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Goatcraft – The Blasphemer

April 12, 2014 –


While dark ambient provides a set of moods that metal listeners can relate to, it generally aims for simpler instrumentation than metal fans are accustomed to, and falls short of the dark yet violent atmosphere of death metal. Goatcraft merges horror movie soundtracks and dark ambient into “necroclassical,” a form of music created with a digital piano as its leading voice that creates a dense texture of melodic development underneath the soaring and expanding moods of dark ambient.

Created by the mastermind behind some of the music of After Death and other post-death metal projects, Goatcraft expands on the style of its previous work All For Naught with a greater tendency toward melodic development and more distinctive songs. This in itself is a great achievement, since solo piano is somewhat limited in that a certain number of techniques must be repeated to maintain the rhythmic clarity that fans are accustomed to from drum-commanded genres. But where All For Naught attempted to hammer out a death metal-like rhythm, on The Blasphemer Goatcraft shows greater enmeshing of the eerie melodies that could underscore a horror movie and the sustained atmospheres of the darker side of electronic music such as Danzig’s Black Aria or Dead Can Dance.

What makes Goatcraft compelling is that it ventures beyond the somewhat static loops of dark ambient and the more pop/rock-oriented music of electronica. The artist has stopped trying to translate rock and metal into a piano sound, and instead is seeking his own voice. While technique is often very similar, melodies diverge greatly which gives each song its own distinctive feel. These melodies also grow and develop beyond the circularity of most radio music which repeats everything twice and then reformulates it, developing instead more like the scenes of movie of futile and suicidal battle. To keep the level of ambiguity high, Goatcraft often develops its songs to a peak and then recapitulates its themes in a new direction before fading away, stating less rather than more and gesturing toward what exists behind the curtain of time.

The Blasphemer represents a maturation of the approach of All For Naught with new songs that take greater advantage of the musical prowess of its progenitor. In this more distinctive voice, Goatcraft is able to get beyond technique and aim more toward the crafting of melodies to fit a situation, which is why this concept album based on the paintings of William Blake stands out. If Goatcraft has a new frontier, it is to continue developing technique alongside melody to make songs even more distinct, but the band has shaped “necroclassical” into a unique and distinctive style in the process of its own growth. While much of this material sounds straight out of an occult horror movie centered in misty graveyards, the more aggressive and pummeling piano attack underscores these dark themes with a more physical presence, grafting onto them a menace that most dark keyboard music cannot provide. It will be interesting to see how this band refines itself further in the future.

GOATCRAFT began as a vision of frustration. Occult music had died a crass death, imitated into candy piece fragments of its original vision. Death metal had been absorbed by the insatiable obese monster that is rock music and had lost its spirit of tempestuous power, replaced instead by lite jazz and creeling self-pitying children. Even the rising dark ambient and neoclassical scenes seemed afloat on a river of fast food grease; sweltering in their own indirection.

With this massive failure pressing on his nerves like a forgotten shell fragment from a war long lost, GOATCRAFT’s sole member Lonegoat decided in 2010 to overcome doubts and re-double the attack. What was at first a keyboard attack to rival the sonic intensity of death metal quickly became layers of neoclassical piano centering on dark concepts, and later, with the addition of soundtrack-like dark ambient lush atmosphere, an entirely new type of music, baptized by Lonegoat himself as Necroclassical.

After the underground success of GOATCRAFT’s 2013 debut All For Naught, Lonegoat is back with its best and most mature work to date: The Blasphemer, a concept album themed around the works of the famous English painter and poet William Blake.

“Written and recorded from July to November 2013 under the influence of William Blake’s paintings and theological observations, the album represents my quest to reconcile the mystical side of GOATCRAFT with its nihilistic side.” sole-member Lonegoat explains.

Goatcraft at Anti-Christ Mass XV

December 23, 2013 –


The end of the year is the worst time to get anything done because every hour of the day is spoken for by six different needs at a bare minimum. We’re all trying to beat the deadline of the holidays themselves, because once Santa and/or baby Jesus appear, nothing is going to get done but the mass consumption of holiday food, alcohol and other happy oblivion. Thus it was that I arrived late to Anti-Christmass XV, the fifteenth incarnation of Houston’s long-running blasphemous end of year metal festival.

