#wovenhand — Public Fediverse posts

Morgen naar 16 Horse Power in Paradiso:

https://en.wikipedia.org/wiki/16_Horsepower

Ben benieuwd.

#Wovenhand #DavidEugeneEdwards #16Horsepower #Paradiso

David Eugene Edwards - Mercurial Silence. Eine Fata Morgana ist ein spannendes Motiv der Film- und Comic-Kunst. Wie aber klingt so eine trüger......
#DavidEugeneEdwards #Wovenhand#Album #AlternativeRock #ArtPop #DarkPop #TripHop
https://www.musikblog.de/2026/05/david-eugene-edwards-mercurial-silence/

Auch in diesem Jahr poste ich wieder meine angehörten Alben in 2025 als Cover. Die Reihenfolge ist rein zufällig und stellt keine Wertung dar.

#Album2025 #AlbumsOf2025 #album #cover #musik #musique #music #rockmusic #rockmusik #alternativerock

019. Détroit "L'Angle"

#rock #BertrandCantat #PascalHumbert #Détroit #NoirDésir #Wovenhand

Auch in diesem Jahr poste ich wieder meine angehörten Alben in 2025 als Cover. Die Reihenfolge ist rein zufällig und stellt keine Wertung dar.

#Album2025 #AlbumsOf2025 #album #cover #musik #musique #music #rockmusic #rockmusik #alternativerock

019. Détroit "L'Angle"

#rock #BertrandCantat #PascalHumbert #Détroit #NoirDésir #Wovenhand

Auch in diesem Jahr poste ich wieder meine angehörten Alben in 2025 als Cover. Die Reihenfolge ist rein zufällig und stellt keine Wertung dar.

#Album2025 #AlbumsOf2025 #album #cover #musik #musique #music #rockmusic #rockmusik #alternativerock

019. Détroit "L'Angle"

#rock #BertrandCantat #PascalHumbert #Détroit #NoirDésir #Wovenhand

Auch in diesem Jahr poste ich wieder meine angehörten Alben in 2025 als Cover. Die Reihenfolge ist rein zufällig und stellt keine Wertung dar.

#Album2025 #AlbumsOf2025 #album #cover #musik #musique #music #rockmusic #rockmusik #alternativerock

019. Détroit "L'Angle"

#rock #BertrandCantat #PascalHumbert #Détroit #NoirDésir #Wovenhand

Auch in diesem Jahr poste ich wieder meine angehörten Alben in 2025 als Cover. Die Reihenfolge ist rein zufällig und stellt keine Wertung dar.

#Album2025 #AlbumsOf2025 #album #cover #musik #musique #music #rockmusic #rockmusik #alternativerock

019. Détroit "L'Angle"

#rock #BertrandCantat #PascalHumbert #Détroit #NoirDésir #Wovenhand

Auch in diesem Jahr poste ich wieder meine angehörten Alben in 2025 als Cover. Die Reihenfolge ist rein zufällig und stellt keine Wertung dar.

#Album2025 #AlbumsOf2025 #album #cover #musik #musique #music #rockmusic #rockmusik #alternativerock

019. Détroit "L'Angle"

#rock #BertrandCantat #PascalHumbert #Détroit #NoirDésir #Wovenhand

Thursday, Morning comes… #WovenHand and their #MyRussia is still a banger! I loved them live. Have a great day! #16HP #Music #Goth #Alternative #americana #16HorsePower youtu.be/FFatC2B8arI

Woven Hand - My Russia (Lyrics...

Thursday, Morning comes… #WovenHand and their #MyRussia is still a banger! I loved them live. Have a great day! #16HP #Music #Goth #Alternative #americana #16HorsePower youtu.be/FFatC2B8arI

Woven Hand - My Russia (Lyrics...

Thursday, Morning comes… #WovenHand and their #MyRussia is still a banger! I loved them live. Have a great day! #16HP #Music #Goth #Alternative #americana #16HorsePower youtu.be/FFatC2B8arI

Woven Hand - My Russia (Lyrics...

