It took blood-soaked San Antonio pianist Lonegoat to make the direct connection between classical funeral dirges and occult metal. On All for Naught, his Goatcraft proffers neo-classical piano flourishes and mini-concertos of a decidedly dark bent, all minor keys, fingerboard pounding, and enough reverb to make a concert hall sound like a mausoleum. Put these menacing chords through six strings and a broken amplifier and you’d have majestic black metal symphonies. As it stands, Goatcraft’s wild-haired piano insanity sounds like The Phantom of the Opera on an absinthe bender. (Thu., 8pm, Dirty Dog Bar)

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This article appears in October 25 • 2013.

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Michael Toland started writing about music in 1988 on the Gulf Coast, moved to Austin in early 1991, and has inflicted bylines upon the corporeal and digital pages of Pop Culture Press, The Big Takeover, Blurt, Amplifier, Austin.citysearch, the Austin American Statesman, Goldmine, Sleazegrinder, Rock & Roll Globe, High Bias, FHT Music Notes, and, since 2011, The Austin Chronicle.