Goatcraft Archives - NO CLEAN SINGING

AN NCS PREMIERE: GOATCRAFT — ANOTHER TRACK FROM “MEPHISTOPHELIAN EXORDIUM”

Nov 162020

Almost two weeks ago we premiered a track from Mephistophelian Exordium, the forthcoming double-album by the “necroclassical” project Goatcraft which will be released by Hessian Firm on November 20th, and today we present a second one.

For those who may have missed the first premiere, which included a lot of background information about Goatcraft and this new release, Mephistophelian Exordium unearths demo recordings that Goatcraft‘s alter ego, the pianist and adventurous keyboardist Lonegoat, made near the beginning of his journey as a solo artist roughly ten years ago. Originally distributed to friends and acquaintances on CDR, those tracks are finally getting an official release on this album. The album also includes a 2015 radio performance that was broadcast live on-air by KSYM in San Antonio, Texas, as well as the song “Mephistophelian Exordium,” which was written and recorded in 2015 while Lonegoat worked on Goatcraft’s third album, Yersinia Pestis.

The track we’re premiering today, which appears on the album as “20 Untitled“, comes from that early demo compilation. It’s a long piece that was all improvisation, and the effect of listening to it as it mounts in intensity is both spellbinding and frightening. Continue reading »

AN NCS PREMIERE: GOATCRAFT (A TRACK FROM “MEPHISTOPHELIAN EXORDIUM”)

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Nov 042020

We first began writing about Goatcraft at our site nearly seven years ago, and have continued following the progress of the music ever since. But the story of Goatcraft’s musical evolution began long before that. The project’s sole creator, who goes by the name Lonegoat, was trained as a classical pianist. As a young teenager he was guided into extreme metal by an older friend, taking the first steps on a long journey that eventually led to his creation of the “necroclassical” sounds of Goatcraft.

Along the way, at the age of 20, while living in Tampa, he played with Mike Browning (Morbid Angel, Nocturnus) in a project called After Death. Due to changed circumstances, he decided to join the U.S. Air Force. After his honorable discharge (and a time being stuck in Japan due to bureaucratic snafus), he returned to Tampa and delved deeper into the metal scene. After moving to Texas, where he had spent time in his earlier years, he began working with musicians from the San Antonio bands Plutonian Shore and Emperial Massacre. As he has explained:

“It was here that I realized that my idiosyncratic style had advanced into something entirely different than what most band formats would permit. Mike Browning had advised me to create an all-keyboard project, and this advice is what ultimately birthed the idea of Goatcraft. I came to terms with the fact that in order to reach my vision of piano- and keyboard-driven of music, I would need work by myself to turn that vision into a reality.” Continue reading »

AN NCS PREMIERE: GOATCRAFT’S “PHOBOS” (AND A REVIEW OF THE GOATCRAFT-PLUTONIAN SHORE SPLIT)

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Sep 022020

On September 4th Hessian Firm will release a split record that includes the music of two San Antonio-based projects, Goatcraft and Plutonian Shore, both of whom have created outstanding releases that we’ve paid attention to before at this site. For this new split, each project has recorded three tracks, and today we’re presenting one by Goatcraft — along with a review of the split as a whole.

As the solo vehicle of musician Lonegoat, Goatcraft has specialized in the creation of dark neoclassical and ambient music that he has named “Necroclassical”. For this new split he created three pieces devoted to the depiction of Mars, drawing inspiration in part from Beherit’s electronic era (in particular Electric Doom Synthesis), and it’s the third of those in the running order — “Phobos” — that we’re premiering today. Continue reading »

PLUTONIAN SHORE: “ALPHA ET OMEGA”

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Apr 232018

(Lonegoat, the man behind the necroclassical music of Goatcraft, provides this guest review of the new release by Plutonian Shore from San Antonio, Texas.)

In Alpha et Omega, Plutonian Shore invokes the axiological Logos of black metal and confronts the gentrification and stagnation brought about by indie rockers and scenesters. Their circumspection is fine-tuned and pierces through the music scene’s ruses of an abundance. Never deserted is the energetic imaginativeness which overwhelms the nondescript bottom line of reality via mind and solar plexus, woven in fierce, inexorable abstraction. Weakness is cast aside. The soul is forever athirst for unbridled power. Dalits need not apply; this is music from the dream-mind of a slumbering Brahmin. Continue reading »

DEATH BY FESTIVAL: HURRICANE HARVEY RELIEF EVENT

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Sep 182017

(We welcome Lonegoat, the creator behind the necroclassical project Goatcraft, who is helping spread the word about a forthcoming Texas music and movie event where all of the proceeds will be donated to assist in the relief of Hurricane Harvey’s devastation.)

Hurricane Harvey devastated the Texas gulf region which led to at least 71 confirmed deaths, and over 100 billion dollars worth of damage. It’s the first time in twelve years a storm of this magnitude has made landfall in the US. Houston had flooding of biblical proportions which ripped many people away from their lives. Many Texans and companies are donating money to help with the relief efforts, but who knows how long it’ll be until normalcy returns. Some others, like David Vincent, ventured to the affected areas to lend a vital helping hand.

In the wake of Harvey, Austin’s inaugural Death By Festival, which is produced and organized by Nic Brown and Susie Winfield, has decided to donate all of the proceeds from the festival to Hurricane Harvey relief efforts. It’s excellent that even the entertainment portion of Texas society comes together for those who stand in need of benefaction. Continue reading »

MIDNIGHT ODYSSEY: “SILHOUETTE OF STARS”

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Mar 302017

(We welcome back guest writer Lonegoat, the Texas-based necroclassical pianist behind Goatcraft, whose latest album Yersinia Pestis was released in 2016 by I, Voidhanger. In this piece, Lonegoat provides a review of the new double-album by the one-man Australian project Midnight Odyssey.)