The Infinity Ring – Ataraxia Review

By Dolphin Whisperer

The heart of heavy metal music lives in attitude, one of extreme emotions—sadness, anger, exuberance, catharsis. And in increasing trend, modern practitioners often conjure that spirit through atmosphere, which allows metal-adjacent spaces like goth rock and darkwave to strike a chord with those who typically fall for weepy music of crying guitars and mournful vocals. New England-based The Infinity Ring harbors some of these dark sounds that attract lovers of the downtrodden—twangy and folky guitar refrains, post-rock-like swells in intensity and volume—all wrapped up in a smoky and gravel-filled vocal delivery. So even though Ataraxia isn’t metal,1 despite finding home in oft-metal label Profound Lore, its sorrowful swagger threatens to stimulate the same shout and simmer all the same.

With a gothic allure and a somber, neofolk-y expression, Ataraxia carves a path down weeping corridors with a stinging chamber folk ambience and swelling post-rock trajectory. Most importantly, though, The Infinity Ring’s narrative finds the comfort of low, crackling fire on a chilly night in the gravely mic antics of band leader and guitarist Cameron Moretti. His gruff croon and low distortion twang bring to mind the noir character of Nick Cave with the patience and weathered exhale of late Leonard Cohen works. And a sense of intimacy pervades his brooding incantations, with high gain recordings providing a crackle and tickle—a comfort similar to what some find in ASMR recordings. But though the timbre and dripping legato of Moretti’s poetry may wrap like a scratchy blanket on a cold night, its words often ring more harrowing and downcast.

Whether you fall prey to Moretti’s somber lull will still fall in line with whether the stripped and screaming chamber instrumentation provides an interesting enough base. From Ataraxia’s wistful introduction of violin swirling in post-crescendo denouement (“Obsidian”) to its close through the understated swell of fragile piano guidance and drowning string ambience (“The Archway”), the focus of hazy backings and hypnotic refrains drives the primary tether. It takes until the first drum rolls of “Elysium,” about ten minutes into the album, before a sense of classic swinging movement takes hold, and even the lilting rhythmic framework sways against a post-rock guitar gathering, distant clanging bells, and bowed crescendo. And while The Infinity Ring again finds this kind of tempo-pushing jog in “The Drum,” a majority of Ataraxia exists in a chamber-adjacent space that prizes the exploration of atmosphere and texture.

Yet, for an album that exists in this compositionally softer realm, Ataraxia plays less with intense dynamics and more with a focused loudness. As a vocal-forward affair, Moretti’s reverberating croons and scowls take center stage, their higher presence sitting above the fog of acoustic plonks and muted chamber underlays. Whether it’s against the plonky lead of piano (“Nightingale,” “The Archway”), across a Wovenhand-esque strum and kick and rim clack strut (“Hymn,” “The Drum”), or amidst a looping fuzz and minimalist progression (“Revenge,” “The Window”), bassy, breath-heavy murmurings ripple and pulse and pull along these distant soundscapes. Silence as a setup, like an inhale, still finds a place in the quiet-to-calamitous post-rock aura that The Infinity Ring wears at base. But also, like breath, a natural rise and fall defines Ataraxia’s pace, its closing message of “The Archway” embodying that swift, tidal tempo.

