Lord Buffalo is heavy in the way that ghosts are heavy… in the way that billowing dust is heavy.
That is to say, the Austin, TX Psych-Americana band’s music impacts hard, though it seems impossible to touch. Their sound flows through us, it doesn’t invite the Pavlovian response of typical heavy rock music.
Perhaps it’s fitting then that their new album Holus Bolus (due out via Blues Funeral Recordings on July 12th) takes its name from an antiquated term meaning “all at once.” It materializes instantly from the first notes of the opening title track, like a dark grey haze drawing listeners in with the band’s deft juxtapositions of droning violin, guitars, drums and vocals. It draws equally from Morricone and Badalementi as from Sabbath and Swans.
While the quartet trudges the same murky waters as dark emotive brethren David Eugene Edwards/Woven Hand, Chelsea Wolfe, Emma Ruth Rundle, Earth/Dylan Carlson, Echo & The Bunnymen, Nick Cave, etc., their creative interplay of Middle Eastern influence with a distinctly Western feel takes listeners in entirely new directions as the album envelops them.
Lord Buffalo is Daniel Pruitt (guitar, bass, piano, vocals, melodica), Garrett Hellman (guitar, sub-bass, piano, synths), Patrick Patterson (violin), and Yamal Said (drums, percussion). Holus Bolus was recorded by Danny Reisch and Max Lorenzen at Good Danny’s in Lockhart, TX. Mixed by Danny Reisch. Mastered by Max Lorenzen.
Today Glide is excited to premiere the standout track “Cracks in the Vermeer,” a dark and atmospheric rock meditation that features ominous guitars and brooding vocals that stretch and sprawl. Indeed, it taps into a sort of gothic Americana sound that traverses a dramatic soundscape that could be a stormy night in the old West. The band seems to revel in slowly building and releasing tension, with moments of sinister rocking that even includes a nod to throat singing. For Lord Buffalo, this song is one that demonstrates its power and versatility.
LISTEN:
