It was the night of a thousand riffs. At very least 100-150 very well purposed. A Small Stone Records showcase is always an occasion and this year’s Boston to-do was no exception. The scene was the Radio bar in Somerville, and though The Brought Low dropped off at the last minute owing to the aftermath of Hurricane Sandy, the lineup boasted nine bands — Boston natives Mellow Bravo stepped in to fill the hole, playing earlier than the NYC trio would have — and it was front to back quality between them, Blackwolfgoat, who opened and also played in between sets, Supermachine, Infernal Overdrive, Lord Fowl, Freedom Hawk, Roadsaw, Lo-Pan and Gozu.

What do you do with a night like that? Well, you drink. And I did. Hard. I have a tradition — someone choosing their words less carefully might call it a “habit” — going back nearly a decade at this point of showing up to Small Stone events and promptly getting obliterated. At last year’s Philly showcase (review here and here), I played it cool for the most part. Less so this weekend. Maybe it was just that it was Saturday and I knew I had Sunday to recover, maybe it was the fact that I still didn’t know if the power was on back home yet. Whatever it was, I opened a tab and didn’t look back. My storm-refugee ass needed a night of reckless abandon.

After being dropped off in front of Radio by The Patient Mrs. as though I was on my way to my first day of kindergarten — schooled indeed — I walked in to find Darryl Shepard of Blackwolfgoat early into his set. Downstairs in the basement, a matinee of three sets of Beatles covers would soon give way to a sweaty, smelly night of punk rock. Seems as good a jump-off point as any, so here goes:

Blackwolfgoat

With a cocktail straw in his mouth and a bounce in his step (minus the bounce), Blackwolfgoat‘s lone resident, Darryl Shepard — also of currently of Black Pyramid and Milligram and formerly of Hackman, Roadsaw and no shortage of others — showed off some of the latest wares from his one-man act. Shepard would soon adjourn to Radio’s semi-balcony off to the left of the stage, where he’d sit at the ready and wait to drone out a tune or two between other acts, but before he got there, he played some material from last year’s Dronolith and some newer stuff. The newer songs find him using more dynamic loops, setting a droning bed for himself and then launching into — in at least one instance — a grandiose classic rock solo over it. It was awesome to see, and the melody in that solo and around it proved just one more way the project is expanding sonically. He’ll reportedly be recording soon, and of course that’s something to look forward to. Pretty much any day you get to see this dude play guitar is a good day. If you get to see him do a full set to start a show and a bunch of mini-sets between seven or eight other acts, well then, all the better.

Mellow Bravo

There was an interesting mix of stage presences when it came to Boston’s own Mellow Bravo. The first full band on the bill was also the newest to Small Stone‘s roster save for Supermachine, who followed, and they released their self-titled debut album (review here) on the label via a Mad Oak Recordings imprint earlier this year. In the case of charismatic vocalist Keith Pierce and guitarist Andrew Doherty, they seemed birthed of Boston’s formidable hardcore/metalcore scene, whatever soul records they may have dug into since those days, keyboardist/vocalist Jess Collins came off more on the heavy metal end, while guitarist Jeff Fultz (ex-Seemless) had the lead licks and enviable hair of a modern classic rocker. Mix all that with the rhythm section of sunglasses-clad bassist Seager Tennis and drummer Dave Jarvis, and it’s a strange six-piece stew resulting from Mellow Bravo‘s recipe. Nonetheless, they were resoundingly cohesive, putting on a professional show — staged in parts, like when Collins came out from behind the keyboard to front “Ridin’” — and looking like a band who should and expected to be paid for their work. “Love Hammer” was a highlight, but really just one of the memorable songs on their debut that the band did well bringing to life.

Supermachine

There are few phrases that will earn respect in my book as quickly as “ex-Scissorfight.” In the case of label newcomers Supermachine, bassist Paul Jarvis and guitarist Jay Fortin were founding members of that most excellent New Hampshire outfit — both also played in Mess with the Bull – and so interest in what they might be doing musically was automatic, especially as this was my first time seeing them or hearing any of their songs. Joined in the four-piece by drummer Mike McNeill and vocalist David Nebbia, there was a moment where I stood in front of the stage at Radio and was reminded of hazy afternoons and evenings at Room 710 on Red River in Austin, Texas, at many a Small Stone showcase years back there, when I was still relatively just getting my feet wet in terms of appreciating and being exposed to this kind of music. If that’s a long way around to saying Supermachine sounded fresh, so be it. Their performance was organic and unpretentious — though there was no question which of them was the lead singer, even before they got on stage — and while they seemed to still be feeling out their identity as a band, they gave a good first impression.

