Buzzard - Hush Now

Buzzard is that band that combines folk with doom metal; it's actually a one-man project from musician Christopher Thomas Elliott and based in Massachusetts. His latest release under the moniker is the fourth full-length album "Hush Now." Folk elements being combined with metal of various styles certainly isn’t new, but Buzzard is the only band/project on the planet that truly nails down the idea of melding folk storytelling with metal.  I’m a fan of folk metal but most of it is just catchy and jaunty jingles over some heavy riffs.   

But “Hush Now,” understands that folk isn’t just acoustic elements and melody.  It’s also embracing the storytelling aspect that comes around with Americana and singer/songwriting which have much in common with folk.  This album is more like a mixture of doom and old school artists John Prime or more modern efforts like Jason Isbell. Ironically, although I can’t say I’m a fan of the style overall, I have heard plenty of it because my parents are big into it so growing up I was exposed.  Ironically, I have also seen both Prime and Isbell in concert.   Of course, Buzzard doesn’t sound anything like these artists but I'm just saying that I do have a frame of reference, however slight.

What isn’t slight, however, is my love for doom metal.  And as a hardcore doom fan, Buzzard’s “Hush Now,” is dark and despondent enough to satisfy while also being very outside the box—-there simply isn’t any other bands that sound like Buzzard.  

Production and mixing are fantastic.  Such a dichotomy of styles needs a good clarity to get all the details but also needs an impressive low end—this album has both.  The confidence on this album is high.  Christopher Thomas Elliott is a brave musician to put together such a unique album and have the ability to see it through.  Despite what the average folk metal band might argue again, folk rock isn’t necessarily ‘happy’ sounding.  If anything, it has a lot in common with doom.  There are many things to say and many ways in which to tell them and folk rock has often been used to bring out these gritty, terrible things—just because the music is traditionally lighter doesn’t mean it isn’t as brutal as the heaviest metal.   Of course, this amalgamation of doom might not be for everyone. The vocals, as good as they are, don't have any real range or dynamics and sometimes the lyrics can be repetitive. With that being said, every song is good and these aforementioned things might not bother some.

The lyrics on “Hush Now,” are very dark—-and horrific, in a very real way.  There isn’t much scarier than the fallacies of real life and this album embraces that in a form that is nothing short of raw, honest power. Christopher’s vocals are clean throughout but there isn’t any denying that they drip with venom and contempt.  

The biggest thing that folk and doom together is simplicity—keep it to the point.  That doesn’t mean that I think doom should be mainstream and basic, but it doesn’t need to be overly complicated.  “Hush Now,” embraces this:  these songs are short and simple, in terms of playstyle and structure.  But they have depth and meaning.  Oh, and they are catchy too.  Despite the subject matter, these stills WILL stick in your head as they did mine.

The riff-based approach works wonders such as on the opening of “Disunion,” where the chugging is immediate—and thick as hell.  The guitar goes along with the lyrics that are delivered by the unwavering and smooth voice of Chris; his tone is impeccable and he delivers his lyrical carnage in a convincing way.     There is just something about how these songs bring these massive riffs while being pushed every forward by the unconventional vocal style.

Some of these songs get stuck in your head unexpectedly like “Satan, Your Kingdom Shall Come.”  Such a long title being worked into the song and still keeping the story telling flowing without interruption is certainly commendable.  The acoustics, or maybe it’s a banjo, I can’t really tell, on “Fireball” mix effortlessly with the straight up evil tone of the guitars.   The imagery of the guitars fits right into what doom normally conjures too.  The middle passage is particularly aggressive, but the keys subtly enhance the atmosphere to keep in with the album’s themes—very clever in how it goes from dark to light elements while still remaining engaging without presenting a disjointed front.

“Contaminate, Consume,” is one-part delicate acoustic textures and another part massive fucking riffs and bass lines.  The lyrics and vocals are most cult-like chants, which is perfect for the lyrics because, well, consumers are really just economical cults.  I’d say this song is a good representation of the album’s overall vibe, too.

The final song, "Doomsayer Fairy Tale (Heavy Groove Story Time)" is possibly my favorite on the album.  Considering how heavy it is, it is a perfect ending song.  The cadence of the vocals is perfect too, a sterling example how a talking style of singing can work with the right structure and approach.  

All in all, Buzzard’s “Doom Folk,” is a fantastic experience that explores a niche that might be strange to some on paper but I assure that once you hear it, you’ll wonder why other bands don’t explore folk and metal the way Buzzard does.   I can also be assured that even if another band does take this route, they won’t do it as effectively as it is represented on “Hush Now.”

Rating: Great