be the Mountain is a special album. You should be proud of it.

In all seriousness though, thank you so much for all you do JJ. Most outlets overlook upcoming bands. It’s because of your ears and fingers that I’ve been turned on to a lot of great music. I look forward to seeing who you find next. –Scott (The guy that hits stuff in KB)

In all seriousness, Scott, this feels weird and I’m not entirely comfortable talking about myself in this way on this site. It feels like a total ego trip and I’m not into it. But I’m doing it because it’s you, and because it’s King Buffalo and because when I told The Patient Mrs. about it and said I probably wasn’t going to do it, she said I should.

Alright, the baby’s waking up. I gotta go. Thanks for taking the time.

King Buffalo, Longing to be the Mountain (2018)

King Buffalo, “Quickening” official video

King Buffalo BigCartel store

King Buffalo website

King Buffalo on Thee Facebooks

King Buffalo on Twitter

King Buffalo on Instagram

Stickman Records website

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King Buffalo, Longing to be the Mountain: Storm with Eyes

Posted in Reviews on September 27th, 2018 by JJ Koczan

king buffalo longing to be the mountain

From the echoing sounds of birds that begin ‘Morning Song’ to the final drifting guitar lines of ‘Eye of the Storm,’ King Buffalo‘s Longing to be the Mountain is nothing less than a band taking their approach to a new level. The Rochester, New York, trio of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson teased this progression earlier this year with the Repeater EP (review here) and its sprawling title-track, but even that 13-minute opus didn’t quite give away the full reach of the second long-player to come. Now some five years removed from their 2013 demo (review here) and having also released a split with the defunct Lé Betre (review here) in 2015, the three-piece follow-up 2016’s Orion (review here), which was the best debut released that year, by taking a progressive step forward in songwriting and performance.

Longing to be the Mountain benefits from the time King Buffalo spent on tour not only in consideration of these factors, but in its very makeup — it was recorded with All Them Witches guitarist Ben McLeod producing (Grant Husselman engineered, McVay mixed, Bernie Matthews mastered), with whom King Buffalo have toured more than once, and its cover art is by Adrian Dexter, who is also known for his work with Elder, with whom King Buffalo are Euro-labelmates on Stickman Records as well as former tourmates. Even before one hits play and McVay‘s bluesy guitar sleeks its way into “Morning Song,” the value of experience shows itself, and in the graceful patience of the 10-minute opener, with McLeod‘s acoustic and McVay‘s electric layers intertwining, there’s a sense of serenity at the beginning of the six-song/42-minute journey that seems to last much longer in the best way possible, even as Reynolds adds further heft to the melody and Donaldson‘s bouncing hi-hat assures there’s a sense of motion to underscore all the methodical heavy psychedelia surrounding. It is a dynamic the first album more than teased, but which King Buffalo now deliver with earned confidence, and along with the memorable craft they show throughout the shorter, post-opening salvo of “Sun Shivers,” “Cosmonaut” and “Quickening,” and the breadth in the final pair of the title-track and the aforementioned “Eye of the Storm,” both of which also top 10 minutes in length, that chemistry between the three of them helps to make Longing to be the Mountain one of the best albums of 2018.

Each of the three longer-form cuts — that is, “Morning Song,” “Longing to be the Mountain” and “Eye of the Storm” — makes its way to a rousing payoff, but there are distinctions nonetheless in the personalities among them. “Morning Song” makes the turn somewhat drastically, with the guitars and drums dropping out to let Reynolds present the nodding groove on his own before the full band returns to surge forward. The title-track moves from its synth beginnings through a build of proggy noodling into a sort of pre-apex midsection before receding and pushing forth again in its eighth minute, while “Eye of the Storm” begins with immediate motion thanks to Donaldson‘s drumming and maintains that active feel through crunchier riffing in the first half that carries through a heavier jam into a final build and then the payoff that pulls back to let the album quietly make its way out led by the gotta-hear-it bassline. These subtle differences in structure belie the superficiality of Longing to be the Mountain having two modes of working — i.e. longer and shorter songs — and make it plain that the band are engaged not in the execution of one formula or another, but the exploration of varied ideas and modes of expression.

king buffalo (Photo by Mike Turzanski)

McVay‘s emergence as a frontman is notable for the performance he gives on guitar and vocals throughout, conveying emotion and poise alike on “Morning Song” and being no less at home riding the cascading riff of the subsequent “Sun Shivers” or giving a human presence to the psychedelic wash late in “Cosmonaut,” but the truth is Donaldson and Reynolds are no less crucial to the impact of the material, and even McLeod‘s acoustic guitar seems essential in “Cosmonaut” for providing an earthy underpinning to all of McVay‘s ethereal, floating tone. As the psych-via-grunge of that track gives way to “Quickening,” the band showcase a proggier style of composition, with a tense line of guitar and a resultant fluidity that comes across as something of an answer to All Them Witches‘ “Alabaster,” and give an especially hypnotic push en route to the album’s best stretch of lead guitar, singing out with a heightening melodic awareness and adding to the overarching impression of creative growth at hand. It’s quick perhaps in comparison to some of the stretches to come in the title-track and “Eye of the Storm,” but not at all to be discounted for its depth of songwriting. Again, a new level for King Buffalo.