Infernal Overdrive

True enough, I’d had some beers by the time Infernal Overdrive started playing, maybe visited the basement Beatles show downstairs to weird everyone in the room out by singing along to “Can’t Buy Me Love” way louder than was called for. I nonetheless recall being entirely of sound mind when I scribbled my first note about Infernal Overdrive‘s performance. It was as follows: “New shit is right on.” I stand by that 100 percent. They might need to hit the road for a while to really step into what and where they want to be as a band, but short of that, they’ve got their aesthetic down. No less so at Radio than at Stoner Hands of Doom XII in September. Part of me wants them to just go ahead and get the next record out so they can start closing with “Viking” already, but as the room was beginning to fill up, the Jersey/Massachusetts-native double-guitar foursome treated an eager and thirsty crowd to “Motor” and “The Edge” from their Last Rays of the Dying Sun 2011 debut full-length (review here) and those songs rested well alongside newer cuts like “Quints Revenge” and “Ride to the Sun.” As ever, they tore through their set, capping with the cowbell/fuzz swiftness of “I-95,” which set the stage well for Connecticut’s Lord Fowl, who followed.

Lord Fowl

Continue to impress. Despite an apparently ongoing throat problem for guitarist/vocalist Vechel Jaynes — I actually take it as a sign of someone giving a shit both about what they do and what I think about what they do when artists tell me about their various injuries, illnesses, aches and pains; that kind of thing can be good to know sometimes, though Jaynes‘ trouble did little to hold back Lord Fowl at Radio — the New Haven, Connecticut, four-piece dove headfirst into material from their Moon Queen label debut (review here), rising to the occasion of directly following Infernal Overdrive and making me remember why I like this kind of shit so much in the first place. They also gave a fitting sequel to when I saw them at SHoD XII, guitarist/vocalist Mike Pellegrino comfortable as he always seems to be fronting the band alongside Jaynes while bassist Jon Conine and drummer Don Freeman locked in grooves thick and slick in equal measure. “Streets of Nevermore” was a highlight, and the one-two punch of “Quicksand” and the insistent swirl of “SOS” was no less engaging on stage than it was late into Moon Queen. I wondered a bit what their next album might bring, if they’d keep to a thematic, semi-psych heavy rock approach or branch out elsewhere as they move forward, and then The Patient Mrs. showed up looking all fine and I got distracted. Ha.

Freedom Hawk

Quietly, more than a year had passed since I last caught Virginia’s fuzz buzzards live, but Freedom Hawk were the most in their element at Radio that I’ve ever seen them. The songs from their Holding On 2011 label debut (review here) have cooled and tightened into a fine, viscous ooze, and the set had more than a few killers to it, including the recent video track “Indian Summer.” They’re a good band, and fresh on my mind as I’d just that very afternoon acquired their first demo in a haul of old promo material (more on that tomorrow), so I was glad to have our  paths cross again at last. A less raucous delivery than either Lord Fowl or Infernal Overdrive – both of whom put on a hell of a show — Freedom Hawk were nonetheless in the right place at the right time. The crowd was boozed and well warmed up, and Freedom Hawk‘s “all fuzz, no bullshit” was right at home, guitarists TR Morton (also vocals) and Matt Cave leading with ’90s-style stoner rock riffing while bassist Mark Cave and drummer Lenny Hines provided weight and pulse to the rolling groove. I don’t know if someone thought they were being clever by playing Ozzy before they went on (Morton‘s vocals being geared in that direction), but Freedom Hawk showed they’re moving more toward becoming their own outfit and incorporating whatever influence it might be — Ozzy, Fu Manchu, Kyuss, etc. — into a sound more fully theirs. Worth noting that at this point there hadn’t yet been a band whose next album I wasn’t stoked at the thought of hearing.

Roadsaw

In true showcase fashion, Roadsaw delivered a set that not only showed why they’re the godfathers of Boston’s heavy rock scene, but ran a gamut through their own catalog — opening with “Look Pretty Lonely” from 2008′s See You in Hell!, and also including “Keep on Sailing” and “Thanks for Nothing” from 1997′s Nationwide — on which Shepard joined on lead guitar from his spot on the balcony — “Buried Alive” and “Disconnected” from 2007′s Rawk ‘n’ Roll, “Monkey Skull” from 2012′s Roadsaw EP, and “Weight in Gold” and “Long in the Tooth” from their 2010 self-titled full-length. I said earlier this year at London Desertfest that I wanted to see them on their home turf, and I was glad to have the opportunity at last. If it’s any indicator of how it all went down, they delayed the start of their set to get another round of drinks. Yes, it was that kind of party. The stage at Radio wasn’t as small as that at the Small Stone showcase in Philly last year — it was somewhere between that and the more spacious at the El ‘n’ Gee in Connecticut, where SHoD was held, and which Roadsaw also played — so I didn’t think vocalist Craig Riggs was about to bean bassist Tim Catz or guitarist Ian Ross with his spinning microphone (ever-shirtless drummer Jeremy Hemond being well out of range), but they made short work of it nonetheless, and even went so far as to bring up Infernal Overdrive guitarist/vocalist Marc Schleicher for an encore of “The Gentle Butcher,” from Nothing that a Bullet Couldn’t Cure by the band Antler, of which he, Ross, Catz and Riggs were a part. As ever, they were in classic form.

