Blackwolfgoat - Giving Up Feels So Good (CASS)

  • $9.99

Origin: USA
Released: 2020
Catalog number: FD1006

Since 2010, Blackwolfgoat has been the solo experimental drone/doom project of guitarist Darryl Shepard, who has spent the past thirty plus years playing in a number of bands, including Slapshot, Milligram, Black Pyramid, Roadsaw and Test Meat. He has toured the U.S. and Europe extensively with some of these bands, playing at festivals such as Hellfest, Desertfest and Roadburn. “Giving Up Feels So Good” is the fourth full length album released under the Blackwolfgoat name, following two releases on Small Stone Records and one on The Maple Forum (CD) and Bilocation Records (vinyl). “Giving Up Feels So Good” was recorded, mixed and mastered by Chris Johnson (Deafheaven/Doomriders) at his studio The Electric Bunker in July of 2019. As with previous Blackwolfgoat releases, the artwork was handled by renowned artist Alexander von Wieding, who has done cover art for numerous bands, including Monster Magnet and Karma to Burn. The digital and limited CD release was handled by Blackwolfgoat while Fuzzdoom Records will be releasing a short run of cassettes.

“Giving Up Feels So Good” contains five songs of doom/drone metal clocking in just shy of 40 minutes, including one song with spoken word vocals and four instrumentals. Other BWG albums have delved into some more experimental processes but for the new album Shepard wanted to concentrate more on heaviness, of both atmosphere and sound. Earth’s releases on Sub Pop are a good touchstone for “Giving Up Feels So Good” and served as an influence/inspiration. Blackwolfgoat live has shared stages with Man’s Gin, Darsombra and Totimoshi. “Giving Up Feels So Good” is the darkness at the end of the tunnel. There is no light, only a wall.

"Giving Up Feels So Good proves to be not only consumingly dark, but based more than any other Blackwolfgoat release around weighted tonality and resonant low end. “Nadir” — how low can you go? — reminds of Earth or maybe some of Dylan Carlson‘s solo output for its raw here’s-a-guitar-style expression, and though Shepard fleshes out toward the midpoint with a some hard-strummed melody, the mood remains paramount." – JJ Koczan, The Obelisk