As a journey of serene discomfort, Ataraxia walks softly bug neglects to carry that big, bombastic stick. The Infinity Ring, sticking to a diverse sonic palette to achieve its moody goals, functions as a hard-to-quantify collective of unique and thought-out sounds. Walking in a long line of attitude-based artists like Lou Reed and Tom Waits, the path that The Infinity Ring has chosen is weird, entrancing, and, above all, rich with sonic delight. So with Ataraxia, the journey is the destination. And when the mood strikes, The Infinity Ring proves a hard act to ignore.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records | Bandcamp
Websites: theinfinityring.bandcamp.com | instagram.com/theinfinityring
Releases Worldwide: March 21st, 2025

#2025 #35 #Ataraxia #ChamberMusic #Darkwave #GothicRock #LeonardCohen #LouReed #Mar25 #NickCave #PostRock #ProfoundLoreRecords #Review #Reviews #TheInfinityRing #Wovenhand

The Infinity Ring – Ataraxia Review

By Dolphin Whisperer

The heart of heavy metal music lives in attitude, one of extreme emotions—sadness, anger, exuberance, catharsis. And in increasing trend, modern practitioners often conjure that spirit through atmosphere, which allows metal-adjacent spaces like goth rock and darkwave to strike a chord with those who typically fall for weepy music of crying guitars and mournful vocals. New England-based The Infinity Ring harbors some of these dark sounds that attract lovers of the downtrodden—twangy and folky guitar refrains, post-rock-like swells in intensity and volume—all wrapped up in a smoky and gravel-filled vocal delivery. So even though Ataraxia isn’t metal,1 despite finding home in oft-metal label Profound Lore, its sorrowful swagger threatens to stimulate the same shout and simmer all the same.

With a gothic allure and a somber, neofolk-y expression, Ataraxia carves a path down weeping corridors with a stinging chamber folk ambience and swelling post-rock trajectory. Most importantly, though, The Infinity Ring’s narrative finds the comfort of low, crackling fire on a chilly night in the gravely mic antics of band leader and guitarist Cameron Moretti. His gruff croon and low distortion twang bring to mind the noir character of Nick Cave with the patience and weathered exhale of late Leonard Cohen works. And a sense of intimacy pervades his brooding incantations, with high gain recordings providing a crackle and tickle—a comfort similar to what some find in ASMR recordings. But though the timbre and dripping legato of Moretti’s poetry may wrap like a scratchy blanket on a cold night, its words often ring more harrowing and downcast.

Whether you fall prey to Moretti’s somber lull will still fall in line with whether the stripped and screaming chamber instrumentation provides an interesting enough base. From Ataraxia’s wistful introduction of violin swirling in post-crescendo denouement (“Obsidian”) to its close through the understated swell of fragile piano guidance and drowning string ambience (“The Archway”), the focus of hazy backings and hypnotic refrains drives the primary tether. It takes until the first drum rolls of “Elysium,” about ten minutes into the album, before a sense of classic swinging movement takes hold, and even the lilting rhythmic framework sways against a post-rock guitar gathering, distant clanging bells, and bowed crescendo. And while The Infinity Ring again finds this kind of tempo-pushing jog in “The Drum,” a majority of Ataraxia exists in a chamber-adjacent space that prizes the exploration of atmosphere and texture.

Yet, for an album that exists in this compositionally softer realm, Ataraxia plays less with intense dynamics and more with a focused loudness. As a vocal-forward affair, Moretti’s reverberating croons and scowls take center stage, their higher presence sitting above the fog of acoustic plonks and muted chamber underlays. Whether it’s against the plonky lead of piano (“Nightingale,” “The Archway”), across a Wovenhand-esque strum and kick and rim clack strut (“Hymn,” “The Drum”), or amidst a looping fuzz and minimalist progression (“Revenge,” “The Window”), bassy, breath-heavy murmurings ripple and pulse and pull along these distant soundscapes. Silence as a setup, like an inhale, still finds a place in the quiet-to-calamitous post-rock aura that The Infinity Ring wears at base. But also, like breath, a natural rise and fall defines Ataraxia’s pace, its closing message of “The Archway” embodying that swift, tidal tempo.

