Friday, August 6, 2010


In the mid to late 90's a young man attended a private school in Temple Terrace, Florida. He was invited into the work shed of the school's maintenance man, and came out with a map to a path of life which changed him forever - and the young man would take up his goatcraft from this very point on.

Rarely does an interaction between the generations of extreme produce such dedication to the glorious times.

GLORIOUS TIMES is very proud to showcase Goatcraft - the current project by Jason Kiss, aka The Lone Goat.

GT: We understand that GOATCRAFT comes out of the ashes of ADVENT ABORTUS...

LONEGOAT: Advent Abortus was a project that I tried to get together for a year and half, and it never completely solidified. It was focusing more on fast oriented piano with black metal riffing. I ran through quite a bit of musicians, and never found a proper guitarist. Many people in the scene advise me to do a full band - It really falls down upon finding a guitarist educated enough. Goatcraft was created to just do the piano side of Advent. Some of the Advent material is being used in Goatcraft. The first opus was a 78 minute long song, done in one take, with no stops. No smoke and mirrors - you hear it as exactly how it was played.

GT: Most "metal" oriented musicians approach keyboards from the novice level, or after gaining a name for themselves expect notoriety to come from using keys when really they have little to no real experience. Some background to your experiences with Piano etc? For that matter - a bit of a history into your musical exploits...

LONEGOAT: My father was an organist. So I was always fucking around on organ in my youth. It was a great experience when he'd show me the stuff he'd written - I thought it was amazing how coordinated his fingers were. It was a shame after his death the organs all of a sudden disappeared. When I was 9 I got my first keyboard, around 15 I started looking at it more seriously. The first album I was ever on was when I was 19, and was asked to do some tracks for Gored's Incinerate the Vanquished debut album. They still remain good friends of mine, and once they're ready for their next one I will be aiding them again.

GT: How old were you when you were bitten by the music bug? Do you recall what it was, was it the heavier metal stuff that just knocked you back or was it listening to some classical piece, really listening to it and finding the intricacies in the writing, the depth of the music, the interplay of the different instrumentations?

The Lonegoat, on a cliff in Okinawa Japan 2008 (photo: courtesy Jason Kiss)

LONE GOAT: I remember listening to classical as a kid - but not getting into it as much as metal. Getting into metal then extreme metal engulfed my childhood. My middle school and high school backpack had an abundance of metal patches on them. I've been branching out lately into Classical just to enjoy - I don't think I'm really inspired by many people.

GT: You've been into this extreme music since around 12, which was your first real exposure - which bands/musicians inspired you to include keys and now to concentrate on them fully, as your currently primary means of expression?

LONEGOAT: What's odd is that I really don't listen to many bands with keys - Old Samael is great, some Emperor is alright. When Mr. Moses introduced me to death metal as a youngster - it was the usual bands like Morbid Angel, Death, Napalm Death, Obituary, and so forth that I soaked my brain in. Playing with After Death and recording those tracks that are on the 'Retronomicon' album was the greatest exposure I've had. The cd was actually released while I was in Basic Training - then they headlined a European tour (as Nocturnus) while I was getting a boot in my face by uncle Sam. For influences on the craft - It'd have to be the aggressions of metal and the lunacy of some modern Classical composers.

Uniquely eccentric, the 1999 'Retronomicon' album from AFTER DEATH, this amber vinyl being limited to 222 pressed on Iron Pegasus Records. (photo: courtesy Jason Kiss)

If anybody reading this has access to copies of this release in THIS format, and is willing to part with them for a reasonable price, please contact us by sending an email to


After Death flyer. We couldn't agree with the description about the band enough!

GT: What was your musical training? Did you take classical lessons, learn music theory, take any classes on compositional writing?

LONEGOAT: I've sat down with a couple piano teachers, but the main influence on me was my father on organ when I was growing up. I haven't taken any classes on music other than attending private schools playing trumpet in school bands. I ditched trumpet a long time ago.

L-R - Belial Koblack, Demian Heftl, Pat Butcher, The Lonegoat, Brian Malone and Mike Browning. (photo - Daniele Leite)

GT: For the majority of us "Old Timers" really it was pretty much Nocturnus which really ushered in the acceptance of keys with the fledgling death metal style (late 80's)...yet you are a little bit at odds with the work of Louis Panzer - as an artist, can you elaborate on this?

LONEGOAT: I had heard Nocturnus here and there - but I got thrown into the Nocturnus fire when I was jamming with Mike Browning. Mike burned me cds of all his projects. Louis Panzer was a pioneer for what he did back then - that I can respect 100% - some of what he chose to do, I would've chosen differently. 'The Key' is a solid album - I think the band started the downward spiral after that - and of course how the other members fucked over Mike. I was shown a project Panzer was working on a few years ago - it was all acoustic guitars and I heard birds tweeting in the background... Maybe he's into yoga?

GT: As a "metalhead", what drew you to the works of Philip Glass?

LONEGOAT: Glass' compositions using repetition are superb. His Glassworks album gets regular plays here. I used to be on a diet of strictly metal. I started listening to a bit of classical and modern classical the past couple of years. There are levels that others have acheived in their own craft that are amazing.

