#And if I wrote a poem based on a cool photograph that’s not fan art

[halloweeneva]

Okay so, while I was working on the leviathan comic (complete version here) I saved a version of the wip to make sure tumblr would cooperate with the comic layout I had in my head. Recently one of my friends convinced me to share it as an insight into my process so I’m going to walk you through some of it!

Warning: long post ahead

Starting with inspiration, the original poem was very evocative and really called to me. I do a lot of art of skeletons and hands and mythology and I knew those elements would play really well with the poem.

In all honesty I’m much more of a physical artist than a digital one, so all of my comics start with pencil and paper thumbnails to really help me nail down my ideas. (though as you can see, by the time I get to actually making things sometimes I lose or change elements as I go!)

Even in my original sketches I knew that I wanted the panel of the first background to be negative space and for the pillars to physically be the white of the page, basically making it so that the rest of the comic literally rests on top of them. (Note that the background of the comic begins and ends with a fade into white.)

Going into this I knew that I wanted to play with a limited warm and nonliteral color pallet, and that I wanted to play with breaking the comic boxes. I didn’t initially plan on using purple or blue at all, but it ended up being important to provide contrast (it’s hard to get some of those colors to show up when lettering) and to really emphasize the drowning/whalefall/leviathan imagery.

Red was an important color for this story, the original poem by @/narcissistcookbook used it to add a punch and I knew that I would need to use it in a similar way. it became a great contrast for my lovely skeleton hands and worked very well as flesh beneath the scratches on my big hand. My favorite though was using that initial inversion to turn the ribs red in the next panel. I really liked the fact that they weren’t white and I got to play with scale by fading the other side of the ribs so that they looked like an environment unto themselves. Then I pulled most of the red out so that the blue could really wash over the image and give the reader a minute to breathe, really emphasizing the quiet of being underwater. Then we get the crow eating flesh, the leviathan’s glowing red eye sockets, and the word Devoured. The restraint in the prior section is what really gives these elements such a punch, they’re the first things to draw your eye and the most important to understanding the image.

In the final page we also see the return of white, turning the bones of the leviathan back into pillars and bringing the comic full circle.

The whalefall section was improvised on the page and all of the elements evolved from the first very rough image shown below. I really liked the idea of showing the whole body that had previously only been seen as snapshots of certain parts. The yellow body was a bit too plain though and in noodling on the page I realized that I could use negative space and erase out parts of the body to add detail and emphasize how dead the body was. It started with the skull and then I realized I could use the same skeleton idea to emphasize the fingers/arm/rib elements right next to the text talking about it.

Once everything is 90% done, it gets very easy to spend hours on minor tweaks and I personally start to get bored. So my system is that even if it isn’t 100% polished I will declare it finished. There will always be little things that you could have changed or done better no matter how long you work on something, and critically, NO ONE is going to nitpick it except you and jerks who are just looking for an excuse to be rude. Art is not precious, it is not perfect, it is human. Imperfect art is a million times better than no art.

[doomedandstoned]

Shepherds Crook Doom the Moonlit Sky in Latest LP

~Doomed & Stoned Debuts~

By Billy Goate

Album art based on a painting by Remedios Varo

I've been enamored SHEPHERDS CROOK from the moment I chanced upon 'Black Lake' (2018) some years gone, which inspired an impromptu review. Here is a band that should be, in my mind, every bit as familiar to aficionados of doom metal as Dopethrone, Bongzilla, and Cough. This opinion is founded on more than the strong emotional connection the music has made with me over the years. Every sludge lover I've had occasion to introduce the Trondheim duo to has taken to them immediately. Who can deny the appealing backwoods grit of "Uteseler" or the celebratory toke of "Smoke Diver"?

While their road game has yet to start, their track record in the studio is flawless with two stellar EPs and four highly regarded LPs notched around the belt already. The principal drivers of this project are multi-instrumentalist Ole Hell and vocalist Nestor. Together, they're a force to be reckoned with in the heavy underground, with Ole's penchant for composing dank rhythms and forlorn guitar leads that touch a nerve every time. Nestor completes the picture with characteristic gravelly crooning that carries more evil, hissing ire than a den of pissed off vipers.

Before us lay the latest long-player of the lot, 'Mat For Månen' (2021) -- or "Food For The Moon" -- which is such a brilliant title when you consider how suitable this music is for humid summer nights full of barbeque, beer, and self-loathing. If the dog's fabled bark at the moon could be rendered in relatable terms, it might end up sounding like Shepherds Crook.

"The Narrow" cracks the bottle on the recording with an irradiated strum. This becomes the song's central theme, with bass and drums joining in, followed by Nestor's gruff, caustic strains. This dirge of doom is unrelenting, with the riff simultaneously establishing the melodic core and rhythm. It's a tight track with no room for fat, not even for one of Ole Hell's trademark guitar solos -- though the woeful axeman does drop an ominous footnote during the song's closing seconds.

The titular "Mat For Månen" is next in queue and dons quite a downcast mood, with guest artist Stian Sumstad's basswork carrying the song to several emphatic moments that border on epic. The guitar has an opportunity to really shine on this one, with a melodic lead midway through that seems to be telling us secrets buried in the woods 'neath these mysterious moonlit skies.

Photograph by Magnus Olsen

Though I'm far from an angry drunk, "Barfight" has me feeling the rage that comes along with imbibing a bit too much and making enemies at the table before the night's all said and done. The song sets off a nasty blues vibe that makes me feel braver than I really am, inspiring a swing at my enemies -- real or (in this state likely) imagined.