And they back it up with two songs that, together, comprise nearly half the runtime of the album as a whole. “Longing to be the Mountain” makes a hook of the titular lyric, and expands the ideology of “Quickening” with an underlying rumble and spacious synth/keyboard added to not only provide an introduction, but to flesh out the dual-layer post-midpoint solo just ahead of a stop from which the band — McLeod included — pivot to the rhythm that will carry them through the crescendo and out, via fading feedback, to the more active start of “Eye of the Storm.” Its title delivered in the first verse, the closer feels more immediate, but with hints of vocal harmony from McVay and a gradual movement from one part to the next, there’s still an element of the patience of “Morning Song” and “Longing to be the Mountain” at work.

The double-payoff keeps it from being simply an afterthought following the title-track, and perhaps telling, the jam at the end — again, Reynolds‘ bass; yes — sounds more or less like it could keep going rather than wander into its fadeout as it does. I’m not sure I’d say that’s an intentional message saying there’s more to come, but it gets the point across either way that the evolution they’ve undertaken as a unit isn’t necessarily finished, and like Orion before it, Longing to be the Mountain is both a significant achievement on its own and a herald of what may yet be in store from King Buffalo. Whatever the future brings, for the smoothness of its flow between varied songs marked out by choice performances, for its deep-running sound and resonance of tone and emotionalism, and for the obvious heart that’s been poured into every second of its making, Longing to be the Mountain is a search that seems to find that what it’s looking for was there all along. It is a record that feels like home.

King Buffalo, Longing to be the Mountain (2018)

King Buffalo, “Quickening” official video

King Buffalo BigCartel store

King Buffalo website

King Buffalo on Thee Facebooks

King Buffalo on Twitter

King Buffalo on Instagram

Stickman Records website

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King Buffalo Announce Oct./Nov. Touring; Post “Quickening” Video

Posted in Whathaveyou on September 12th, 2018 by JJ Koczan

Well, King Buffalo are currently wrapping up their pre-release tour for the upcoming Longing to be the Mountain, which they’ll release Oct. 12 on their own in the US and through Stickman Records in Europe, so I guess the only thing left to do is announce the dates for the post-release tour. That will start Oct. 27 in Montreal and run through the first couple weeks-plus of November. They haven’t yet announced plans to head to Europe in support of the new record, but I’d expect that to follow not too long behind, maybe early 2019 or so.

And if you want to hear a particular example of the sonic progression between Longing to be the Mountain and its 2016 predecessor, Orion (review here), take a listen to the solo late in “Quickening,” the video for which is posted at the bottom here. The level of melodic engagement from guitarist Sean McVay, not to mention the confidence in his vocals, is an absolute standout on the record. And the record, as well, is an absolute standout among 2018’s releases. I’ll have a review up sometime in the next couple weeks.

Here are the dates from the PR wire:

king buffalo (Photo by Mike Turzanski)

KING BUFFALO: psych-rockers premiere “Quickening” video, announce 2nd leg of North American tour

New King Buffalo track “Quickening” has made its debut today, in the form of an animated video.

The song appears on the Rochester, New York trio’s sophomore album Longing to Be the Mountain, out October 12th (self-released in the US, Stickman Records in Europe.)

Longing to Be the Mountain is a feast of haunting vocals, hypnotic grooves, mounting tension and explosive finalés, earning more than a few comparisons to Pink Floyd. It was produced by All Them Witches guitarist Ben McLeod.

Pre-order the album (vinyl and digital):
http://kingbuffalo.com/

The band is currently on tour in North America and has revealed a second leg of North American tourdates, kicking off October 27th in Montreal:

Sep 12 – Milwaukee, WI @ Cactus Club
Sep 13 – Grand Rapids, MI @ Pyramid Scheme
Sep 15 – Toronto, ON @ Bovine Sex Club

Oct 27 – Montreal, QC @ Montreal Zombie Walk
Nov 1 – Brooklyn, NY @ Saint Vitus
Nov 2 – Philadelphia, PA @ Kung Fu Necktie
Nov 3 – Fawn Grove, PA @ South County Brewing Co.
Nov 4 – Baltimore, MD @ Metro Gallery
Nov 5 – Carrboro, NC @ Cat’s Cradle Back Room
Nov 6 – Atlanta, GA @ The Earl
Nov 7 – New Orleans, LA @ Santos Bar
Nov 8 – Houston, TX @ Rudyard’s
Nov 9 – Austin, TX @ Hotel Vegas
Nov 10 – Fort Worth, TX @ Lola’s Saloon Sixth
Nov 12 – Nashville, TN @ The End
Nov 13 – Indianapolis, IN @ White Rabbit Cabaret
Nov 14 – Louisville, KY @ Jimmy Can’t Dance
Nov 15 – Columbus, OH @ Ace of Cups
Nov 16 – Detroit, MI @ PJ’s Lager House
Nov 17 – Cleveland, OH @ Beachland Tavern

