Posted in Features on December 18th, 2014 by H.P. Taskmaster
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.
Posted in Whathaveyou on July 15th, 2014 by H.P. Taskmaster
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)
Posted in Whathaveyou on June 13th, 2014 by H.P. Taskmaster
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!
Posted in Reviews on May 6th, 2014 by H.P. Taskmaster
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.
Posted in audiObelisk on April 3rd, 2014 by H.P. Taskmaster
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 H.P. Taskmaster
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
Posted in Questionnaire on December 17th, 2013 by H.P. Taskmaster
It’s a long list of bands that have played host at one point or another to guitarist Darryl Shepard. Having cut his teeth in outfits like Slaughter Shack and Slapshot, Shepard served as guitarist in Milligram and Roadsaw in the late ’90s and early ’00s, eventually emerging with his own (mostly) instrumental outfit, Hackman, releasing two albums on Small Stone. Already working in his own drone project, Blackwolfgoat – the second Blackwolfgoat album, Dronolith, was released on CD through The Maple Forum – he joined Black Pyramid on vocals and guitar after their second album and 2013’s Adversarial(review here) resulted on Hydro-Phonic, a record that took Black Pyramid on a tour of Europe that included a stop at Hellfest in France, where the above photo was taken by Nicolas Dessables. When further lineup issues cropped up with Black Pyramid drummer Clay Neely relocating, Shepard and bassist Dave Gein formed TheScimitar, whose debut LP is due in 2014.
A third Blackwolfgoat is also set for release next year (in-studio here), and The Scimitar are scheduled to play The Eye of the Stoned Goat 4 in May and will reportedly have other sporadic shows supporting the album.
The Obelisk Questionnaire: Darryl Shepard
How did you come to do what you do?
I started playing music at a young age. In fourth grade I joined the school band, just as something to do. I originally wanted to play the saxophone, mainly because it looked cool, but they ran out of those so I picked the trumpet instead. Before that, we used to play the recorder in music class in school, and I always liked music class, so I guess that’s really why I joined the school band. I stayed with it right up until I graduated high school. When I was 14 or 15 I decided I wanted to play drums, but I didn’t have anywhere to put a drumset, so again I went with my second choice, the guitar. I just was drawn to music at an early age. Even though my parents weren’t musical my Dad was always playing music around the house, stuff like Earth, Wind and Fire, and he used to watch the TV show Soul Train all the time, and I loved that. And the Monkees, I watched that show religiously as a little kid. Once I graduated high school I put the trumpet down and focused only on the guitar, for the sole reason that I thought girls liked guitar players more than trumpet players. Not even kidding at all. I don’t think I knew who Chet Baker was at that point. So yeah, it’s all because of the Monkees and Earth, Wind and Fire, I guess.
Describe your first musical memory.
I think the very first musical memory I have involves the Monkees. I remember there was a birthday party at our house for me when I was probably five or six, and I distinctly remember dancing around and singing along to “No Time” by the Monkees off of Headquarters. I loved that song. And I remember all the other kids clapping and yelling when I finished my little act. That’s probably the first time that I did any type of “performing” in public, that I can remember. I couldn’t play an instrument at that point but I gave it my all. I was definitely hooked at that point.
Describe your best musical memory to date.
It would have to be playing with Black Pyramid at Hellfest in 2013. There have been other great shows, Milligram opening for Kyuss Lives! is one, but playing Hellfest was just a great time. We had an amazing slot and a long set, and the crowd was really into it. Soundchecking while Sleep were hanging out and talking to those guys and just feeling like we were part of this really awesome thing was a great feeling. There was a show earlier on that tour where it just sounded like complete crap onstage and I wasn’t happy at all about it, but all I had to do was think about playing Hellfest a couple of days later and it got me through that show. It just felt really good to feel like what we were doing was being appreciated by people who were fans of the music and who really cared about it. For me, it really does make a huge difference to have people enjoy what you’re creating, to GET IT, and Hellfest was a perfect example of that on a large scale.
When was a time when a firmly held belief was tested?
