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REMINDER-OUT SEPT. 4 -Goatcraft/Plutonian Shore -Self-Titled Split EP!


Hessian Firm proudly announces the release of Goatcraft/Plutonian Shore split EP available September 4, 2020. The split features three new tracks from Goatcraft, and the first physical release of Plutonian Shore’s 2018 digital EP Alpha et Omega.

Goatcraft and Plutonian Shore are no strangers to each other. Both bands hail from San Antonio, Texas. Both formed around the same time in 2010. The two are friends. They played gigs together and have jammed together before they formed each band. Both groups stride to make music that defies current scenes and trends.

Plutonian Shore derived its name from the Edgar Allan Poe poem The Raven. It refers to the shores of the underworld or Hell, a fitting moniker for their necro sound. The group incorporate elements of ritual and occult philosophy into traditional black metal. They play a style of black metal with a variety of influences including Rotting Christ, Dissection, Horna, Antaeus, Emperor and Immortal. Home state bands Averse Sefira and Absu are also of influence. These influences are only surface level. Plutonian Shore dive deeper to find their sound and lyrical philosophy. The duality of vocals between Jake Holems and Zvs Gastelum offers one distinction.

Goatcraft is the sole vision of pianist, Lonegoat. He describes his mixture of dark neoclassical and ambient music as “Necroclassical.” His compositions are like mini (bloody faced) concerts of minor keys and fingerboard pounding. Goatcraft created otherworldly sonic depictions of Mars on his new tracks. “Deimos” and “Phobos” are electronic ambient compositions about the moons of Mars. “Mars” is a piano piece dedicated to the red planet. Writing conceptual pieces to Mars is no new feat. His 2014 effort The Blasphemer focused on painter/poet William Blake. Last year he released a conceptual album, Submersion on the Russian Philosopher, Azsacra Zarathustra.

This is the first time Lonegoat worked with a MIDI setup, so he could program percussion and layer keyboards over it to add greater depth to his compositions. Beherit’s electronic era, in particular Electric Doom Synthesis, inspired these tracks.

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