Words by Kat Alexander

King Buffalo, a three-piece from Rochester, New York was our aperitif for the night, at the epic Belasco Theater. After their 3-track demo was released in 2013, King Buffalo caught the attention of the stoner and psych rock communities. Masterful production and unique sound have earned the praise that they receive. The venue fulfilled its role in setting the mood for the evening; With Spanish Renaissance & Moroccan architecture, ornate gold ceilings, balconies, and auditorium-style seating. There truly isn’t a bad seat in the house. 

The lights dim and all that is visible is the clear bass drum, lit with neon green LED lights and the name “King Buffalo” in psychedelic, black letters. It was safe to assume this was going to be a badass set. The inception was that of synths, reminiscent of that of Pink Floyd as the band nonchalantly take their places. Synths blend into heavy guitar and builds up with powerful, operatic vocals.

Now warmed up, the drummer [Scott Donaldson] strips off his shirt and shit starts getting real. The drums are BIG, and the star of the show if you ask me. Ears are kissed with drifting riffs, groove, and the familiar influence of 70s psych-rock - only heavier. Sean McVay’s vocals are soothing yet mighty and his guitar style varies from melodic to incorporations of delay and even the use of a chorus pedal. Bassist Dan Reynolds booms loudly making his unmistakable 1/3 of the contribution. The song “Centurion” even sounds Mongolian with the tone he uses paired with the shamanistic vocals from McVay.

Ultimately, King Buffalo was an impressive act. Entrancing, subliminal repetition sends you into a state of reverie and their mammoth sound keeps your head swaying with the rhythm. Progressive to say the least and I can attest for most to say that their next new release is anticipated. 

KING BUFFALO

Photos by Bryan Greenberg

Words by Kat Alexander

Hailing from Cambridge, England, Uncle Acid provides a fantastically unmatched and individualistic experience. Clips and images from classic and B-horror movies project behind the stage, as haunting background music introduces the band’s congregation. Members wearing flares, heeled boots, and all-black assemble - The aesthetic is telling of what’s in store for this projected hour and a half. 

“Mt. Abraxas” reads on the projection, and sure enough, that was the peak that we were about to ascend to reach the heavens of idiosyncrasy. Charles Manson [Justin Smith] on bass, losing his mind and damn near close to power sliding is SHREDDING. Face-to-face dueling guitars [Kevin R. Starrs and Vaughn Stokes] interact with the drummer [Jon Rice] and the symphony of Satan unfolds. These guys are not new to this ritual - They are practiced and perfected! 

Clean, in-person vocals, layered and developed with absolute precision; trump that of the recordings. In a previous interview, frontman/vocalist Starrs explains how when they first started playing, they jumped in too soon and thought they “could just turn up and play, and that would be good enough, but it wasn’t really. So they took a couple of years off from playing live and worked on playing together as a band, singing harmonies, and working out arrangements to play live. “We really made sure that we were really on top of our game by the time we came back in 2013, we felt like we were more ready for it then.” —and it SHOWS. 

Despite the impeccable professionalism of this coven of sages, lead guitarist Starr’s ax gets changed out due to a tuning faux pas - once again displaying the precision and integrity of the particular sound being achieved. Charming English witticism in between songs bewitches even more alongside the hypnotic ephemera and lysergic energy. “13 Candles” sounds and a guitar solo so long, evokes the pit to turn into a swaying sea of friends and strangers embracing each other, arm around one another; A sight not commonly seen in such a sinister arena. 

“Ritual Knife” was pure fucking EVIL. Grim, driving, and haunting. This spectacle has been blissfully unstoppable, gripping, and dare I say: erotic. Old school pin-ups take over the screen, no one can shift their focus. I can’t tell who was hotter - the band or the passé models! The energy noticeably shifts for the closing act of “Crystal Spiders”…the crowd knew this intoxicating trip was coming to an end. The psychoactive explosion of solos sent to a conclusion and the masses begged for more; But alas - the ceremony was complete and never to be forgotten. New wisdom was gained this day. 

Needless to say, gracing their fans with an impressive catalog of 5 EPs and 13 singles (including a split with Portland’s power rock gods Danava, an homage to their alter ego “The Sharon Tate Experience” and an Iron Maiden cover), it’s clear that they have no plans of slowing down any time soon - and that’s how we want it.

UNCLE ACID

Photos by Bryan Greenberg