Formed in 2011 by guitarist and vocalist Jeffrey Owens, Goya’s 2012 demo showcased their early
potential, but it was their debut full-length “777” (2013) that announced their fearsome arrival in the
doom underground. With sprawling, riff-heavy compositions and occult-tinged lyrics,
“777”
resonated deeply with fans of titanic sludge-metal. Continuing to evolve, Goya released “Obelisk” in
2015, a concept album that refined their blend of psychedelic doom. They followed this with their
magnum opus, 2017’s “Harvester of Bongloads”
, another concept album that leaned as heavily as
ever into their fuzz-laden, riff-driven aesthetic and further cemented their legacy of unrelenting
doom and immersive sonic landscapes.
In the fall of 2024, Goya entered Soundhouse Studios in Seattle with legendary producer Jack
Endino (High On Fire, Year of the Cobra, Soundgarden) to lay down a monolithic work of graveyard
grooves and bleak reflections to herald their towering return with their most accomplished and
unwaveringly bone-crushing record to date: “In the Danw of November”
— leading the trio to ink a
deal with revered New Mexico-based label Blues Funeral Recordings.
With sprawling compositions, titan-heavy riffs drenched in fuzz and haunting atmospherics, GOYA
don’t just play doom music: they embody it to the core. Unrelenting and immersive, their fourth
studio album “In the Dawn of November” is raucous, hypnotic and defiantly punishing. Recorded by
Jack Endino (High On Fire, Soundgarden), this new sonic onslaught from the desert trio takes no
prisoners while sweeping everything in its path.
