Review & Track Premiere: King Buffalo, Repeater EP

Posted in audiObelisk, Reviews on January 2nd, 2018 by JJ Koczan

King Buffalo Repeater

[Click play above to stream ‘Centurion’ by King Buffalo. Their Repeater EP can be preordered as a 12-inch vinyl as of Jan. 5.]

The question of how Rochester, New York, heavy psych upstart trio King Buffalo will follow-up their debut full-length, Orion (review here), is answered in the form of the three-track Repeater EP. In the year-plus since the album’s first, (self-)release in 2016, the three-piece of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson signed to Stickman Records and oversaw an official issue of the record and have toured Stateside with All Them Witches and in Europe alongside labelmates Elder, and the EP brings three new cuts that represent the first new music they’ve produced following this productive time.

It is 24 minutes of material, and more than 13 of that resides within the opening title-track (also the longest of the set; immediate points), but in terms of flow and conveying a sense of how their progression is unfolding, Repeater feels like the first chapter in a larger story more than a standalone offering. That is to say, the vibe is more mini-album than single-song showcase for throwaways or “extras” from a recording session.

Part of that may of course owe to the fluidity in King Buffalo‘s approach overall, which was certainly a factor on Orion and just as certainly hasn’t at all been diminished by the stretches of time they’ve spent on the road, but there’s a perceptible resounding in the molten aspects of “Repeater,” “Too Little too Late” and “Centurion” that underlines the purposefulness with which King Buffalo engage such an open feel in what they do. Jamming is a crucial part of it at their foundation, but as far out as they go, their chemistry is put to use in servicing a song, even in something as vast as “Repeater” itself, which is their longest single track to-date.

Nearest competition in that regard is “Providence Eye,” which appeared both on their first demo in 2013 (review here) and on the subsequent 2015 STB Records-issued split with now-defunct Swedish troupe Lé Betre (review here) and in its longer incarnation topped 11 minutes, so the intrigue around “Repeater” is immediate. The song sounds like it was born on the road, and the lyrics, about repetition, about monotony, with a kind of hurry-up-and-wait undertone of theme, could easily be about touring life (I don’t have a lyric sheet to confirm that), but more importantly, its graceful, patient unfolding around an initial drone and subdued build of drums and guitar leads to a progression that feels as though on any given night, at any given show, it might sound just a little different.

Some nuance might change. Some flourish of guitar might be added, or the drums might tick in a different direction, or Reynolds‘ bass — which make no mistake is the root holding King Buffalo‘s songs together — might add a complementary run to the open-strummed echo of McVay‘s effects. The first verse ends with the line repeated, “Every day is the same” and a move into psychedelic drift around a gorgeous guitar tone worthy of comparison to Sungrazer at their best — yes, I mean that — and before the listener has blinked, the trio are four minutes deep and into a second verse en route to a semi-jam in the midsection from which they return to set “Repeater”‘s build in motion across the second half, the guitar signaling an uptick in tension before an explosion of fuzz just past the eight-minute mark brings them to the next stage, rolling out a thickened, full-volume riff and crash executed in dynamic form.

king buffalo

They pull back momentarily circa 10 minutes in, but are soon enough knee deep once again in this sonic heft, McVay‘s guitar howling atop the low end rumble from Reynolds and the shoving, insistent plod of Donaldson‘s drums. A residual hum finishes that fades to amp noise for the last minute or so, and a volume swell bleeds directly (on the digital version, anyway) into the beginning of “Too Little too Late,” the two songs tied together very much as they might appear on a proper long-player.

That decision does not and should not feel like a minor signal on the part of the band in terms of the work Repeater is doing for them on the whole, signaling their audience that the potential for growth Orion represented was indeed no fluke and that that work has been duly undertaken. “Too Little too Late,” the shortest inclusion at 4:43, is an instrumental piece based around a central drum figure topped by one-two hits, fluidic effects noise, spaced-out swirl, feedback and a generally hypnotic execution.

