Press releases in general are typically excessive affairs, but those accompanying new music can be particularly unbearable. Take, for example, the opening promo blurb for Yersinia Pestis, the latest "necroclassical" offering from Goatcraft. Apparently, Lonegoat created his solo-piano project because he was "disappointed by a stagnating metal scene incapable of renewing its original spirit and sheer power." Setting aside this mindset's removal from reality (especially considering the album's release on the excellent I, Voidhanger Records), it's also an interesting assertion considering the musical response that Lonegoat feels is fit to offer. It would seem obvious for someone with this opinion to then go ahead and attempt to fix the "problem" directly by creating metal with these supposed qualities. But instead, Lonegoat created an album that not only rests within a discernible comfort zone, but heavily relies on the music which he critiques.
For better or worse, Lïan is the kind of album which takes just one track to illuminate the entirety of what it has to offer. The album's collection of "dark neobaroque" compositions is the latest offering from Laure Le Prunenec, who lent her vocals to Blood Music's Öxxö Xööx and Corpo-Mente before securing her own spot on the label under the name Rïcïnn. And when it comes to investing in Lïan, it will behoove of listeners to use opening track "Uma" as a barometer for their potential enjoyment of the following nine songs. For the aspects of "Uma" that succeed - and the many more that don't - set the tone for Lïan and outline exactly what ails the album as whole.