Lo-Pan

A scant two weeks before leaving for a tour with High on Fire and Goatwhore that will have them playing in the biggest venues of their career to date, Columbus, Ohio’s Lo-Pan looked ready. I think they’ve already discovered that the reward for the hard work they’ve been putting in over the last couple years is actually just a bunch of even harder work, but they seemed hungry nonetheless. It had been more than a year since I’d seen them as well, and along with a new shorter haircut for guitarist Brian Fristoe, they had two new songs in the set alongside cuts from 2011′s brilliant-and-yes-I-fucking-mean-brilliant Salvador (review here). Both “Eastern Seas” and “Colossus” had Fristoe‘s steady progressive-edged fuzz, made thicker by Skot Thompson‘s basslines, but seemed to push vocalist Jeff Martin farther into his range as well as Jessie Bartz — front and center as always — tied it all together on drums. As I told Bartz when they were done, I’d like to hear them 85 or 87 more times before I make final judgment, but they sounded pretty dead on, and fit well with “Kurtz” from 2009′s Sasquanaut (which Small Stone reissued) and “Chichen Itza,” “Deciduous,” “Bird of Prey” and set closer “El Dorado” from Salvador, all of which remain as powerful in a live setting as they were the first time I saw them. Lo-Pan was my only real headbang of the show. When they were done, I stumbled my drunk self around the side of the building and threw up barely a fraction of the beer I’d drank, taking care to keep it out of my hair and beard, then went back inside, washed up downstairs while trying to ignore the stench of punker sweat, lest I retch again, and headed back into civilization in time for the start of Gozu, who rounded out the night. I’d been a wreck despite having my last beer sometime during Roadsaw, but with just one band still to go, there was no turning back now.

Gozu

Much to his credit, it was Gozu guitarist Doug Sherman – he of the perilously short guitar strap — who put the whole gig together. From the second I was walking into the venue, way back before anyone played other than Blackwolfgoat, before all the beer, the barbecue, the more beer, the rock and roll and the more beer, Sherman was outside greeting people, there the whole time, and he and his band very quickly showed by they were just right to close out. Guitarist/vocalist Marc Gaffney (above, left) has a subdued presence on stage, quiet and reserved — a good balance for Sherman‘s energy — and his performance has been spot on every time I’ve seen him, making vocal up and down vocal dexterity look easy while also joining Sherman on guitar and driving the songs forward with driving riffage. Bassist Joe Grotto was a new addition to the band since I saw them in March — also at Radio, as it happens — but he fit right in the rhythm section with drummer Barry Spillberg, and being revived following my ritualistic purge, I was in decent enough shape to appreciate their even-thicker take on “Meat Charger” and “Meth Cowboy” from their 2010 Locust Season debut (review here), on which they were joined by Ian Ross of Roadsaw (above, on right guitar). Their sound is too thick to really be a boogie, but that forward motion is there, and Gaffney brings a sense of drama to their choruses that stood them out from everyone else on the bill at Radio. They had a couple new songs as well, and whatever they do next, it’ll be a welcome arrival.

I know I post a lot of shit about Small Stone bands. I go see them play when I can, I review the records, I do interviews, post tour news, posters, and so forth, but the fact of the matter is this: That’s not coincidence. It’s a short list of American labels contributing anything of merit to the genre of heavy rock — by my estimation there are maybe five, with a few others who’ve glommed onto this or that trend within the sphere of Riff — and Small Stone are right there at the top. From the label’s days providing a haven to bands like Acid King and Sons of Otis in the wake of Man’s Ruin‘s demise, to fostering its own upstart acts like Sasquatch (not that they’re upstarts now, but they were when their debut was released), Infernal Overdrive, Gozu, Lo-Pan, Sun Gods in Exile, and Lord Fowl, while still keeping a commitment to what he does best, label head Scott Hamilton has patronized some of the best American heavy rock out there today, to the point where “the Small Stone sound” is an influence unto itself for bands around the world to pick up on. To be perfectly honest about it, it’s a cause I feel is worth supporting.

Small Stone’s next showcase is in Detroit at the Magic Stick on Dec. 1. More info here.

When the show was done, I was so tired I thought I’d fall asleep walking to catch a cab back to the hotel. There were goodbyes to be said, tales of hurricane survival to regale with and be regaled by, and a bar tab to close out, but I was quick about it, and before too long, The Patient Mrs. generously corralled me into a taxi. I was more lucid than I had been at several points in the evening by then, but still, sleep came as quick and as heavy as the riffs still stuck in my head. We had to drive back to Jersey on Sunday and figure out if the lights were back on yet after the storm (they were as of that afternoon), but if that was to be the finale of “refugee living,” I didn’t make out so bad.

Many more pics after the jump.