Lineup:
Sean McVay – vocals, guitar, synth
Dan Reynolds – bass, synth
Scott Donaldson – drums

kingbuffalo.com
facebook.com/kingbuffaloband
instagram.com/kingbuffaloband
twitter.com/kingbuffaloband
kingbuffalo.bandcamp.com

King Buffalo, “Quickening” official video

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Live Review: Psycho Las Vegas Sunday, 08.18.18

Posted in Features, Reviews on August 20th, 2018 by JJ Koczan

psycho las vegas 2018

08.19.18 – Let’s call it midnight – Sunday night – Hotel room

Every time I walk down a long hotel hallway I think of John Goodman in Barton Fink toting his rifle and yelling about the life of the mind. “Look upon me!” and so on. That’s a fun association to have.

I had breakfast this morning at the kind-of diner here in the Hard Rock and it was the first meal I’d had in a while not made of a protein bar or granola and cereal. Not much time for that kind of thing, but I wasn’t sleeping and a little extra fortification seemed like the right idea for the final day of Psycho. No regrets.

Another busy day. There’s no letup here. Sets are full, and there are breaks between, but if you’re up for going, you can just keep going the whole day. It’s astounding. I’ve been doing my best to see as much as possible, but even that’s a fraction of the whole.

But, today was also the last day, so a bit of adrenaline to carry through is a fortunate happenstance. Flight’s early tomorrow, but that’s tomorrow’s problem.

Here’s today:

King Buffalo

King Buffalo (Photo by JJ Koczan)

It’s not like I’ve never seen King Buffalo, but I think they might’ve been my most-anticipated band of the weekend. Their upcoming album, Longing to be the Mountain, is a big step forward in their sound, and 2016’s Orion (review here) was already right up there with that year’s best offerings. They opened with the title-track of the new record and then “Repeater” from the 2018 EP of the same name (review here) before digging back to Orion for its own title-track and “Kerosene,” both of which were met with a relative uproar from the knowing Vinyl crowd. At one point early on someone in the audience shouted between songs, “Why are you opening?” and drummer Scott Donaldson answered, “I don’t know!” I don’t really know either, but Donaldson, guitarist/vocalist Sean McVay and bassist Dan Reynolds were a perfect start to the day, with the latter adding a wash of loops and psychedelic noise and transitional drones for between the songs, the build and fluidity of which were immersive in their totality. There was no moment that pulled one out of the atmosphere they set, and when the three of them locked into the heavier end of “Kerosene,” the room became a lake of nodding heads. I will consider myself lucky have seen them here. They made that room their own.

Indian

Indian (Photo by JJ Koczan)

The Chicago four-piece — playing as a five-piece with Primitive Man‘s Ethan Lee McCarthy sitting in on noise and backing vocals — were probably the angriest act I’ve seen all weekend. Or, you know, ever. The assault factor extended not just to the brutality of what they played, the chest-vibrating volume at which they played it or the harsh noise and feedback that infected every single break between riff after punishing riff, but even unto the bright wash of white light under which they played. It was blinding to stare at the stage for any length of time. So it was a challenge on almost every level it could be short of them spraying skunk scent on the crowd or something like that. The rhythms of bassist Ron DeFries and drummer Noah Leger hit through a surge of low end and were punctuated by a kick drum that could almost turn the stomach, and the tortured, disaffected screams from guitarists Dylan O’Toole and Will Lindsay that cut through all that not-just-aggro-but-really-pissed-off morass were just one more level on which Indian‘s bleakness was conveyed. If King Buffalo were easing the crowd into the final day of Psycho Las Vegas 2018, Indian were making sure no one left without a scar. Menacing.

Coven

Coven (Photo by JJ Koczan)

Legends, of course. What’re gonna do, not watch Coven? Of course not. Frontwoman Jinx Dawson arrived on stage in a draped coffin and was let out by robed minions, wearing a silver mask for the first song to obscure her face and underscore the theatrical cult rock vibe. Their 1969 debut, Witchcraft Destroys Minds and Reaps Souls is the stuff of cultish blueprint — the style simply wouldn’t exist in the same way without it — and Dawson and her also-robed backing band honored that legacy well. I’ve wondered as Coven have gotten back to the live performance sphere if they might ever do another record. I don’t know that they would or wouldn’t, or if they did what it would sound like — the band behind Dawson definitely brought a modern edge to those classic sounds — but it seems like a worthy pursuit. As it was, the crowd headbanged and took phone pictures at the same time and were no less into the revelry than Coven itself, which brought the atmosphere of ceremony in a way that reminded of the roots not just of cult rock, but black metal and doom and so much more besides. They’re a feelgood story for a band finally getting their due appreciation, or at least Dawson getting hers, but Coven on stage demonstrate the timeless vitality of what they did nearly 50 years go.