GT: Any other modern composers that have influenced you that you think people should check out?

LONEGOAT: William Kraft did some great work - I'd love to sit down and watch his timpani concerto live.

1st and 2nd Gen extreme. Mike Browning & Jason Kiss, Tampa Florida 2005 (photo - courtesy Jason Kiss)

GT: Have you checked out John Zorn for inspiration? particular his cd "Cat O' Nine Tails" and also the last track on "Spillane/Two Lane Highway" in which he composed material for the Kronos Quartet. Really quite interesting stuff, specifically the track on "Spillane/Two Lane Highway" that has the string quartet along with turntable scratching and a Japanese singer.

LONEGOAT: I have heard John Zorn - Jazz is kind of hit or miss with me. I like his work with strings though. I haven't had the opportunity to hear 'Cat O' Nine Tails' yet.

GT: Was it difficult to find the time to continue your (goat) craft, whilst an enlisted man in the US military, and based in Japan?

LONEGOAT: Yes Sir! - I was really deprived. But once shit started to settle down and I had my own quarters and was allowed my personal belongings, I kept the flame going. I was deprived of metal as well. When I got back stateside from 3 days of traveling I immediately went to a show... It was great to be back having some beers and watching a killer metal show with a bunch of old goats from my past. Though however shitty it was being in the military, I did love Okinawa a great deal. The general US population doesn't realize how much Americans are hated overseas. I walked through a protest the Japanese held at the gates of the military base I was staying at.

The Lonegoat whilst based in Japan 2008 (photo - courtesy Jason Kiss)

GT: You are an oddity of sorts since most people your age totally lack an understanding or respect for the pioneering times and personalities - are you conscious of this as you travel amongst your peers? I would mention having been working with Mike Browning was one of the highlights for a young man, what was it like working with him and ultimately taking part in a recording with him?

LONEGOAT: I have a great deal of respect for the old goats. There are actually a lot of people in my age range that do know where the roots to all this madness came from. I've had bandmates, roommates, friends all from the Glorious Times - and their crusades in that era is something worth admiring. Recording with Mike was real cool. I think I laid all of my tracks down in one or two takes, Demian Heftel is truly a fuckin' shred machine too. The overall experience was great.

The Lonegoat with HIS copy of Glorious Times! (photo: courtesy Jason Kiss)

GT: Taking that line of thinking, and you've championed our book Glorious Times in many mediums, even taking it with you to gigs to show people - how has the response been over all, from both the younger and older who've seen it?

LONEGOAT: The old crusties love the book, and I think they can really connect with it and it's a slab of their memories of that era. King Fowley was showing my copy of GT around at a gig. It's been in a lot of hands! If there is ever a re-print, I know some old crusties that would love a copy. The younger folk tend to just look at the photos. Rick Rozz in those short shorts.

GT: In keeping with the anecdotal element of our book, we invite you to share any sentiments about your own particular glorious times.

LONEGOAT: When I was 18 I was hanging out with the Thornspawn guys a lot, they pretty much got my hooves wet in the TX scene. Now there's two more bands formed from ex-Thornspawn members... HOD and Butchered Saint, both worth checking out! I threw 3 keggers in one week back when I was a minor - those parties were pretty fuckin crazy, a mixture of the metal and punk scene all in my apartment. We ended up just keeping the keg in the bathtub and took showers around it since it was being used so frequently. When I moved out of the apartment, I had to have professional carpet cleaners to get all the beer and blood stains out the carpet.

The Lonegoat timewarping with none other than Nokturnel Tom Stevens (photo - Eloisa Stevens)

GT: Can you give a few thoughts on what the inclusion of a new member will mean to the overall entity of Goatcraft?

LONEGOAT: After I finish the 2nd cd, the overall tone will change for Goatcraft. Instead of excruciating long songs - there will be "normal" lengths, and more dynamics going on - instead of 100% piano. The addition of drums will be a great asset to the craft!

GT: Your first song was quite long and really just an extended improv piece. As you continue writing do you expect your songs will become more structured and thought out?

LONEGOAT: The one I'm working on right now is not improv at all. I decided to go back and re-record some parts, and also add in some new ones. So it'll be delayed.

Generations Goat.  (photo: Eloisa Stevens)

GT: Bits of your first composition had an entropic flow, will you elaborate on those in future compositions and really play on the descent (or ascent) into chaos, possibly incorporating things that are not associated with classical music, such as throwing in the occassional blast beat (should you add percussion)?

LONEGOAT: I hope to continue the chaos - Adding in more elements are sure to extend the mayhem. All done differently than the first.

GT: Were you surprised at how many people wanted a disc of your initial recording?

LONEGOAT: Shocked and surprised! I decided to do Goatcraft 100% free for whoever is interested. I figure why make someone pay postage for something they may not even like? If doing this cuts into my beer budget, I might have to discontinue freebees for the masses.

GT: There's been mention of goatcraft performing live, possibly in a church. Beyond that performance, do you think you'd do more live performances, perhaps at metal shows? If you did perform as an opening act for a death metal band would you incorporate other elements into your performance...performance artists, a screen showing film fragments or montages?

