There are a few other tracks up on Vine Weevil‘s YouTube page, in case you, like me, don’t have Tidal and are Spotify impaired — seriously, how many times do I need to sign up for the same service? if you need to prove I’m me so god damn badly just take my blood and have done with it — but I’ve yet to dig into their upcoming full-length, Sun in Your Eyes, in its entirety. This is something I hope to rectify as soon as possible; hopefully by the time this post actually goes live, I mean. And I think when you dig into the video below for Vine Weevil‘s “You Are the Ocean,” you’ll perhaps get a sense of where some of my urgency comes from.

Based in London, the duo is comprised of brothers Itamar and Yotam Rubinger, who — on drums and guitar/vocals, respectively — are both former members of a little band called Uncle Acid and the Deadbeats. Oh, well then. Okay. Sun in Your Eyes is their second long-player behind a quietly-issued 2019 self-titled, and while one might recognize some of their foundation in the songwriting traditions of the ’60s garage and ’70s heavy rock movements, an edge of grit pervading all the while, at least from what I’ve heard thus far — cuts like “Out of Tune,” the Beatlesy shimmer of “My Friend,” and the title-track — there isn’t quite the same gonna-go-kill-some-ladies vibe going on, and you know what? I’m cool with that. Cool with the idea of not killing ladies. I know that’s a bold position to take, but I’m putting it out there.

Thematically, you’ll fine Vine Weevil working from a deeply personal point of view on Sun in Your Eyes, which is the Rubingers’ tribute to their late father. The video for “You Are the Ocean,” which was made by Omri Bigetz, deals in a worldlier scale in terms of the environmental scenarios being portrayed, but certainly life and death factor in one way or the other, as they do to most everything.

I already sent the band a “please please please let me hear your whole record” email, so when/if that happens, I’ll let you know.

In the meantime, in case your Spotify (ever) works, here’s this to get you introduced to the band:

Vine Weevil, “You Are the Ocean” official video

Vine Weevil would like to introduce their new music video “You Are the Ocean”.

“You Are the Ocean” is the first video release from the album “Sun in Your Eyes”.

Vine Weevil is a London-based band formed of singer-guitarist Yotam Rubinger and drummer Itamar Rubinger, both formerly of Uncle Acid & the Deadbeats.

Vine Weevil’s sound is heavily influenced by 60s and 70s acid rock and garage. True to their influences, the album was recorded live on tape with analogue equipment at Gizzard Studios in London.

“The origins of the song come from a very personal place. We started writing the song after our father passed away. He spent most of his life by the sea. The feelings behind the song – and most parts of the album – are about our father.”

The distinctive animated video is by Amsterdam-based 3D artist Omri Bigetz.

The full album is now available on Spotify and Tidal.

https://open.spotify.com/album/2gISGt5j1kKz5BmiQglcqN

https://tidal.com/browse/album/127777264

Vine Weevil is:
Itamar Rubinger
Yotam Rubinger

Vine Weevil on Thee Facebooks

Vine Weevil on YouTube

Vine Weevil on Spotify

Recorded by Filippo ‘Phil Liar’ Buono of Karma Conspiracy Records at Monolith Recording Studio in February, El Rojo‘s second full-length, El Diablo Rojo was finished just ahead of the quarantine as a result of the country’s early-adopter/particularly-severe COVID-19 outbreak. As that has now spread to other parts of the Europe and the planet as a whole, it has usurped public consciousness in a way few things ever could. If a comet were on a course to smash into the planet, it’s hard to imagine it would be more of a topic of discussion.

Nonetheless, El Rojo — a double-guitar five-piece based in Morano Calabro in the southern part of the country, right on the bridge-of-the-foot part of the heeled boot that is the Italian peninsula — are pressing ahead with the release later this Spring. One assumes the lack of a precise release date also is related to the outbreak, since pressing, shipping and even packaging are all affected one way or another, but certainly that does nothing to make the music any less powerful. “Cactus Bloom” is the six-minute closer of El Diablo Rojo, and while its tonality is steeped in desert-worship warmth and it moves from a quiet wistfulness to a more aggressive stance by the time it’s finished, the weight of the message being delivered is significant and only grows more so as the volume intensifies later, to the point that vocalist Evo Borruso asks point blank, “Can you hear my rage?” Loud and clear, sir.

