King Buffalo is the trio of vocalist/guitarist Sean McVay, bassist Dan Reynolds, and drummer Scott Donaldson. Since forming in 2013, the self-proclaimed "heavy psych" band has made its name via 4 Full-lengths, 4EPs, and tours with Clutch, Uncle Acid and the Deadbeats, All Them Witches, The Sword, and Elder. King Buffalo will issue their fifth full-length, Regenerator, on Sept. 2, 2022, as a self-release in North America and through Stickman Records in Europe. Preorders will be available on June 10th via http://kingbuffalo.bigcartel.com.   Written and recorded by the band with mixing and engineering by Sean McVay and mastering by Bernie Matthews, the seven-song outing is the third in King Buffalo’s stated ‘pandemic trilogy,’ following Two of 2021’s Best Albums in The Burden of Restlessness and Acheron.   Both of those albums – like 2018’s Longing to Be the Mountain, 2016’s debut, Orion, and the various EPs and other offerings they’ve made over the last eight years – made bold declarations about who King Buffalo are as a band, and Regenerator is no different. As McVay, Reynolds and Donaldson continue to explore the outer reaches of modern psychedelic songcraft, melding progressive rhythms, drifting atmospheres and accompanying surges of electricity, the new collection only further establishes them as one of the brightest lights shining in underground rock today.   As the third of three, Regenerator seems inherently to tie together the two LPs most immediately before it, and as King Buffalo unfold the leadoff title-track across nine and half minutes, it becomes clear just how truly they have marked out their own sonic presence. The later melodic highlight “Mammoth” – with McVay’s most confident vocal yet – shimmers with hope that somehow doesn’t come across as desperate, and as “Hours” engages classic space rock and the closing “Firmament” summarizes the first, second and third series installments, the final chapter of this trilogy becomes the essential cornerstone of King Buffalo’s work to-date.   The band returned to live activity late last year, touring alongside Clutch and more recently a full North American spring tour with Uncle Acid and the Deadbeats. By the time Regenerator arrives, they will have completed a UK and European headlining tour with festival appearances in Germany, the Netherlands, Austria, Switzerland, Portugal, Belgium and Denmark.  

We Hunt Buffalo create songs with hard hitting, fuzz rock grooves and psychedelic overtones. It's a culmination of many years playing music together in a small Vancouver suburb.  Their debut EP was released in 2010 and introduced a new band that in the words of the Georgia Straight, were "dedicated to tracking down and capturing the dying breed of rock and roll". With a buzz around them in Vancouver, they crossed paths with Tanis Gibbons, apprentice to Colin Steward at 'The Hive' recording studio. 2011 would see them cut a full length LP with Tanis, working through the nights at the Burnaby studio. Discorder Magazine expressed "the trio definitely bring their own individuality to the sound, in a genre that can get fairly muddy" and "with bands like WHB around, it seems rock'n'roll is just fine". Fueled by more local acclaim, the band continued to play regularly around Vancouver, seeing a growing fan base with every show.  In 2012 they decided to enter in 99.3 The Fox's annual SEEDS competition. The band was floored when they had learned they were winners in the contest, placing top 3 among 400 entries. This lead to a spot at The Commodore Ballroom, supporting Monster Truck. The Commodore appearances didn't stop there. They would go on to share it's stage with Chevelle, Matt Mays, Danko Jones, Steel Panther and Living Colour. Multiple tours of the region followed where they played with the Pack A.D, Electric Six and Nightseeker (Fubar's Deaner).  We Hunt Buffalo continued to strive to play dirty, grimy rock and roll. In 2013 they released an EP, entitled "Blood From a Stone". It was recorded at Nimbus School of Recording Arts by Alex 'Condor' Aligizakis. Exclaim! magazine comments on the title track: "…a fuzz-bomb riff that would make Tom Morello proud…Indeed this is a headbanger's paradise." In December 2013, the band was added as direct support to Monster Truck on their cross Canada tour. The remainder of the year saw them doing multiple tours of Eastern and Western Canada supporting the likes of Sleepy Sun, Band of Skulls and Biblical. They would close out 2014 with an appearance at Victoria's Rifflandia Festival and a hometown show supporting Red Fang in Vancouver.  Currently, the band has a new record in the bag, recorded by Jesse Gander (Bison, Japandroids, Anciients) at Raincity Recorders. It's a full length album that promises to be their most dynamic record to date. They have just announced Western Canadian spring dates supporting Cancer Bats. Look for them not only in Canada, but the rest of the world, in the years to come.

Killer Deal fully partakes in the sacraments of that bygone era of golden-age of rock n’ roll - the blues, hard living, and of course, the hair. Bringing together four alums from New Westminster, Vancouver BC’s outsize suburban rock and heavy metal scene, the band consists of Max Grant (vocals/guitar), Sean Clarke (guitar), Harry Watson (bass) and Phi Van (drums). With their debut album First One’s Free, Killer Deal offers a tight set of nine original songs, each a testament to the enduring draw of the music of the 1970s. Recorded with a live feel at taste-making Bully’s Studios in New Westminster, First One’s Free blends thudding bluesy riffs, a strong rhythm section, and duelling lead guitars, combined for the backdrop to hard-partying lyrics, drawing on a streetwise grittiness to be expected from bands well past their debut release. First One’s Free is the complete package, asking only 40 minutes of your night in return. Killer Deal tips their caps to influences you might expect – Led Zeppelin, Humble Pie, ZZ Top, Thin Lizzy, Skynyrd, and fellow Canadians, Rush and Neil Merryweather – while hinting at heavy and psychedelic sounds farther afield. Using implements of the past – a 60s Rogers kit matched with a 70s Rickenbacker bass, analog tape effects, and vintage tube amps turned all the way up – Killer Deal brings the sounds of the undisputed high period of guitar rock rollicking more than forty years here into the 21st century.