LONEGOAT: I've talked to a few people. There might be an opening spot for a black metal gig down the road. It's hard to establish Goatcraft for live performances. I don't have the funds to do huge extravagant theatrics. The addition of drums will help out. I'd like to do that old church show and blaspheme the place - right now I'm focusing on recording, then start composing some material that'll suit well with drums.

GT: Will you be adding additional instrumentation to your upcoming works...string sections, horns, percussion?

LONEGOAT: Percussion yes. I have a drummer that I'm going to start working with. Doing this, the songs will be shorter as well. I'd like to add in many different elements on keys while it's just the two of us.

Military days of the Lonegoat. Physical training session prior to the 12oz curl 2008 (photo - courtesy Jason Kiss)

GT: Care to explain "minimalist" music? And what that train of thought means to Goatcraft?

LONEGOAT: Minimalist music is progressions built on repetition. I do this, but I focus a bit more on speed and darkness. I guess being into extreme metal has transfered over the aggression to piano - it's piano for goats!

GT: You've talked of writing in a minimalist style, do you believe what Miles Davis once said "It's not what you play, it's what you don't play"? Meaning it's not just the notes you play, it's the notes you don't play, the space in between the notes.

LONEGOAT: Creating scales and chords there are always notes I avoid. It varies.. The repetition aspect of minimalist music is used in Goatcraft.

Warming up for the first Emperial Massacre gig in TX 2005. (photo - courtesy Jason Kiss)

GT: Has Goatcraft taken inspiration from anything other than composers and metal? In particular I'm thinking of somewhat obscure bands like Henry Cow, Throbbing Gristle, Controlled Bleeding, The Art Bears, etc.

LONEGOAT: I'm pretty unfamiliar with those outside of metal and composers. I stumbled upon a couple pieces by Marc Ribot which were real fuckin weird.

GT: Have you looked at old industrial bands for any influence or ideas? I'm thinking along the lines of bands like (old) Test Dept, Digital Poodle and Soviet France who used not only synthesizer, but non-traditional sounds from things like metal pipes, steel drums and other odd bit as percussive instruments.

LONEGOAT: I've never really gotten into Industrial. So this is foreign to me.

The Lonegoat took part in this 2005 recording for Forever Underground records: Gored's 'Incinerate The Vanquished' album.

GT: Do you draw writing inspiration from movies, novels, comics, the news, life experiences?

LONEGOAT: I like to load up on movies sometimes, and in between them start writing. I get completely relaxed. I draw upon memories while playing as well - sometimes I forget I'm even playing.

GT: Any thoughts to adding vocals in the future...operatic, spoken word,...maybe vocals as a true instrument with no words,

LONEGOAT: I was thinking of adding in some random screams - for when the movements get chaotic, but for right now I'm focusing 100% on the music. I'm not too keen on clean vocals.

Early Emperial Massacre group shot. Jay, The Lonegoat & Del. (photo - courtesy Jason Kiss)

GT: Any intentions on recording using a Grand, Baby Grand or at least an upright piano? The synth you used for your initial recording sounded ok, but there's no replacing the real thing. Us metalheads have better ears for instrumentation than the average person believes.

LONEGOAT: I would love to! I don't own a piano - And honestly the last time I played on one was 6 months ago. The Korg keyboards do a real good job, but I agree, there is nothing like the real deal.

GT: As you continue to write will you branch out and explore the use of disonant tones, maybe use eastern scales instead of solely western scales?

LONEGOAT: We'll see where the future lies. The 2nd one I'm working on is different than the improv.

Daniel (Gored), The Lonegoat, and Larry (Acerbus/Images Of Violence). (photo - courtesy Jason Kiss)

GT: Any plans on possibly working with death metal bands and writing intros/outros or getting them to incorporate a bit of classical such as Celtic Frost and Paradise Lost once did?

LONEGOAT: When I was 19 I did some filler tracks for Gored's Incinerate the Vanquished album. Recently I recorded an intro for Omneity's live performances. I'm in talks with doing some session work for a band. I'm unsure if it'll solidify. I've also pulled bass for Emperial Massacre.

Lonegoat bass assault. Here, whilst in Emperial Massacre. (photo - courtesy Jason Kiss)


Thanks for the opportunity for the interview. It's my personal first and I couldn't have had it by anyone that means more to me. Alan you're a true brother and introduced me to Extreme Metal as a youngster. It's a true honor to be a part of this Glorious Times article - and I hope you and Brian have the best of successes in your many Glorious Times projects! Total Support! Horns held high!

Full Service Dress. The Lonegoat. 2007 (photo - courtesy Jason Kiss)

We'd like to extend those thanks back at you Jason, for years of friendship and inspiration, and carrying the flag and concept of Glorious Times with you, spreading the word to all who will listen. We are watching your progress with great interest and suggest that everyone get a hold of your recordings and visit your youtube and myspace addresses for further information and exposure to your craft.

Glorious Times advocate, the legendary Tom Stevens from Nokturnel, flyers a recent HOD show in TX with The Lonegoat in supportive attendance. (photo - Eloisa Stevens)

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