Battle of the Bards: We Hunt Buffalo

Welcome to “Battle of the Bards,” a segment here on Deep Delves and Bookshelves where your ol’ pal Armstrong takes a look at a particular song, artist, album, or other wondrous item of aural artifice, and breaks down what makes it cool in a general sense, and what additional value an RPG player can get out of it. Today’s sonic scrivening is We Hunt Buffalo’s new album “Head Smashed In.”

The “Backstory”

“Head Smashed In” is the third full-length album from Vancouver-based heavy fuzzed-out rock outfit We Hunt Buffalo. I can see a potential source of debate in the band’s sound, as I am sure some would argue that the band’s self-described “dirty, grimy fuzz rock” would fall under the umbrella category of Stoner Rock or Doom Metal, but regardless of where you might place the group on your own musical cladogram, this album to me is one thing above all others, this album is good.

My knowledge of We Hunt Buffalo as a band was nonexistent until about a month ago, but in the time since my discovery of the band, thanks to a couple of fuzzy rock-loving friends, I have become fairly well enamored with their heavy, low-fi but not low quality riffage, and their at times atmospheric style that occasionally puts one in a darkly bluegrassy state of mind. In this way, We Hunt Buffalo have delivered for me on what another album, “Red Hands, Black Deeds,” by Shaman’s Harvest, set me up for with its first two tracks, and then let me down on (Definitely not a knock towards Shaman’s Harvest though, they make a lot of very listenable and radio-friendly modern rock, and have apparently partnered several times with WWE to write theme songs for professional wrestlers, a niche for which their sound is perfectly suited. I’d definitely encourage you to check them out if you’re a wrestling fan or a general fan of more mainstream hard rock bands like Black Stone Cherry or Halestorm). At any rate, from the moment I heard We Hunt Buffalo’s sophomore offering, “Only Ghosts,” I’d safely say that I had once again found that musical place of dark mountains and coal dust-infused heavy fuzz for which I had been searching ever since I first heard the magical first two tracks of the above mentioned Shaman’s Harvest record earlier this year. I also knew that I was hooked on this uniquely fuzzy, complex, and atmospheric sound that We Hunt Buffalo have produced with such aplomb on their last two records.

The “Adventure”

When listening for the first time to what in only a few weeks had gone from a release entirely unknown to me, to one of my most anticipated of the fall, I can’t say that I went in without at least some expectation of enjoyment. What I can say, though, is that this record not only met, but far exceeded that expectation. Musically, all of the songs are written and arranged in a way which is engaging, and easily parallel in quality to the tracks on “Only Ghosts.” It sees a band who found a good formula on their debut self-titled album, improved in production to produce a truly excellent sophomore record, and who have now shown that they are truly masters of arranging an album. The entire track listing flows nearly flawlessly from one track to the next, without a jarring transition to be found anywhere on the album. The strong, heavy opening of “Heavy Low” -which, don’t worry, I’m not about to talk politics, but I feel as though this song’s lyrics really speak to, and make it an anthem for, the unique predicaments of our present world- launches the listener right into bangers of tracks like “Angler Must Die” and “Prophecy Wins, before going truly bonkers on the energetic instrumental of “Get in the Van,” and the aggressively bluesy “Industry Woes.” It then transitions surprisingly seamlessly into the breathy, atmospheric soundscape of “Giant’s Causeway,” before returning to heavy resonant fuzz that serves to quite literally “Keep it Refreshing.” “Anxious Children” is likewise heavy, funky, and serves to really highlight some of the album’s more elaborate bass passages, and then finally the album closes somewhat quietly with “God Games,” the track which I personally would consider to be the weakest of the lot, but is still melodically complex and full of interest. This is an album meticulously designed to take the listener on a journey with multiple climactic moments, and just enough chances for a breather that each crescendo is highlighted. All in all an excellent album to follow an excellent album, from an excellent band that I will eagerly anticipate any and all future releases from.

"A group of bards sings of my front door-step?  How preposterous..."

Armstrong’s Rating: 4.25/5 frothing mugs of ale

Favorite Tracks: Heavy Low, Prophecy Wins, Get in the Van, Industry Woes

The “Rewards”

So, by now, hopefully I’ve kept your attention through my rambling thoughts on a rock n’ roll record, and you’re all still with me, even if you’re thinking “Great, he’s written a music review. This is fine, but what does it have to do with RPGs?” Well, if indeed you are still with me on this journey, allow me to deliver the payoff you’ve been waiting for this whole time. This album, to me, is what I might describe as an “Atmosphere Album.” This is an album which I would listen to, and which I would encourage you to as well, in order to establish a mental framework for developing an RPG setting or fleshing out the details of an adventure which you want to have a certain theme. This album, and other Atmosphere Albums scratch many of the same itches as playing and running RPGs themselves to. They transport the mind to a place in which your setting and stories can take place, and which contain a very strong thematic connection to a certain desired tone to a campaign, one-shot, or adventure of any kind. In this particular album’s case, the atmosphere it cultivates, and the tone it evokes is one of a rugged, vaguely western setting, surrounded by mountains or in the deep, dark hills of a frontier mining region. For me, it’s the perfect accompaniment to writing a session of a fantasy western adventure, whether or not I end up actually playing any of it during the running of the game itself.

So, there you have it, a well structured atmospheric album perfect for getting into the mood for writing a setting or adventure for your next game of Owl Hoot Trail, ICRPG’s Ghost Mountain setting, or that Red Dead Redemption LARP you’ve recently started working on again with the release of the sequel. As always, I do not own any names, images, or trademarks thereof which I have mentioned above. I do so only for the purposes of review and discussion, and make no profit from their use.  All are the property of their respective creators, who I urge you to support.

Once again, may your road lead ever onward to adventure,

-Armstrong