Posted in Features on December 18th, 2014 by JJ Koczan
I knew already when I moved to the Boston area that Darryl Shepard was an exceedingly good guy. We’d been in touch for years at that point and I’d helped press up the CD run of Blackwolfgoat‘s second album, Dronolith, plus been a fan of his work in that one-man outfit as well as past bands like Milligram, Roadsaw, and so on. What I didn’t know was how universally respected he is. It’s not a celebrity thing, and part of that I’ll attribute to his own down-to-earth sensibility, but whether it’s people showing up to watch him play, peers in other bands, musicians he plays with or just people he knows from having been around the city’s rock underground for as long as he has, there’s a deep-running appreciation for who he is and what he does. The only person I’ve ever heard talk shit about Darryl, is Darryl, and even he’s doing it for laughs.
He’s had a busy 2014, between releasing albums with The Scimitar and Blackwolfgoat, recording Kind‘s first demo, playing shows and so on, and it seems only fitting to wrap up “The Year in Darryl” (not literally in him, in a Martin Short/Inner Space kind of way, but at very least in his work) by giving a rundown of the things he’s done over the last 12 months. Here goes:
Blackwolfgoat, Drone Maintenance
After Dronolith, I knew I probably wouldn’t get to review Drone Maintenance, Shepard‘s third outing under the Blackwolfgoat moniker (released by Small Stone) since I was still pretty close to it, only one record removed from direct-ish involvement in its making, but don’t think for one second that’s a statement about the quality of Drone Maintenance itself. To be honest, the third record blows the second one out of the water. In cuts like “Sunfall,” “White Hole” and the relatively brief “Night Heat,” his tendency toward songwriting comes out, and structures begin to show themselves amid tracks that are varied in mood and feel while still largely instrumental — he vocalizes bleak, feedback-laden closer “Cyclopean Utopia” in a vaguely black metal kind of way — and tied together by three spoken interludes that foster Drone Maintenance‘s underlying concept: The drone is broken, and Shepard is the repair man sent to fix it, as portrayed in Alexander von Wieding‘s cover art. Though the plotline works out otherwise, Shepard fixes the drone in wonderfully progressive fashion, an experimental feel pervading the material that — miraculously, given the context — avoid pretense even at its most ambient moments. I was lucky to be invited to the studio while it was being recorded, and could tell then that Darryl had something special on his hands and that the first two Blackwolfgoat releases were just scratching the surface of what he was looking to accomplish with the project. To hear the finished product after the release party at O’Brien’s in Allston was to see that realization affirmed. Blackwolfgoat on Thee Facebooks, Small Stone Records.
The Scimitar, Doomsayer
Though it was released on gorgeous clear/bone vinyl by Hydro-Phonic Records (also digipak CDR and a name-your-price download from the band’s Bandcamp), it seemed for a minute there that The Scimitar was over before Doomsayer could get started, having been effectively derailed when bassist Dave Gein moved to the West Coast, his last show with the band coming at The Eye of the Stoned Goat 4 (review here) in early May. This supposition was, in a word, mistaken. True to their slaughterhouse doom sound, the trio of Shepard, Gein and drummer Brian Banfield wouldn’t be so easily ended. Doomsayer‘s seven tracks earned their centerpiece Motörhead cover, both continuing the warrior mentality Shepard fostered when he stepped into the guitarist/vocalist role alongside Gein in Black Pyramid for 2013’s Adversarial (review here) and branching out to distinct triumphs on songs like “Void Traveler” and “World Unreal,” finding a balance between the catchy and the brutal that, even on their first outing, The Scimitar made their own. Gein being on the opposite side of the country may have made weekly practice unlikely, but The Scimitar played both Northeastern shows to support the release with a stand-in bassist and, earlier this month, traveled out west for a weekender in California with the album’s lineup. It would seem they’re hardly done, and all the better for the chance to get more of both the raw explosiveness of “Babylon” and the exploratory heavy of Doomsayer instrumental closer “Crucifer” as The Scimitar continues to come into their sound. The Scimitar on Thee Facebooks, Hydro-Phonic Records.