Black Mare

Black Mare (Photo by JJ Koczan)

I had no idea what to expect from Black Mare, and I was still surprised. Was it just going to be Sera Timms singing over drones, or her and a drummer, or anything. I don’t even know. It was a full band. Timms, who’s probably best known at this point as the ethereal frontwoman of Ides of Gemini but who was also in Black Math Horseman and shared vocal duties with John Garcia in Zun — which I’m still hoping wasn’t a one-off — was joined by her Ides bandmate J. Bennett on bass, as well as a guitarist and drummer, and with a swell of volume behind her, she came out an held the entire Vinyl room rapt. There were moments between songs of actual silence. No talking, no nothing. People were just waiting to see what happened next. With a cloak and face mask that were both gradually discarded, Timms brought her otherworldly vocal approach to a kind of dark-psych lounge feel, almost like she was about to book a show at the bar in Twin Peaks. Atmosphere and tones alike were thick as this version of Black Mare called back to the project’s 2013 debut, Field of the Host (review here) to open with “Blind One” before “Low Crimes” from the split with Lycia (review here) and “Death by Desire” from last year’s  Death Magick Mother (review here) seemed to move further and further into an alluring murk of melodies and ambience.

Enslaved

Enslaved (Photo by JJ Koczan)

Well, Enslaved played “Ruun,” so really anything else that happened, basically ever, takes a back seat to that. It would be impossible for the Norwegian progressive black metal powerhouse to capture the entirety of their 14-album catalog and their 27-year career, and to their credit, they didn’t try. With “Isøders Dronning” and “Yggdrasil” from 1993’s Frost included for longtime fans or those who’ve dug in deep, they were free to explore some more recent material — opening with “Roots of the Mountain” from 2012’s Riitiir (review here) before “Ruun” and including “Sacred Horse” from 2017’s E (review here) in a showing of just how proggy they’ve become. This was my first time seeing Enslaved with keyboardist/vocalist Håkon Vinje — about whose relative youth bassist/vocalist Grutle Kjellson joked twice on stage — and he absolutely nailed new material and old. Wasn’t even a question. With him, Kjellson, guitarist/vocalist Ivar Bjørnson and guitarist Arve “Ice Dale” Isdal, who I don’t think even owns a shirt at all, was new drummer Iver Sandøy. I didn’t know Cato Bekkevold wasn’t with the band anymore after 15 years, but Sandøy made his presence felt on vocals as well and like Vinje, was right at home in the songs. I’ve never seen Enslaved that they didn’t totally deliver, and I’m happy to report that streak is still alive.

The Hellacopters

The Hellacopters (Photo by JJ Koczan)

There are some serious fans of The Hellacopters walking around Psycho Las Vegas this year. Decked-out rockers, heavy-garage types, fucking classic drinkers, trouble through and through. Don’t fuck with those people. They’re the drunkard’s drunkards. Turbojugend jackets have abounded all weekend and it would seem to be The Hellacopters that brought them out. Fair enough. The Swedish rockers made The Joint get down like no one I’ve seen this weekend, and it was superlative. Superlative rock, as a genre. Lot of punk in there, lot of garage as well, but all of it was distilled down to the essence of rock and roll, and as guitarist/vocalist Nicke Andersson came out to soundcheck with the rest of the band, it was clear the room had been waiting for The Hellacopters to arrive. Andersson, keyboardist Anders “Boba” Lindström, guitarist/vocalist Andreas “Dregen” Svensson, bassist Sami Yaffa and drummer Robert Eriksson handed that same room its ass in short order. Good times, absolute forget-about-tomorrow-let’s-kill-it-tonight mentality, all-in, all-go, all-fire. Just right on. I’ve dug Hellacopters records and such as much as the next who’s like, “Yeah, that’s pretty cool, right on,” but seeing it live it’s much, much easier to understand why they have the cult following they do. It’s well earned.

Dreadnought

Dreadnought (Photo by JJ Koczan)

For everyone who could pull themselves away from The Hellacopters or for those to whom the straight-up rock wasn’t maddening enough, Denver’s Dreadnought offered an alternative in Vinyl. I’ve seen some impressive shit this weekend. It’s been a good fest, okay? Then I saw Dreadnought drummer Jordan Clancy one-hand cymbals while using his other hand to press the notes on the saxophone he was also playing at the same time. Dreadnought‘s 2017 album, A Wake in Sacred Waves (review here), was lush in its layers and as creative in its arrangements as it could be scathing in its blackened extremity, but I don’t think I’ve ever watched somebody drum and play sax at the same time. That’s a Psycho Las Vegas 2018 first for me. Guitarist/vocalist Kelly Schilling was playing a flute at the time as well, so he was in good company, and bassist Kevin Handlon and keyboardist/vocalist Lauren Vieira stood ready at a moment’s notice to take off into the next movement, be it Vieira and Schilling on a quick melodic duet, or strobe-accompanied blasting black metal, heads banging and screams utterly vicious. I didn’t stay the whole set, I’ll confess, but I was glad to catch what I did, and it only reinforced my opinion that they’re a band whose scope and execution are likewise admirable.

