Goatcraft Interview

1. Can you tell us a little bit about the project for those that have never heard of you before?
1) I started Goatcraft after a failed attempt at starting a black
metal band. My style is often difficult for other musicians to match,
so I decided to take it into my own hands and mold a piano project
that can stand on its own ground and challenge what's already out
there. In short, it could be assumed that it's an emulation of both
extreme metal and classical music.

2. How would you describe your musical sound?
2) Goatcraft is what I deem "Necroclassical". It doesn't fit into any
genre and people often create their own representation of the music.
Others have called it death metal, black metal, doom metal, dark wave,
neofolk, neoclassical, modern classical, dark ambient, and so forth.
When I first started the project, I was going for a more minimalist
stance, then more complexities started to emerge. Most of the pieces
have a simplistic motif, or multiple motifs, that are extended and
built upon. The main challenge is craft each piece into a journey.
There are a few repetitive pieces which serve their purpose, but there
are also other pieces that elevate, transport, and combine different
moods. It's all dark of course.

3. What are some of the themes and concepts you bring out with your music?
3) During 2011 and 2012, I spent much of my time delving further into
classical music. I attended local symphonies, recitals, and so on. I
also write for a classical column under a pseudonym that has been
enjoyable. My childhood was engulfed in metal. I drift more towards
old school death metal and black metal, so those elements can be heard
in my music. I think the main theme I portray in my piano playing is
how rather pathetic humanity has grown. Overpopulation, ecocide,
religion, politics, commerce, ect all contribute to the frustration
that I put into Goatcraft. I think we're on the brink of devolution.
Hipsters also infuriate me.

4. What is the meaning and inspiration behind the projects name?
4) The Goat has long been a symbol for esoteric thought. From the Goat
of Mendes to Shub-Niggurath; these symbolic incarnations of the Left
Hand Path defy the masses and popular rule. The name Goatcraft
situated itself perfectly for the project and the mindset.

5. Currently there is only one member are you planning on adding other musicians in the future?
5) The name I use in Goatcraft is Lonegoat. If there were others
introduced to the project, then that'd go to the wayside. At this
point, I don't foresee anyone else contributing to the music. It's not
limited to just piano, since I can play other instruments and
introduce them into the fold. I also have an interest in scoring. One
day I'll sit down and start piecing together ideas for quartets, piano
concertos, ect. If it culminates to that point, it would probably be
under a different banner. In furtherance, I've also become keen to
organ after doing some session work for Druid Lord.

6. What are some of the other releases you have put out?
6) The first band that released anything that I was in was After
Death/Nocturnus when I was still young. I'm on the first four tracks
of their 'Retronomicon' album. Mike Browning from Morbid
Angel/Nocturnus invited me to tryout and it worked out well. For
Goatcraft, the first recording was an 80 minute song called 'Wrath of
the Goat' in 2010. It wasn't released on a label, but I sent copies of
it all over the world to different contacts. After that, I started
composing normal length songs, which Pale Horse Recordings released on
a demo in 2011. It was more technique looking back on it. 2012 proved
to take the project a bit further in composition. That's when I wrote
all of the the tracks (minus Journey to the Depths) for the debut
album 'All For Naught' for Forbidden Records. Sleepwalker from the
label has been very easy to work with, and I wouldn't rule out future
collaboration with Forbidden Records. I've been writing some new work
that might be the extension/evolution from what's presented on the
debut album. Time will tell.

7. On a worldwide level how has the feedback been to your  recordings by fans of underground music?
7) I've had different friends all over the world being involved in the
metal scene. The Goatcraft website appears to get the bulk of hits
from Europe. Perhaps once the debut album is released next month more
people will be exposed to it. When I played a show with Negura Bunget
and Eclipse Eternal they confronted me after I played. It's always
interesting when people from the Classical Music scene confront me
about Goatcraft, since I'm more involved with the metal realm.

8. Are there any other musical projects besides this project or is this full time?
8) For the time being I'm immersing myself in Goatcraft. There are
always new scales, chords, progressions unfolding in my brain that I
want to lay down on piano. Listening to Liszt has broadened my scope a
bit the past month. Some of the techniques he used in his "Totentanz"
I sort've dissected and rearranged. I'm excited to see how this molds
itself into a new piece. Also Bach's Passacaglia and Fugue. I've been
meddling with more Baroque techniques. One of my close friends
confronted me about doing some work on a black metal recording
project. I'll probably add some of keyboard tracks, but nothing over
the top.

9. What direction do you see your music heading into on future releases?
9) Furthering the style used in the debut album. There could be some
light percussion, possibly some other backing instruments. The main
focus is the piano itself and challenging myself. On the debut album
there are some very simplistic pieces, then very complex/demanding
pieces. I hope to continue this in the future. No one can ever be good
enough on piano. It's a mountain without mountaintop.

10. What are some bands or musical styles that have influenced your music and also what are you listening to nowadays?
10) As I'm answering this question, I'm blaring Shostakovich's first
violin concerto, 3rd movement. I think his stuff is boring for the
most part, but he has some very amazing parts that are hidden. For
metal, I'm more into bands like early Morbid Angel, early Samael,
early Emperor, Incantation, Cruciamentum, Grave Miasma, Funebrarum,
Demilich, Sorcier des Glaces, ect. For classical, I'm always on a
blitz of one composer at a time. Rachmaninov's Isle of the Dead put me
into a rather dismal mood the first time I heard it. Beethoven is
probably my favorite composer, with Bach and Wagner following close
behind.

11. How would you describe your views on Occultism?
11) The occult is essential to metal and very much part of the
imagery/title focus for Goatcraft. I'm a Nihilist, but delving into
esoteric modes is imperative for furthering oneself. For a while I was
into metaphysics, which Heidegger's works is good to put things into
perspective.


12. Outside of music what are some of your interests?
12) I try to escape mundanity as much as possible. Some of my best
times on this planet were while mountain climbing, hiking and
sightseeing, I lived in Japan for a couple of years. Climbing the
cliffs in Okinawa and overlooking the China Sea put the universe in my
face. People are too busy watching TV, buying crap they don't need,
ect to realize that real beauty can't be bought. I just hope that we
don't destroy the planet while we're destroying ourselves.


13. Any final words or thoughts before we wrap up this interview?
13) Thank you very much for taking the time to interview me for
Goatcraft. I hope the debut album is to your liking.

www.goatcraft.net