Read more »

I’ve never been to a Small Stone showcase in Boston before. Sure, I was at both nights of the Philly one last year (review here and here) and I caught Gozu and Infernal Overdrive together at Radio this past March (review here), and looking at the list, the only band on it I’ve never seen is Supermachine — and I saw Scissorfight, from whence they come — but still, Boston’s a different beast. To tell you the truth, every time I hit the town, I feel a little bit like I’m going to get my ass kicked.

Perhaps then, it would be wise for me to hit the warm-up show slated to happen one day before the showcase proper. Elder (who so far as I know are not on Small Stone) and Infernal Overdrive will play at the taqueria No Problemo in New Bedford at 10PM. If you’re north of there, Gozu and Freedom Hawk will be on a bill at Asylum in Portland, ME. Drummer Mike Bennett of Infernal Overdrive posted the following notice and flyer:

Tomorrow night there will be a few warm up gigs starring some of your favorite Small Stone bands….

Asylum -Portland, ME w/ GOZU, Freedom Hawk, Murcilago and Whitcomb
No Problemo – New Bedford, MA w/ Infernal Overdrive and Elder….. All leading up to the big event Sat. !!!

And then of course there’s the showcase itself on Saturday at Radio in Somerville. As awesome an assemblage of Small Stone acts as I’ve had the privilege to see. Here are the details, courtesy of the Thee Facebooks event page:

Nov. 3rd-Radio, Boston Small Stone Showcase 10 dollars!!! Dudes- BEER-PETTING ZOO!!
Purchase Tickets HERE:

http://www.ticketfly.com/event/161333

Gozu – 12 mid
Lo-Pan – 11pm
The Brought Low – 10pm
Roadsaw – 9pm
Freedom Hawk – 8pm
Lord Fowl – 7pm
Infernal Overdrive – 6pm
Supermachine – 5pm
Blackwolfgoat 4pm and all night

Set times are a rough estimate!

For the last couple months, we’ve followed the unfolding tale of Doommantia.com’s founder, Ed Barnard, who suffered a heart attack at the end of July and has since been left homeless. Donations have been taken over at their site, and hopefully wherever you are or whatever your situation, you’ve had a chance to give and support Ed in these tough times. On Oct. 13, the Doommantia Bash benefit show was held in his honor and by all accounts I’ve seen, that was a success, but there’s more to be done.

Word went out yesterday of the Doommantia Vol. 1 digital compilation being available. Put together and organized by the band Compel, it’s $7 on Bandcamp and there are an astounding 39 bands included. Ed‘s special lady, Sally Doomvixen, posted the news last night that Ed was back in the hospital overnight with chest pains again, and though the situation doesn’t seem as serious as last time, the bills are no less devastating.

So you haven’t taken time yet to help out Ed Barnard, I once more urge you to do so, and this time, you get over four hours’ worth of music in return from great bands. More info follows, courtesy of Doommantia:

The DOOMMANTIA Benefit Compilation Has Arrived, 39 Tracks, Over 4 Hours For Only $7…

The first ever Doommantia.Com Compilation is now available for download for only $7 from BANDCAMP. Immediate download of no less than 39 tracks of doomy goodness, over 4 hours long. Bands featured are Blackwolfgoat, At Devil Dirt, Low Gravity, Ichabod, Fister, Undersmile, Compel, Iron Man, Wizard’s Beard, Oceans Rainbow, Beelzefuzz, Conan, Lazarus Complex, Spyderbone, Order Of The Owl, Dope Flood, War Injun, Heathen Bastard, Halmos, Kriz, Bongripper, Demonaut, In The Company Of Serpents, Switchblade Jesus, Pale Divine, When The Deadbolt Breaks, Bastards Of The Skies, Gorgantherron, Screaming Mad Dee and Alex Vanderzeeuw, Chowder, War Iron, Hollow Leg, Crawl, Desolation, Ketea, Sludgethrone, Vulture, Wolfpussy and The Departure. That is some bang for your buck!!!

All proceeds go to the Ed Barnard homeless fund so it is a very worthy cause. Thanks to all the bands involved and to Tim Davis who worked so hard putting all of this together. Head to BANDCAMP now to get your download.

Brian Mercer (interview here) killed it this time. He really, really did. Check it out. Small Stone‘s Boston showcase is Nov. 3 at Radio, with Gozu, Lo-Pan, The Brought Low, Roadsaw, Freedom Hawk, Lord Fowl, Infernal Overdrive, Supermachine and Blackwolfgoat.

You might also note whose logo is on the bottom left. Bad ass. Can’t wait to get me one framed and then not have a house to put it up in (zing! Oh wait, I just zinged myself, damnit).

Showcase is Nov. 3 at Radio in Somerville. For more info on it and on the upcoming Detroit showcase, which I’m just waiting to get up the courage to ask Halfway to Gone for a ride out to, hit up Small Stone on Thee Facebooks.

