Let the record show I was can-you-keep-this-moving-for-me stirring the base for a cheese sauce soon to go on cauliflower because my wife loves me when the email came in that King Buffalo had just released Live at Burning Man as a free download. And so, a little softshoe in front of the stove and my transformation to Old Weirdo Relative at Holiday is complete. I had it on after dinner too while I did dishes. For like four hours. Family milling about this way and that. I’m hunched over the white sink merrily scrubbing and singing along to “Orion.”

It was Thanksgiving in the US, and we hosted north of 20 people at the house, so it’s a good thing King Buffalo‘s set at the fabled Gen-X/Millennial do-art-and-maybe-drugs gathering was long. The edited video of Live at Burning Man — streaming free on YouTube (second player above) — is half an hour, but the audio of the full performance tops 93 minutes and was clearly put together with the idea of featuring a couple more sprawling jams. So you get “Longing to Be the Mountain,” as well as “Repeater” and “Red Star 1 & 2,” “Cerberus” and “Shadows” past or near 10 minutes, and if you’re an established fan of the band, any single one of them should be enough impetus to hear the thing.

Whether it’s the extra bit of sneer in Sean McVay‘s voice in “Grifter” or the burn of guitar in “Longing to Be the Mountain,” the shimmer prompting cheers at the start of “Orion,” the graceful build into “Repeater” with Dan Reynolds‘ e’er smooth basslines and Scott Donaldson‘s somehow-restless-and-unhurried drumming giving the push. “Silverfish” and “Grifter” are the gateway. From there, it’s a deep-dive, headline-style set recorded by engineer Grant Husselman, who also helmed 2021’s Acheron (review here), the middle installment of King Buffalo‘s ‘pandemic trilogy’ that began with the 2021 godsend The Burden of Restlessness (review here), Acheron, which found the trio (and Husselman, and me at least for a bit) recording in a roadside attraction cave off the New York Thruway, and 2022’s Regenerator (review here).

Whatever King Buffalo do from here — and they said the Winter US touring that of course follows the Fall European touring will be their last stint out until they at least write their next LP if not finish it — there’s no question that their ‘trilogy era’ stands as a thing unto itself. It’s the difference between a band with two records on the rise and beginning to capture and audience’s attention and headliners with five records under their belt, an increasingly progressive course and like three hours’ worth of material to change up any set you like to such a degree that, when tapped for a fest like Burning Man outside the heavy underground’s own conventional circuit, they can accommodate that audience by playing longer, jammier, more psychedelic songs. They can lean into “Repeater,” and roll “Cerberus” to a consuming, massive finish to leave blown minds in their wake. They not only have the flexibility as artists to do so, they have the professionalism to actually do it.

Live at Burning Man is the third live outing from King Buffalo behind 2016’s Live at Wicked Squid Studios (review here) and 2020’s Live at Freak Valley (discussed here), and one might look at that from a band who put out their first record in 2016 and be like, wow, that’s a lot, but each one of those captures them at a different point in their evolution, and Live at Burning Man feels no less like a realization than the three studio albums whose tracks comprise most of the set. “Loam” precedes “Cerberus” in closing, and the two — from The Burden of Restlessness and Acheron, respectively — complement each other well in crafting a build in intensity that begins with the second part of “Red Star 1 & 2.” And if you watch the video, it gets especially trippy right around there as well. Justifiably so. King Buffalo don’t go full-Hawkwind space rock very often, but they’ve got the synth for it when they do.

And I guess that is kind of the lesson of Live at Burning Man. It’s that whatever’s coming next, King Buffalo are ready for it. Those last shows in December and January linked above, and in a way this surprise release — at least I didn’t know it was coming — of Live at Burning Man as a name-your-price Bandcamp special Thanksgiving whathaveyou is perfectly timed as a capstone to the previously-noted ‘trilogy era.’ Considering the scope of the work and the progressive blossoming that their third, fourth and fifth albums wrought despite being issued in such relatively quick succession, to underscore the point that not only did King Buffalo launch the 2020s with three of its thus-far most essential heavy records, but that when it was possible for them to do so, they then went out and hand-delivered those songs to an established and growing audience.

As for Burning Man itself, well, you don’t record in a cave and you don’t chase down playing Lincoln Center in Manhattan as an ostensibly underground band if you’re not into creating an experience for yourself as well as your audience. I’ve no doubt this one was a trip, and I know I’ve been very glad to have caught them the couple times I have since the world started happening again — most recently was this past summer at Freak Valley (review here) — so despite not having been at the show, the documentation of this band playing these songs at this time is something to be appreciated now and in the future. I’m glad to count it as a fourth in that trilogy.

The dishes outlasted the set, but that chug at the end of “Cerberus” was a good rhythm for scrubbing, and the cauliflower was delicious. Thanksgiving — the narrative utterly ludicrous and atrocious in the true American tradition of racism — is celebrated in my house as a chance to be with family, cooking and eating and enjoying each other’s company. I know that maybe putting a record on while you try and shake that last bit of soap out of the bottle of Palmolive and fall completely into your own head thinking about the songs doesn’t scream ‘family togetherness’ in most situations, but speaking exclusively for my own brain, sometimes it feels like the one thing that helps the other happen.

Thanks for reading. I hope you enjoy. And if you celebrate Thanksgiving, I hope it was a good one.

—

Next week is a Quarterly Review. Not going to be a lot of posts besides that, but there are a few news things and such I’ll want to post. But 10 records per day for at least five days. I’ll decide this weekend if I want to go longer than that. It’s a LOT of stuff I want to catch up on — David Eugene Edwards I’ve been trying to review since Spring — plus newer things like Primordial and Tortuga, Fuzz Evil, Dune Pilot, on and on, and I hope it’ll be a good mix. Last QR was tough. Sometimes without meaning to I’ll slate like, three or four psych records the same day. Can’t do that shit! My brain goes numb. “Duh, sounds like mushrooms?” Review over.

But anyway that’s the plan. Through the holiday, into the Quarterly Review. Then after that I’m digging into year-end time, trying not to let it go too long and end up posting it on Xmas Eve or something silly like that, which I’m pretty sure I’ve done in the past.

Thank you if you’ve contributed to the year-end poll. Thank you if you intend to. Thank you for reading. Thanks for being alive. I mean that shit. It’s work to get through a day. Thank you for whatever in your life led you to the end of this sentence.

Have a great and safe weekend. I think we’re mostly in recovery mode, but I’m sure we’ll find some silly shit to get up to while I also stress about the Quarterly Review in that special way that The Patient Mrs. loves so, so, so much. It’ll be fun.

FRM.

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