Welcome!

I’ve been making music under the name GABETHEGOAT1K since I was 14.

At least… that’s the easiest way to tell the story.

Truthfully, I’ve always been interested in ideas more than mediums.

Over the years I found myself reaching for whatever tool best communicated the feeling I was chasing. Sometimes that was music. Sometimes live experiences. Sometimes fashion. Illustration. Writing. Sound design. Worldbuilding. Whatever helped bring the idea to life.

This museum is a snapshot of that process. Less of a greatest hits and more of an archive of becoming.

Every song here represents different sides of my experience and years of experimentation. Different cities, different people, different influences, different ways of thinking. Looking back, all of those experiments taught me something much bigger than how to make songs.

They taught me my taste.

They taught me how I tell stories.

They taught me that the thing I’ve really been building all along isn’t just music.

It’s worlds.

This is an introduction to GBRL.

The director.

Welcome to the museum.

MUSICAL MUSEUM

An exhibition by

GBRL

What You’re Seeing

Cover Art:

Photographer- GABETHEGOAT1K

Illustrations- GABETHEGOAT1K

Photo Editing- GABETHEGOAT1K

Stylist- GABETHEGOAT1K


1- Intro

Created in a hostel on Clifton, by the park. This particular night, I was in a heightened state from a magical fungus, and one of the couples I was sharing the apartment with (late-stage capitalism at its finest, bro, cause why are there 6 adults in a Brooklyn apartment?) began arguing very loudly in the kitchen. Thankfully, they were from Wales, so their accents made the situation more entertaining because I hadn’t heard Welsh rage before that day.

The commotion disrupted the atmosphere, so I put on “Doin’ Time” by Sublime to relax me. I had only discovered the song earlier that week, at a bar where I lived. I remember Shazaming it immediately because I was in the middle of making a chill song playlist.

In my attempt to regulate my nervous system, I went from YouTube to Logic Pro and started cooking. And now it’s the opening track to this collection!


2- L2TB

This is the first song where I heard myself.

By the time I made it, I’d already recorded hundreds of songs. I knew how to write. I knew how to produce. I knew how to mix. But I still felt like I was borrowing little pieces of the artists I loved. This was one of the first records where I stopped hearing my influences and started hearing my own taste.

It happened in a tiny room off Linden Boulevard in Jamaica, Queens during one of the hottest stretches of summer. The room wasn’t supposed to be a bedroom, so there weren’t even any vents. I was basically paying $1,100 a month to sleep in a hot box. I’d wake up in a puddle of sweat and think, “Well… I guess sleep is done now”

So I’d open my computer and cook.

This is the newest song in the museum, but it felt like the right place to introduce y’all to me.


3- Higher

This song reminds me of a very specific chapter of my life.

I had just gotten back to Atlanta from NYC after an 8-month trip, and this was my first time living in a place in Atlanta that isn’t my mom’s house. Everything felt new. For the first time, I had the place to bring my people, I had all my equipment and all the energy in the world! 

During that period, sessions happened almost every day. I’d grab a twelve-pack of Cayman Jack Margaritas, some za, and invite folks from the scene I was around at the time. Music became less of a solitary practice and more of a community event.

I had this beat sitting on my hard drive for a while before Stevoo recorded the “let me take you higher” section. The next week we showed Tristin, and he wrote and recorded his verse in like 15 minutes.

This stint in Atlanta felt like a creative camp!


4-N2U

This piece began as part of a much longer experiment.

At the time, I was spending a lot of my creative energy exploring what could happen when familiar sounds were pushed beyond their original context. I don’t typically approach music with a clear destination in mind; I treat the process more like wandering. Sometimes you just gotta move your hands and follow the sounds for real.

The original version was roughly four minutes long and eventually became part of the foundation for what would later evolve into The Fool’s Journey. For this project, I separated that larger piece into two shorter interludes.

Sometimes an idea arrives with a clear purpose.

Sometimes you simply move your hands and trust your taste.


5- Hiyahhh

Like N2U, this piece emerged from the same four-minute experiment built around a sample from “Higher.” It would eventually become the introduction to The Fool’s Journey.

At the time, my life felt like a constant transition. I was outgrowing my environment while simultaneously trying to improve it. The person I wanted to become seemed to exist on the other side of some invisible barrier, and every attempt to reach him was met with resistance.

I realize now that I was experiencing a kind of grief.

Many of the people, habits, places, and ideas that felt familiar no longer aligned with who I was becoming. Letting go was necessary, but that didn’t make it easy.

Years later, I’m grateful for many of the decisions I made during that period. Though at the time, it felt less like growth and more like climbing a mountain of Legos barefoot towards fog, hoping the beach is on the other side.