In its third minute, it devolves from what up till then was its central figure and casts itself out into minimalist drone rumble, a helicopter-esque feedback noise rising and fading to silence ahead of the more clear-headed guitar line that begins “Centurion.” Once again, with Reynolds‘ bass in the underscore position, McVay sets what sounds increasingly like a signature King Buffalo-style opening progression even before the arrival of Donaldson‘s drums, and as the first verse leads to the hook, the easy transition to the chorus highlights how natural their motion has become over such a short period of time.

This ultimately speaks to how loaded with potential King Buffalo are on the whole at this stage in their career — their material is welcoming to listeners and friendly in its tone, but immersive and characterized by a depth that, whether in the subdued beginning moments of “Centurion” or following the volume thrust at the halfway point, feels like an exploration undertaken by audience as much as performer. “Centurion” hits its peak loudness and carries a layer of washing guitar lead across for good measure as its apex serves the entirety of Repeater as much as its own flow, and moves into its final minute with a resolve that seems very much like, again, on any given night, at any given show, King Buffalo might just shove it outward for an indeterminate amount of time; whenever a head-bob or hand signal is given to change, in other words.

Here, they skillfully follow that last change and cut back to the initial bounce of the verse for a measure or two and then end cold, the signal coming through clearly that Repeater is more than ready to live up to its name and go another round. I don’t know and won’t try to speculate where King Buffalo might go with their sophomore full-length when the time comes for it, how they might continue to grow, what they might push toward in terms of arrangements or execution or general sound, but Repeater finds them brimming with confidence both as individuals and as a unit, and their songwriting here hits a new level of craftsmanship that only raises one’s hopes even after such an impressive debut long-player. The question isn’t so much whether King Buffalo are prepared for their next step as it is whether their audience is ready to realize the special moment playing out in front of them.

King Buffalo BigCartel store

King Buffalo website

King Buffalo on Thee Facebooks

King Buffalo on Twitter

King Buffalo on Instagram

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King Buffalo Announce Repeater EP out Jan. 5

Posted in Whathaveyou on December 18th, 2017 by JJ Koczan

Rochester, New York, three-piece King Buffalo spent an admirable portion of 2017 on the road supporting their 2016 debut album, Orion (review here), which was issued by Stickman Records, including runs that took them to South by Southwest in Austin, Texas, and a European tour alongside formidable labelmates Elder that just recently wrapped. Somewhere along the way, they found time to put some new material to tape, and the resulting Repeater EP — named for its sprawling, 13-minute-long opening title-track — will arrive just after the first of the year, right in time to be the first inclusion in my notes for the best of 2018’s short releases. Funny how that works out.

They don’t have any of it streaming publicly yet, but vinyl preorders for the self-release are up now through their BigCartel store, where one can also find a digipak CD pressing of their initial demo and loads of other goodies audible and wearable. They sent the following announcement along the PR wire:

King Buffalo Repeater

KING BUFFALO RELEASE EP, REPEATER, ON JAN. 5

King Buffalo, the Rochester three-piece whose discography includes, a 2013 EP titled Demo, a 2015 split 12” with Le Betre, a 2016 debut album Orion, will self-release their newest EP, Repeater, on January 5th.

The three-song release has vinyl preorders available via: (http://kingbuffalo.bigcartel.com).

“Repeater is something we spent a lot of time with,” drummer Scott Donaldson explained. “We originally envisioned it being part of our sophomore full length, but soon realized it was a release of its own. These three songs developed organically in our practice/recording space in early 2017. They flow through a cohesive vision and form a complete thought like Orion. It wouldn’t have made sense to us, to have them released in any other way. They’ve become some of our favorite songs to play live and you can really sense that from the recordings. We look forward to seeing what people think, and we’re beyond excited on how it all turned out.”