I would say just recently, my belief in myself and that I would play music no matter what, that’s been tested. I’ve always believed that no matter my station in life or no matter what my circumstances were, I would always, without a doubt, play music. And recently that’s been tested, because I’m older now, and I have health issues to stay on top of, and I can’t go sinking money into musical endeavors with no financial payback like I used to be able to. I just can’t. I need a steady job, mainly for the health insurance. I can’t survive without insurance, due to my heart problems. I’ll always need to go back to the hospital and have procedures done and have the battery in my defibrillator changed for the rest of my life, things like that. That all costs a lot of money, and I wouldn’t be able to afford any of that without the insurance I get through my job. So I’ve really questioned if I can go on playing music in bands and how much longer this can continue without interfering with my “normal” life outside of music. It’s not even that I don’t want to play music anymore, it’s that I have a regular life and a way of living that I need to maintain, and I cannot have music interfere with that. I used to be very idealistic about that, thinking that music would always be the thing that I would do no matter what, but lately I’ve been questioning that a lot and trying to figure out how to make it all work.
Where do you feel artistic progression leads?
I feel that it leads to places that you’ve wanted to go to but haven’t yet arrived at. When I graduated high school I was thinking about going to Berklee School of Music. I had to go in for an interview, and the person I had to see asked me what I wanted from my guitar playing. I told him I wanted to be able to play whatever I thought of playing right as I was thinking it, that it would just be automatic. I’m not talking about notes per se, but whole ideas, I wanted to think of something musically and then just be able to execute it. He didn’t seem too impressed by that, by the way. And I didn’t go to Berklee, mainly because they wanted me to go as a trumpet major and I only cared about guitar at that point, and there are a 10 million guitar players at Berklee but only a handful of trumpet players, at least back then that’s how it was. All shredders. But I feel that after all these years of playing, after all the experiences I’ve had, I basically do that now in Blackwolfgoat. It’s all been a progression from the time I learned to play the main riff of “Smoke on the Water” on one string to now. I’ve played in hardcore bands, metal bands, total free-form improv noise bands, solo acoustic shows, cover bands, all of this stuff, and picked up something at every stop along the way, and it’s all in there now. And it’s been a progression, for sure. There’s still stuff I want to play that I haven’t quite gotten the hold of yet, but I’m looking forward to getting there.
How do you define success?
Man, that is a question with a lot of answers. For me, success is a few things. Sitting on my couch and coming up with a really cool riff that I dig is total success. There’s actually a feeling I get when I come up with something I really dig where I don’t even care if anyone else hears it, I’m not even thinking about that. I’m just completely into the moment and the sound of it RIGHT THEN, and if I get off on that then it’s a success. Self-satisfaction is the greatest success of all. Of course, getting music out there for people to hear and accomplishing that the way you want in and of itself is success. I’ve had recording sessions where something sounded so fucking awesome or so cool that again, it didn’t even matter if anyone outside the studio heard it, I was hearing it right there and then, and I get that same feeling of self-satisfaction. I’d call that success.
What is something you have seen that you wish you hadn’t?
Probably the attacks on 9/11 in New York. I was in New York then and it was just a horrifying and shocking thing. The main thing I wish I had never seen was all the people going back to work just days after the attacks, and they were going to work in clouds of soot and smoke, and people were wearing masks to cover their mouths and just trudging back to work in all this destruction. It was a heavy thing to see. People just going about their lives and trying to work to make a living, make their rent, being attacked and then going back to work while the dust was still in the air. No rest at all, just back to the grind.
Describe something you haven’t created yet that you’d like to create.
As far as something musical? I’m still trying to record that perfect album that’s eight songs in 40 minutes. And every song is cool and the whole thing is solid and stands as a whole and also as as individual pieces. A classic album in the sense of what bands used to do in the ’70. I don’t care about a 30-song album in 20 minutes, or a two-song, hour-long album. I really want to create my own version of a classic rock album that fits into traditional musical values, things like 40-minute albums. That, to me, is musical perfection. Again, that’s something that I’m working towards, making progress. Very few bands write classic albums like I’ve described. It can be done, some bands have done it, but yeah, I just want to create a perfect heavy rock album at some point. My own version of Zeppelin IV or Master of Reality.
Something non-musical that you’re looking forward to?