As a journey of serene discomfort, Ataraxia walks softly bug neglects to carry that big, bombastic stick. The Infinity Ring, sticking to a diverse sonic palette to achieve its moody goals, functions as a hard-to-quantify collective of unique and thought-out sounds. Walking in a long line of attitude-based artists like Lou Reed and Tom Waits, the path that The Infinity Ring has chosen is weird, entrancing, and, above all, rich with sonic delight. So with Ataraxia, the journey is the destination. And when the mood strikes, The Infinity Ring proves a hard act to ignore.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records | Bandcamp
Websites: theinfinityring.bandcamp.com | instagram.com/theinfinityring
Releases Worldwide: March 21st, 2025

#2025 #35 #Ataraxia #ChamberMusic #Darkwave #GothicRock #LeonardCohen #LouReed #Mar25 #NickCave #PostRock #ProfoundLoreRecords #Review #Reviews #TheInfinityRing #Wovenhand

The Infinity Ring – Ataraxia Review

By Dolphin Whisperer

The heart of heavy metal music lives in attitude, one of extreme emotions—sadness, anger, exuberance, catharsis. And in increasing trend, modern practitioners often conjure that spirit through atmosphere, which allows metal-adjacent spaces like goth rock and darkwave to strike a chord with those who typically fall for weepy music of crying guitars and mournful vocals. New England-based The Infinity Ring harbors some of these dark sounds that attract lovers of the downtrodden—twangy and folky guitar refrains, post-rock-like swells in intensity and volume—all wrapped up in a smoky and gravel-filled vocal delivery. So even though Ataraxia isn’t metal,1 despite finding home in oft-metal label Profound Lore, its sorrowful swagger threatens to stimulate the same shout and simmer all the same.

With a gothic allure and a somber, neofolk-y expression, Ataraxia carves a path down weeping corridors with a stinging chamber folk ambience and swelling post-rock trajectory. Most importantly, though, The Infinity Ring’s narrative finds the comfort of low, crackling fire on a chilly night in the gravely mic antics of band leader and guitarist Cameron Moretti. His gruff croon and low distortion twang bring to mind the noir character of Nick Cave with the patience and weathered exhale of late Leonard Cohen works. And a sense of intimacy pervades his brooding incantations, with high gain recordings providing a crackle and tickle—a comfort similar to what some find in ASMR recordings. But though the timbre and dripping legato of Moretti’s poetry may wrap like a scratchy blanket on a cold night, its words often ring more harrowing and downcast.

Whether you fall prey to Moretti’s somber lull will still fall in line with whether the stripped and screaming chamber instrumentation provides an interesting enough base. From Ataraxia’s wistful introduction of violin swirling in post-crescendo denouement (“Obsidian”) to its close through the understated swell of fragile piano guidance and drowning string ambience (“The Archway”), the focus of hazy backings and hypnotic refrains drives the primary tether. It takes until the first drum rolls of “Elysium,” about ten minutes into the album, before a sense of classic swinging movement takes hold, and even the lilting rhythmic framework sways against a post-rock guitar gathering, distant clanging bells, and bowed crescendo. And while The Infinity Ring again finds this kind of tempo-pushing jog in “The Drum,” a majority of Ataraxia exists in a chamber-adjacent space that prizes the exploration of atmosphere and texture.

Yet, for an album that exists in this compositionally softer realm, Ataraxia plays less with intense dynamics and more with a focused loudness. As a vocal-forward affair, Moretti’s reverberating croons and scowls take center stage, their higher presence sitting above the fog of acoustic plonks and muted chamber underlays. Whether it’s against the plonky lead of piano (“Nightingale,” “The Archway”), across a Wovenhand-esque strum and kick and rim clack strut (“Hymn,” “The Drum”), or amidst a looping fuzz and minimalist progression (“Revenge,” “The Window”), bassy, breath-heavy murmurings ripple and pulse and pull along these distant soundscapes. Silence as a setup, like an inhale, still finds a place in the quiet-to-calamitous post-rock aura that The Infinity Ring wears at base. But also, like breath, a natural rise and fall defines Ataraxia’s pace, its closing message of “The Archway” embodying that swift, tidal tempo.