In discussing the EP, Nick DiSalvo of Elder said “Repeater is a spacious, warm sounding record — and as the title implies, it’s deceptively repetitious: the songs breathe, bloom organically and envelop the listener while still being hypnotized by its groove. Somewhere between psychedelic, fuzz rock and shoegaze King Buffalo claim their sonic turf, and it’s not hard for me to imagine this is what big sky country sounds like.”

King Buffalo is Scott Donaldson (drums), Sean McVay (guitar/vocals/synth) and Dan Reynolds (bass/synth).

Repeater track list:
1. Repeater
2. Too Little Too Late
3. Centurion

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, Live at Wicked Squid Studios (6.16.16)

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End Hip End It: Acid King, Elder, Dead Meadow, Josefus & Many More to Play

Posted in Whathaveyou on August 14th, 2017 by JJ Koczan

I’m not gonna discount the notion of seeing the likes of Josefus sharing the stage with The Well and Doomstress, or of watching the almighty Acid King roll out their riffly triumphs next to Dead MeadowElderMothership and a megaslew of others, but I think the fact that if you buy a ticket for the second day of End Hip End It you get two slices of pizza speaks volumes to the vibe the Spring, Texas-based festival is going for, and that’s a vibe with which I think just about anybody can get down.

The lineup is varied from Funeral Horse and Switchblade Jesus to King Buffalo and Stone Machine Electric, but there’s a heaping representation of the fertile Texan underground here, and that’s likewise respectable. My understanding is they’ve run into some branding issues — I guess repeating any word in your fest name in Texas is verboten because you’re making fun of SXSW? seems to me SXSW could stand to be taken down a peg or two, but couldn’t we all? — and might rename the event for 2018, but whatever you call it, it looks like a good time to me.

Lineup, other info and ticket link follow:

end-hip-end-it-2017

END HIP END IT MUSIC FESTIVAL

OCT 21 – OLD TOWN SPRING, TEXAS

DAY 1 will feature 25 bands in Old Town Spring, Texas. Preservation Park will have three stages of music as well as many interactive art projects thanks to the Generators Playground.

Stage 1
Dead meadow 12:00 – 1:00
The Bright Light Social Hour 10:40 – 11:20
Golden Dawn Arkestra 9:20 – 10:00
Bayonne 8:00 – 8:40
The deer 6:40 – 7:20
AMERICAN SHARKS 5:20 – 6:00
ROSE ETTE 4:00 – 4:40
VANILLA WHALE 3:00 – 3:40
pyreship 2:00 – 2:30
JODY SEABODY & THE WHIRLS 1:00 – 1:30

Stage 2
Acid King 11:20 – 12:00
ELDER 10:00 – 10:40
MOTHERSHIP 8:40 – 9:20
king buffalo 7:20 – 8:00
eagle claw 6:00 – 6:40
greenbeard 4:40 – 5:20
funeral horse 3:30 – 4:00
SWITCHBLADE JESUS 2:30 – 3:00
WARLUNG 1:30 – 2:00

Stage 3
John Evans Band 8:20 – 9:00
Flower Graves 7:10 – 7:50
The Cuckoos 6:10 – 6:50
Ancient Cat Society 5:10 – 5:50
The Mammoths 4:10 – 4:50
Mantra Love 3:10 – 3:50
Howard & the Nosebleeds 2:10 – 2:40

OCT 22 – WALTER’S DOWNTOWN
SUNDAY at Walter’s Downtown there will be two stages with 13 bands on rotation. Ticket purchasers will receive two drink tickets and two pizza slices!

the well
L.A. Witch
doomstress
amplified heat
space villains*
white dog
josefus
crypt trip
stone machine electric
only beast
concrete heat
daze
shallow

KIP Passes get you…
Entry to both days
backstage access
FREE T-shirt on Saturday
access to hammock hangout
one extra beer on Sunday

