Goshfather is listed by Insomniac in Disco / Tech House. The artist’s public profile lists San Francisco, US as its location. Goshfather’s captured release history contains 34 dated entries, spanning June 17, 2013 to July 3, 2026. The newest is “Bury Me On the Dancefloor - Single,” a single credited to Goshfather & Motion Twin. This establishes a documented sequence of published work; the earliest entry here is a catalog boundary, not a verified career debut.
Shared artist-credit lines appear on 26 captured entries. Bingo Players & Goshfather is credited on 6 entries, including “Be Mine (Extended Mix) - Single” (2023). JINCO & Goshfather is credited on 3 entries, including “Give It Up - Single” (2015). TRYPBOX & Goshfather is credited on 2 entries, including “In a Ferrari (Remixes)” (2024). A shared collection credit can represent a collaboration, remix or another credited role; it is not proof that every credited artist co-produced every track. The rights line on “Bury Me On the Dancefloor - Single” reads “℗ 2026 Black Jack Records.” An earlier reference, “Choir Boy - Single” (2013), lists “℗ 2013 Manufactured Music.” Rights credits identify the release’s published ownership or licensing context. They do not by themselves establish an exclusive label signing, management relationship or personal endorsement.
Goshfather’s captured release history contains 34 dated entries, spanning June 17, 2013 to July 3, 2026. The newest is “Bury Me On the Dancefloor - Single,” a single credited to Goshfather & Motion Twin. This establishes a documented sequence of published work; the earliest entry here is a catalog boundary, not a verified career debut.
The captured sequence covers 12 distinct release years. It includes 29 entries explicitly titled as singles, 0 EPs or other multi-track collections, 5 remix editions and 0 DJ mixes. These categories describe catalog packaging, not a count of unique compositions. Alternate versions and repackaged material can appear as separate releases.
The captured history is oriented toward individual releases rather than clearly labeled longer projects. For Goshfather, the useful comparison is how successive tracks develop a recognizable identity and whether listeners return after each release. This is an interpretation of the available release structure, not evidence that the artist has never made an album.
Shared artist-credit lines appear on 26 captured entries. Bingo Players & Goshfather is credited on 6 entries, including “Be Mine (Extended Mix) - Single” (2023). JINCO & Goshfather is credited on 3 entries, including “Give It Up - Single” (2015). TRYPBOX & Goshfather is credited on 2 entries, including “In a Ferrari (Remixes)” (2024). A shared collection credit can represent a collaboration, remix or another credited role; it is not proof that every credited artist co-produced every track.
The rights line on “Bury Me On the Dancefloor - Single” reads “℗ 2026 Black Jack Records.” An earlier reference, “Choir Boy - Single” (2013), lists “℗ 2013 Manufactured Music.” Rights credits identify the release’s published ownership or licensing context. They do not by themselves establish an exclusive label signing, management relationship or personal endorsement.
The sample contains 2 entries dated within the 365 days ending September 24, 2026, compared with 5 in the preceding 365-day interval. Recent reference points include “Not Enough - Single” (April 10, 2026); “Bury Me On the Dancefloor - Single” (July 3, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
The latest dated work gives Goshfather a current reference point, but the sample supports a narrower conclusion about output than about career acceleration. Watch how the next releases relate to “Bury Me On the Dancefloor - Single”: continuation of the same sound or collaborators would suggest consolidation; a documented shift in collaborators or project format could signal a new phase.
This dossier uses public catalog records, artist and promoter profiles, and cited reporting. It is independent music analysis. Catalog history is a bounded sample: its first entry is not necessarily a debut, and alternate editions are not unique compositions. Shared credits do not establish each person’s production role. Release frequency does not measure popularity. Biographical statements retain their source attribution; editorial interpretation is labeled.