As a journey of serene discomfort, Ataraxia walks softly bug neglects to carry that big, bombastic stick. The Infinity Ring, sticking to a diverse sonic palette to achieve its moody goals, functions as a hard-to-quantify collective of unique and thought-out sounds. Walking in a long line of attitude-based artists like Lou Reed and Tom Waits, the path that The Infinity Ring has chosen is weird, entrancing, and, above all, rich with sonic delight. So with Ataraxia, the journey is the destination. And when the mood strikes, The Infinity Ring proves a hard act to ignore.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records | Bandcamp
Websites: theinfinityring.bandcamp.com | instagram.com/theinfinityring
Releases Worldwide: March 21st, 2025

#2025 #35 #Ataraxia #ChamberMusic #Darkwave #GothicRock #LeonardCohen #LouReed #Mar25 #NickCave #PostRock #ProfoundLoreRecords #Review #Reviews #TheInfinityRing #Wovenhand

The Infinity Ring – Ataraxia Review

By Dolphin Whisperer

The heart of heavy metal music lives in attitude, one of extreme emotions—sadness, anger, exuberance, catharsis. And in increasing trend, modern practitioners often conjure that spirit through atmosphere, which allows metal-adjacent spaces like goth rock and darkwave to strike a chord with those who typically fall for weepy music of crying guitars and mournful vocals. New England-based The Infinity Ring harbors some of these dark sounds that attract lovers of the downtrodden—twangy and folky guitar refrains, post-rock-like swells in intensity and volume—all wrapped up in a smoky and gravel-filled vocal delivery. So even though Ataraxia isn’t metal,1 despite finding home in oft-metal label Profound Lore, its sorrowful swagger threatens to stimulate the same shout and simmer all the same.

With a gothic allure and a somber, neofolk-y expression, Ataraxia carves a path down weeping corridors with a stinging chamber folk ambience and swelling post-rock trajectory. Most importantly, though, The Infinity Ring’s narrative finds the comfort of low, crackling fire on a chilly night in the gravely mic antics of band leader and guitarist Cameron Moretti. His gruff croon and low distortion twang bring to mind the noir character of Nick Cave with the patience and weathered exhale of late Leonard Cohen works. And a sense of intimacy pervades his brooding incantations, with high gain recordings providing a crackle and tickle—a comfort similar to what some find in ASMR recordings. But though the timbre and dripping legato of Moretti’s poetry may wrap like a scratchy blanket on a cold night, its words often ring more harrowing and downcast.

Whether you fall prey to Moretti’s somber lull will still fall in line with whether the stripped and screaming chamber instrumentation provides an interesting enough base. From Ataraxia’s wistful introduction of violin swirling in post-crescendo denouement (“Obsidian”) to its close through the understated swell of fragile piano guidance and drowning string ambience (“The Archway”), the focus of hazy backings and hypnotic refrains drives the primary tether. It takes until the first drum rolls of “Elysium,” about ten minutes into the album, before a sense of classic swinging movement takes hold, and even the lilting rhythmic framework sways against a post-rock guitar gathering, distant clanging bells, and bowed crescendo. And while The Infinity Ring again finds this kind of tempo-pushing jog in “The Drum,” a majority of Ataraxia exists in a chamber-adjacent space that prizes the exploration of atmosphere and texture.

Yet, for an album that exists in this compositionally softer realm, Ataraxia plays less with intense dynamics and more with a focused loudness. As a vocal-forward affair, Moretti’s reverberating croons and scowls take center stage, their higher presence sitting above the fog of acoustic plonks and muted chamber underlays. Whether it’s against the plonky lead of piano (“Nightingale,” “The Archway”), across a Wovenhand-esque strum and kick and rim clack strut (“Hymn,” “The Drum”), or amidst a looping fuzz and minimalist progression (“Revenge,” “The Window”), bassy, breath-heavy murmurings ripple and pulse and pull along these distant soundscapes. Silence as a setup, like an inhale, still finds a place in the quiet-to-calamitous post-rock aura that The Infinity Ring wears at base. But also, like breath, a natural rise and fall defines Ataraxia’s pace, its closing message of “The Archway” embodying that swift, tidal tempo.