Perhaps El Rojo were thinking about issues of climate change when they put the song/album together, or at least some part of it, but no question the video for “Cactus Bloom” represents the current situation in Italy, and by that I mean the stark realities of living in social isolation, at physical remove from loved ones, bandmates, peers, fellow citizens, and so on. As the drone footage of empty landmarks shows, what should be brimming with tourists pissing off the Italian natives — hey, I’ve been one of those tourists, it’s the same everywhere — are empty spaces, looking mournful in sunlight or all the more like the ruins we’ll leave behind us when we’re gone and even the drones have stopped flying.

Of course, the COVID-19 pandemic will recede in the months to come. The virus may be with us for years, but the scale will change, doors will reopen to some degree, and a long recovery will begin. That would seem to make it all the more crucial to capture this fleeting moment, not only to preserve it for the future to learn from, but to remind ourselves of what it was to live through this time and how it brought into focus that which was most important to us as human beings. To love, to share.

Made in isolation, with band members filming themselves performing the track, here’s El Rojo‘s “Cactus Bloom.”

Please enjoy:

El Rojo, “Cactus Bloom” official video premiere

Cactus Bloom is the final track of our new concept album. The album itself is based on the tale of the struggle of a whole generation of youngsters coming from the southern part of Italy. The sound is elegant, nostalgic on purpose. The music plays along with lyrics full of melancholy, bitterness and rage, in which the protagonist speaks intimately of the hard times we all are living, of the sorrow for an uncertain future, of a context that seems to have given up on life.

Cactus Bloom is the metaphor of a difficult environment like the desert and how, in this ambient, the miracle of blossoming can happen. We must be able to understand that life always win: it’s engraved in our DNA.

The events hitting our life right now strengthen the message inside the tune and this is the reason that led us to tell this tale directly from our homes, where we are secluded at the moment. We share the restriction with all the people on the planet and so, along with this, we all share the uncertainty about the future.

So, during this time of isolation, should we reconsider our lives?

Shall we understand that everything that we were taking for granted could, in the beat of an eyelash, be gone?

We are asking ourselves these questions and, in the isolation of our own homes with no resources but our smartphones, we created this video along the notes of our new single, which is titled “Cactus Bloom”.

El Rojo is:
Evo Borruso (Vocals)
Fabrizio Vuerre (Guitar)
Fabrizio Miceli (Guitar)
Pasquale Carapella (Bass)
Antonio Rimolo (Drums)

El Rojo on Thee Facebooks

El Rojo on Instagram

El Rojo on Bandcamp

Karma Conspiracy Records on Thee Facebooks

Karma Conspiracy Records website

You know how Olympic runners push their heads and chests forward at the end of a race to cut their time across the finish line? That’s me getting to this post, only I’m not in shape. And I’m flat-footed. And okay you know what, so maybe that’s not me, but the point is it’s been a long week and I’m glad to see the other end of it. Fine. You got me.

Let’s start over. “Try again?” as The Pecan says these days.

Time for a confession. Acid King‘s utterly brilliant 2015 album, Middle of Nowhere, Center of Everywhere (review here, track premiere here, interview here, slathered praise here and here), is one that — even with that glut of parenthetical “link here” coverage — I still feel guilty about not giving its due. Issued through Svart Records as what was the essential San Francisco trio’s first offering in a decade since 2005’s III (discussed here), it was far and away my favorite full-length released that year. I put it on and it’s still a record that strikes me as an ideal vision of what their kind of heavy rock should be.

It’s heavy — always a good start — and spacious, melodic and reaching outward, flowing and carrying a presence of tone that is established with the immersion that starts on its “Intro” and carries through the subsequent “Silent Pictures,” the superlatively-catchy “Coming Down from Outer Space,” through “Laser Headlights” and “Red River” and “Infinite Skies,” “Center of Everywhere” and the bookending “Outro” with variations in tempo but an unwavering central purpose in its nod and groove. Middle of Nowhere, Center of Everywhere is as gritty as it is gorgeous, and five years later — if the band are feeling social-media savvy, perhaps they’ll put up a post noting the anniversary; that seems to be a thing bands do these days; fan engagement and all that — and from its staff-wielding-bony-fingered-Gandalf-riding-a-tiger-through-space-past-a-pockmarked-moon to the gong in “Laser Headlights,” the record exudes a righteousness that, from the first time I heard it, I knew I was going to be living with it for years to come. It was, unquestionably, my album of the year.