Produced by Luis & Jess Carlos of The Adversary Productions, Anti-Christ Mass XV is like all of their shows: organized, dedicated and friendly to local talent. Some would criticize it for that latter tendency, saying that it’s foolishness to give Panteon, Satanical Torment, Avaris, Behelit and Church ov Melkarth the stage when larger bands might be induced to show up. However, the point is in part to support the local scene by reducing its inbred nature by showing these bands off head-to-head, making it clear who’s rising and who’s stagnant.

Owing to the aforementioned end-of-year mania, this reviewer arrived late in time to catch headlining act Goatcraft, who took to the stage at 1 a.m. in a swirl of cigarette smoke. The stage, covered in an elegant carpet and adorned with framed sigils and occult sayings, seemed isolated with only one 6’5″ musician and his gigantic KORG TritonTM electronic keyboard. Coated in stage blood from head to foot, Lonegoat began playing without saying a word.

For those unfamiliar with the project, Goatcraft is “necroclassical” which is a neoclassical version of the dark ambient keyboard music that became popular after black metal. The difference in the Goatcraft approach is that the band emulates the negative and ambiguous feel of metal but tries to translate it to keyboards, both through mood/melody and use of a hammer-intense technique that blasts chromatic fills underneath chord progressions to create a sense of sonic space imploding with shattering rage. Goatcraft‘s second album, The Blasphemer, will be available from I, Voidhanger records on February 3, 2014; currently, you can purchase the CD verson of Goatcraft‘s first album, All For Naught, for $6.66 at Forbidden Records.

Lonegoat played a fifty-minute uninterrupted set that combined themes from the first two Goatcraft albums with a heavy degree of intense showmanship and sonic manipulation that is closer to what a noise band like Zeni Geva or an electro-acoustic act would do. The hammering technique utilizes the sonic properties of not just the keyboard but the hall itself because so many notes in rapid succession create an echo effect that produces a wave of sound sweeping over the listener. Sitting and sometimes standing, the demoniacal musician played the crowd by sweeping from high notes to low, from quiet to loud, and from the elegant melodies that comprise the inner core of his works to the pounding near-chaos that obliterates all other thoughts from its listeners minds.

Periodically he would raise an empty cup, sending fans racing to the bar for libations to fulfill the Dionysian ritual. Part self-destructive black metal, part a death metal-fueled appreciation for the destructive power of noise, and somewhat the showmanship of a Liberace or Horowitz in knowing how to introduce drama to music, the Goatcraft performance kept a rather cynical and totally exhausted audience entranced until on the eve of two the bar shutdown and so did the club. Anti-Christ Mass XV ended in a wash of reverbed piano notes thundering through the mid-sized hall, creating a turbulent barrage of noise from which the naturalistic melodies of Goatcraft emerged.

As part of being the only metal festival to take place in a club with a Koi pond and chill-out loft, Anti-Christ Mass needed to culminate in some form of apocalyptic weirdness like Goatcraft, and the deconstructive waves of keyboard angst fulfilled this mandate and sent people charged and baffled into the night. In a metal scene that is afflicted by the entropy of not having had any game-changing ideas for 18 years, Goatcraft represents a much-needed prod to remind us that imitating the past alone is not a path to victory. With this energetic and spirited performance, Goatcraft continues to develop a new audience for a style of music that, having emerged from and commenting on metal, will surely help metal to develop further much as bands like Dead Can Dance spurred on the last few evolutionary steps.


Goatcraft to play Housecore Horror Film Festival on October 24, 2013

September 28, 2013 –

housecore_horror_film_festivalRenowned underground neoclassical dark ambient band Goatcraft will take to the stage during the Housecore Horror Film Festival on October 24, 2013 in Austin, Texas. The one-man sonic assault features morbid horror movie soundtracks played as if they were death metal played on piano.

Goatcraft singular musician Lonegoat released his first full-length, All For Naught earlier this year to confusion and bafflement by most metal fans but critical acclaim. Since that time, Goatcraft has been making more fans as people come to understand the approach and value of this bizarre and violent but soothing music.

Performing covered head-to-toe in blood, Lonegoat improvises based on themes from the album and produces lengthy compositions that are conceptually linked in motif and rhythm. At the Housecore Horror Film Festival, the latest venture by ex-Pantera vocalist Phil Anselmo, Goatcraft will be on the morbid side of a mostly more radio-friendly lineup.