As a journey of serene discomfort, Ataraxia walks softly bug neglects to carry that big, bombastic stick. The Infinity Ring, sticking to a diverse sonic palette to achieve its moody goals, functions as a hard-to-quantify collective of unique and thought-out sounds. Walking in a long line of attitude-based artists like Lou Reed and Tom Waits, the path that The Infinity Ring has chosen is weird, entrancing, and, above all, rich with sonic delight. So with Ataraxia, the journey is the destination. And when the mood strikes, The Infinity Ring proves a hard act to ignore.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records | Bandcamp
Websites: theinfinityring.bandcamp.com | instagram.com/theinfinityring
Releases Worldwide: March 21st, 2025

#2025 #35 #Ataraxia #ChamberMusic #Darkwave #GothicRock #LeonardCohen #LouReed #Mar25 #NickCave #PostRock #ProfoundLoreRecords #Review #Reviews #TheInfinityRing #Wovenhand

http://africanpaper.com/2025/05/02/david-eugene-edwards-und-al-cisneros-mit-gemeinsamer-ep/
#pillaroffire #capernaum #ep #davideugeneedwards #alcisneros #wovenhand #om #sixteenhorsepower #sleep #shrinebuilder #instrumental #psychedelic #spiritual #dragcity #dragcityrecords

Lord Buffalo – Holus Bolus Review

By Cherd

Four long years ago, just at the onset of the Great Plague, in the face of uncertainty and anxious hand-wringing, I found myself agreeably distracted for the briefest of moments by Lord Buffalo’s sophomore LP Tohu Wa Bohu. These Austin, Texas boys culled fruit from the darker corners of Americana music and spat out an oaky mélange of gothic country-psych rock that spoke to the sullen farm boy in me. The Plague has since waned to a sniffle, but there’s still plenty of uncertainty and anxious hand-wringing when one surveys the news headlines. Can Lord Buffalo once again pull me away from doom scrolling long enough to fall under their Middle American spell? I’ll say this for them, they have a way with album titles. Tohu Wa Bohu is the Hebrew for the phrase “formless and empty” found in the book of Genesis. Meanwhile, Holus Bolus1 is an antiquated term that means “all at once.” Thankfully, the band is consistent in more than just obscure rhymes.

Many of the same influences from their earlier albums are still embedded on Holus Bolus. There’s the obligatory burnt offering at the altar of David Eugene Edwards, particularly his Wovenhand iteration, as well as Nick Cave, both for his work with the Bad Seeds and his excellent film scores with Warren Ellis. I noted in my review of Tohu Wa Bohu that one could hear hints of Timber Timbre in a song or two. That aspect of their sound has expanded on Holus Bolus, especially in the vocals of Daniel Jesse Pruitt. That said, Lord Buffalo has landed on a more cohesive sound on this outing, pruning the occasional rabbit trails down in favor of a compact compositional range and tying it all together with a warm but close-sounding production job absolutely saturated with off-kilter reverb of both instruments and vocals.

In my review four years ago, I expressed hope that Lord Buffalo’s next record would see them surpass the sum of their influences and hit on their own unique perspective. I’d say they’ve done so. They’ve leaned hard into the atmospheric side of their approach, upping both the Americana earthiness and trippy psychedelia. Case in point is the deceptively majestic “Malpaisano,” which starts as a languid, haunted country elegy before a heavily distorted keyboard and horn section elevates it to an otherworldly plane. Two songs later, a natural companion piece presents itself in “Cracks in the Vermeer.”2 Where the latter was almost a vignette of stately sadness, “Cracks in the Vermeer” is fleshed out into a full song, with a first half deeply depressive, yet gentle, giving way to a funereal chant and the darkest stretch of the album. It’s not all dolor and ennui on Holus Bolus, tho. The leadoff title track is a propulsive rock song full of banally apocalyptic imagery, from empty strip malls to prairie fire kindling. Meanwhile, second advance single “I Wait On the Door Slab” gathers the various threads of the album and binds them into six minutes of twisting gothic folk and doom rock. Each of these songs is a complete thought, as well as a brick in the lyrical wall Lord Buffalo builds across the album.