Atmospheric metal is made difficult as much of it is mere texture. Most of it is deduced to a worship of texture and a hard limit of production. The long chain of simple but meaningful sounds has led listeners to acknowledge its harmonious preservation from one sound to another and the coalescence thereof.

Midnight Odyssey shows that these are necessary textures, how the mind comes to be furnished by a lush experience and leads to a heroic catalyst of reflection. It derives our internal operations of mind by all of its vibrant tones, simplicity, and often an exuberant usage of repetition, most often to the point of repletion.

Atmosphere in music is not an empirical concept which has been derived by ordinary external experience; it is a prime character in and of itself. Midnight Odyssey exemplifies an inner character much like the dusty plains of eastern classical where its focus is that of an internal expression, whereas western art is an external representation and unites its representations in our consciousnesses (albeit consciousness itself is an epiphenomenon). Tonal action and reaction should be equal in atmospheric synthesis. Continue reading »

MYSTICUM: “PLANET SATAN”

Album Reviews 5 Responses »

Dec 202016

(We welcome back guest writer Lonegoat, the Texas-based necroclassical pianist behind Goatcraft, whose latest album Yersinia Pestis was released earlier this year by I, Voidhanger. In this piece, Lonegoat provides a different kind of review for the latest album by the Norwegian band Mysticum.)

Synopsis: Mysticum goes on a raging binge, warps to Planet Satan, dies.

Slowly and unwillingly, Mysticum recovered consciousness. He lay on his back, eyes tightly closed, trying to postpone the inevitable awakening. But conciousness returned and brought sensation with it. Needles of pain stabbed at his eyeballs, and the base of his skull began to pound like a giant heart. His joints seemed to be on fire, and his stomach was a deep well of nausea. It was no relief for him to realize that he was suffering from the absolute embodiment of all hangovers. Continue reading »

BRUCKNER: SYMPHONY 9 (1896)

RANDOM FUCKING MUSIC 2 Responses »

Dec 012016

(We welcome back our guest writer Lonegoat, the Texas-based necroclassical pianist behind Goatcraft, whose latest album Yersinia Pestis was released earlier this year by I, Voidhanger.)

I’ve decided to feature one of my favorite symphonies for my second entry for No Clean Singing. It is metal as far as spirit is concerned, which I will attempt to delineate here. My next entry will be about an actual metal release, so you won’t have to worry about me spamming classical music at everybody here all of the time. I will first talk about Bruckner-the-man before Bruckner-the-composer.

Of Bruckner’s numerous quirks, what struck most people as odd was his obsession with death. He kept a photo of his mother’s corpse, and when Beethoven and Schubert’s graves were exhumed for their remains to be relocated, Bruckner was there to fondle their skulls. Nobody’s quite sure why he was infatuated with death so much, but his music might shed an insight on it, as it often goes from heavenly beauty to demonic predation. Other than this macabre quirk, he would also propose to teenage girls/young women, even while he was elderly. Most men are attracted to younger women so this isn’t that bizarre. Continue reading »

LISZT: DANTE SYMPHONY (1857)

RANDOM FUCKING MUSIC 3 Responses »

Nov 232016

(We welcome a guest writer known as Lonegoat, a name many of you will recognize as the Texas-based necroclassical pianist behind Goatcraft, whose latest album Yersinia Pestis was released earlier this year by I, Voidhanger.)

Liszt crossed the boundaries of both romanticism and modernism, and it’s futile to cast him into a specific period of classical music because he was driven by his will to impose himself beyond the categorical spheres of the music at the time. His ingenuity in composition was matched only by his virtuosic abilities which gained him much fanfare, much like how the surface aesthetics of something draws the bystander in and wows them, and with subsequent discernment, reveal a world to discover that’s seemingly beautiful and terrifying.

It can be said that Dante’s Inferno was created to scare the beejezus out of people by thrusting their intellects into hellish landscapes, and Liszt did indeed grant it a power to do so even more. The man was his own full symphony on piano, and when he spent his time on his symphonic works, a logogenesis emerged. Continue reading »

SEEN AND HEARD: ÄRA KRÂ, CLOUDS TASTE SATANIC, EVENT RELENTLESS, GOATCRAFT, INFERNÄL MÄJESTY, NO MORE ROOM IN HELL, OUBLIETTE, STURMOVIK

RANDOM FUCKING MUSIC 8 Responses »

Nov 022015

There’s a ton of new music in this round-up that I really like, most of which I discovered over the weekend. I thought about dividing up this post and leaving some of the songs until tomorrow, especially since we’ve delivered so much other music to you on this Monday. But I’ve learned the hard way that when I defer something I want to do, sometimes it doesn’t happen at all. So I’m including music from eight bands in this post, and to make it somewhat less daunting I’ve tried to minimize my own linguistic spewing.

I’m presenting the music in alphabetical order by band name. I do hope you’ll find time at least to sample everything.

ÄRA KRÂ

I’m cheating on this first song — because I’ve already written about it, back in May to be precise. But this talented band have just established a Bandcamp page for the self-titled EP on which it will appear, and that gives me an excuse to repeat what I said before (and yes, I’m already going back on what I promised about minimizing linguistic sewage): Continue reading »

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