Goatcraft is gearing up for the 2014 release of The Blasphemer, a full-length album due for release on I, Voidhanger Records based on the concepts and graphic imagery of 18th century poet William Blake. See also our review of the Goatcraft demo and a Goatcraft interview.

Sponsored by Scion A/V, who are the people who make urban combat vehicles, the festival promises to be a whirlwind of mayhem with bands like Gwar and Goatwhore leading the lineup. For more information on the Goatcraft performance, visit the Goatcraft live page.

Goatcraft Interview

What’s GOATCRAFT aiming for by playing the Housecore Horror Film Festival?

Goatcraft was offered to play this festival after one of the organizers, Corey Mitchell, saw one of my shows. Horror movies and soundtracks are very metal and have been a source of inspiration for countless metal bands. I think that Goatcraft will both shock and please the festival goers, as well as showcase how dark and violent piano music breaches all realms.

Can you tell us a bit about the Housecore Horror Film Festival?

Housecore Horror Film Festival is a three day festival consisting of enough horror films to desensitize even the most moral of people. Its goal is to merge horror flicks and metal under one exposition. I hope that they turn it into an annual festival after this one proves to be successful. Austin needs more blood and guts to ward off the hipsters.

How do you feel about being sponsored by Scion?

I’m personally not sponsored by Scion, but they were recently announced by the festival to be one of the main sponsors. This is my assumption, being that I am not involved in the organization of the fest at all other than being informed about the music portion and my role in it. To each their own. I’m sure that having a big company sponsor something is important for commercial success, which they want this festival to be very large.

What’s next for GOATCRAFT?

I’m in talks with others about more shows, as well as another performance on-air at a radio station. In between shows there has been effort in finishing the next album that will be out on I, Voidhanger Records in Italy. Luciano, the label owner, has a very strong grasp on art and dark music, which we’re both on the same page about the release.

Do you think neoclassical/necroclassical is expanding?

There have been countless people that have confronted me about Goatcraft here in Texas. I think that metalheads tend to be open-minded about dark music as long as it shares the same spirit as metal. I showed Vader and Vital Remains some of my new material a couple of days ago after they played San Antonio. There was nothing negative said and they seemed to like it.

Thanks Brett for taking the time to inquire about Goatcraft. All the best.

Housecore Horror Film Festival
gc live 2

  • Gwar
  • Repulsion
  • Down
  • Goblin
  • Crowbar
  • Philip H. Anselmo & The Illegals
  • Eyehategod
  • Pig Destroyer
  • Hate Eternal
  • Goatwhore
  • Whitechapel
  • Pallbearer
  • Warbeast (ex-Rigor Mortis)
  • Skrew
  • Iron Reagan
  • Ancient Vvisdom
  • Bloody Hammers
  • Primitive Weapons
  • Star & Dagger
  • First Jason
  • Chris Vrenna
  • A Band of Orcs
  • Lord Dying
  • Hymns
  • White Widows Pact
  • Child Bite
  • Blackqueen
  • Goatcraft
  • Honky
  • The Black Moriah (ex-Absu)
  • Cavalcade
  • Death Will Tremble
  • Headcrusher
  • Dead Earth Politics

Emo’s/Antone’s/Dirty Dog
2015 E Riverside Dr. / 505 East 6th St.
Austin, TX
October 24-27, 2013

Goatcraft – The Blasphemer and live radio appearance

September 5, 2013 –


Sole Goatcraft musician Lonegoat has taken to San Antonio’s KSYM 90.1 radio to do an hourlong interview and announce the new album, The Blasphemer, which Goatcraft will release in the first quarter of 2014.

The Blasphemer will be themed around the work of English theologian and poet William Blake and will be released by I, Voidhanger records. Lonegoat describes it as “a bridge between esoteric art and music.”

We are fortunate to be able to present a preview of the track “The House of Death,” based on the William Blake painting of the same name, from The Blasphemer.

Goatcraft – “The House of Death” from The Blasphemer

Now that the live broadcast is completed, it’s possible to hear the podcast as it was broadcast live. It’s in two segments, an improvisational necroclassical session and an interview Lonegoat, the singular force behind Goatcraft.