At End Hip End It you will find a tightly tucked 20 acre plot of land filled with green grass, craft breweries, interactive art projects, live music, beer tasting events, auctions for charities, Light shows, food trucks, VIP access, local vendors, and more. Interactive art projects will be hosted by Bao Pham of the Generators Playground.

https://www.facebook.com/HoustonPsychFest/
https://www.facebook.com/events/444285199249564/
http://www.endhipendit.com/
http://www.endhipendit.com/tickets
https://www.instagram.com/end_hip_end_it/
http://www.twitter.com/endhipendit

Acid King, Live at Electric Funeral Fest, June 17, 2017

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Lake on Fire 2017 Sold Out; Brant Bjork, Ufomammut, Elder, Acid King & More to Play

Posted in Whathaveyou on May 11th, 2017 by JJ Koczan

lake-on-fire-2017-banner

Austria-based festival Lake on Fire 2017 — which, yes, takes place on a lake and which, yes, looks totally frickin’ awesome as a result — sold out in a matter of minutes earlier this week after putting tickets on sale. The lineup is splendid with Brant Bjork headlining a bill that also includes Asteroid, Elder, Ufomammut, Acid King, Sasquatch, Rotor, and others, but you want to know something even more impressive about it? The full lineup hasn’t even been announced yet. What you see below, with Tides from Nebula, Weedpecker, King Buffalo, Triptonus and all that? Yeah, they’re not even done yet.

Next time you’re searching for an example of how unbelievably righteous the festival scene is in Europe, go ahead and consider Lake on Fire 2017, which offers camping and hotel options, a unique setting, killer bands, and a clientele that trusts it enough to completely buy up all the tickets before the full lineup has been unveiled. My minescule American brain boggles at the thought. Not that I’ve been Mr. Goestoshows lately or anything, but if you’re also from the States, consider the cultural richness at work in making something like this come together in the way it has. It’s astounding. I can’t even get bands to return my emails about playing an All-Dayer a year from now.

Go figure.

From the festival:

lake-on-fire-2017-poster

This is unreal – SOLD OUT again – for the 4th time in a row! Even compared to last year this was kinda fast! Thank you so much for your support! We love you!

For all those who haven’t got their tickets, don’t be sad, there will be another chance in approx. 2 weeks. All pre-registered users in our webshop (newly registered users won’t be considered anymore) will have the chance to be part of our LUCKY BIRD TICKET lottery.

The Artwork is made by the Austrian Artist Missfelidae Illustration.

LINE UP:
Brant Bjork [USA]
UFOMAMMUT [ITA]
Elder [USA]
Acid King [USA]
Rotor [GER]
Asteroid [SWE]
Tides From Nebula [POL]
Sasquatch [USA]
Triptonus [AUT]
Weedpecker [POL]
King Buffalo [USA]

The rest of the line up will be announced within the next two weeks!

www.lakeonfirefestival.com
facebook.com/LOF.festival

Lake on Fire 2016 impressions

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South County Fest 2017 Set for May 20

Posted in Whathaveyou on April 14th, 2017 by JJ Koczan

Four bands, a ton of groove and what seems to be a pretty laid back vibe if the pitch is anything to go by, it’s hard not to get behind the concept of an event like South County Fest 2017. You could quibble about whether four bands makes a fest if you want. Me? Considering who’s involved, I’ll take it. King Buffalo sharing a bill with The Golden Grass would be enough motivation, let alone bringing in ex-Carousel dudes in Outsideinside and importing a bit of Marylander surf in The Flying Faders. That’s right — two alliterative groups on the same bill! Think of the grammar-nerd/rocker-dude crossover appeal.

With this year’s fest, South County Brewing marks its sixth anniversary. JR Heaps, the founder of the company and head brewer, was kind enough to talk a bit about putting the lineup together and the creativity driving relationship between beer and music. You’ll find his words under the fest info — keep in mind the show’s got an early start — below.