Heartfelt kudos and congratulations to The Maple Forum alumnus Darryl Shepard on the limited vinyl release of Dronolith, the second album from his one-man drone project, Blackwolfgoat. Bilocation Records handled the pressing, but he’s got copies for sale through the Blackwolfgoat Bandcamp page for people in the States, and if you didn’t check out the album when it was released on CD through this site’s in-house label last year, now’s definitely the time. That Alexander von Wieding cover must be gorgeous in a glossy gatefold.

Shepard and his cohorts in Black Pyramid will be playing this year’s four-day, all-ages SHoD festival in Connecticut, so stay tuned for more on that, and in the meantime, here’s the details on the Dronolith vinyl release, straight from the man himself:

Two months after they were shipped, the Blackwolfgoat, Dronolith, vinyl has finally arrived and I have them in my hands. I’ll be selling these, shipping to the US only. Rest of the world can order directly from Kozmik Artifactz, it’ll be cheaper and easier that way. Thanks to Bilocation Records for everything. I have 35 copies and once they’re gone, they’re gone.

Blackwolfgoat, Dronolith on vinyl, splatter or clear, gatefold cover. Released on Bilocation Records, limited to 350 copies. 46 minutes of blissed-out guitar drone. Order it directly off of Bandcamp.

Vinyl facts:
– limited to 350 copies only: 250 clear 180g vinyl / 100 clear green white splatter 150g vinyl
– special vinyl mastering
– 300gsm glossy gatefold cover
– handnumbered
– high quality vinyl, pressed in Germany
– artwork and layout by Alexander von Wieding

I’m not putting it out, but for anyone who didn’t get a copy of Dronolith when The Maple Forum put it out on CD last year, take note: the second album from Blackwolfgoat will be on limited vinyl coming March 12. The one-man progressive drone project of Darryl Shepard (now of Black Pyramid, also Milligram, Hackman, etc.) will be released on Bilocation Records/Kozmik Artifactz and can be preordered through the latter’s webstore.

Here are the details, direct from Shepard:

VINYL FACTS
– Limited to 350 copies only: 250 clear 180g vinyl / 100 clear green white splatter 150g vinyl
– Special vinyl mastering
– 300gsm glossy gatefold cover
– Hand-numbered
– High-quality vinyl, pressed in Germany

TRACKS
1. Building Buildings 6:09
2. Ruane 6:36
3. Tyche 4:11
4. Fear of Stars 5:54
5. Event Radius 7:03
6. Dronolith 15:30

The hits just keep coming today with the news that my last copy of Dronolith by Blackwolfgoat sold on Saturday night! I’ve got the package here and I’ll drop it off at the post office tomorrow (it would’ve gone out this morning, but the CD was here at work), and then that’s it — no more Dronolith from me.

It’s been an absolute pleasure working with Darryl Shepard, the sole figure behind Blackwolfgoat. Dronolith turned out better than I could’ve hoped, and was hugely impressive for a one-man project, pushing drone into progressive builds and resulting in songs that felt like more than just self-indulgence. Recording live gave it a natural feel and Darryl knows what’s what when it comes to making a wall of noise. I’ve been lucky enough to see it first-hand.

Last I heard Darryl had a couple copies left, so you can get in touch with him via the Blackwolfgoat page on Bandcamp to see if that’s still the case, and Aquarius Records in San Francisco should still have some as well from the batch I sent them, but mine are gone. Thanks as always to everyone who bought a copy of the record, from the first to the last, and thanks to Darryl, Alexander von Wieding for his amazing cover art, to Scott Hamilton and Small Stone Records and to everyone who’s reviewed Dronolith or helped spread the word in any way.

Darryl will be playing with Milligram as they support Kyuss Lives! and The Sword in Worcester, Massachusetts, so if you’re up there, I’d definitely try to get tickets, as it should be pretty massive. As for The Maple Forum‘s next release, I hope to have some news from the Clamfight dudes in the next week or two, and we’ll take it from there with artwork, pressing the disc, etc. In the last couple days, I’ve also been talking to three other bands interested in working with the label, so 2012 seems to already be shaping up.

More on that as it develops, and in the meantime, if you didn’t get the chance to buy Dronolith, here’s the album stream Darryl set up. Thanks again.

Location

Domestic US $10.00 International $12.00

I stopped by the post office on my way to work this morning and sent out a package to San Francisco mainstay/tastemaker shop Aquarius Records with 10 copies of Blackwolfgoat‘s Dronolith in it. Aquarius, who was kind enough to review the album a couple weeks back, had already sold out the batch Darryl “I’m the Only Dude in the Band” Shepard sent them, and wanted more. Considering that I’ve been to the store and generally dig what they do, I was more than happy to oblige. The discs will be in good hands and hopefully find good homes.

That left me with three, but as I was sitting here and writing this post, another just sold, which means I now only have two copies left of the album. If you want one, now’s the time. As ever with Maple Forum stuff, once they’re gone, that’s it. We only pressed 100, and they’re gorgeous, and I’m sad to see them go, but yeah, it’s time.