So far, so great, but as good as all this material is, I have a niggling issue with the overall album composition. This is a slight album, at just under 40 minutes. Not a problem in itself, but the two longest tracks are instrumentals. The first one, “Slow Drug,” fits the album’s mood and style wonderfully, with an odd swagger and heavily distorted vocal humming that integrates well with Holus Bolus’ other affectations. The problem is that it falls second in the track listing, derailing the momentum set by the fantastic opener. It would flow better later in the runtime. With one instrumental, and a good one, already under their belt, Lord Buffalo close with the seven-plus minute “Rowing In Eden,” which is unfortunately the one throwaway track on an otherwise stellar set of songs. It’s not bad on its own, tapping into the same haunted atmosphere as the rest of the album, but the time could have been better spent expanding the lyrical content of this missive on the American landscape at the twenty-first-quarter-century mark.

Lord Buffalo have taken a significant step forward forging their own take on the gothic Americana sound with Holus Bolus. That said, the album composition holds this back from becoming the jaw-dropping statement I’m now convinced they have in them. They remain an exciting contemporary of acts such as Wailin’ Storms and All Them Witches, and I’ll happily follow them wherever they go next.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Blues Funeral Recordings
Websites: lord-buffalo.bandcamp.com | facebook.com/lord.buffalo.band
Releases Worldwide: July 12th, 2024

#2024 #35 #AllThemWitches #AmericanFolkRock #Americana #BluesFuneralRecordings #DavidEugeneEdwards #FolkRock #GothicAmericana #HolusBolus #Jul24 #LordBuffalo #NickCave #NotMetal #Review #Reviews #TimberTimbre #WailinStorms #Wovenhand

Lord Buffalo – Holus Bolus Review

By Cherd

Four long years ago, just at the onset of the Great Plague, in the face of uncertainty and anxious hand-wringing, I found myself agreeably distracted for the briefest of moments by Lord Buffalo’s sophomore LP Tohu Wa Bohu. These Austin, Texas boys culled fruit from the darker corners of Americana music and spat out an oaky mélange of gothic country-psych rock that spoke to the sullen farm boy in me. The Plague has since waned to a sniffle, but there’s still plenty of uncertainty and anxious hand-wringing when one surveys the news headlines. Can Lord Buffalo once again pull me away from doom scrolling long enough to fall under their Middle American spell? I’ll say this for them, they have a way with album titles. Tohu Wa Bohu is the Hebrew for the phrase “formless and empty” found in the book of Genesis. Meanwhile, Holus Bolus1 is an antiquated term that means “all at once.” Thankfully, the band is consistent in more than just obscure rhymes.

Many of the same influences from their earlier albums are still embedded on Holus Bolus. There’s the obligatory burnt offering at the altar of David Eugene Edwards, particularly his Wovenhand iteration, as well as Nick Cave, both for his work with the Bad Seeds and his excellent film scores with Warren Ellis. I noted in my review of Tohu Wa Bohu that one could hear hints of Timber Timbre in a song or two. That aspect of their sound has expanded on Holus Bolus, especially in the vocals of Daniel Jesse Pruitt. That said, Lord Buffalo has landed on a more cohesive sound on this outing, pruning the occasional rabbit trails down in favor of a compact compositional range and tying it all together with a warm but close-sounding production job absolutely saturated with off-kilter reverb of both instruments and vocals.