Sunn O)))

SunnO))) (Photo by JJ Koczan)

As it happened, I had a couple minutes to spare. As it also happened, drone/amp/riff-worship magnates Sunn O))) were going on in The Joint. Playing as just the duo of Stephen O’Malley and Greg Anderson, they were decked out in full grimmrobe regalia and surrounded of course by a henge of speaker cabinets. The floor shook, it was so loud. I hadn’t seen Sunn O))) in a very long time, and even longer with just the two of them — maybe never — so while the timing worked out for me to catch them because Vinyl was running late, it was a fortunate bit of happenstance working in my favor. There’s been so much said about the poetry of what Sunn O))) do that I’m in no way about to add any insight to the canon, but as far out as they’ve gone over the years and their intermittent studio albums, incorporating vocalist Attila Csihar and various other players throughout their time, seeing just Anderson and O’Malley together on stage, bathed in fog as ever (though the ventilation system was almost too good and the fog kept swirling away, needing immediate replenishment), reaffirmed the raw power that’s always been at the root of the band. Their project has outgrown being just the two of them, and I don’t think I’d trade the Sunn O))) discography for a hypothetical, but the force of rumble emanating from the stage said everything that needed saying.

Eight Bells

Eight Bells (Photo by JJ Koczan)

What a way to cap the festival. One more show in Vinyl, one more band I probably wouldn’t get to see otherwise. I was dragging to be perfectly honest, and as noted, Vinyl was running late, but screw it, I was already in, and Eight Bells were going to be worth the wait. The Portland-based space-psych-post-whatever four-piece vary in volume, meter, melody and rhythm, but are persistently spacious, and especially digging 2016’s Landless (review here), I was doubly interested to see Eight Bells since guitarist/vocalist Meylinda Jackson had a completely new lineup with her. Comprised now of Jackson, keyboardist/vocalist Melynda Amann, bassist Alyssa Maucere and drummer Brian Burke, the experimentalist side came out before the set even started in earnest, with Jackson taking some kind of voice box and running it through what seemed to be a host of effects to create a foundation of atmosphere. Drift was a factor, but Eight Bells were never actually out of control, and even for being a new group working together, what they played seemed well-honed and there was none of that awkward everybody-in-their-own-sonic-space-on-stage thing you get when a band is recently formed or revamped. I don’t have anything to compare it to in terms of Eight Bells, never having seen them before, but they held together a ranging heavy psychedelia that seems to be individualized no matter who’s playing it at the time.

I fly out of Las Vegas in about eight hours. It’ll be brutal, but I’m pretty sure I’ll make it, and if not, well, there’s always ‘wandering the earth’ to try. I hear good things.

Tomorrow’s pretty much all travel, so unless I have space on the plane to open my laptop — which I sincerely doubt I will — I expect it’ll be Tuesday before I get a proper thanks-everybody post up to wrap up this coverage, so with pictures still to sort through and packing to be done, I’ll just bow out and say thanks for reading and more pics after the jump.

So… thanks for reading and there are more pics after the jump. Ha:

Read more »

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King Buffalo Announce New Album Longing to be the Mountain out Oct. 12; Touring This Month; New Song Streaming

Posted in Whathaveyou on August 2nd, 2018 by JJ Koczan

king buffalo (Photo by Mike Turzanski)

Rochester’s King Buffalo have spent a good portion of the last couple years on the road and they’re back with a sprawling new collection they’ve dubbed Longing to be the Mountain that showcases the willful growth they’ve undertaken. Really. You know I loved Orion (review here). Still do, in fact. Longing to be the Mountain, in its performance and in the writing of the material itself is absolutely on a different plane of achievement. It’s a top-ten kind of album, and it distinguishes King Buffalo‘s mode of expression as having become all the more their own. I’m dead serious. It’ll be the kind of review that I’ll end with “recommended,” and you know I don’t break that one out often.

They’re streaming a new single now to give a taste, and you can check it out at the bottom of this post. Longing to be the Mountain was produced by Ben McLeod of All Them Witches and features cover art by Adrian Dexter, also known for his work with Elder. The appearance of neither is a coincidence, since King Buffalo have toured extensively with both groups.

And speaking of touring, they’re on the road this month to Psycho Las Vegas, as the PR wire informs:

king buffalo longing to be the mountain

KING BUFFALO announces sophomore album “Longing to Be the Mountain”; first single streaming; North American touring begins this month

King Buffalo announces the October 12th release of its second full-length album, Longing to Be the Mountain.

From Rochester, New York, King Buffalo is the trio of vocalist/guitarist Sean McVay, bassist Dan Reynolds, and drummer Scott Donaldson. Since forming in 2013, the self-proclaimed “heavy blues” band has made its name via debut album Orion, follow-up EP Repeater, and tours with the likes of The Sword and All Them Witches.