You can make a purchase through the official store of The Maple Forum or by using the Paypal button above, whatever you prefer. Just to remind, Blackwolfgoat is the one-man progressive drone outfit of Shepard, who has played guitar over the years for Milligram and Hackman, among many others and is a master of turning loops into massive barrages of noise. Dronolith was recorded live by Glenn Smith at Amps vs. Ohms Studio and features glossy gatefold digipak artwork by the fantastic Alexander Von Wieding.

Where most records categorized as drone stand still, Dronolith has movement within its six tracks, and I’m proud as hell to have helped with the release in the small way I did. I’ll have another update once the last two discs sell, which is imminent. Click here or the cover above to go to the store.

Location

Domestic US $10.00 International $12.00

I’ve been more or less on a listening binge with Blackwolfgoat‘s Dronolith since getting the chance to see/hear Darryl Shepard (the lone figure behind the band — come on, keep up) play some of the material live a couple weeks ago at Lit Lounge in NYC. You could really get a sense for how the songs are constructed part upon part, and it has given me a whole new appreciation for the album.

It was a cool process to watch, and when Darryl topped the morass of noise in “Fear of Stars” with that sweet, melodic solo, it made my whole damn night. There were also a couple points where he was so loud it felt like my earplugs weren’t even there. That was good too.

My stock of CDs is down to 16 and orders have been steadily coming in. The Patient Mrs. did me the favor of taking one to the post office today, and that was much appreciated, and I don’t think it’ll be all that long before the rest go. The reviews, as I said last time, have been positive, and Darryl sent notice yesterday that the good folks at Aquarius Records are going to be carrying and writing up the album, so that was great news as well, given that store’s mass of cred and exceptional ability to understand the stuff they’re reviewing.

I never really intended to be the “label guy.” The Ripple dudes are better at it than I am, and now The Soda Shop‘s got a label going too, and good for them, but I’m not really into sales and, frankly, I suck at writing a pitch because my whole take on it is, “Well, I like this album and I hope you do too” for the two, maybe three, things I’m going to help release in a year. I like Blackwolfgoat and I hope you do too. The rest I guess can work itself out.

16 copies left. I hope you get one if you want one. Buy it using the Paypal button above, clicking the Dronolith cover or clicking here to go to the Maple Forum store.

All you Massachusetts types will want to hit this one up. A pretty well-rounded night, if you think about it. Ironweed, as much as I wasn’t feeling their latest record, bring the rock, Blue Aside the doom, and Blackwolfgoat the all-out guitar loop insanity. Something for everyone! Dig this poster:

22 copies of Blackwolfgoat‘s Dronolith left. Buy yours here.

Location

Domestic US $10.00 International $12.00

I’ve been reading some of the reviews coming in of Dronolith, the second album by Blackwolfgoat and third release from The Maple Forum, and it seems like, for the most part, people are getting what the record is about. The progressive and Krautrock influences are noted in just about all of them, and the overall response is pretty positive. Thanks to everyone who’s written so far (among them Heavy Metal Time Machine, Sea of Tranquility and the venerable souls at Doommantia) and everyone who’s planning to.

Thanks even more to everyone who’s bought the record and checked in with a response about it. I’m dig it and I’m glad you do too. It’s definitely something different, and I was a bit worried about how it might go over, but it looks like everybody who wants to be is on board. More than I can ask for, really.

As of today, I have 23 copies left of Dronolith, which you can buy using the Paypal button above or at the Maple Forum store on BigCartel. If you haven’t gotten one yet, please consider this humble advice to do so before they’re gone. For Darryl Shepard‘s expansive soundscapes and the beautiful Alexander Von Wieding artwork, it’s not to be missed, and once it’s sold out, that’s it. We only pressed 100.

If you’re in NYC or somewhere thereabouts, make sure you hit up Lit Lounge on June 27, where Darryl will be gracing the stage as part of the ongoing Precious Metal series headed by Curran Reynolds of Wetnurse/Today is the Day. As the room downstairs at Lit is essentially a low-ceiling cave, it should be the perfect setting for Blackwolfgoat‘s encompassing wall of sound. Expect volume in voluminous doses.

Location

Domestic US $10.00 International $12.00

I’m thrilled to update that Blackwolfgoat‘s Dronolith sold nearly half my portion of the total 100 pressed in its first week. As of today, I have 26 copies left of The Maple Forum‘s third offering. If you want one, you can buy it using the Paypal button above or at the official Maple Forum webstore.

Thanks so much to everyone who’s made a purchase so far. Your support is hugely appreciated and I can’t say that enough. It’s awesome to see the names of people who also picked up the Kings Destroy and/or the Roareth discs coming back for more, and it’s awesome to see new names coming through as well. Point I’m trying to make here is that it’s awesome, I guess. Much appreciated on this end.

I was held up this weekend doing thesis work and the post office was closed Sunday and yesterday for the holiday, so I’ve got a handful of discs that will go out tomorrow morning, but the first bunch should have already landed for most (reports are they made it to the UK already). If you haven’t gotten yours yet, it should be coming soon, and if you have, I’d love to know what you think of the album. Feel free to leave a comment here or drop me an email through the contact page. Or if you’re too busy kicking out the drones, that’s fine too. In any case, thanks again.