6- Bruce Banner

Bruce Banner is the final form of the series of experiments that began with “Higher,” continued through N2U and Hiyahhh, and eventually transformed into something entirely its own.

By this point, I had already spent years making music, learning production, recording vocals, writing songs, and figuring out what worked for me. Instead of trying to fit into a style, I was beginning to trust my instincts and follow my own energy more so.

The title felt appropriate because the song captures a transformation. Bruce Banner and The Hulk aren’t different people. It’s the same person with the restraints removed.

This was one of the first times I cooked something and thought, “Wow, this is what my spirit sounds like.”


7- eyeObstain

This was the first song I recorded for DRAPETOMANIA.

I had just spent damn near an hour on FaceTime with one of my childhood friends, venting about why I felt like I needed to leave Atlanta. By the time we hung up, my head was racing. I walked straight over to my computer and made this.

Around that time, I started noticing how many ideas people inherit without ever choosing. Opinions. Politics. Religion. Success. Masculinity. Even the way we dress and talk. So much of life felt like people were playing characters they never auditioned for.

I’ve always been fascinated by how willingly people adopt ideas, labels, and expectations without questioning where they came from. Entire belief systems get inherited, repeated, and defended before they’re ever examined. Individuals become brands. Communities become tribes. Opinions become personalities

The more I paid attention to that process, the more I found myself stepping away from it.


8- tWbm

These photos came from my first trip to New York, as I look at them, Dreke comes to mind. (The guy who designed the pants I’m in)

I met bro pretty early in my creative career, and he completely changed the way I looked at clothes. Before him, fashion mostly stopped at colors, silhouettes, and whether I thought something looked hard. Watching him work made me realize how much intention could exist inside a garment.

Cuts.

Fabrics.

Construction.

Thread.

Fit.

How something hangs on your body.

Why one pair of pants feels completely different from another even if they’re almost the same.

He helped train my eye.

A lot of my love for one-of-one pieces, making my own clothes, and treating fashion like another storytelling medium started with conversations around him. He never told me what to like. He just showed me how much deeper it could go.

I think every artist has a few people who permanently change the way they see their craft.

Dreke is one of those people for me.


9- americanARTIST

This song came out of a difficult chapter in New York.

At the time I was living in Jamaica, Queens. Every day felt like a marathon. Q4 to the LIRR. LIRR to the subway. Long commutes. Summer heat. Financial stress. Recovering from a chaotic living situation. Working hard while feeling like I was barely moving forward.

Music became my way of reclaiming my nervous system.

I just started recording music and cooking up something every single day. I was like, if Ima suffer, I’m at least gonna have something to listen to/ wear that can make me happy and uphold my dignity on the day-to-day.

When this song first circulated among friends, some people interpreted it as an attack on white folks, angry, or “hoteppy”… I understood where they were coming from, but that never felt like the heart of the record to me.

What I was wrestling with was power.

Throughout my life, I’ve been around many types of people (lived in 5 cities over 26 years and attended 13 schools over 12 years of schooling). I’ve constantly been moving between worlds. I’ve seen immense wealth, immense poverty, and a lot in between. Everywhere I’ve been, I see ways in which systems are built to serve and to deprive specific groups of people. 

Who gets access?

Who gets heard?

Who gets remembered?

Who gets erased?


10- Some Days

I can’t decide whether this piece is about the song or the jacket, so it’s about both.

Stevoo’s performance completely changed this record. One of my favorite things about working with bro is the fact that he always overdelivers. He’ll freestyle, stack ideas, experiment, and suddenly I’m left with a pile of great moments to sort through. Producing around that energy feels less like recording and more like assembling a puzzle.

The beat switch is literally cause I was listening to his vocal chop looping and like, “no way I don’t rap over that mf.” Bro, the energy in that vocal gave me life to go super saiyan on the last verse. 

The artwork represents another kind of creation.

The jacket in the photograph was the first piece of clothing I ever made from scratch. Dreke taught me how to use a sewing machine and helped guide me through the process of turning an idea into something tangible. Up until then, most of my fashion experience involved printing artwork onto existing garments. This was me creating something that doesn’t exist on anyone else. I was 10 ft tall when wearing that jacket!


11- KOWBOY

New York changed my standards.

After spending time there, I saw a version of life that made way more sense to me. More people outside. More opportunities. More spontaneity. Every day felt like it had the potential to be the best day ever if I just left the house.

When I got back to Atlanta, I couldn’t shake the feeling that I wasn’t getting everything I could out of my life. I wanted a better day-to-day existence for myself.

