Lonegoat Archives - NO CLEAN SINGING

SHADOW LEGION: “SHADOW LEGION”

Aug 012023

(Today we present the following guest review by Lonegoat [from the Necroclassical project Goatcraft] of the forthcoming debut album by Pittsburgh-based Shadow Legion.)

The enigmatic genesis of “Dark Metal” traces back to the murky depths of the underground past, entered into lexicon by Bethlehem‘s daring 1994 opus, fittingly titled Dark Metal. Closer inspection of the “Dark Metal” categorization reveals a bewitching amalgam; an alchemical union merging the raw essences of heavy metal, death metal, and black metal, seasoned with an infusion of epic and pagan elements.

While Aeternus remains cryptic on the matter, they undoubtedly embody this heterogeneous blending, as do other bands such as Mefitis, who enthusiastically embrace the appellation to chart their own perplexing course within this realm. Pendath, a luminary of Mefitis, also corroborates this perspective, adding that “Dark Metal” defies codified classification while displaying an ineffable melancholy that transcends the rational mind, arousing an intuitive sensibility positioned beneath the surface. In addition, Serpent Ascending‘s acclaimed 2022 opus, Hyperborean Folklore, dutifully explores this synthesis as well.

Shadow Legion‘s lengthy debut album, which comes out on August 9th, firmly embeds itself in the domain of “Dark Metal.” At its molten core, a blistering display of guitar virtuosity rivals the legendary mastery of Trey Azagthoth, setting the band apart from their peers and charging the music with electrifying transcendence. The dance of visceral, melodic, and warlike percussive riffs, often extant for prolonged periods, casts a dark martial atmosphere. As is the trait of “Dark Metal,” the influences of epic heavy metal, death metal, and black metal coalesce seamlessly in an intuitive framework, and palatial acoustic sections offer moments of majestic respite. Continue reading »

LAVA: “SACRIFICIAL RITUAL OF PRIMORDIAL FIRE”

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Jul 142021

(Today we have a guest review by Lonegoat from the Necroclassical project Goatcraft and the host of the podcast Necropolis, and he’s spreading the word about the debut album by the Ukrainian band LAVA.)

Cut from a similar cloth as Panzerfaust, Sacrificial Ritual of Primordial Fire, the debut album from the Ukrainian band LAVA, centers upon its design a powerful exterior. A blend of modern death metal and black metal susceptibilities, namely the worship of intense chord tension, LAVA presents itself as a formidable new project worth paying attention to.

Although this kind of black/death hybrid music generally focuses on its textural components, LAVA allow the chord tension to wane enough so that fierce riffs have room to emerge, at times with flashes of high melodicism. Songs have distinctive flow, permitting bleak themes to materialize and develop in relentless fashion. Venerableness is on display with the addition of angular bass tintinnabulations, which in turn grant the music surprising depth. Continue reading »

MEFITIS: “OFFSCOURINGS”

Album Reviews 3 Responses »

Jan 272021

(On January 30th Hessian Firm will release a new album by the California band Mefitis, and here we present a guest review by Lonegoat, the man behind the “necroclassical” project Goatcraft.)

An exhibition of metal understanding and dexterity, Offscourings presents some things to consider regarding the current state of metal and its possibilities. The first thing which is immediately apparent is that Mefitis will not traverse a solely death metal path. Their debut Emberdawn showed that they are capable of creating narrative songs within the death metal lexicon; riffs that are seamlessly glued together to present to the listener an experience of perpetual development during the songs’ duration. Offscourings takes a detour from standard death metal by assimilating avant-garde tendencies that have become more accepted in metal. This is not to say that they are playing it safe. The music is unmistakably their own and not something derived from appropriation. 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 »