Also this badass poster:

south county fest 2017 poster

South County Fest 2017 (6th Anniversary Bash)

Saturday, May 20 at 4 PM – 9 PM
South County Brewing Co.
104 Mill St, Fawn Grove, Pennsylvania 17321

To think that we have been making beer for 6 years now is surreal. Come celebrate with us! We have an amazing lineup for this year’s event. $5 Cover at the door (BANDS START AT 4 PM). We will have food vendors and a new beer release (16oz cans).

For those music and audiophile nuts, we have a limited run of the South County Fest 2017 18×24 posters that will be for sale on May 20th, art by Chris Pappas https://www.etsy.com/shop/BosWorkshop go follow him now! These will be on cardboard transport backers with its own cover plastic.

BANDS:

King Buffalo -Rochester, NY- Psychedelic / Heavy Blues / Stoner Rock
Outsideinside – (Ex- Carousel members) -Pittsburg, PA- Heavy Blues Rock
The Golden Grass – Brooklyn, NY- Groove / Psych // Blues / Stoner Rock
The Flying Faders -MD- Surf Rock

JR Heaps of South County Brewing on the South County Fest 2017 lineup:

What I try to do with these shows is celebrate what music and beer does for the soul. Music has always been healing and growth for me personally and I know I’m not the only one. After closing Second Order Sound (my recording studio) and committing to brewing, I have been able to live vicariously through the unbelievable talents that play at this fest. It a chance to reestablish community in such a “disposable” world. The lineups are admittedly self-indulgent and but are fairly specific to create a mood, progression and vibe. The same goes for our beer/band collaborations such as Black Cowgirl DIPA.

https://www.facebook.com/southcountybrewingco/
https://www.facebook.com/events/498260340563650/

Outsideinside, “Dreamless”

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The Obelisk Radio Adds: Tia Carrera, Humulus, King Buffalo, Telekinetic Yeti, High Plains

Posted in Radio on April 10th, 2017 by JJ Koczan

the obelisk radio cavum

You may or may not be overly concerned to find out, but we’re still running on the backup server for The Obelisk Radio while the data is transferred to the new hard drive. Judging by the number of listeners at any given point, you’re not. The numbers are still pretty good. Nonetheless, I cannot express the depth of my appreciation to Slevin for sorting out this mess. I had no idea when I hit him up on a Sunday to be like, “Uh, the stream is down” that it would be a project requiring more than a month of his valuable time. Dude is a godsend. I should send him a cheese basket.

Instead, he gets a zip file with the following releases to add to that temporary stream (they’ll go on the new server as well when that’s operational). Because I am a shitty friend, and because cheese baskets are expensive as hell. Let’s do this.

The Obelisk Radio Adds for April 10, 2017:

Tia Carrera, Laid Back (Frontside Rock ‘n’ Roll)

tia-carrera-laid-back-front-side-rock-and-roll

It’s been a hot minute since last we heard from Austin, Texas, three-piece instrumentalists Tia Carrera. The last offering the heavy psych jammers had out with a 2013 vinyl edition (review here) of their 2011 full-length, Cosmic Priestess (review here). So upwards of six years, if you want to go by the original release date of what was their second album for Small Stone Records. They reportedly have a new one coming this Fall, so one might think of the nine-and-half-minute single “Laid Back (Frontside Rock ‘n’ Roll),” which was recorded live this past January with the lineup of guitarist Jason Morales, bassist Curt Christiansen and drummer Erik Conn, as a lead-in for that. True, Tia Carrera haven’t been completely absent — they played Psycho Las Vegas in 2016 and one sees their name on various SXSW bills each year — but either way, it’s a welcome studio return from a band who were ahead of the post-Earthless curve that has swelled further out West, and who, despite a kind of raw, garage-style recording here, nonetheless showcase the chemistry and fluidity that separated them from the pack to start with. As the title promises, the jam is laid back, rife with swirling guitar, winding basslines and drumming that, while propulsive doesn’t take away from the languid overarching vibe. They’ve made the song a name-your-price download, so all the better should you be inclined to dig in. And you should be.

