The epithets “legend” and “Major influencer” are bandied about as much as Facebook thumbs ups these days. Anyone who has released a couple of tracks that people have liked get talked of in lofty tones. Meanwhile there is Buzz Osbourne. Instantly recognisable by his (now greying) explosive Barnet, his outspoken manner and quite frankly his extensive canon of superb musical releases. Whether it is with the godfathers of Sludge Melvins, the bizarrely captivating Fantomas or his myriad of other collaborations, Mr Osbourne doesn’t just have his finger on the pulse of the underground rock movement in the US he is one of its ventricles.

Six years ago, as King Buzzo, Osbourne released “ This Machine Kills Artists” an album of acoustic recordings that hipster bible Pitchfork deemed  “fuck it all folk”. That must have riled him some as he is on record regaling against hipsters and the like. Well, in 2020 King Buzzo has picked up his acoustic guitar again but this time he has his long-time friend and collaborator Trevor Dunn on board. Folk (fucked up folk?) will know Dunn from his work with Fantomas and Melvins Lite as well as being one of the originators of Mr Bungle. Here he lends his deliciously warm acoustic bass skills to the nine tracks on here.

If you heard and enjoyed the last King Buzzo release this is not a rehash. On this album as well as the deep plucks of Mister Dunn there are cellos and other strings plus some minimal use of analogue electronica which give the tracks on which they are used an even more otherworldly feel.

The album is raw in execution but certainly cooked to perfection in terms of production. Each pluck of a bass string and strum of the acoustic guitar resonates and there is much more of an Americana feel than on the previous release. “Housing , Luxury, Energy” is haunting and as the first song proper leads the listener down the path to a campfire made of an old oil drum and oily rags.

Fans of Nick Cave and Tom Waits will warm to this album just as much as those of a more sludge and stoner bent. There is a gothic feel of murder ballads throughout without falling fully into full blown macabre hyperbole.

Osbourne’s vocal slips easily between lilting velvety consoler to spitting protest singer and the music happily follows suit.  Each track fits perfectly into the next like the twining branches of a wicker man, and this album has the organic feel of benevolent cult leader addressing a flock.

There are lot of moments of levity however. The guitar leads on “I’m glad I could help out” twinkle like light reflecting on a mountain stream with Dunn’s bass notes skipping like stones across the surface.

Buzz has spoken in interviews about having never been in a covers band before he started Melvins which has influenced him and his bandmates to have recorded so many covers over the years. Houdini contains a cover of Goin’ Blind by Kiss so it is no SHOCK that Osbourne and Dunn have chosen to deconstruct another SImmons/Stanley/Frehley/Criss classic here with the Mock She (see what they did). It bloody works as well.

Gift of Sacrifice truly is an aural present but the loss of amplification is no sacrifice, stripped down to their not quite bare bones Osbourne and Dunn have created an atmospheric yet still rocking slice of modern underground Americana. Definitely worth a trip down this dark trail.

(9/10 Matt Mason)

https://kingbuzzo.bandcamp.com/album/gift-of-sacrifice-out-8-14-2020