I’ve been fortunate this year to see Kind play twice (reviews here and here), and both times have been markedly different. The roots of the project go back (I’m pretty sure) to late last year, when Shepard and Elder drummer Matt Couto began to jam with an intent toward not much more than that. Bassist Tom Corino of Rozamov was brought in to handle low end and vocalist Craig Riggs of Roadsaw rounded out the four-piece, whose style still finds its basis in those wide-spaced jams. They’ve recorded a demo, with Benny Grotto at Mad Oak, from which the 10-minute “Hordeolum” has surfaced, showcasing both their heavy psych and more forward-driving tendencies, the balance they find and seem to gleefully upset between the two. I hear a full-length is in the works for a summer release via a respected American outlet who, since it hasn’t been announced yet, shall remain nameless, but until that happens, Kind will continue to hone their live sound regionally, opening for Karma to Burn next month at Geno’s in Portland, Maine. Not sure if it will ever be anyone’s main project — Elder, Roadsaw, Rozamov and Shepard‘s bevvy of other bands make for some significant commitments — but Kind have quickly found a stylistic niche for themselves and I’m interested to find out what they do with it on their debut. Kind on Thee Facebooks.
There are many for whom three active bands would be enough projects, but in the middle part of 2014, Darryl also found time to release a slew of accumulated recordings from over the years, all as name-your-price downloads via Bandcamp. Each recording — most were demos, but a Milligram radio appearance (review here) was also included — was given a different solid color as a cover, and a total of six have made their way out to date, including a completely solo acoustic album (with vocals) recorded by Andrew Schneider in 1998, the aforementioned Milligram performance, some Roadsaw demos also from ’98 (first streamed here), the final three songs tracked by instrumental outfit Hackman, early ’90s demos from Deslok and various collected four-track demo/experiments from the early ’00s on which some of the roots of Blackwolfgoat can be heard. These weren’t put out for any kind of profile, just made available for anyone who might want to explore them, but in both the stylistic variety and the performance value Shepard brings to each project, there’s much to dig into. Perhaps most impressive of all is that, though they cover a considerable swath of ground, they’re still just a fraction of Shepard‘s total output. Hopefully he has more tapes/hard drives in a closet somewhere and the series can continue, or maybe even get added to with newer material over time. Just a thought. Darryl Shepard on Bandcamp.
Well, despite Gein living in California and drummer Clay Neely living in Georgia while Shepard continues to reside in Massachusetts, Black Pyramid will once again spring to life in 2015. They’re already confirmed for Desertfest in London and Berlin alongside Lo-Pan, and from what I hear, they’ll have a new 7″ on Hydro-Phonic to mark the occasion. There’s a mysterious Soundcloud demo called “Donor Kebab” by an outfit named Iron Malden, and who knows what that portends. As noted, Kind will also continue to play shows ahead of their full-length debut release, tentatively set for the summer, and one imagines Darryl will continue to keep busy otherwise gigging and recording as he always seems to do, his work ethic as admirable as the results it produces.
I don’t usually like to post crowdfunding stuff if I can avoid it. Nothing against the process, it’s just there’s so much of it there wouldn’t be time for anything else. This, however, is a cause worthy of exception.
You may know Darryl Shepard from his time in Milligram, or Slapshot, or Blackwolfgoat, or The Scimitar, Black Pyramid, Hackman, Roadsaw or countless others. You may not know him at all. Regardless, the man is a walking institution of rock and roll. Someone who has personally played a direct role in the development of American heavy rock, and even if you don’t listen to his bands, chances are that someone in bands you listen to did. In and around Boston, he’s a legend, and if standing on the Hellfest stage last year with Black Pyramid was anything to go by, his reach is much further than any single city’s borders.
Because of a number of medical conditions, Darryl has racked up a considerable amount of debt. In a lot of places around the world, this would be taken care of through a public system, and wouldn’t stand the chance of crippling someone’s livelihood, but then again, in a lot of places around the world bands also get paid for playing shows. That’s not here. A fund has been set up to help Darryl with these expenses, and I personally urge you to give something, anything, to help him out. It’s not even a donation. Darryl has earned this money a thousand times over.
Hey folks, our good friend and intrepid rocker, Darryl Shephard is in need of our help. Darryl has numerous medical issues, including: Hordeolum, GERD, Coronary Stent, Cervical Radiculopathy, Pacemaker (permanent), Hx of Depression, Hypothyroidism, SVT (Supraventricular tachycardia, Hyperlipidemia, Cardiomyopathy (Ischemic), Status Post Myocardial Infarction (anterior wall), and Coronary Artery Disease. He has been a fixture in the Boston music community for over 25 years, having played with acts such as: Slapshot, Blackwolfgoat, The Scimitar, Slaughter Shack, Hackman, Roadsaw and Deslok, among others. Despite having a fulltime job, and health insurance, Darryl, is badly in need of assistance in covering medical expenses. We’ve set the goal pretty low in hopes that people will be more than generous. There are no reward levels, but an incentive or two, are being considered. Helping a friend should be reward enough. Please give what you can. It would be literally life-changing for Darryl. Thanks!!!