Goatcraft – Live Improvisational Necroclassical

Goatcraft – Live Radio Interview

Goatcraft live on KSYM 90.1, Sept 4, 2013

August 15, 2013 –

goatcraft-all_for_naughtNecroclassical band Goatcraft will perform live on San Antonio’s KSYM 90.1 radio station on September 4th, 2013, at 9pm CST.

The format will be an on-air interview with Lonegoat (the sole performer in Goatcraft) for about ten minutes. After that a track from the Goatcraft recording All For Naught (2013) will be played. After that Lonegoat will improvise on piano live in the studio for about a half hour, followed by another fifteen minutes of interview. Listen to a live stream here (Microsoft Media Server).

For our past coverage of Goatcraft, see the archive of Goatcraft stories, interview with Goatcraft or our review of All For Naught.

Goatcraft launches new video for “Infinite Death” from All For Naught

May 22, 2013 –

goatcraft-all_for_naughtTexas-based neofolk phenomenon Goatcraft, who use piano sounds to reproduce the hammering chromatic attack of death metal, have released a new video for the song “Infinite Death” from this year’s album All For Naught. Coming from musicians who worked with post-Nocturnus project After Death as well as other Tampa-style death metal, Goatcraft is a new approach to a familiar goal.

Using only a single digital piano, Goatcraft soundscribe Lonegoat creates impromptus from simple themes to which he adds layers of complexity, producing miniature operatic soundtracks that allude to the chromatic phrasal riffing and explosive hammering of early death metal. All For Naught, the project’s first album, resounds with a resistance to the standard “keyboard music” tropes that make otherwise independent projects into clones.

All For Naught was released this year on Forbidden Records and contains a full album worth of distinctive material including reworkings of past Goatcraft songs. So far, it has made entrance into metal, industrial, neofolk and horror movie soundtrack-loving communities, and hopes to expand that reach with this more professional video that reveals some of its inner concept.

Interview: Goatcraft

April 5, 2013 –

goatcraft-all_for_naughtThose of you who’ve watched Prince of Darkness or other John Carpenter films may be aware how powerful the sound of a keyboard, hammering two notes in an ominous cadence, can be to the telling of a story.

Goatcraft takes this intensity to metal music, inspired by the manic early days of chaotic solos and twisted song structures, but played on a piano.

A piano?

Like guitar, the piano is a highly versatile instrument. It can serve in a pure rhythm role, or apply melody, and can easily chord and shape an atmosphere out of harmony. However, it can do one thing the guitar cannot: stand on its own while amplified and be a credible one-person band.

Solitary musician Lonegoat, who has recorded intros for Druid Lord and Demonic Christ, mounts the stage in isolation to create singular pieces of piano music that reflect the infinite loneliness and emptiness of existence. From this nihilistic background, the music branches to a dark storming Nietzschean vibe balanced by a sense of demonic playfulness.

Although not the usual fare for a death metal show,
Goatcraft delights many with its ability to manipulate mood subtly while maintaining a hammering, surging rhythm that evokes the most violent days of death metal. The best name we can come up with for this style is “neoclassical dark ambient.”

We are fortunate to have a chance to interview the reclusive and cynical Lonegoat.

Why did you create music in the style of Goatcraft, and not start a conventional metal band?

When I first started the project it was in an experimental phase. I had tried my time with other bands and I came to the conclusion that I had to do it by myself.

In 2010, I envisioned a fast ‘blasting’ and ‘dark’ piano project. I enlisted a drummer that I played two shows with, then he relocated to Washington.

Since then the response has been better doing the project by myself. I have grown keen to working alone as my abilities and compositions have evolved. I don’t foresee anyone else contributing to the music in the future. This will be a personal journey in developing the sound as time progresses. When I look back at certain times in my life, there will be a distinct sound that went with it.

Why do you use only one piano voice and no percussion? Why are there no vocals?

In this style of music, the piano is the percussion. Being there are no outside influences to keep time, there might be a slight tempo increase or decrease here and there; however the way I approach the instrument there is no need for a drummer. For vocals, I think the music would be hindered by screams and growls. I also don’t think clean vocals would be a benefit. There is enough going on in
Goatcraft to not have these other elements.

On what prior music, genres, etc. do you base your work? Is there a form to it?