Sophomore album Longing to Be the Mountain is an enthralling piece of work that sees King Buffalo fulfill its promise. In six songs, clocking in at 42 minutes, the band cements the style initiated on previous releases. Sure to delight fans of psych, stoner, and krautrock, Longing to Be the Mountain is timeless rock music, greater than any one genre.

Donaldson’s clean, sturdy drumming and Reynolds’ hypnotic basslines lock into grooves that propel the songs, traveling from cool, spacious zones into all-out explosive finalés. Frontman McVay mesmerizes with a haunting vocal style that commands full attention despite its sedated tone – early Pink Floyd is a reference point. Within each song, he showcases a palette of vivid guitar playing, from jangly rhythms to ripping solos.

Some songs make their point in 4 minutes or less, others sprawl out above the 10-minute mark. In either case, there is no fat to trim. King Buffalo moves with purpose. Reynolds names British Invasion bands like The Animals as an influence on him during the making of Longing to Be the Mountain, noting how he came to respect simplicity – “just playing the right notes in the right places.” With the three members in sync, songs progress steadily and fluidly, from world-weary lulls into squalls of transcendence.

King Buffalo’s music and lyrics are in harmony, both painting pictures of traveling, questing, evolving. Of the lyrics, McVay says, “The album is about searching for meaning. It’s a story about finding one’s place in an increasingly turbulent and chaotic world.” We, the listeners, are lucky to witness King Buffalo’s journey as they cruise onward and upward, leaving behind an amazing soundtrack as they go.

Longing to Be the Mountain was produced by All Them Witches guitarist Ben McLeod. It was recorded at Main Street Armory in Rochester by Grant Husselman, mixed by Sean McVay, and mastered by Bernie Matthews. Acoustic guitar throughout the album was played by McLeod. The artwork was created by Adrian Dexter. The album will be released on vinyl and CD, and digitally.

King Buffalo embarks on a North American tour in August, including a stop at Psycho Las Vegas and numerous Canadian dates. More touring will follow in the fall.

King Buffalo on tour:
Aug 15 – Chicago, IL @ Reggies
Aug 16 – Kansas City, MO @ Riot Room
Aug 17 – Denver, CO @ Globe Hall
Aug 18 – Grand Junction, CO @ Mesa Theater
Aug 19 – Las Vegas, NV @ Psycho Las Vegas
Aug 21 – Phoenix, AZ @ Rebel Lounge
Aug 22 – Los Angeles, CA @ Five Star Bar
Aug 24 – San Francisco, CA @ Thee Parkside
Aug 25 – Sacramento, CA @ Holy Diver
Aug 27 – Salt Lake City, UT @ Loading Dock
Aug 28 – Boise, ID @ The Shredder
Aug 29 – Spokane, WA @ The Pin
Aug 30 – Portland, OR @ High Water Mark
Aug 31 – Seattle, WA @ Highline
Sep 1 – Vancouver, BC @ Astoria
Sep 2 – Kamloops, BC @ Grind House Cafe
Sep 4 – Calgary, AB @ Palomino Smokehouse
Sep 5 – Edmonton, AB @ Bohemia
Sep 6 – Saskatoon, SK @ Capitol Music Club
Sep 7 – Regina, SK @ Cloud 9
Sep 8 – Winnipeg, MB @ The Handsome Daughter
Sep 9 – Fargo, ND @ Aquarium
Sep 11 – Minneapolis, MN @ 7th Street Entry
Sep 12 – Milwaukee, WI @ Cactus Club
Sep 13 – Grand Rapids, MI @ Pyramid Scheme
Sep 15 – Toronto, ON @ Bovine Sex Club

Tracklist:
1) Morning Song
2) Sun Shivers
3) Cosmonaut
4) Quickening
5) Longing to Be the Mountain
6) Eye of the Storm

Lineup:
Sean McVay – vocals, guitar, synth
Dan Reynolds – bass, synth
Scott Donaldson – drums

Discography:
Longing to Be the Mountain (self-released, 2018)
Repeater EP (Stickman Records, 2018)
Orion (self-released, 2016)
Electric Ladyland Redux compilation (Magnetic Eye Records, 2015)
Split w/ Le Betre (STB Records, 2015)
Demo (2013)

kingbuffalo.com
facebook.com/kingbuffaloband
instagram.com/kingbuffaloband
twitter.com/kingbuffaloband
kingbuffalo.bandcamp.com

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audiObelisk Transmission 065

Posted in Podcasts on February 26th, 2018 by JJ Koczan

aOT65

I recognize that saying so is the cliché equivalent to writing a song with the same bassline as ‘N.I.B.,’ but if this was December and not February and the year was about to end in a couple weeks’ time, would you really be able to complain about any lack of fantastic releases? It’s been two months and before the next one is out we will have seen and heard new offerings from Corrosion of Conformity, Monster Magnet, Earthless, Fu Manchu and literally hundreds of others. It’s been as awesome as it’s been impossible to keep up with.