Our four-song excursion grinds to a finish with "Ingen Morgenkvist" which does sad as only Shepherds Crook can. Though I'm uncertain of the precise meaning ("morgenkvist" has no English equivalent), my best detective work has me believing the song title could be approximated "No Morning Seen." This number has a certain weight to it -- and not merely because of its 16-minute runtime. Despite the familiar joshing about how long doom bands are prone to playing ("I just got here, what did I miss?" "Nothing yet, they're still on their first song!"), it takes strong songwriting and a steady hand of musicianship to pull off low and slow in a way that works convincingly for the listener. Here, the song has a balladic feel (it's based on a poem by poem by Jørgen Nygard) that builds gradually, layer upon layer, with Mr. Hell's guitar doing the kind of singing that defies words, yet somehow succeeds in rendering meaning.

Overall, Mat For Månen is a welcome addition to the Shepherds Crook oeuvre. It succeeds in delivering the unique sound of the band with a depth that gives it staying power. Perhaps it will find a welcome home in your playlist, to. Releasing July 2nd (at which point it will be available for purchase here), the record is presented in its world premiere courtesy of Doomed & Stoned.

Give ear...

LISTEN: · Shepherds Crook - Mat For Månen (2021)

Shepherds Crook: The Rundown

Interview with guitarist Ole Hell Photographs by Magnus Olsen

How did Shepherds Crook get its start?

It started out as some kind of experiment back in 2017 when I (Ole) rented this little studio room in a larger studio space of a friend of mine.

The first track we did was "Outlaw Speedking", based on a riff I made on the spot when I found my acoustic guitar after many many years of not playing. I got myself some new gear and just started to record.Nestor heard it and got hyped, wrote some lyrics and recorded the vocals in one take, first try. We knew that we had to do more songs and about a month later we released Black Lake. We did five releases from 2017 to 2019. I do everything from recording to mixing and mastering, so it's been a learning process for me as far as making heavy music sound good, with every release I think it sounds a little bit better.

Where did the name Shepherds Crook come from?

Actually I thought it was a fascination for walking sticks from hiking in the woods or whatever, but Nestor reminded me the other day that the name came from a dream I had years ago where I was going to make a band called Shepherds Crook. I can't really confirm that as I don't remember. Blame the beers.

How would you describe your "sound" to someone who hasn't yet listened to your records?

We're all over the place as far as I'm concerned. We started out with more of a stoner vibe and kind of mixed in elements of doom and sludge. The vocals might be weird for a lot of stoner rock fans, and the riffs might be too boring for everyone that is into "metal" but likes the vocals. This is our impression from people anyways. But back to the sound; it's heavy riffs, moody melodies and mean vocals. I think we kind of got our own thing going at this point, we care less and less about these "doom" and "stoner" labels these days to be honest.

Walk us through each track on 'Mat For Månen' and tell us about what the songs mean and/or how they originated.

We do like the idea that the listener can interpret and make up his own mind what the tracks mean. But, basically the general idea for the album is the moon and how it connects to organic life on earth. Mat For Månen is norwegian for "Food for the moon" and is based on the same concept laid out by the mystic G. I. Gurdjieff (and to some extent Ouspensky and others), I won't lay the whole thing out here, but if anybody is interested they could check that out.

The tracks touch on this topic in various ways like lunacy, the saturn connection, no dawn, wizards and shit, lol. The songs are also pretty varied on this one, from that stoner doom thing to a more heavy blues vibe, doom and stoner metal.

As a side note, we recorded the album at a place called "Månen" (the moon), the place of a buddy of ours. Cool thing is he joined on vocals for two of the tracks and It sounds awesome. He might be joining us on bass and co-vocals whenever we get our asses on stage.

Speaking of stagework, has Shepherds Crook had a chance to get out and tour much?

I mean, not really. In the beginning it was just me playing all the instruments as a studio project. Then after a while we had a couple of drummers come in and a bass player. We started rehearsing to play live then some of us couldn't make it due to different reasons, etc. We still have plans to make it happen at some point in the near future.

Give us an overview of your discography so far.

Black Lake (2018) Uteseiler (2018) Evil Magician (2018) Carved In Smoke (2019) Dauseiler (2019) Mat For Månen (2021)

Black Lake by Shepherds Crook

Uteseiler by Shepherds Crook

Evil Magician by Shepherds Crook

Carved In Smoke by Shepherds Crook

Dauseiler by Shepherds Crook

Are there any records or songs that you are especially proud of?

I know we're both pretty happy with Uteseiler as a whole and the last track of Dauseiler: "Serpent Ropes". Also, Mat For Månen is pretty decent I would say.

What does the future hold for Shepherds Crook?

I'm in the process of writing riffs for another album, but have no idea when it will be finished. It could take a while. We have other projects going as well.

Nestor (the singer) is now in this black metal band and I'm doing my other thing Vandrer (instrumental doom), you can check it out on vandrer.bandcamp.com.

We also got a new drummer: Trollhammer aka Jan Olav, an old childhood buddy. We were in a death metal band together in the early-mid 90's and he's been in many death metal bands since then.

He will be doing the drums on both Shepherds Crook and Vandrer from now on, bringing that extra punch to the face (and groin area).

What is your philosophy of life? How do you see the world, your place in it, etc.?

Well, we got all kinds of crazy renegade ideas. While we wait for that book, just insert any Lemmy quote of choice!

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