Here is the Music Player. You need to installl flash player to show this cool thing!
The apparent hubris I showed in bragging last time around at the silly method by which I transferred audio editing software from one laptop to another came back to bite me in the ass as I put this podcast together. Finally, last night, I turned to Thee Facebooks for assistance and received an amount of input that was both useful and encouraging on a personal level. Thanks to everybody who took the time to help and to recommend alternative programs to the one I was using. I’m by no means technically inclined, so it is very much appreciated.
So yeah, there was a bit of drama in the making maybe — it was right around the Buzzo track that everything went to hell — but I don’t think you’ll get any clue of that from the audio, which has a few unexpected turns in its progression. At least in the first hour. Hour two is huge jams, because basically there was no way I wasn’t going to put that 17-minute-long Wo Fat song in there and I wanted to have some other stuff to stand up to it, but hour one takes a couple different avenues toward heavy rock and I guess I was feeling some bluesy psych this time as well. I won’t spoil it any more than I already have. Hope you enjoy.
The Scimitar, “Babylon” from Doomsayer (2014)
Moab, “No Soul” from Scion A/V Presents Billow (2014)
Monobrow, “Cicada” from Big Sky Black Horse (2014)
1000mods, “Horses’ Green” from Vultures (2014)
Mat McNerney & Kimmo Helén, “Blood and Bone Revival” from The World is Burning OST (2014)
The Atlas Moth, “City of Light” from The Old Believer (2014)
Highlands, “Your Let Down” from Dark Matter Traveler (2014)
Blues Pills, “River” from Blues Pills (2014)
Sea Bastard, “Door Sniffer” from Scabrous (2014)
Major Kong, “Acid Transmission” from Doom for the Black Sun (2014)
Buzz Osborne, “The Ripping Driving” from This Machine Kills Artists (2014)
Prisma Circus, “Napalm” from Reminiscences (2014)
The Heavy Company, “One Big Drag” from Uno Dose (2014)
Mope, “Doomed to Feed the Ground” from Mope (2014)
Idre, “Witch Trial” from Idre (2014)
Harsh Toke, “Weight of the Sun” from Light up and Live (2013)
Wo Fat, “Dreamwalker” from The Conjuring (2014)
Doomsayer, the debut long-player from Black Pyramid-offshoot The Scimitar, is now available to preorder from Hydro-Phonic Records. The Michigan-based label, which has a penchant for creative packaging and dedication to vinyl, has the record coming in July in a number of limited pressings and editions, including one that also houses a CD with an alternate mix of the album. If you’d like to hear the regular mix so you have it to compare by when the time comes, the band has made it available for streaming and pay-what-you-will downloading on their newly-launched Bandcamp page.
These’ll probably go, so if you want one, a preorder probably isn’t a terrible idea.
Details follow, courtesy of Hydro-Phonic:
The Scimitar come swinging with their debut LP, “Doomsayer”. Featuring Gein and Darryl from Black Pyramid (along with new drummer Brian Banfield) turning out some Sabbath-Maiden-Motorhead influenced heavy riffs.
The Striped Deluxe Edition comes on white wax with a black stripe through the center. The jacket is printed on black cardstock, so the inside will be black instead of the normal white. The Deluxe Edition also comes with a CD featuring and alternate mix/master of the album. Will include other extra goodies as well!
The Clear/White Edition comes on Ultra Clear wax with a White blob in the center. The jacket is printed on black cardstock, so it will be black instead of the normal white inside the jacket.
By popular demand, we will release for the first time to the public a chance to own a test pressing of this release. This is limited to 20 copies in cool handmade covers by the HPRX staff. Limited to ONE COPY PER PERSON and will surely be extremely collectible as our test pressings often sell for $100 – $250 on ebay.
Also available now at the bands Bandcamp page that will go live very soon!
You learn the same lessons over and over at a festival. Being ibuprofen. Hydrate. If you’re going to be somewhere all day, know the spots to stand, to lean, to sit if you’re lucky, and if you want to sit early, do it for an investment in standing later. No one wants to bum out while the headliner’s on and the days are long. You do these things because it’s what you love to do. You’re not young anymore, you get tired. Your head aches. Your back aches. You smell. You’re in people’s way when you stand up front. Minimize that if you can. Be mobile. Enjoy yourself. This is where life gets good, after all.