This new podcast follows the same model as the last one, vis-a-vis using Spotify as the medium of conveyance. You can see the playlist in the player below, and you may accordingly wonder why I’ve bothered to type it out underneath as well. It’s because streaming sites disappear even quicker than they rise to dominance, and I’m not saying The Obelisk is going to outlast Spotify or anything, but just in case, I like to keep my own records. I appreciate the indulgence on your part.

Awesome mix this time around. No real theme other than it’s new stuff I’ve been listening to a lot and digging. I very much hope you enjoy it as well. 21 tracks. About two and a half hours long.

Thanks for listening and reading:

Track details:

Artist, Track, Album, Runtime
Earthless, “Black Heaven” from Black Heaven, 8:45
Sundrifter, “Targeted” from Visitations, 4:45
Psilocibina, “Acid Jam” from LSD / Acid Jam, 7:08
Blackwater Holylight, “Sunrise” from Blackwater Holylight, 4:51
Fu Manchu, “Clone of the Universe” from Clone of the Universe, 2:57
Green Lung, “Free the Witch” from Free the Witch, 5:55
Monster Magnet, “Mindfucker” from Mindfucker, 4:59
All Souls, “Never Know” from All Souls, 5:59
Red Lama, “Perfect Strangers” from Motions, 6:47
Blackwülf, “Sinister Sides” from Sinister Sides, 4:53
Fuzz Lord, “Worlds Collide” from Fuzz Lord, 6:58
Corrosion of Conformity, “Forgive Me” from No Cross No Crown, 4:06
Apostle of Solitude, “Ruination Be Thy Name” from From Gold to Ash, 6:37
Avon, “Space Native” from Dave’s Dungeon, 4:42
Psychic Lemon, “Exit to the Death Lane” from Frequency Rhythm Distortion Delay, 8:32
The Dry Mouths, “Catalonian Cream” from When the Water Smells of Sweat, 4:34
Insect Ark, “Windless” from Marrow Hymns, 8:38
Naxatras, “You Won’t Be Left Alone” from III, 11:17
Mythic Sunship, “Into Oblivion” from Upheaval, 13:56
King Buffalo, “Repeater” from Repeater, 13:40
Hound the Wolves, “Masquerade” from Camera Obscura, 13:10

If you’re interested, you can follow me on Spotify here.

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Psycho Las Vegas 2018 Reveals Lineup; Dimmu Borgir, Hellacopters, Godflesh, Witchcraft and More to Play

Posted in Whathaveyou on February 23rd, 2018 by JJ Koczan

Psycho Las Vegas 2018 logo

It’s only taken a few years for Psycho Las Vegas to establish itself as the premier underground festival in the US. All well and good. With 2018’s lineup, though, it’s time to start thinking of Psycho among the best in the world.

Sounds like too much? Consider Godflesh and Dimmu Borgir sharing a stage, both for exclusive West Coast appearances. Think of Sweden’s Witchcraft playing one of the two shows they’ll do in the US at Psycho, and ditto that for Japanese riff-madmen Church of Misery. Think of US exclusives from Lee Dorrian’s With the Dead, or Lucifer, whose Johanna Sadonis will also DJ the Center Bar. The commitment to up and coming underground acts local, domestic and foreign like Temple of Void, King Buffalo, Dreadnought, The Munsens and DVNE. Picture yourself watching Wolves in the Throne Room headline a pre-fest pool party with Elder, Young and in the Way, Dengue Fever, Fireball Ministry and Toke.

2018 is the year Psycho Las Vegas outclasses even itself and pushes further than it ever has in terms of stylistic reach (Integrity walks by and waves… at Boris) and the sheer power of its construction. If you’re looking for the future, you’ll find it in scumbag paradise.

Here’s the lineup:

Psycho Las Vegas 2018 poster

Psycho Las Vegas 2018

Hard Rock Hotel and Casino Las Vegas
4455 Paradise Rd, Las Vegas, Nevada 89169

Tickets: https://www.vivapsycho.com/pages/tickets

PSYCHO LAS VEGAS 2018 lineup:
DIMMU BORGIR (west of chicago exclusive)
HELLACOPTERS (one of two shows to be played in the USA in 2018)
SUNN 0)))
GODFLESH (west of chicago exclusive)
WITCHCRAFT (one of two shows to be played in the USA in 2018)
ENSLAVED
AMERICAN NIGHTMARE
HIGH ON FIRE
ROCKET FROM THE CRYPT
RED FANG
ZAKK SABBATH
CHURCH OF MISERY (usa exclusive 2018 with exception to one other show in San Diego)
TINARIWEN
GOBLIN
CKY
VENOM INC
EYEHATEGOD
VOIVOD
BORIS
COVEN
INTEGRITY
PALLBEARER
WITH THE DEAD (USA exclusive 2018)
MONOLORD
LUCIFER (USA exclusive 2018)
ACID WITCH
SURVIVE
DOPETHRONE
BIG BUSINESS
UNEARTHLY TRANCE
MUTOID MAN
TODAY IS THE DAY
HELMS ALEE
SPIRIT ADRIFT
BATUSHKA
PRIMITIVE MAN
DVNE
ALL PIGS MUST DIE
EIGHT BELLS
WORMWITCH
INDIAN
NECROT
HOMEWRECKER
BRAIN TENTACLES
CLOAK
BLACK MARE
MAGIC SWORD
UADA
TEMPLE OF VOID
DREADNOUGHT
WOLVHAMMER
ASEETHE
DISASTROID
FORMING THE VOID
VENOMOUS MAXIMUS
GHASTLY SOUND
HOWLING GIANT
KING BUFFALO
NIGHT HORSE
THE MUNSENS
GLAARE