And there’s the rub. Because when December came, it wasn’t.

It’s silly, I know, and it doesn’t really matter, I know, but I put a lot of thought into those year-end lists. Once they’re out there, that’s it. I may update them for a few days, add honorable mentions or something I forgot, whatever, but after that, they’re set, and years later, I look back on them to see what was going on when, how I felt about it at the time and where records and bands sat in relation to each other at least in my mind.

Middle of Nowhere, Center of Everywhere was every bit my favorite album of 2015, but it wasn’t the album of the year. I gave that to Elder‘s Lore instead.

I remember it well, making the decision that morning as I was adding the final part of the post which I’d written over two days, and I decided that the Elder record was too important, too forward thinking and too massive in its immediate impact on the heavy underground to not be the release that defined the year. And five years later, I’d make the same decision. I don’t regret it. Lore was glorious, but I listened to the Acid King more, and I still listen to the Acid King more, so on a personal level, there’s some part of me that will forever feel like I undersold just how much I love these songs.

That’s a bummer, but even that doesn’t stop me from enjoying the album. How could it? How could anything but the end of the universe itself? Follow the river to the hills, man. Pray for the blast off.

Make no mistake, we’re not anywhere near the end of the universe, or even humanity. I’m not going to downplay the severity of the COVID-19 pandemic or my own country’s inept federal response that, mired in politics and petty ratings games, will only prolong it. But the universe’ll still be around another 10 billion years or so without us and, yeah, sorry, we just don’t matter that much. Even the planet feels better when we take a seat for a few weeks, and there’s recent environmental data to prove it.

But people are dying, and the projections are that many more will, and that the next two weeks will prove pivotal in determining the ultimate direction the outbreak takes. I don’t know what magic line exists thereafter to make it start to get better, but at least here in the New York area — which is the epicenter of the US’ woes, as ever — that’s what Judy Woodruff is saying, and hell’s bells, if you can’t trust Judy, then we might as well be done as a species.

The epidemic doesn’t necessarily have anything to do with my confession about the Acid King record. I’m not laying it all on the line in case I get sick and my lungs catch fire or some such. But Middle of Nowhere, Center of Everywhere is another record from which I’ve derived significant comfort over the last five years. Something I put on when I’m sick of everything and just want to hear something I love and groove for a while. And so I hope maybe it can do a little bit of the same work for you, if maybe you’re anxious like everyone is, or you’re tired of everything, or you’re overwhelmed by the noise and misinformation that are so, so, so rampant and so unrelenting.

It’s okay to feel exhausted and overwhelmed. This is hard. I don’t even mean social distancing and isolation. I know people are hurting financially and that stress is always a killer — sometimes literally — and that over nine million Americans filed for unemployment benefits in the last two weeks and that is both insane and unprecedented and it means that the multifaceted recovery from all of this will take years not the months being promised, but as screwed as we might all seem, at least music still sounds good.

At least there’s still that. Right?

—

Have a great and safe weekend. I wish you the best and continued health. Thanks for reading.

New Gimme show today at 5PM Eastern if you can listen. FRM.

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From a lyrical standpoint, this might be the most beautiful track on Elephant Tree‘s upcoming second album, Habits. “Bird” tells an out-the-window-perspective story of a sparrow in winter trying to fly high enough to get over the clouds and feel the sun’s warmth, and with lines like “Everything that rises must converge,” and the chorus of, “Fly, rising/Die trying,” accompanied by lush, serene keys, it is a special piece right up to its winding, heavy finish, not the least for its stand-in as a metaphor for parenting. The London-based four-piece were playing it live as early as Fall 2018, and along with the prior-single “Sails” (posted here), it is a standout from Habits even as it plays a larger role in the record’s overarching flow.

Habits is out April 24 through Holy Roar Records and Deathwish Inc., and I have a review set to go up on Monday, April 13, with a track premiere that the band were gracious enough to allow me to host (despite at this point needing press from the likes of me like they need a hole in their head). With that to come, I’ll hold of heaping further praise on the album’s various nuances and heavy/melodic blend and just be glad for the arrival of the video for “Bird” as another excuse to put Habits on this morning. I didn’t really need one, but I’m grateful just the same. I’ll probably spend a decent portion of the day with it on, and no regrets.