There are cavernous potholes in the unpaved parking lot of Ralph’s Rock Diner. I kicked up dust even at crawling speed to park for Day Two of the Eye of the Stoned Goat 4, making sure I was plenty early to catch Skrogg lead off a day that also included Geezer, Foghound, Clamfight, Rozamov, Ichabod, Volume IV, Curse the Son, The Scimitar and Order of the Owl. Had enough time to sit at the counter in the dining car, watch a little bit of the original Star Trek on the tv there and have a cup of coffee, which I was warned against ordering from one of the guys who wasn’t working that day for fear of being yelled at. I’d have to laugh at someone getting pissed at a patron ordering coffee in what claims to be a diner, but I’m glad to have avoided the issue altogether. Two bucks and about 15 minutes later and I was back upstairs and dug in for the start of the show.
A Sunday vibe is different from a Saturday vibe. You know this. Plague of hangovers, plus Monday’s looming threat of the return to real life — these things bleed in, even if subconsciously. Eye of the Stoned Goat came prepared for such an eventuality:
New Hampshire heavy-toned rockers Skrogg were a hair-of-the-dog start to Day Two and they knew it. The ink is barely dry on their later-2013 outing, Blooze (review here), but they’ve got a follow-up in the works called Done a Bad, Bad Thingand they aired the single “Wheels, Women and Whiskey” from that, as well as a slower, wah-loaded jam that would provide the prevailing impression of their set in laid back, weeded-out evil-woman boozer blues grit. If I hadn’t actually heard guitarist/vocalist Jeff Maxfield speak in the same voice with which he sings, I’d likely swear up and down his “whiskey-soaked” vocals were an affectation, but no, that’s how he sounds, and with the chemistry between him, bassist Jason Lawrence and drummer Felix Starr — who traded out the house kit in favor of his own, much larger set — what struck me most about Skrogg was how well they jammed. Last time I saw them, at Stoner Hands of Doom XII in 2012, they didn’t come across nearly as comfortable on stage. They were supporting their Raw Heatdemo/EP (review here) then, so obviously the intervening two years haven’t been misspent on their part. I wondered what they’d do with more time to maybe elongate their songs and really stretch out and improvise. In hindsight, Bloozehad some of that going in “Born to Blooze.” Hopefully they keep developing that side with their new one.
If Skrogg were the first shot of the day, Geezer were a fitting chaser. The New York trio were jamming before they even started. Their soundcheck was a jam, and a good one. They opened with “Ghost Rider Solar Plexus,” and between that and “Ancient Song,” also from the 2013 Gage EP (review here) which has a vinyl issue impending on STB Records, they offered a support lesson in the importance of chemistry for a three-piece to work. Guitarist/vocalist Pat Harrington gets a lot of the attention in the band, between his Electric Beard of Doom podcast, gravelly voice and accompanying facial hair, but bassist Freddy Villano and drummer Chris Turco carried the psych-blues jams on which Harrington spaced out, and it was a classic dynamic made that much stronger by how well particularly Harrington and Villano know each other on stage, having played together for some time in Gaggle of Cocks in addition to developing Geezer‘s bluesier take over the last couple years. One of just two acts alongside Lord Fowl to carry over from 2013’s Eye of the Stoned Goat 3 in Brooklyn, Geezer rounded out with “Pony” from 2013’s Electrically Recorded Handmade Heavy Bluesdebut full-length and drew the early crowd in like moths to a lightbulb with the song’s quirky stoner bounce and nod-ready groove. Easy to dig these guys, and they’ve only gotten better the couple times I’ve seen them. If ESG needed a house band, they’d be a good bet.