I was frustrated because I realized the moments of disconnection weren’t all in my head. Conversations had lower ceilings. My routines felt bland and repetitive. Even the places I used to love didn’t hit the same.

I wasn’t trying to escape Atlanta as much as I was trying to move toward myself.

(Also, Wolf got played front to back at least three times a week from ages 12–14. Tyler really helped shape how I think about making art. I almost deleted this because I was like, “get off bro nuts Gabe, jeez” …Then I looked at the artwork and realized I’m literally wearing GOLF shoes. So… nevermind. Shoutout Tyler.)


12- GOATWRLD/ FANFO

I’ve been drawing characters for as long as I can remember.

Teachers used to be on my bumper for sketching in class. Years later, that same practice helped me avoid burnout as a musician. Whenever I felt creatively boxed in, I could step into another medium and continue building. What started as random characters eventually became stories, worlds, histories, cultures, and entire ecosystems.

That process became GOATWRLD.


13- Shrooms

For a period in 2023, I spent a lot of time exploring psilocybin.

This isn’t an endorsement or a recommendation. It’s simply part of the story behind the music. I’m just a dude who makes art.

The best way I can describe those experiences is that they seemed to reduce the volume of my everyday thoughts while increasing my awareness of everything happening beneath them. Emotions, sensations, fears, joys, insecurities, and moments of gratitude all felt impossible to ignore. Whether that was spiritual, neurological, psychological, or some combination of the three is a question I’ll leave to people smarter than me.

To put it simply, it feels like your conscious earth brain takes a back seat, and your spirit is in the driver’s seat.

It throws you into the current moment, and you feel all those sensations you typically brush off. I feel like the reflections I’ve had in this state of mind have brought me closer to who I really am. 

I don’t do them much nowadays, but that’s cause I work in production and I don’t have time between my 12+ hour days to be in that state of mind. Ya boy got more responsibilities and such.

This song isn’t really about mushrooms tho.

It’s about connection. 


14- Love What You Got

This piece was created around the time I first began seriously experimenting with sampling.

For years, I carried around a very rigid idea of what a “real producer” was supposed to be. The first studio I interned at out of high school was an afrobeats studio. All the engineers were also producers and they all played everything on keys, then some of them even played other instruments as well. I had spent so much time around talented instrumentalists that I convinced myself every melody, chord progression, and musical idea had to originate entirely from me. If it didn’t, somehow it counted less.

As a result, I spent a long time making music under unnecessary restrictions.

I was also overly concerned with ownership, royalties, and technicalities long before those concerns were relevant to my actual life. Looking back, it’s funny how often artists worry about protecting opportunities they haven’t even reached yet.

Sampling helped break that mindset.

Instead of only listening to music as a fan or a creator, I began listening as a collector. A single drum fill, vocal phrase, melody, texture, or rhythm could become the starting point for an entirely new idea. The process made me more curious, more open-minded, and ultimately more creative.


15- SUM4U

I’ve always been fascinated by the discovery that comes with intimacy.

Not just learning another person, but discovering parts of yourself that only seem to appear in relation to someone else. Certain conversations, experiences, emotions, and memories simply don’t exist in isolation.

For me, that’s always been one of the most rewarding aspects of human connection.

Curiosity is the lifeforce of connection. What happens when two people genuinely explore each other’s worlds? What new ideas, experiences, and perspectives emerge from that exchange?

Chemistry is exciting.

Expanding each other’s worlds is where things get interesting!


16- Atlanis

These photographs were taken during the period when I sold my first clothing collection.

The shorts featured in the images were part of that release, and looking back, I can see how many different creative interests were beginning to collide at once. Music, fashion, photography, design, storytelling, and performance all began to feel less like separate disciplines and more like different expressions from the same source.

What stands out most to me now isn’t the clothing itself.

It’s the presentation.

Looking back, I was in an interesting era artistically. I was otherworldly in my delivery, like look at the poop, the stick up, bro this is cinema!


17- 2am on i20

These photographs were taken during the same period as my first clothing release. The blue and cream shirts featured in the images were part of that collection, along with a set of sticker packs.

What makes these photographs special to me has very little to do with the clothing.

They were taken in Knoxville, Tennessee, where I lived before moving to Atlanta in middle school. The tag image was captured in front of this rec center at this golf course that played a significant role in my childhood. I love that a place that was so foundational to my childhood (I played golf from age 5 to age 12) is now cemented in my art.

Looking at them now, I realize these weren’t particularly effective advertisements.

They were something more important.

They allowed me to revisit a place that helped shape me and reinterpret it through the lens of the person I had become.

I’ve always believed that the strongest art emerges when you use your entire life as material. Your memories, relationships, interests, body, thoughts, and experiences are all tools of storytelling.


