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 »

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 »

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 »

Dec 202016
 

mysticum-planet-satan

 

(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 »

Dec 012016
 

300px-anton_bruckner_donaupark

 

(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 »

Nov 232016
 

dore-inferno

 

(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 »