The second appearance in two days for Sixty Watt Shaman drummer Chuck Dukehart III, Foghound were a much different band. I don’t know if they planned their set to highlight the fact that all four members — Dukehart, guitarists Dee Settar and Bob Sipes, bassist Geoffrey Freeman IV — also contribute vocals, but it worked out that way and it was a major distinguishing factor not only between Foghound and Sixty Watt — who of course had a completely different presence anyway with one guitar and a standalone frontman who only sometimes added guitar — but between Foghound and the vast majority of the Eye of the Stoned Goat 4 bill. And not only did everyone sing, but they all could. Foghound‘s late-2013 Quick, Dirty and Highdebut CD (review here) boasted the same elements, but of course it’s different seeing it play out on stage. Underlying that was a swing that was among the weekend’s finest as Foghound pulled more toward the heavy rock end from Day Two’s bluesy beginning, the standout “Resurrect the Throwaways” from the album reminding of Foghound‘s potential to land a hook when they need to and the new song “Truth Revealed” finding Dukehart taking the lead vocal on drums for yet another driving groove. They seem to be getting their approach together quickly, and as impressive as they already were, I wouldn’t be surprised to find Foghound even more solidified when next I’m fortunate enough to see them play.
Like the marauding bastards they are, Clamfight rolled into Ralph’s, set up, destroyed the place, and were gone. I’m obviously biased as regards the double-guitar foursome split between Jersey and Philly, but if the day had a quota of thrash, Clamfight met it head on and then some, kicking out “Sand Riders,” “Age of Reptiles” and staple closer “Stealing the Ghost Horse” from 2013’s Maple Forum release, I vs. the Glacier in addition to “Block Ship” and a new song called “Selkie” (or was that “Selfie?”) that will reportedly be on their next album. Perhaps the highlight of their whole set was watching lead guitarist Sean McKee shred his was through solos in the intro to “Stealing the Ghost Horse,” but there’s some stiff competition in that regard. I’ve been watching Clamfight play for the better part of eight years now and they have never been so good. I mean it. They’ve become an absolutely devastating live act, and their brutal groove has become a signature that’s their own much more than derived from any influence. Between McKee and Joel Harris‘ guitars, Louis Koble‘s bass and Andy Martin thud ‘n’ roar on drums and vocals, Clamfight barely stopped to let Eye of the Stoned Goat 4 catch its breath before their next round of pummeling began. Unreasonably heavy — and immediate. Barely half an hour off I-95, they locked into “Sand Riders” and didn’t look back. I can’t wait to hear their new stuff recorded.
Five bands in, it was pretty easy to see fest-organizer Brendan Burns‘ logic in how Day Two of Eye of the Stoned Goat 4 was going to flow, from the blues-styled start to more rock-minded push and into heavier, more thrashing terrain. In that regard, Boston’s Rozamov would take the evening to its most bludgeoning, darkest place. The trio of guitarist/vocalist Matt Iacovelli, bassist/vocalist Tom Corino and drummer Will Hendrix — who also earned my vote for best shirt of the weekend with his Maggot Brain tee — have some riff-minded aspects to what they do, but on the whole, their sound is much more rooted in the extreme. They were a step further into the abyss after Clamfight, impressively tight as a trio after scaling down from a four-piece since I saw them last fall (review here). Likewise, they seemed to have a fair amount of new material in tow, but “Famine” from last year’s Of Gods and FleshEP was insistent and violent in kind, and no matter where the songs took them, Rozamov remained in control of their course, alternately blasting and bleeding out thickened and ferocious thrashing grooves, Iacovelli and Corino coming together periodically for dual screams that only added to the extremity at hand. I don’t know what their plans are for putting their new stuff together and getting it out, but they carried the songs across with such urgency that I had to stop and remind myself of how far the day had come since its start still just a short time before.
Mean, volatile and given to fits of utter sonic cruelty, Ichabod were nonetheless a pullback toward heavy rock from Rozamov‘s assault. Also native to Boston, the double-guitar five-piece were the band on the Stoned Goat bill I’d seen most recently, back in in late-March in Allston, but of course the setting and compulsion toward a half-hour set between Rozamov and Volume IV — not to mention the sound and lighting at Ralph’s, which, again, are among the finest I’ve found since moving to Massachusetts— gave this go a different context. Vocalist John Fadden, guitarists Dave Iverson and Jason Adam, bassist Greg Dellaria and drummer Phil MacKay have reportedly finished work on the follow-up to 2012’s Dreamscapes from Dead Space, titled Merrimack, and as last time, some new material was showed off prior to Dreamscapes cuts like “Baba Yaga” — introduced as a “stoner rock song” — and “Hollow God,” which seems to take a similar angst-fueled approach to Boston’s Irish Catholicism that a lot of Southeast heavy takes to the Southern Baptist Church, Fadden‘s screams proving particularly visceral on the lines “Your god is irrelevant,” driving home a passionate if somewhat familiar argument, reminding of just how devastated the cultural landscape of this region has been by corruption in its religious institutions. That’s the kind of thing one might think of seeing the band twice in little more than a month, but the bulk of the room seemed more consumed with the general nastiness in Ichabod‘s sound. Justifiably so.
