Sun Pedal Recordings

Think of the Buffalo Killers’ new Fireball Of Sulk as one of those “holiday sampler” boxes – a wish-it-was-bigger assortment of solid rock ear candy.

The Cincinnati-based Killers’ sound continues to evolve with the addition of guitarist Sven Kahns joining the original trio of brothers-by-blood Andrew and Zachary Gabbard (guitar/vocals and bass/vocals respectively) and brother-by-music Joseph Sebaali on drums. Kahns is a perfect fit, adding another weave to the band’s sonic texture. I’m not a betting man, but I’d be willing to wager these cuts were laid down live with all four Killers looking each other right in the eye. If not, it’s put together well, rolling and tumbling with an in-the-moment action/reaction groove.

The album launches with “Blankets On The Sun”, a multi-faceted salvo of unsettledness. A brontobass-propelled main riff (tangy, sweet goo – but don’t get any on your skin) quickly gives way to a churning chorus – with a dollop of grungy Badfinger-in-flannel at the song’s center.

Welcome to the land of the Buffalo Killers.

Peel back the thorny sonic husk of “Weird One” and there’s a cool single – an almost-love-song in its own way. And then you need to spit out your gum and pay attention, as “Marshmallow Mouth” is the sound of a bunch of Gibsons and vintage amps clawing their way out of a tar pit – sweet red-hot tubes all a’glow.

“Don’t Cry To Me” is what it would’ve sounded like if the Beatles had started dropping acid on a regular basis in the Hamburg, Germany clubs in the early Sixties. Equal parts Fabbish harmonies and set-the-drums-up-over-by-the-furnace thrash, “Don’t Cry To Me” is catchy and bouncy and edgy – all at the same time.

The final two cuts feel like very different ghosts from the same era: “In A Number” is draped in the wrappings of early-Seventies British rock majesty: think the smoky, sweaty yin/yang vibe of the Frampton/Marriott Humble Pie years and you’ll have it. Then the album-closing “Something Else” hops the globe, touching down in California for some prime Crazy Horse lurch – right up until the 2:30 mark, when the time machine goes off the tracks and everything begins to wildly spiral upward with the bass and drums caught in the vortex. Sweet Jesus, Toto – hang on …

The biggest complaint you’ll have with Fireball Of Sulk is that it’s only an EP, but there’s an easy fix for that: shut up and hit replay.

*****

Brian Robbins sits at the edge of the tar pits with a fishing pole over at www.brian-robbins.com.