18- OOT

For a long time, I never really thought of myself as “alternative.” Mostly because I wasn’t entirely sure what the word meant. Looking back, though, I’ve always been drawn toward things that sat slightly outside the center.

Different music.

Different clothes.

Different ideas.

Different ways of living.

One of the greatest gifts my mother gave me was permission to be myself. She constantly reminded me that being different wasn’t something that needed to be corrected. If people thought it was weird, so be it.

That lesson ended up shaping almost everything I create.

The funny thing is that many of the qualities that make people stand out as children are the very qualities people admire as adults.

The weird kid-to-cool-adult pipeline is real.

Trust the process.


19- Outside

I was 19 years old when both of these photographs were taken.

When I look at these photos, I see a wee lad, a pup, the boy had an ocean behind the ears. My eyes were so wide man. When I got out of high school, I went for a year and a half making beats every single day. And when I say every day, I mean every single day. Wasn’t shit keeping me away from my computer. I was a musty musty man, socialization was on zero.

My fam would come for the holidays and only see me when we were eating. The way they’d know I was home is because they’d hear the beats when walking past the door to my room.

I spent countless hours making beats, working at my internship, sitting in studios, studying music (YouTube University), and returning home to do it all over again.

And I’d do it all again!


20- Divine Intervention

This song captures a philosophy that has quietly guided much of my life.

For a long time, I thought success was primarily about effort. Work harder. Learn more. Stay disciplined. Keep pushing.

As I’ve gotten older, I’ve realized effort is only part of the equation.

Many of the biggest changes in my life happened because I followed a feeling before I could fully explain it. Moving cities. Starting projects. Ending relationships. Taking risks. Building worlds. Choosing a creative path that didn’t always make sense on paper.

In hindsight, I can see how many of those decisions were connected.

Not because life was perfectly planned, but because I kept moving toward things that felt aligned.

This song was made during a period when I was beginning to trust that process more deeply.


21- 95 Percent

I wrote this right after buying my one-way ticket to JFK.

I remember pacing around the studio mumbling, “I’m going 95%.”

I don’t even know why 95. It just felt real

I didn’t feel ready, but I also felt like waiting wasn’t gonna make me more ready.

I think that’s one of the healthiest realizations I’ve had. You don’t have to feel completely ready before your life changes. Sometimes you just have to commit enough that there’s no turning back.


22- ISWIS

I made this beat during a road trip to Charlotte to visit my auntie!

When I played it for her, she said it sounded like a soundtrack for a slasher film.

I loved that cause I love horror films so much!!! The monsters, the sounds, the suspense, ah so good! (I’ve always loved monsters because they’re usually metaphors wearing makeup and a costume.)

A lot of my music pulls from bright, hopeful, or introspective places, but I’ve always had an appreciation for darker aesthetics too. Horror creates a space where fear, tension, chaos, and imagination can all coexist.

Sometimes you just want to make something that sounds like the villain won.


23- SFTS

This was one of the first songs recorded for The Fool’s Journey. 

Made it right when I got back to Atlanta. I wasn’t fully moved into the new spot, but I had my equipment there, so I was just cooking up on the floor. My roommate would give me some blankets, so I wasn’t just directly on the ground. 

I pulled up this beat I made with Tilde and got really sentimental thinking about how much life I lived in the 8 months leading up to that. 

Up until this point, I was making songs. After this record, I realized I was making an album.

At its core, The Fool’s Journey is a story about growth. This song feels like an early draft of that idea.

Poured my heart out in this one, in the flyest way possible.


24- Wasted

I was going through the crucible when I made this song.

My living situation was unstable. My work situation was unstable. A lot of the artistic momentum I had spent years building felt like it had suddenly stalled. Every day felt heavy.

I’d deadass get the same $10 goat biryani from bro that stayed posted at the Crown Heights- Utica stop. He was the only thing open after my night shifts, and also the only thing I could afford. I’d get that and fruit throughout the day to nourish myself.

At the time, I was working at both a bar and a dispensary while occasionally DJing. (funny how many environments I found myself in that revolved around altered states. 

This period taught me that there is a difference between numbing yourself and finding relief.

Music became that relief for me. (I will say, though art is like therapy for me, creating things is not real therapy. Talking to someone is always better. Be careful not to say, “This activity I like is therapeutic, therefore I don’t need therapy,” cause I can assure you that’s cap)

DJing especially helped reignite a spark I thought I was losing. It gave me a reason to be excited again. It got me moving. It got me creating. It reminded me that joy was still available, even when life felt overwhelming.

This song is me deciding to dance through the storm.