The article deals with the symbol of the HOUSE as a language culture unit, which considerably influences the nature of artistic creativity. It shows that the structure of the content of Shakhrin’s lyrics of the song “From the War” is formed by the author on the basis of creative variation of the invariant semantics of the HOUSE symbol that fixes cultural and subcultural ideas about the world. The purpose of the study is to discover the forms of the influence of the symbol of the HOUSE on the generated text. The research was carried out at the intersection of linguopoetics, cultural linguistics, discursive linguistics and linguistics of creativity. The author proceeds from the fact that Russian rock poetry is oriented not only towards aesthetic, but also towards creative and cognitive tasks of the world understanding and its reflection in the lyrics. To achieve these goals, the authors of the texts of the Russian rock culture use the mechanisms of speech generation that go beyond the limits of models based on rules, in particular, on associative valency. Russian rock poetry as a symbolic practice puts the author in the situation of cognitive and nominative deficit, in which the word as a carrier of conceptual meaning does not allow revealing the depth of ideas about the world and endowing the world events with existential meaning. A philological analysis of the lyrics of Shakhrin’s song “From the War” shows that they are built around the contradictions inherent in the semantics of the symbol of the HOME. At the same time, the narrative character of the semantics of the symbol predetermines the narrative character of the lyrics. The reference to the central symbol of the text involves other units of the culture code in it. The actualization of the symbolic code gives the text the transpersonal character of a parable and a myth. This facilitates the correlation of the aesthetic and ideological components of the text content. The symbol provides creative freedom, removing the limitations of the logic of relations between objects. This, in particular, allows the author to introduce irrational, mystical lines into the text. The multidimensional nature of the semantics of the symbol creates the effect of the three dimensional narrative due to the combination of different points of view (the author, the main and secondary characters), allows the author to project various plans for the perception of space, time, and properties of objects onto each other, specifically in a synesthetic key. The results of the study complement the ideas about the creative activity of Shakhrin and can be used both for comparative theoretical analysis and in the practice of teaching philological text analysis at a university.