Tia Carrera on Thee Facebooks

Small Stone Records website

 

Humulus,Reverently Heading into Nowhere

humulus-reverently-heading-into-nowhere

With nodding groove, fuzzed tonality and, for good measure, flourish of psychedelia, Brescia, Italy, trio Humulus may be working amid familiar elements on their second long-player, Reverently Heading into Nowhere (on Taxi Driver and Oak Island Records), but the results are impeccably constructed. The album, which follows their 2015 Electric Warlrus EP (review here) and 2012 self-titled debut, offers six tracks that carefully balance atmosphere and heft, cuts like “Catskull” digging into classic desert rock sensibilities via the modern European approach of a band like 1000mods while longer pieces like opener “Distant Deeps or Skies,” “Anachronaut” and the 11-minute finale “Rama Kushna” save room for increasingly expansive jamming, the latter the most spacious of all with floating guitar over a satisfyingly warm bass in its midsection leading to an instrumental apex that, while predictable, is no less engaging for that upon its arrival. Even shorter pieces like “The Gold Rush” and “The Great Hunt” find a balance between rolling rhythm and broader psychedelic consciousness, and when guitarist/vocalist Andrea Van Cleef, bassist Giorgio Bonacorsi and drummer Massimiliano Boventi lock into a slowdown, as at the end of “The Great Hunt” or in the Snail-esque “Anachronaut” earlier, the effect is duly massive to fit with the rhinoceros on the album’s cover. Their reverence is palpable, and throughout the 43-minute outing, Humulus make it plain that wherever they’re actually heading, they welcome their audience to come along for the trip.

Humulus on Thee Facebooks

Taxi Driver Records webstore

Oak Island Records on Thee Facebooks

 

King Buffalo, Live at Wicked Squid Studios (6.16.16)

king-buffalo-live-at-wicked-squid-studios

It’s nothing more or less than a live set, but as King Buffalo have already wrapped a round of US touring and were recently announced as support for Stickman Records labelmates Elder on their next European run, it seems only fair to grab the name-your-price Live at Wicked Squid Studios (6.16.16) while the grabbing’s good and consider the four-track/29-minute release a document of their chemistry as a live band as they marked the release of their debut album, Orion (review here), last summer. Not everything they play comes from that record — “New Time” was featured on their 2015 STB Records split with Lé Betre (review here) — but in their tone, breadth and expanse, they represent the full-length all the same. The psychedelic wash of “New Time” leads the way out of opener “Orion” and into a one-two medley of “Kerosene / Goliath Pt. 2,” and they finish by setting the controls for the heart of a nine-minute rendition of “Drinking from the River Rising,” which also closed Orion and proves no less immersive in this setting than it did on the studio offering. I’ve made no secret of the potential that I think resides in the Rochester, NY, three-piece, and as they move further into becoming a touring band, they’re only doing the work of bringing that potential to life. It may be that at some point we’ll look back on Live at Wicked Squid Studios as a kind of primitive beginning — I don’t want to predict where they’ll go or how their sound will continue to develop — but even so, it’s fortunate that we’ll have it to look back on at all.

King Buffalo on Thee Facebooks

Stickman Records website

 