There’s some performance footage spliced in here amid the visual effects. You’ll see Pete in his The Young Ones t-shirt, which he’s worn the last two times I’ve seen the band — at this point I hope he has more than one for when this one wears through — and Sam behind the drums, and Jack and John and Pete sharing vocal duties. They’re in there somewhere.

Anyway, enjoy. That’s the point of this whole thing. Enjoy it.

Do that:

Elephant Tree, “Bird” official video

London-based prog-psych-doom artisans ELEPHANT TREE have streamed their new single/video ‘Bird’, taken from their highly-anticipated third album Habits, after four years of honing their sound on the international live circuit.

In the words of the band: “‘Bird’ is about having and raising a child, the innocence and fragility of the child in a sometimes hostile and difficult world. You hope to do right by them but know from experience that fairness is not guaranteed.”

Released April 24th via Holy Roar Records / Deathwish Inc., you can pre-order Habits here: http://smarturl.it/elephanttree

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Elephant Tree website

Holy Roar Records website

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You know what part I like? I like the part where Ruben Romano plays drums. I like that part. I like the part where Ed Mundell rips a solo while Jonathan Hall holds down the rhythm on guitar. That part is pretty sweet too. I like the part where Ray Piller throws a little funk into the bassline. Oh yeah, and I like that part too where Craig Riggs is on vocals.

I guess what I’m trying to say is I’m on board for hearing more from the new incarnation of Los Angeles-based heavy rockers The Freeks, who were seemingly all set to unveil their five-piece lineup at the L.A. edition of the Heavy Psych Sounds Fest a few nights ago. Obviously that didn’t happen, what with the certainty that there would be more than three people there or however many California has allowed to gather in a single place at the moment.

To be sure, “Yesterday’s Sweetheart” — a new song, at least so far as I know — is a rehearsal. They note as well it was Riggs‘ first time sitting in with the band — one has to wonder as to the logistics of that, if he’s still based in the Boston area, where his bands Kind and the kinda-not-really-semi-active-but-still-put-out-a-killer-record-last-year Roadsaw are, or if he’s gone west, where Sasquatch and now The Freeks are based; hell of a commute, either way — but of course he seems right at home alongside everyone else, even though there apparently aren’t proper lyrics to the song yet. “Hey Riggs, wanna just bust out a killer melody and wing it and we’ll make a video?” “Yeah sure, why not?”

Not many bands would make that choice, let alone pull it off. The Freeks circa 2020 do both. Keep writing, dudes. Write faster. Then record.

You know, as soon as more than three people can legally be in the same space, anyhow.

Enjoy the video:

The Freeks, “Yesterday’s Sweetheart” rehearsal, March 4, 2020

Because a lot of you have asked, we decided to take some rehearsal footage, add in some freeky trees and psychedelia to share with all of you during these times of trouble! Please note, This is a raw rehearsal recording for use as the bands audio review only and was not intended for public video, so, heads are cut off (but not bad for a one camera only edit). This is also Riggs’s first rehearsal with us and he kills it with some improvisational vocality. We hope you dig it as we feel we are putting our guts on the table and exposing our balls for y’all to give us a big kick.

The Freeks are:
Ed Mundell – Guitar
Jonathan Hall – Guitar
Ray Piller – bass
Craig Riggs – vocals
Ruben Romano – Drums

The Freeks on Thee Facebooks

The Freeks on Instagram

The Freeks website

Heavy Psych Sounds store

They took my neighbor out last night on a stretcher. Ambulance, lights flashing. It was dark over here by then — maybe 8:30PM — so the walls started turning red and blue like we were having a rave of plague anxiety. Older lady. Maybe she fell. She did seem to have bad knees. I don’t know.

That’s what all the pandemic sci-fi literature/pop culture gets wrong. The waiting for what’s coming by those not on the frontlines. The not knowing. There are things happening so fast around us — but locked in our houses, what are we trying to do? We’re trying to clean. We’re doing laundry. The Patient Mrs. and I are trying to keep The Pecan entertained, decently fed. We’re constantly reading the news, quoting statistics at each other, but we’re also just trying to get through another day. We’re asking whether we want the diner or pizza for takeout. I’m grinding coffee for the morning. She’s working. I’m writing reviews.

Life.