Building on the more rock side of Ichabod‘s sound, Atlanta natives Volume IV steered the fest back toward crisp, pro-grade heavy. A somewhat odd pairing in all but geography, they arrived at the Eye of the Stoned Goat 4 on tour with Order of the Owl having played in New York the night before, supporting their Ripple Music debut, Long in the Tooth (review/stream here). A solid, cohesive trio, and particularly interesting to watch after Sixty Watt Shaman in giving a modern look at how similar influences have developed in the time since the Day One headliners’ first run. Their being from Atlanta, it was tempting to try and read some measure of Mastodon influence into Volume IV‘s approach, but apart from some eye-squinting on the part of guitarist Joe Carpenter while he delivered his vocals, there was next to nothing in common. Both bands use guitars, if you want to reach that far. Songs were straightforward in their structure and well executed, and whether it was the chug of “Awake the Dreamer” or the ZZ Top-style motoring of “Locust Have No King,” they made a more effective presentation than I had expected. Set closer “Iron Fist” would be the first of two Motörhead covers for the evening, and Volume IV — Carpenter, bassist/vocalist Blake Parris and drummer Troy King — took one of classic metal’s most recognizable hooks and made it their own much the same way they added an individual sense to Southern heavy in the material from Long in the Tooth. I was into the record well enough, but they were better live without question.
Curse the Son
In a word: Tone. Playing in front of two full-stacks topped with custom heads from Dunwich Amplifiers that glowed from inside through a clear front with the word “weed” etched on it, guitarist/vocalist Ron Vanacore of Hamden, Connecticut, trio Curse the Son had thickest guitar sound of the entire two-day festival. Order of the Owl would outdo them for volume, but in terms of the sheer viscosity of their sound — which, as Vanacore joked in reference to his amps, was “brought to you by the power of weed” — Curse the Son was an overdose of righteously engrossing fuzz. Bassist Richard “Cheech” Weeden made the sound even fatter, and with Mike Petrucci (also of Vestal Claret) bringing subtle touches of complexity to the drums, cuts like “Goodbye Henry Anslinger” and the particularly catchy “Spider Stole the Weed” were rolling-groove high points of the day, the “whoa”s in the chorus of the latter seeming to come in layers even though Vanacore was the only one with a mic. Their 2012 full-length, Psychache(review here) is set to come out on STB Records vinyl any day now, and while it was “Pulsotar Bringer” from 2011’s Klonopain(review here) that closed out the set, the nod was constant throughout the room in Ralph’s as Curse the Son built successive walls of distortion. They’re a pretty well-kept secret at this point, though with that LP version of Psychachecoming, I can’t help but wonder how much longer that will be the case. Tetrahydrocannabinolic riff worship of the highest order, and since the last time I saw the band play on all their own gear was 2011, it seems I’m about due for a trip to New Haven.
No doubt Boston will miss Gein‘s gallop. The bassist’s technique has been a key element in Black Pyramid‘s warmongering, in Second Grave‘s explorations of the melancholic and in The Scimitar‘s still-nascent branching off from Black Pyramid‘s roots, but Eye of the Stoned Goat 4 Day Two brought the second and final of his last shows. Guitarist/vocalist Darryl Shepard, who has said he’ll continue to make music in this vein under his own name after the release of The Scimitar‘s debut and likely only full-length, Doomsayer, noted it as The Scimitar‘s last gig with Gein “for a while,” and it’s true you never know what’ll happen, but Los Angeles is a long way from Ralph’s Rock Diner, so yeah, a while indeed. I noted that drummer Brian Banfield cut his hair since the last time I saw The Scimitar, which at least meant we didn’t look so much alike, but more of a focal point was how well The Scimitar carried across the songs from Doomsayer, “World Unreal,” “Babylon” and even the night’s second Motörhead cover, “Metropolis,” leading to the longer album-closer “Crucifer,” which seemed like it was going to be their last song until they added “Forever and Ever and Ever.” The show was running early, and they started early as well, so there was plenty of time to spare, and that hook was worth including one way or another, Gein as ever reliably riding a foundational groove in the low end. He’ll make a good SoCal surfer. There wasn’t any grand farewell or anything like that when The Scimitar were done — he has always had a calm, collected stage presence — but it was still no doubt an emotional set for the bassist, who again, will be missed around these parts.