Telekinetic Yeti, Abominable

telekinetic yeti abominable

This shit is like catnip for riff-hounds. Iowan two-piece Telekinetic Yetstoner-march their way into the hearts and minds of the converted and onto the list of 2017’s best debuts with Abominable (on Sump Pump Records), a clean eight-track/41-minute long-player marked out by its tonal thickness and shifts between using it for Sleep-style roll and fuzzier fare, perhaps most directly and efficiently summarized on the single “Stoned and Feathered,” but in fluid proportion throughout cuts like the lumbering “Lightbearer” and the neo-stoner-delic chug of “Beneath the Black Sun” as well. Comprised just of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer — though I’ll be damned if somebody isn’t playing bass on “Electronaut” — Telekinetic Yeti seem to burst out of the gate with a solid idea of who their audience is and what their audience wants, and to their credit, they deliver just that and have been met with a flurry of hyperbole for their efforts. I can’t really argue with the heft or cohesion of the material on Abominable, and the willingness on the part of Baumann and Dreyer to inject some atmospheric depth into the aptly-named nine-minute tour de force “Colossus” and closer “Himalayan Hymn” bodes well for their chances of leaving a mark over the longer term, even if there’s growing to be done before they get there. Still, as their first time out, Telekinetic Yeti‘s Abominable signals a righteousness of intent and wholly succeeds in capturing the attention it plainly seeks. The next few years will write their story, but if these guys take this show on the road, they could indeed turn into a monster.

Telekinetic Yeti on Thee Facebooks

Sump Pump Records on Bandcamp

 

High Plains, Cinderland

high plains cinderland

The story goes that Cinderland was recorded in Wyoming in a refurbished schoolhouse by the duo of ambient multi-instrumentalist Scott Morgan and classical cellist Mark Bridges — working together under the moniker High Plains — and composed very much with that high-altitude, utterly empty landscape in mind. Represented in a pervasive minimalism that makes every swell of volume on “The Dusk Pines” stand out and shifts between piano, cello, guitar, drone and electronics cinematic in their drama like the soundtrack to one of those foreboding Westerns where nobody talks because they’re afraid that if the earth hears them speak it will open up and swallow them whole — which it might — it is an immersive, resolutely melancholy execution across nine tracks and 36 minutes that is likewise stark and beautiful. “A White Truck” and “Hypoxia” carry some nuance of the paranoid, but there’s resolution in “Blood that Ran the Rapids” and “Song for a Last Night” that, like the high desert itself, teems with life while giving the impression of being a void for the lack of human presence. Mood-affecting in its atmospherics, Cinderland draws the listener into this world that is both gorgeous and threatening, and fits itself to the narrative that birthed it with resonance and depth. One hopes it is not a one-off collaboration between the Canadian Morgan and Wisconsin-based Bridges and that wherever their next trip together takes them — go to New Mexico! — they’re able to likewise capture the setting in such evocative fashion.

High Plains on Thee Facebooks

Kranky Records on Bandcamp

 

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King Buffalo Announce Tour Dates; Playing Austin Terror Fest at SXSW and More

Posted in Whathaveyou on February 20th, 2017 by JJ Koczan

Rochester heavy psych rockers King Buffalo have had some work done on their Buffalo Bills van and would seem to be ready to hit the road ahead of a round of US tour dates next month. They’ll do a couple Upstate kickoff shows this weekend in Buffalo and their hometown, and then head to Columbus on March 1 to begin the run proper, which includes gigs at SXSW at Austin Terror Fest — the Texan manifestation of the Southwest Terror Fest held each fall in Arizona — and alongside fuzz forebears Dead Meadow before they go to Fort Worth and meet up with Wo Fat. Nice to know they’ll be in good company.

They go, of course, supporting last year’s stellar debut, Orion (review here), which was picked up for issue by Stickman after being released initially by the band themselves, and this run should make for a decent preparation for their first trip to Europe this summer. They’re already confirmed for Stoned from the Underground in Germany this July, and at this point I’m wondering if a full tour is in the works around that. As the list of dates below would indicate, they’re clearly looking to hit the road in a bigger way this year. Too bad they won’t be able to take that van across the Atlantic.