You never hear about that waiting, or the worry that’s hiding behind the day-to-day. Consider Cormac McCarthy’s post-apocalyptic The Road. How cheap that story seems. They don’t even know what happened to collapse society. It was just gone and okay fine so off we go. Are you kidding me? Nothing in life happens like that. It happens like this. People start dying in numbers we can’t even conceive, so you know what? We don’t conceive them. We see them, we tell ourselves, “that’s awful,” and we make cookies. Those who have to go to work, do.

My sister got laid off yesterday from her corporate gig of long-standing. Sucks, of course, but she’s healthy, experienced and frighteningly competent, so I’m not worried for her. If she doesn’t get rehired to this job, she’ll get another as soon as there are jobs to get. With three million unemployment claims last week, obviously she’s not alone. Your bosses and your bosses’ bosses do not care if you live or die. That’s not their job.

We don’t know how many people will get COVID-19. We don’t know how well sheltering in place will work. Maybe by August we’ll all be dancing madly backwards at Psycho Las Vegas, breathing hot desert air through our unaffected lungs and headbanging through our reborn appreciation for being alive. It’s impossible to know what’s coming.

The Brought Low, above, are comfort music for me. Right on Time came out through Small Stone in 2006, and the NYC trio were on top of their game. 14 years later, these songs continue to smoke, and the band — massively underrated — put out one record after it and continue to do periodic shows after a few years away. This was their second and I don’t know if they’ll make a fourth album, but I love these songs and so wanted to close out the week with them, even if I didn’t include the usual critique-style blah blah blah.

I reserve the right to do another Friday Full-Length with Right on Time at some point under more normal circumstances — because not only do I love it, but I think it holds up on the merits of its songs, performance and aesthetic; “Dear Ohio,” “A Better Life,” “Vernon Jackson,” “Shake Down,” “Blues for Cubby,” all of it — it just didn’t seem to work this week.

Not that much did. The wheels came off around Wednesday and I was never really able to get it going again. I made it through the Quarterly Review, but shit, Enslaved announced their new album title this week and I wasn’t even able to get that posted. It’d take me like 20 minutes, max, to put that together, and nope. Just didn’t have it in me, didn’t have time. It has been a difficult, difficult week. I’m sleeping a lot. Even this morning, I slept until 5:30. Tried to get up earlier and couldn’t. And I’ve been sleeping when The Pecan takes a nap, which is like two hours in the afternoon.

Hard days. We go for runs in the morning, he and I, and that seems to help him even out. But he misses doing things, clearly. Gymnastics class, swimming class, daycare. Quarantine has been tough on him, and he’s really just too young to understand what any of it means, so all he knows is he can’t even go see grandma’s dogs and he doesn’t know why. I feel for him, and I feel for The Patient Mrs., who of course is the force keeping the entire household together, as always. She is the center around which my universe spins.

Be healthy. Be smart. Do what you can to enjoy your days, to enjoy each other. If you have someone, hold them. If you’re alone, reach out to someone else. Even if it’s texting, that contact makes a difference. Hell, drop me a line. I’m around. Be well.

Back next week. It’s front-to-back packed.

FRM.

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I’m curious how closely the promotional plan from Nuclear Blast for Paradise Lost‘s new album, Obsidian — which is out May 15 — will follow the pattern of the latest record from My Dying Bride that came out earlier this month. There are, of course, additional factors at play now that weren’t at the beginning of the year as they were rolling out the first of that band’s singles — blah blah blah pandemic — but starting with a narrative-style video and the launch of preorders is on point so far, and likewise the choice of a powerful lead single. In this instance, that’s “Fall From Grace,” for which the video is streamable below, followed, as happens, by the preorder link.

Granted it’s cliché as heckdarnshoot to compare these two acts either sonically or in terms of their respective career trajectories, but now that they’re once again labelmates — Paradise Lost signed to Nuclear Blast for their 2017 album, Medusa (review here), following a long stint on Century Media — it’s hard to avoid since at least one assumes it’s the same teams working behind the scenes on promoting them. My emails come from the same parties, anyhow. Paradise Lost are nothing not a proven commodity, as even the reception to their last offering proved, so maybe that’s me being interested in how the industry works these days — if what comes next is a lyric video, it’ll be on target — but as we’ve all learned to one degree or another in the last month-plus, plans can change in ways not previously anticipated. Still, even on a label with the reach of Nuclear Blast, Obsidian will obviously be a priority.