At some point I’m going to publish my book, Black Thanksgiving, and I’m really looking forward to that. Even if it’s self-published or if someone else helps publish it, it’s gonna come out at some point. And I’m looking forward to having some time, some free time away from music and everything that entails, all the things that go into being in a band, having that time to really organize and get the stories together in a coherent manner that flows and putting it altogether officially. These stories have nothing to do with music directly or playing in a band, they’re not “band on tour” stories or like a musical diary or whatever, they’re stand alone stories that have nothing to do with music, which is what I set out to do. Believe it or not, there is life outside of music. I have an entirely different life outside of the band and outside the realm of music. And I dig that, a lot.
Well, this is convenient. Now a two-day fest, the Eye of the Stoned Goat 4 is coming to Allston, MA, and is set for May 3-4 at O’Brien’s Pub. I think I can safely say this will be the least amount of driving I will have ever done to get to a festival. And while that’s not as appealing as the the fact that Sixty Watt Shaman are doing a reunion set or that I’ll have another chance to check out Beelzefuzz and Curse the Son along with native Boston acts like Summoner, The Scimitar, Cortez and Ichabod, the ease of commute is not to be overlooked. I don’t have a 2014 calendar yet, but once I get one, you can pretty much consider it marked.
Kudos to Brendan Burns, who’s also gearing up to present Stoner Hands of Doom XIII in Virginia next weekend. Check out the poster for the event and the preliminary announcement below. More to come:
***SNAKE CHARMER BOOKING ANNOUNCES ESG4!***
Saturday May 3rd- Sunday May 4th 2014 O’Briens Pub / Allston, MA
Tickets On Sale: Jan 1st 2014 9am.
THIS IS A LIMITED ENGAGEMENT, THIS EVENT WILL SELL OUT!!! More details as they develop!
Posted in Reviews on July 22nd, 2013 by H.P. Taskmaster
True, I probably should’ve been looking over housing rentals and formulating a plan for what apartments to see the next day — since that’s why I was in Boston a week and a half ahead of moving to Massachusetts anyway — but on the other, far less responsible hand, The Brought Low. The NYC trio were coming up to play Radio in Somerville with local-types Planetoid, The Scimitar and Hey Zeus also on the bill, and well, if I’m going to be living somewhere, there’s no time like the present to start getting my ass out to shows. What at its most convenient is a four-hour drive had taken more than six, my car’s air conditioner cutting out on the way. I’d been up since five in the morning. It was time to rock and roll.
I’ve been to Radio a few times now — I think every time I’ve been there a band on Small Stone has played, usually Gozu — and it’s a cool room. I had to remind myself that Boston’s a rocker town with a rocker crowd, so the place would probably be packed, and by the time Hey Zeus were finished, indeed it was. Last time I saw the native outfit was their first show, in January. It was one of the coldest nights of the winter. Go figure that I should run into them again as the heat index pushed its way past 110. A band for all seasons, they apparently are.
Opening up, I thought it was a pretty ballsy move for them to throw in a “Space Truckin'” cover halfway through, but they absolutely nailed it, vocalist Bice Nathan channeling his inner Ian Gillan to hit the screaming pre-chorus “Yeah!” high notes on the ultra-catchy Deep Purple classic. Ballsy as it was, they’d double-down by closing out a set otherwise comprised of driving original material with a take on “Speed King” from In Rock. It was almost like the set had a side A and side B and each closed out with a Deep Purple song. Not a bad way to go out, come to think of it.
Between Nathan‘s expert fronting the band, guitarist Pete Knipfing‘s red-hot Southern-style classic rock leads and the groove held down by the rhythm section of bassist Ken Cmar and drummer Todd Bowman, Hey Zeus were as tight as you could possibly ask them to be, varying their pacing somewhere between mid-moving stonerly lumber and the grown-up punk that has fueled so much of Boston’s heavy rock over the years. I dug it last time, I dug it this time, but more importantly, I’ll look forward to digging it next time.Feeling more metallic from their very start, The Scimitar followed in plundering fashion.
Guitarist/vocalist Darryl Shepard (see also Blackwolfgoat, Hackman, Roadsaw, and the League of Excellent Human Beings) announced from the stage that it was just The Scimitar‘s second Boston show. The trio, made up of Shepard, his Black Pyramid bandmate Dave Gein and drummer Brian Banfield, more or less functioned as an extension of that band’s marauding musical ideology, walking a line between thrashing metal and doom that Shepard‘s riffs navigated with ease. Some parts reminded me of Black Pyramid‘s 2013 outing, Adversarial(review here), but in cuts like “World Unreal” and “Forever and Ever and Ever” — based on The Shining and being played for the first time — there began to shine an individual personality for The Scimitar that will inevitably win out.