I don’t know how to say it more clearly. Go see King Buffalo:

king buffalo

KING BUFFALO TOUR DATES:
FEB 24 FRI Mohawk Place Buffalo, NY
FEB 25 SAT KB Tour Send Off Continental Drift Rochester, NY
MAR 1 WED Spacebar Columbus, OH
MAR 2 THU Living Room Stroudsburg, PA
MAR 3 FRI The Garage Winston-Salem, NC w/ All Them Witches, IRATA
king buffalo vanMAR 4 SAT The Cave Chapel Hill, NC
MAR 6 MON Strange Matter Richmond, VA
MAR 7 TUE Kung Fu Necktie Philadelphia, PA
MAR 9 THU Reggies Chicago, IL
MAR 11 SAT FUBAR Saint Louis, MO
MAR 12 SUN Your Mom’s Place Oklahoma City, OK
MAR 13 MON The Mix San Antonio, TX
MAR 15 WED Spiderhouse Ballroom Austin, TX
MAR 16 THU Austin Terror Fest Austin, TX
MAR 17 FRI Grizzly Hall Austin, TX w/ Dead Meadow
MAR 18 SAT Lola’s Saloon Fort Worth, TX w/ Wo Fat, The Great Electric Quest
JUL 14 FRI Stoned from the Underground Erfurt, Germany

King Buffalo is:
Dan Reynolds – Bass & Lights
Scott Donaldson – Drums & Vocals
Sean McVay – Guitar & Lead Vocals

https://www.facebook.com/kingbuffalolives/
http://www.twitter.com/_kingbuffalo
http://www.instagram.com/_kingbuffalo
http://kingbuffalo.com/
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King Buffalo, Live at Wicked Squid Studios (6.16.16)

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Stoned from the Underground 2017: Pentagram, Acid King, Mothership, King Buffalo and Samavayo Added

Posted in Whathaveyou on February 13th, 2017 by JJ Koczan

Feels like a given to me, but obviously I’m incredibly interested to see King Buffalo added to the lineup for Stoned from the Underground 2017 this July in Germany. That’s not to take anything away from Pentagram, Acid King or Mothership — also US-based acts — or from Berlin’s Samavayo, whom I also dig a great deal, but King Buffalo issued my pick for the best debut of 2016 in the form of Orion (review here), and the confirmation of their appearance among the hallowed many at Stoned from the Underground — the aforementioned, as well as Elder, SasquatchAll Them WitchesMonolord, SteakCJ Ramone, and so on — is the first confirmation of their going to Europe at all, let alone the timing of the trip. They were a band I was rooting for even before they appeared at The Obelisk All-Dayer this past August. It’s nice to see them making good things happen.

And again, check out the company they’re keeping as they go. Stoned from the Underground is of course one of the longer-running Euro heavy fests, but the 2017 lineup feels particularly high-grade thus far. I’ll continue to keep an eye out as others get added and do my best to update as we get closer to summer. I get a pretty strong sense a certain youth-minded trio from Australia are going to show up.

Till then, here’s the lineup and links:

pentagram

Happy to announce some more bands for the Stoned From The Underground 2017 Festival: Pentagram, Acid King, King Buffalo, mothership and samavayo to announce. The 2017 stoned from the underground is FETT.

Lineup so far (more tba):
Acid King
All Them Witches
Cj Ramone
EARTH SHIP
Elder
Karma to Burn
King Buffalo
Monolord
Mothership
Pentagram (official)
Samavayo
Sasquatch
Steak
ZEKE

Get your tickets here: http://www.sftu.de/pages/raquo-tickets.php

The Stoned From The Underground 2017 takes place from July 13th until July 15th 2017.

The first STONED FROM THE UNDERGROUND took place in 2001…the festival offers a platform for diverse kinds of bands within the underground and beyond. The STONED FROM THE UNDERGROUND is a pure scene festival…a festival made by fans for fans.

https://www.facebook.com/stonedfromtheundergroundfestival
http://www.sftu.de/
https://www.instagram.com/stonedfromtheunderground

King Buffalo, Live at The Obelisk All-Dayer 2016

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