Order of the Owl
Imagine volume as a weapon. You knew some serious noise was about to be doled out when Atlanta’s Order of the Owl loaded no fewer than six Orange cabinets onto the stage, but I don’t think even the actual sight of such things prepared the room at Ralph’s for what was coming. To see that many dollars’ worth of amps in a single band, you know the parties involved have made a life choice. There had been a few instances throughout the day when I could feel my earplugs vibrate in my head — during Clamfight, during Curse the Son — but Order of the Owl went further and just rendered them useless from the start. Feedback proved no less essential to the sound than the trio’s riffs and lumbering grooves, but basically, Order of the Owl came through as a wash of noise. Bassist/vocalist Brent Anderson, formerly of Zoroaster, brought some of his ethic (not to mention his posture as he bent way over to the low microphone) from that band to this one, but with guitarist Casey Yarbrough and drummer Joe Sweat, Order of the Owl had a personality of their own carved from the massive tones emanating from that impressive backline. To Sweat‘s credit, the drums cut through, which Anderson‘s vocals didn’t — even a place with decent sound like Ralph’s can only put so much power into the P.A. before the lights shut off — and even in the back of the room was consumed by the overload. I couldn’t tell you what they played, but clearly the intent wasn’t so much to dazzle with individual songs or ideas so much as create a whole of such overwhelming push, and Anderson, Yarbrough and Sweat clearly had that working in their favor. Again, they seemed like a strange fit to hit the road with Volume IV, but they made a suitable closer for Eye of the Stoned Goat 4, giving the festival one final dose of ultra-heavy that nobody in their right mind would want to follow anyway. Their new album is probably finished being recorded at this point. One shutters to think of the devastation that awaits.
My ears were ringing fairly hard by the time I left Ralph’s. Sunday was an earlier night than Saturday had been anyway, and the last few bands had run short anyway, so it wasn’t yet midnight, but after running the full front-to-back of 20 bands over the two days, I’d hardly say I was up for more action than I got. The Masspike and news stories of Cinco de Mayo lime shortages carried me home and I’m not sure I’ve woken up since.
Thanks to Brendan Burns for his diligent efforts putting together The Eye of the Stoned Goat 4. Thanks as well to Derek and Jenn Bradshaw, Bill Kole, Ray Dickman, Jaki Cunha, Mark, everybody else who stuck it out for the weekend, and of course you for reading.
Doomsayeris a fitting title for the forthcoming debut from Boston trio The Scimitar. The band build on the methodologies of BlackPyramid, the trio from which they splintered off last yearwith bassist Dave Gein and guitarist/vocalist Darryl Shepard picking up drummer Brian Banfield in the process, but craft their own identity as well in the blend of catchy songs and plodding, thudding doom. As a riffer and lead player, Shepard — also of Blackwolfgoat, Milligram, Hackman and too many others to count — sounds right at home on Doomsayer, though it might be the heaviest aesthetic in which he’s yet resided. Black Pyramid‘s 2013 outing, Adversarial(review here), which had Shepard and Gein in the lineup with drummer Clay Neely, is probably the closest comparison point, and Doomsayeris altogether a heavier album. Less bound by the expectations of stepping into someone else’s frontman spot, Shepard flourishes on cuts like “The Taker” and “World Unreal,” and the pummel the trio elicit only lets up on the acoustic interlude “Attrition.”
So it’s heavy in heavy’s element. Fair enough. As the first audio to surface from Doomsayerin its finished mix, “World Unreal” sets up a lot of what works really well about the album, but it doesn’t tell the whole story. In the High on Fire-style thrash of “Babylon,” they heavy-rock-grooving centerpiece take on Motörhead‘s “Metropolis” and the thunder-weighted payoff of closer “Crucifer,” The Scimitar distinguish themselves from Black Pyramid and showcase a songwriting process that’s started from a position of considerable accomplishment and only likely to come further into its own. With lyrics criticizing a conspiracy-minded view of the world — the lines “You’re seeing patterns that don’t exist/You think that everyone’s an enemy” stand out — a steady, rolling groove and metallic undertone in the chorus, “World Unreal” makes a striking introduction to the outlook and heft of Doomsayer, and while the version of the song that I have the pleasure of premiering isn’t mastered, it should still be plenty loud enough to get its point across.