Gein and Shepard, recently back from a European tour in support of Adversarialwith Black Pyramid, were dead on from the start, which gave Banfield a task in locking in with the two of them, but the drummer handled it well, the trio sounding solid if formative in their chemistry and like they were only going to get filthier sounding as time went on. I wondered if crusty battle doom was a thing, or if it could be, and as if either to answer or to shake me out of my bout of overthinking, they ran through “Void Traveler” on their way to closing out with the Motörhead cover “Metropolis,” giving a suitably grooving treatment to the mid-paced swagger of the original, which appeared on the 1979 landmark, Overkill. Needless to say, beer was spilled.
Dressed up in elaborate and professional-looking alien costumes — one guy actually looked so much like Nightcrawler from the X-Men that I thought that’s what he was going for at first — as they walked around Radio loading in and hanging out, Planetoid were playing last, which meant The Brought Low went on third after The Scimitar. There was a moment right before they took the stage that I could feel myself hit the wall. I stifled yawns and kept myself standing upright, but wow, I was ready to be done. The Brought Low, who were viewing this show as something of a makeup from having to cancel on the Small Stone Boston showcase last fall owing to the post-Hurricane Sandy gas shortage, hadn’t even started yet. I’d only seen two bands!
Proud to report that I didn’t split before The Brought Low‘s set was finished. The trio — Ben Smith (guitar/vocals), Bob Russell (bass/vocals) and Nick Heller (drums) — were on my hypothetical list of stuff to see before no longer living in the New York area, so even though it wound up being in Boston rather than their hometown I caught them in, I wasn’t about to complain. Their on the cusp of 15 years together and lived up to the high standard the sets I’ve seen them play have set, Smith and Heller both having grown out their hair some since I last encountered the band in Fall 2011. In that time, they haven’t put out anything new — their last offering was a three-song EP on Coextinction Recordings (stream and track-by-track here) — but even “What I Found” from their 2001 self-titled debut sounded fresh among newer songs like “Army of Soldiers” and “Black River” from the aforementioned three-tracker.
“Black River” in particular made for an exciting shift just past the halfway mark in the set as Russell took the fore vocally with Smith backing, where the band’s usual process works the other way around, their chemistry and unique blend of country twang and rocking city grit underscored by the swing in Heller‘s drums, perhaps most prevalent of all in the slower “My Favorite Waste of Time” from 2010’s Third Record (review here), which was also a highlight. I don’t know how many times I’ve called The Brought Low the best rock band in New York, but I’m still right. Whether it was “Old Century” or “The Kelly Rose,” the only thing they left me wanting was more The Brought Low. Beat to hell though I was, I’d have stayed if they went on twice as long.
As it was, they didn’t go much further than 40 minutes. An encore after “Blues for Cubby” rounded out and I said a few quick goodnights and made my way back to the hotel, feeling guilty for not catching Planetoid but assuming this wouldn’t be my last opportunity to do so. The next day I got up and went and found a place to live.
Posted in Whathaveyou on January 7th, 2013 by H.P. Taskmaster
Over the weekend, your buddy and mine, Darryl Shepard (also Blackwolfgoat, Milligram, etc.) announced that he and his Black Pyramid bandmate Dave Gein had formed a new band, The Scimitar, with drummer Brian Banfield. The name comes from a song Shepard wrote with Gein and drummer Clay Neely in Black Pyramid, and with a new album from that band expected this year — it’s mixed and last I heard was being mastered — I can’t help but wonder if the difference won’t show itself in terms of the amount of live shows being played by The Scimitar. I guess we’ll just have to wait and see.
Until then, Shepard says they’re working on material and will start playing out in the spring:
I’d like to announce the formation of a new band called The Scimitar. It consists of myself and Gein from Black Pyramid as well as drummer Brian Banfield. Black Pyramid will be playing out much less in 2013, so Gein and I decided to start a new project. It will basically be just an extension of BP, same style of songwriting, same tunings, etc. We have two songs near completion, and we’re working on a cover of Motörhead’s “Metropolis”. Black Pyramid isn’t going anywhere, just think of The Scimitar as an extension of that band. We should be ready to play shows in March or April.