In other Blackwolfgoat news, Darryl Shepard (the man behind the band) has set up a Bandcamp page where you can listen and buy the album — download or physical — directly from him. Anyone who hasn’t checked the record out yet can do so there, or on ReverbNation.

Location

Domestic US $10.00 International $12.00

There are 100 hand-numbered copies of Dronolith — the second album from Massachusetts one-man outfit Blackwolfgoat. Half the pressing went to Darryl Shepard, the man behind the band, and half came to me. I kept one for myself. Four sold overnight since I put the disc in the Maple Forum store. That means I’ve got 45 copies of Dronolith left to go out for anyone who wants them.

Blackwolfgoat‘s Dronolith follows on the heels of last year’s Small Stone Records debut, Dragonwizardsleeve, and finds Shepard exploring even more progressive elements in hypnotic drone. Throughout the album’s six tracks and 46-minute runtime, you’ll find an eerie sense of rhythm and gracefully constructed sonic expanse. Shepard is a master of affecting a build within a track, and so his material is actually going somewhere even when it’s at its most ambient.

I dig Dronolith a lot. If you purchased either the Roareth or Kings Destroy CDs and you’re thinking about picking up Blackwolfgoat, expect something different sound-wise but still of a common mindset when it comes to creative liberty. Like the last two releases, atmosphere is paramount, but there’s an openness of structure and improvised feel that’s completely Shepard‘s own.

Like I said, 45 copies to go out to anyone who wants them. I’ve got thank you cards for the first several orders, and a couple other freebies I’ll be tossing in as well. The album art — fucking gorgeous — was designed by Alexander von Wieding (Karma to Burn, Monster Magnet, etc.), and Dronolith was recorded by Glenn Smith (Lamont, Ichabod, Raw Radar War).

Purchase now using the Paypal button above, or click here to go to the Maple Forum store. For those of a more digital persuasion, Shepard has set up a Reverbnation download shop here.

We’re only one week away from the May 24 release of Blackwolfgoat‘s opus of progressive drone, Dronolith, on The Maple Forum. For those keeping up, forum030 is a six-track foray into the mind of guitarist Darryl Shepard (Hackman, Milligram, Slapshot, etc.). Loops and layers of guitar — all recorded live — building to the massive apex of the title track, closing out the album with a righteous, oppressive density you can feel in your chest. It’s not every drone record that demands you play it loud, but this one does.

Dronolith will be available starting next Tuesday, in a limited, hand-numbered digipak run of 100 copies with art by Alexander von Wieding. The album was engineered and mixed by Glenn Smith at Amps vs. Ohms Studio and mastered by Nick Zampiello and Rob Gonnella at New Alliance East. It’s all guitar, and it’s all Shepard playing it, and since the tracks are all instrumental, I though it might be cool to get the scoop from the man himself on what’s behind the songs.

So here it is. Darryl Shepard gives his track-by-track on Dronolith. Hope you dig it:

“Building Buildings”
This song is very influenced by Krautrock and bands like Neu! and Can. I was going for a heavily rhythmic vibe, almost hypnotic. I love how Neu! would have songs that were very simple and driving, but they were interesting to listen to. The rhythm on this one came out way better than I had even hoped for. Sometimes it actually sounds like there is a drummer or percussionist playing, mixed really low in the mix. It has a futuristic type of feel going on as well. After I recorded this one, Glenn (the engineer) and I didn’t think it was too good, but we kept it and worked on some other stuff. Then when we went back to it we realized that we really liked it, so I’m glad we kept this take. There were a couple of different mixes of this but I liked the one that ended up on the album because it’s kind of dark and muddy; it’s very analog sounding. I want to pursue this rhythmic type of stuff more and see where I can take it.

“Ruane”
One of the cleaner sounding songs on the album. I named this after Billy Ruane, who was a promoter/all around music scene personality in Boston for years, who passed away in 2010, and that had a huge impact on the Boston music scene. It affected so many people. Way back in 1990 or so, I was in a speed metal band, and he booked us on a show with Melvins and Helmet, and that had a huge impact on me. I’ll never forget it. For this song I was trying to layer different guitar parts playing in what sounds like different time signatures, but it’s really all 4/4. It’s fragile sounding, and there are a few little glitches in there which I wanted to keep, because Billy, to me, was like that. He was a great, gentle person. He had his flaws, as do all of us, but there’s perfection in the flaws. The flaws are what make things interesting. When I was first working on this song there was no guitar solo, I was just layering part over part over part, and then I decided there needed to be a real solo over everything, something very melodic. I hope I do the memory of Billy Ruane justice with this song.