When the project first started, the piano phrasing was executed by ‘riffs’, however the debut album All For Naught goes past riff structure to a nearly classical sense of structure. It’s not really classical, nor metal — that’s why I call it “Necroclassical.” There are only slight comparisons to other established mediums. Some people can draw a death metal correlation, while others pull classical themes.
Goatcraft is really no-man’s-land. It’s some strain of neoclassical that has just been tapped. It’s difficult to base my work to already established mediums.

What do you hope to communicate with your music? If you don’t hope to communicate, why make music — and why sell it? If you do hope to communicate, how do you want the world to change after receiving the message?

Unfortunately, no pianist in the world can change the way the world is run. However, they could write music that would appeal to a certain demographic. There is some slight communication in the CD inlay, as well as song titles. It’s up to the listener to come to their own conclusion Most of the titles and themes are based on Nihilism in the album. If there was a message, it’d be for the listeners to embark on self-realization if they haven’t.

Where do you think your music stands relative to these: Phillip Glass, Autechre, Lord Wind, Kraftwerk, Dead Can Dance, Arcana, and Winglord?

When I first delved into classical music, it was through the rear end (i.e. Phillip Glass and Arvo Part) in which I did like a few pieces, but their styling got old pretty fast. I think having influences of Baroque/Romantic/Good Modern (Wagner, Bruckner, ect) would be more beneficial than more of the pop compositions of Glass and Arvo Part. The project has grown with my musical taste. I’ve been into extreme metal since I was 12. Unfortunately I hadn’t accepted classical until these last few years. It’s been as rewarding as listening to early Morbid Angel, Deicide, Acheron, Emperor, ect when I was a kid. Classical is the closest thing to metal that I’ve been able to find. I do enjoy a great deal of Kraftwerk, but in small doses. The main project you listed that I’ve been listening to over a decade is Lord Wind. I’m glad Rob Darken has taken the project further and molded a great album with Ales Stenar. Hopefully Graveland gets going again.

You know Alan Moses and Brian Pattison of Glorious Times fame. How’d you come to know these gents? You must have seen some crazy death metal history — can you tell us some war stories?

Alan Moses used to work with Morbid Angel and he introduced me to extreme metal when I was a kid. It was more of a learning experience listening to the CDs that he offered, as well as reading the lyrics. I read the lyrics to Morbid Ange’s Blessed Are the Sick when I was 12 in a private Christian school in Tampa. That pretty much changed everything. Brian Pattison invited me to New York to play the death metal festival ‘A Day of Death’, which was a really great time. I had downed enough booze on the flight to kill an elephant, and the end result was waking up the next morning while hungover, taking a shower, then walking out and talking to Kam Lee about old school metal while I was still naked. He didn’t make any moves on me, so I’m pretty sure he’s straight (the smear campaign and rumors his former band mates in Massacre spread around are rubbish). There were some quite attractive women in New York. I wanted to take a few of them back to Texas with me.

If metal music were to take a new form tomorrow, what would you want it to be? Does it need a new form?

I think Goatcraft might be good for others to be inspired. I think going back to the roots of extreme metal, as to why it was started, perfected and displayed in such a manner is essential to understanding it. The kids that started death metal came from the Cold War era in which the world could have been blown to bits by nuclear war at a moments notice. I think the realization of our mortality being exaggerated by throwaway pop medias and other mediums is important. As well as understand our mortal presence in existence — why others are drawn away from the mainstream rubbish. People need to go back and see why the music was formed instead of creating xerox copies of the past.

What do you think of metal out there now?

I think most of the old greats have lost touch with what made their music special and are cashing in on their former successes. The last couple of newly formed bands that captured my attention for an extended period: Grave Miasma and Cruciamentum.

You improvise, correct? How do you decide what you’re going to play? Can you sense your mind thinking about what it’s going to do, or is it all subconscious?

I look at my music as more of off-the-cuff… I have a set idea, then the ‘record’ button is pushed and I play. Sometimes the result is a few minutes, other times it’s 80+ minutes depending on my coffee intake. On the album there are a few composed pieces note-for-note, but there are a lot of off-the-cuff pieces. I think an understanding of what is presented to you and what you want to express is more important than sitting down and dwelling yourself to death over how they’re molded. I captured the moods that I wanted to convey.

How have people responded to a lone goat dragging a keyboard on stage and playing whilst covered in blood?