Doomsayer was recorded by Glenn Smith at Amps vs. Ohms Studios and mixed by Benny Grotto at Mad Oak. The Scimitar will release Doomsayerin the coming months through Hydro-Phonic Records. Shows are rare, but the trio will take part in the Eye of the Stoned Goat 4 festival, May 3 and 4 at Ralph’s Rock Diner in Worcester, Massachusetts. More info at the links.
God. Damn. Quite a lineup, quite a poster. I’ll give credit to Hollow Leg‘s Brent Lynch who first brought my attention to the poster for his band’s March 26 gig at St. Vitus Bar in Brooklyn. The evening, on which Kings Destroy (fresh off their West Coast tour) headlines with Hollow Leg, Holly Hunt, Clamfight and The Scimitar supporting, is a benefit for Aaron Edge, the Seattle-based graphic designer and former Roareth (etc.) guitarist, whose struggle with multiple sclerosis led to the creation last year of Lumbar‘s The First and Last Days of Unwelcome(review here) and whose medical bills continue to accumulate.
True to oblivious form, I actually wasn’t aware The Obelisk was sponsoring the show or I’d have been plugging it much sooner. There were some discussions earlier on and I had thought it just kind of petered out as these things sometimes do, but I’m honored to have the name of this site associated with such a lineup, with War Crime Recordings who released Kings Destroy‘s A Time of Hunting last year, and of course with St. Vitus Bar, whose reputation at this point spreads well beyond the bounds of Brooklyn. I won’t be sorry to catch Hollow Leg and Holly Hunt when they come through Boston with Ichabod and Balam, but no doubt this is something special, and the poster, by Searing Limb‘s Connor Anderson, certainly lives up to the occasion.
Click the image to enlarge for a more detailed look (click it again to remove). For more on the Anderson‘s work, this show, the Holly Hunt/Hollow Leg tour dates and how you can contribute to Edge‘s continuing fight, check the links below.
Posted in Whathaveyou on February 3rd, 2014 by JJ Koczan
Though one hesitates to ever use the word “final” when it comes to a festival lineup, particularly when we’re still a few months out from the event taking place, The Eye of the Stoned Goat 4 looks pretty damn complete. Some recent upheaval in the lineup has brought in Lord Fowl as a replacement for Phantom Glue and Kings Destroy for Kingsnake, but things seem solid and ready to proceed otherwise. Should be a packed weekend May 3 and 4 at Ralph’s Rock Diner in Worcester, Mass., and it’s definitely one I’m looking forward to with a killer blend of bands local to New England and not.
Complete lineup as it stands today follows, along with the runtimes for each set. Feel free to dive in:
Snake Charmer Booking proudly presents: THE EYE OF THE STONED GOAT 4 Festival
Saturday, May 3rd – Sunday May 4th 2014
2 Days! 20 Bands! 20 Bucks!
Ralphs Rock Diner 148 Grove St. Worcester, MA 01605
Saturday, May 3rd 2014
Admission: $20 (ALL WEEKEND)
Line-Up and Set Times:
SIXTY WATT SHAMAN (The Reunion!!!) 12:20am-1:15am
CORTEZ (Boston, MA) 11:20pm-12:00am
KINGS DESTROY 10:25pm-11:05pm
SUMMONER (Boston, MA) 9:30pm-10:10pm
LORD FOWL (New Haven, CT) 8:45pm-9:15pm
BEELZEFUZZ (Church Within Records – Maryland) 8:00pm-8:30pm
SECOND GRAVE (Massachusetts) 7:15pm-7:45pm
JOHN WILKES BOOTH (Long Island, NY) 6:30pm-7:00pm
SET (Worcester, MA) 5:45pm-6:15pm
BIRCH HILL DAM (Fitchsburg, MA) 5:00pm-5:30pm
Sunday, May 4th 2014
Admission: $20 (ALL WEEKEND)
Line-Up and Set Times:
ORDER OF THE OWL (Atlanta, GA) 11:20pm-12:00am
THE SCIMITAR (Boston, MA) 10:20pm-11:00pm
CURSE THE SON (Connecticut) 9:25pm-10:05pm
VOLUME IV (Ripple Music – Atlanta, GA) 8:30pm-9:10pm
ICHABOD (Boston, MA) 7:45pm-8:15pm
ROZAMOV (Boston, MA) 7:00pm-7:30pm
NEON WARSHIP (Small Stone Records- Ohio) 6:15pm-6:45pm