If the cinematic feel of “Fall From Grace” is anything to go by, that’s how it’s being treated. More to come, I’m sure.

Enjoy:

Paradise Lost, “Fall From Grace” official video

PARADISE LOST RELEASE NEW SINGLE & VIDEO FOR “FALL FROM GRACE” + START PRE-ORDER FOR “OBSIDIAN” (MAY 15TH)

The book has been closed but the story is not over: PARADISE LOST sharpen their pens and add another chapter to their dark, glooming history of death doom and gothic metal. In difficult times, the British legend from Halifax is the drug that numbs the pain , the lover that takes away the sorrows, the story that craves to be told.

“Obsidian”, the new album from PARADISE LOST, will be released on May,15th.

You can order “Obsidian” now in various formats here:
https://nblast.de/ParadiseLostObsidian

Nick Holmes states: “As a global crisis, it goes without saying Covid 19 has affected everyone and everything, including every aspect of the music industry. As a result, our record label Nuclear Blast offered us the chance to postpone the launch of our latest album ‘Obsidian’ to a less volatile time later in the year.

Taking this into consideration, and the fact the live music circuit is currently in lockdown, we think it’s unnecessary to postpone the release as we think our fans wouldn’t want to wait. Music can be enjoyed in practically any environment, so therefore we are going ahead with the same release date 15.5.20, and we sincerely hope our new album helps to lift your spirits, and is a beacon of light in the dark during these uncertain times! Thanks for your continuous support through the years and see you on the road!”

Paradise Lost website

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Paradise Lost at Nuclear Blast website

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I’ve had occasion more than once now to say I dig Lord Buffalo‘s second album, Tohu Wa Bohu, which is released this week through Blues Funeral Recordings, and hey, here’s one more before the thing actually comes out. It’s fitting the Austin, Texas, four-piece’s dug-in heavy Americana ethic that the video they’d make and put out closest to the record’s arrival is live, and that it’s performed somewhat differently from what’s actually on said record, and that it’s for a deep cut, down on side B rather than something frontloaded onto side A like some outfits do. It is, then, an invitation to dig further.

In the live version of “Dog Head,” some more of the All Them Witches vocal influence comes through, but that violin is sweet and sad and it seems to carry its own melody for the voice to play soulfully off of in full-on earlier-Woven Hand fashion, all the while a swell of tone and rhythm builds up around it and seems to consume the entire thing by the time it’s done. There’s no piano, as there is in the studio incarnation of “Dog Head,” and there’s a part of me that misses that crash of the keys here, but you can only be in so many places playing so many instruments at one time, and Lord Buffalo have clearly positioned themselves well. It works, is all I’m saying.

And guess what? I dig the album. It’s out Friday.

Enjoy the video:

Lord Buffalo, “Dog Head” official video

Live version of “Dog Head” by Lord Buffalo. Performed at Breathing Rhythm Studio, August 3rd, 2019. Recorded and mixed by Steve Boaz. Filmed and edited by Brian Blackwood.

Studio version of Dog Head appears on the album “Tohu Wa Bohu” Available March 27th, 2020 from Blues Funeral Recordings.

Austin, TX dark rock / post-Americana band Lord Buffalo will release its new LP, ‘Tohu Wa Bohu’, on March 27 via Blues Funeral Recordings. Recorded in Lockhart, TX with producer Danny Reisch (Chelsea Wolfe, Okkervil River) and mastered by Dave Shirk (Mastodon, Sun Ra), the album is the follow-up to the folk-psych group’s 2017 self-titled full length.

“Dog Head” is a song from our new LP, ‘Tohu Wa Bohu’, and while the album version begins as a dark, downtempo piano creeper, we’d been doing the song live with an extended intro of bowed guitar and violin,” says vocalist / guitarist Daniel Jesse Pruitt. “Lord Buffalo songs often come out a little different every night, and we wanted to capture a little of that with this live-in-studio version of ‘Dog Head’. ‘Dog Head’ begins with a drone of bowed guitar and violin and the holds to the low road until the switch gets flipped and fuzzed-out guitar breaks in to end the piece with an exclamation point. The end gets chaotic, the song comes off the tracks a bit, but the heaviness feels redemptive, a release from the previous dirge.”

Lord Buffalo are:
G.J. Hellman
P.J. Patterson
Yamal Said
D.J. Pruitt

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