In my review four years ago, I expressed hope that Lord Buffalo’s next record would see them surpass the sum of their influences and hit on their own unique perspective. I’d say they’ve done so. They’ve leaned hard into the atmospheric side of their approach, upping both the Americana earthiness and trippy psychedelia. Case in point is the deceptively majestic “Malpaisano,” which starts as a languid, haunted country elegy before a heavily distorted keyboard and horn section elevates it to an otherworldly plane. Two songs later, a natural companion piece presents itself in “Cracks in the Vermeer.”2 Where the latter was almost a vignette of stately sadness, “Cracks in the Vermeer” is fleshed out into a full song, with a first half deeply depressive, yet gentle, giving way to a funereal chant and the darkest stretch of the album. It’s not all dolor and ennui on Holus Bolus, tho. The leadoff title track is a propulsive rock song full of banally apocalyptic imagery, from empty strip malls to prairie fire kindling. Meanwhile, second advance single “I Wait On the Door Slab” gathers the various threads of the album and binds them into six minutes of twisting gothic folk and doom rock. Each of these songs is a complete thought, as well as a brick in the lyrical wall Lord Buffalo builds across the album.

So far, so great, but as good as all this material is, I have a niggling issue with the overall album composition. This is a slight album, at just under 40 minutes. Not a problem in itself, but the two longest tracks are instrumentals. The first one, “Slow Drug,” fits the album’s mood and style wonderfully, with an odd swagger and heavily distorted vocal humming that integrates well with Holus Bolus’ other affectations. The problem is that it falls second in the track listing, derailing the momentum set by the fantastic opener. It would flow better later in the runtime. With one instrumental, and a good one, already under their belt, Lord Buffalo close with the seven-plus minute “Rowing In Eden,” which is unfortunately the one throwaway track on an otherwise stellar set of songs. It’s not bad on its own, tapping into the same haunted atmosphere as the rest of the album, but the time could have been better spent expanding the lyrical content of this missive on the American landscape at the twenty-first-quarter-century mark.

Lord Buffalo have taken a significant step forward forging their own take on the gothic Americana sound with Holus Bolus. That said, the album composition holds this back from becoming the jaw-dropping statement I’m now convinced they have in them. They remain an exciting contemporary of acts such as Wailin’ Storms and All Them Witches, and I’ll happily follow them wherever they go next.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Blues Funeral Recordings
Websites: lord-buffalo.bandcamp.com | facebook.com/lord.buffalo.band
Releases Worldwide: July 12th, 2024

#2024 #35 #AllThemWitches #AmericanFolkRock #Americana #BluesFuneralRecordings #DavidEugeneEdwards #FolkRock #GothicAmericana #HolusBolus #Jul24 #LordBuffalo #NickCave #NotMetal #Review #Reviews #TimberTimbre #WailinStorms #Wovenhand

For #SlowSunday:

Steve Von Till: The Old Straight Track

https://song.link/cx3zccz7nmgg7

FFO #EmmaRuthRundle #JayeJayle #WovenHand

Ordy Garrison, le batteur de #Wovenhand mais aussi un acteur important du "Denver Sound" nous a très récemment quittés.

Alors ce matin en son hommage 🤍

https://www.youtube.com/watch?v=efYdU-9mldQ

#dosedegras #np #rip

#TheMetalDogArticleList
#MetalInjection
WOVENHAND Drummer ORDY GARRISON Has Died
We wish Garrison's friends and family all the best.

https://metalinjection.net/this-is-just-a-tribute/wovenhand-drummer-ordy-garrison-has-died

#Wovenhand #OrdyGarrison #RIP #Drummer #Metal #Tribute #Music

Songs 2019

https://peterwenz.net/?p=12022

#16Horsepower #2019 #boysetsfire #charlieCunningham #fairToMidland #floggingMolly #johnnyFlynn #kafvka #kalandra #malélevé #monoUndNikitaman #nathanGray #saltatioMortis #seeed #theBaboonShow #theNational #tool #wovenhand

(Replies to this Toot will become comments on the blog - if approved.)