It’s varied. I’ve mainly played extreme metal shows. The “Brutal Gore Deathers” tend to hate piano. So, those shows were (all) for naught. The black metal and old school death metal scene has accepted the project well. Further, those that haven’t seen anything like
Goatcraft might be more stunned than anything else. There are people that confront me in appreciation and awkward underhandedness on a regular basis after seeing me perform.

Goatcraft – All For Naught streaming from Forbidden Records

March 13, 2013 –

Necroclassical band Goatcraft, recognized for its origins in the death metal underground and the type of dark morbid soundtrack that death metal fans enjoy, releases All For Naught on March 20, 2013.

Today, Forbidden Records began streaming the new album in its entirely through its Bandcamp site, embedded below. This new album showcases a more compact and varied style for Goatcraft, which demonstrates more of the compositional skill and variety of moods for this band.

Goatcraft – All For Naught (Forbidden Records, 2013)

March 2, 2013 –

goatcraft-all_for_naughtThe proof that death metal is formed of a spirit and not random techniques can be found in the open-mindedness of death metal fans. Contrary to public perception, death metal fans are quite open to any music that shares the same spirit they find in death metal.

Unlike rock music, where the underlying music is so similar that the only distinguishing traits are surface appearances like instrumentation and rhythm, dark music is formed of phrasing and melody. It sounds evil even when played on a kazoo or acoustic ukelele. Such is the spirit that animates San Antonio, Texas’ own Goatcraft.

Goatcraft creates necroclassical music in the intersection of the dark metal spirit, epic soundtracks like Conan or Lord of the Rings, martial neofolk like Lord Wind or Winglord, and dark ambient like Elend or Arcana. If you can imagine Dead Can Dance with a focus on the darkest aspects of classical and metal, and without vocals, Goatcraft is that.

Although it seems hard to believe, Goatcraft is the work of one man (Lonegoat) who routinely hauls his keyboard to metal shows and stands alone, covered in blood and accompanied only by a clock, bashing out songs of epic isolation, loss, doubt, darkness, despair, desolation and warlike aggression.

Much like quality death metal, Goatcraft is based on the transitions between riffs and finding ways to knit riffs together in such a way that atmosphere is not sacrificed and some kind of storyline emerges. In this case, it’s a melodic line slowly evanescing from the midst of Goatcraft’s trademark cascading flurry of hammer-on style piano notes.

Like a good soundtrack, these songs manipulate mood without using a standard format. The structure of each song is adapted from the content, and so they are hard to follow at first, but once the ear adjusts and starts tracking where the melody is going, they suddenly make sense like a mystery novel’s final chapters tie up all the loose ends. Since there are no vocals, and minimal effects, the lone voice of the piano dominates.

All For Naught avoids the pitfall of trying to be populist by incorporating electronic beats or repetitive samples. It’s like a highly structured 47-minute guitar solo. Themes repeat, but in an unpredictable order that gives them added weight with each appearance. Each song has a distinct theme and structure that defines its meaning.

As a result, Goatcraft is less pop-song-format than Lord Wind or Winglord, and less ritualistic than most neofolk. It is closest to a very stripped down version of a war movie soundtrack, as even with this mild-mannered instrument a strong aura of violence and the necessity of combat emerges. This then evolves slowly into a melancholic melody which transforms itself into a narrative, leaving behind a lingering feeling of primal isolation and emptiness.

This music will not be for everyone. All For Naught shows Goatcraft expanding upon the concept that enthralled and bewildered concertgoers for the past few years, but in this more developed form, the music has greater weight and power. It’s not as easy to listen to as your average punk or groove metal album, and the challenge this album faces is finding enough people who get its trip.

All For Naught drives away the boredom and conformity that has settled into this scene over the last decade. This album is an experience unlike any other. More musical than most guitar-based albums, and with a greater amount of creative work, it is a unique experience for the listener unafraid of new methods of voicing the rare emotional ground that the best death metal explored.

Goatcraft album to be released this spring

January 10, 2013 –

goatcraft---all-for-naughtOn March 20th 2013, Forbidden Records will release All For Naught, the début album of “necroclassical” band Goatcraft. Its sole member, Lonegoat, was relieved to have it finished:

From passing around recordings that were sporadic, created from boredom, to becoming a formidable musical act, it’s been a challenge to create and mold an album that’d encompass all that Goatcraft should be for its debut.

Initiated in 2010, Goatcraft released a self-titled demo on Pale Horse Recordings in 2011.