Last updated on September 12, 2017
In recorded form, Lord Buffalo has been quiet since I highly recommended their 2012 self-titled EP. They’ve been spending time playing mighty live shows and recording a full album (to be released in 2014). A self-titled 7″ has appeared to whet the appetites of those invested in their spacious sound, and whoa does it ever deliver.
The only Stephen King novel I’ve finished was The Stand, and the post-epidemic landscape that King sets his characters upon could use these two tunes as a soundtrack. Helter-skelter vocal roaring reminiscent of Isaac Brock (Modest Mouse) ranges across the urgent, pounding “Mene Mene Tekel Upharsin”; the heavily rhythmic arrangement hearkens towards stereotypical Native American chant, which only ups the tension. Evocative might be too soft a word for the visceral reaction I feel when hearing the recording; it helps that I saw this one performed live at SXSW 2013, and it was suitably earthshaking. B-side “Black Mesa” is a more expansive track, giving the band more room to breathe. It’s just as dramatic and fascinating, but in a different way. Lord Buffalo are making unique and thrilling music, and I can hardly wait for the full album in 2014. Highly recommended (again!).
At their best, Son of Laughter‘s singer/songwriter tunes blend Paul Simon’s precise fingerpicking and melodies with Josh Ritter’s thoughtful, storytelling lyrics. The result is the 5-song The Mantis and The Moon EP, which gives much to enjoy while pointing to a bright future for musician Chris Slaten.
Opener “Cricket in a Jar” and the title track jump off the page as the clear standouts. The former delivers the most poignant line of the EP (“This is a law of loveliness/we love what never lasts”), while the latter gives us the most memorable chorus of the bunch. Slaten’s voice is in fine form through the chorus and beyond, moving sprightly across the gentle arrangement while maintaining nuance in the pathos. The nice subtlety of the lyrics helps with Slaten’s vocal nuance, as well. It’s hard for me to hear “The Mantis” and resist pushing repeat; that’s high praise from over here. The other three tunes are a little less immediate in their charms, but they each show promising aspects to Slaten’s sound. I’m looking forward to how this project grows and develops, as Slaten’s talent seems like it has a lot of good songs in it that are just waiting to emerge.