Being an entirely solo instrumental guitar venture, it’s clear right off the bat that Blackwolfgoat is never going to be for everyone, never going to be the band you put on to get the party going, not the drive fast, blast-it-out-your-window-on-an-open-highway American chronicle. Darryl Shepard, previously of notable Boston outfits like Milligram and Hackman (both also on Small Stone), helms and comprises Blackwolfgoat, and on his full-length debut, Dragonwizardsleeve, he reminds that loops, drones and noise aren’t necessarily relegated as tools only for hipster art students or freakout psychedelics. Somehow, this drone rocks.

Understand that’s a relative statement, but as Dragonwizardsleeve’s opening cut, “Risk and Return,” slowly fades itself out, one comes to understand in listening to it that the track does have structure, a gradual build, more like something off a King Crimson solo album than ambient drone. “Death of a Lifer” brings in distortion and a Neurosis Given to the Rising-type feel (the track I’m thinking of is “Origin”), but never seems settled on itself, even as the same riff cycles through the track with noises added on top of it. There’s an urgency here; a kind of hectic and unsettled feeling. The guitars (Shepard provides a couple) feel on-edge and are huge sonically where on any number of other ambient albums an understated minimalism seems to be the goal. Hearing the cabinet speakers rumble at the end of the track, that’s clearly not the goal for Blackwolfgoat.

The pun-titled “Tinnitus the Night” follows and keeps much the same atmosphere as “Death of a Lifer,” albeit with a somewhat busier execution. It is another distortion build that distorts even unto itself, and though the song is among the shorter on Dragonwizardsleeve at 4:18, it carries an atmosphere much heavier than its runtime. Notable that it fades on both ends, in and out, so that it seems to creep up on you as you listen. Blackwolfgoat is a sneaky project in that it injects complexity into these songs without seeming to do so, but some of the material itself also sneaks up on you.

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A little while back, former Hackman guitarist Darryl Shepard filled us in on some of his upcoming projects, and first among them was Blackwolfgoat. An entirely solo venture, Blackwolfgoat is just Shepard and his guitar running through ambient pieces that range from the more active to the eerily still. Blackwolfgoat‘s first album, Dragonwizardsleeve (I guess he’s got a thing for putting words together; who doesn’t?) is self-released and Shepard has just put some if not all of it up for streaming on MySpace.

What’s interesting in listening to a track like “Death of a Lifer” is the layering. It’s subtle, but Shepard is working with multiple tracks of guitar, the dip and pull of the notes he’s playing seems to undercut that, but it’s there, and like a lot of drone/ambient material, it does develop, albeit subtly. The cuts range from the 10-minute “Hotel Anhedonia” (anhedonia being a loss of the ability to experience pleasure), the basic riff of which could easily have been worked into a structured song, to the 2:46 arrhythmia of “Aspirin Forever,” which has an almost drum and bass feel to it, though one obviously still in development.

There’s a range of emotions and moods clearly on display here, which is refreshing given how much drone seems just an exercise for its own sake or a tryout of equipment. The distorted “Tinnitus the Night” is on the shorter end at 4:17, but nonetheless creates an unsettled atmosphere of worry, and the sweeter “Risk and Return” plays with light mathematics that seem to be trying to air positivity on top of light percussion. Shepard being a proven-capable guitarist and no stranger to working in instrumental settings, Blackwolfgoat can be engaged either on the level of audio wallpaper or active listening. Of course I’d recommend the second option, but either way you approach Dragonwizardsleeve, definitely be sure to keep Blackwolfgoat‘s MySpace page on your radar.