Paradise Pool Pre Party
August 16th

WOLVES IN THE THRONE ROOM
ELDER
YOUNG AND IN THE WAY
DENGUE FEVER
FIREBALL MINISTRY
TOKE

Center Bar DJ’s
Andrew W.K.
Nicke Andersson (Entombed/Hellacopters)
Johanna Sadonis (Lucifer)

https://www.facebook.com/psychoLasVegas/
https://www.facebook.com/events/125340824913552/
http://vivapsycho.com

High on Fire, Live at Psycho Las Vegas 2016

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King Buffalo Announce West Coast Tour with The Sword

Posted in Whathaveyou on January 26th, 2018 by JJ Koczan

Rochester trio King Buffalo recently sold through the test pressings of their latest EP, Repeater (review here), at their BigCartel store — I mean, they were there and then they were gone, just like that — and I assumed it was because the psych rockers were looking to get together funds ahead of an impending return trip to Europe to once again tour alongside Massachusetts heavy prog forerunners Elder on a stint that includes stops at Desertfest Berlin and Desertfest London, but it seems that was only part of the story.

Newly announced today is the fact that King Buffalo will hit the road on the West Coast to tour with Austin, Texas, riff veterans The Sword. Not to take anything away from the stints King Buffalo have done in the US with All Them Witches or anyone else, but I think this qualifies for sure as the highest-profile US touring they’ve done to-date, and of course one wishes them all the best as they continue to turn heads everywhere they go. Dudes are killing it.

Dig the specifics:

King Buffalo on their upcoming tours:

KB from the outset was always determined be a touring band. In the four years since our creation we’ve never been to the west coast. Something for whatever reason always seemed to elude us. We’re excited to be making our maiden voyage with some absolute legends in The Sword.

King Buffalo w/ The Sword west coast tour:
3/21 Austin, TX – Mohawk
3/23 El Paso, TX – Tricky Falls
3/24 Phoenix, AZ – Rebel Lounge
3/25 Los Angeles, CA – El Rey
3/26 San Francisco, CA – Fillmore
3/27 Sacramento, CA – Ace of Spades
3/29 Seattle, WA – Neumos
3/30 Spokane, WA – The Pin
3/31 Boise, ID – Neurolux
4/2 Salt Lake City, UT – Metro Music Hall
4/3 Grand Junction, CO – The Mesa Theater
4/4 Denver, CO – Gothic Theatre (Englewood)
4/6 Lincoln, NE – Bourbon Theatre
4/7 Minneapolis, MN – Skyway Theatre
4/8 Milwaukee, WI – The Rave II
4/9 Louisville, KY – Mercury Ballroom
4/10 Memphis, TN – 1884 Lounge
4/11 Baton Rouge, LA – Varsity Theatre

King Buffalo w/ Elder European tour:
24.04.2018 DK – Copenhagen, VEGA
25.04.2018 SWE – Stockholm, Undergången
26.04.2018 NOR – Oslo, Parkteatret
27.04.2018 NOR – Bergen, Landmark Bergen
28.04.2018 NOR – Stavanger, Folken
30.04.2018 SWE – Gothenburg, Sticky Fingers // Göteborg
01.05.2018 GER – Hamburg, Hafenklang
03.05.2018 PL – Kracow, TBA
04.05.2018 PL – Warsaw, Klub Hydrozagadka
05.05.2018 DE – Berlin, Desertfest Berlin
06.05.2018 UK – London, Desertfest London
07.05.2018 B – Brussels, Ancienne Belgique – AB
08.05.2018 NL – Haarlem, Patronaat Haarlem
09.05.2018 CH – Winterthur, Gaswerk
10.05.2018 F – Gueret, Festival Metal Culture(s) VIII
12.05.2018 ES – Madrid, Kristonfest
18.05.2018 IS – Reykjavik, Gaukurinn

http://kingbuffalo.bigcartel.com
https://www.facebook.com/kingbuffalolives/
http://www.twitter.com/_kingbuffalo
http://www.instagram.com/_kingbuffalo
http://kingbuffalo.com/
https://www.stickman-records.com/
https://www.facebook.com/Stickman-Records-1522369868033940/

King Buffalo, Repeater (2018)

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