“Tyche”
A real heavy track, played in an alternate tuning I like a lot. From bottom to top, it’s: C G D G B E. That tuning makes chords sound bigger and more majestic. I won’t lie, this song is very influenced by early Earth, like Earth 2 and Phase 3 Thrones and Dominions. I’m not trying to rip Earth off, it’s more of an homage. It’s basically just a chord progression I came up with that I thought sounded really cool. This song is more about the actual sound than anything else, although there is structure to it. I named it after the hypothetical planet that scientists “may have” discovered, Tyche, which supposedly is as big as Jupiter but has more mass, just a massive thing way out in space. I love super heavy droning guitars, so this song satisfies that craving for me. It’s mainly just one guitar part, no layering on this one except for the fadeout.

“Fear of Stars”
Not sure where this came from, it just sort of appeared one day when I was playing guitar. I was trying to make it sound like there was a pulse — not really notes — and then everything on top of it is kind of an outline. It’s almost like a sketch. I really like the playing on this one. I feel like I was doing stuff that I don’t usually do, timing- and phrasing-wise, playing on the upbeat and in between beats more than usual, not playing as straightforward, almost playing between the notes. It’s definitely not jazz but I would say it’s influenced by jazz. I was looking for a name for it, and was checking out a list of phobias online, and there is an actual phobia for being afraid of stars, it’s called “siderophobia,” and I thought that was a weird kind of thing, to be afraid of stars, and it seemed to fit the mood of the song.

“Event Radius”
Another super heavy track, in the vein of “Tyche.” The E string is tuned down to A, to give it that low, droning sound. This one sounds pretty ominous, like something very bad is coming and there’s nothing you can do about it. Again, this song is basically an excuse to kick out the super heavy jams, so to speak. The head I used on most of this album is called Kneel, they’re amps made by this guy, Neal Johnson, in Boston. Very cool amps. For the heavy stuff, I used a combination of the distortion on the head and a black Big Muff, just a really overdriven sound, pushing the speakers. The title really fits the song to me, in that it sounds like there’s some really serious shit going down, like maybe an enormous UFO is heading our way very slowly and the shit is gonna hit the fan big time. A lot of the songs on this album seem to have themes that deal with space or a futuristic vibe to them, at least for me. I really like how at the beginning of the song it sounds like a switch was thrown and a big machine is powering up.

“Dronolith”
I had the title before I had the song, although I knew what I wanted to do musically, but it took a while for this one to come together. I originally was thinking of doing something around 20 minutes long for this, but that just seemed to be a bit much, so I went with the flow and it came out to 15 and a half minutes. The first half is mellow and somewhat eerie, very dark sounding. Glenn did a great job recording this. The guitar almost sounds like a piano at times. It almost lulls you to sleep, and then the heavy guitar just comes in and flattens everything. When we first listened back to this in the studio we were laughing because it sounds like a bomb going off when the distortion kicks in. That’s when I knew I had accomplished what I set out to do. From that point on, the track keeps building and building, like something that’s just too big for its own good. I wanted to keep layering guitars on top of each other. I don’t even know how many layers there are, probably around 25 or 30, total overkill. Some of it is just static, I unplugged the guitar and had a track of me just putting my finger on the end of the guitar cord, total static. Chaos. But you can still make out the melody buried underneath all of the noise. There is an actual melody in there somewhere, you just gotta listen for it. At the end is a little snippet of something I recorded at home, just to have something melodic at the end to wrap it up. Everything else on the album was recorded live in the studio. I feel that this track lives up to its name, something massive and looming. Like Glenn said, “That’s definitely Dronolith.”

Dronolith by Blackwolfgoat will be available May 24 on The Maple Forum. Stay tuned for more info.

Blackwolfgoat on Last.FM

The Maple Forum Store

I wasn’t anticipating any snags from the press, but you never know, so it’s with some measure of relief that I report that the Blackwolfgoat full-length, Dronolith, is in-house and that it looks great. The digipak is the same style as the Roareth, for anyone who picked that up, but sturdier and glossy, and with the Alexander Von Wieding artwork, it looks fantastic. You wouldn’t necessarily expect something called Dronolith to look so classy, but it really does. In short, I’m thrilled. Here’s the final tracklisting:

Blackwolfgoat, Dronolith
1. Building Buildings
2. Ruane
3. Tyche
4. Fear of Stars
5. Event Radius
6. Dronolith

As of now, we’re good to go for the already-noted May 24 release of Dronolith, which is Blackwolfgoat‘s second album and the third release on The Maple Forum (forum030). The pressing is limited to 100 copies, and they’ll be hand-numbered. As with the Kings Destroy record, the first 20 will come with a Thank You card — I might even put them in envelopes this time! — and I have a couple old comps and some other stuff I might throw in as well for anyone who orders.

You’ll be able to buy Dronolith starting on the 24th at the Maple Forum store. I don’t know how to set it up for preorders, otherwise I’d do that and just start shipping them out, but whatever. A little suspense will do you some good, and in the meantime, Darryl Shepard, the lone member of the band, sent over the below video for “Fear of Stars.” It’s as progtastic as it is red. Dig: