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GOAT

Goat Girl

Below The Waste

    Goat Girl - Lottie Pendlebury (she/her), Rosy Jones (they/them) and Holly Mullineaux (she/her) are excited to announce their third album “Below The Waste” which is being released on Rough Trade Records. The album was co–produced by the band & John Spud Murphy (Lankum & black midi).

    Pieced together like a collage over an extended period of time, the instrumentation was tracked mostly over a ten-day stint in Ireland at Hellfire Studios, in the shadow of the infamous Hellfire Club itself. They also used Damon Albans, Studio 13. Additional strings (Reuben Kyriakides and Nic Pendlebury), woodwind instruments (Alex McKenzie) and vocals (including a choir made up of family and friends) were added to this framework at a number of locations, from a barn in Essex to Goat Girl’s own studio in South London.

    Singer Lottie on lead track: “I was listening to lots of music at the time by Phillip Glass and Deerhoof that plays with the relationship between tension and resolution which definitely influenced this song. I was yearning for honesty and authenticity in relationships I held with people, probably partly because at the time, like everyone, we were so isolated from one another. But it also felt deeper than that, like the conversations I dreamt of stripped away all of the etiquettes we desperately clung onto and went below the surface to where the most interesting parts of ourselves tend to be suppressed.”

    TRACK LISTING

    1. Reprise
    2. Ride Around
    3. Words Fell Out
    4. Play It Down
    5. Tcnc
    6. Where’s Ur <3
    7. Prelude
    8. Tonight
    9. Motorway
    10. S.m.o.g
    11. Take It Away
    12. Pretty Faces
    13. Perhaps
    14. Jump Sludge
    15. Sleep Talk
    16. Wasting

    Dinked Edition Tracklisting:
    Side A:
    Reprise
    Ride Around
    Words Fell Out
    Play It Down
    Side B:
    Tcnc
    Where's Ur <3
    Prelude
    Tonight
    Side C:
    Motorway
    S.m.o.g
    Take It Away
    Pretty Faces
    Perhaps
    Side D:
    Jump Sludge
    Sleep Talk
    Wasting

    Dinked Bonus 7":
    Side A:
    Where's Ur <3 (demo)
    Sleep Talk (fka Mellotron Improv)
    Ride Around (fka Wavey Bye)
    Side B:
    Play It Down (sad Demo)
    Wasting (demo)








    The Jesus Lizard

    Goat - Remastered Reissue

      Bassist David Wm. Sims is revealed as the band's secret weapon, stock still in anchoring an increasingly chaotic stage show. Guitarist Duane Denison's musical ideas stun throughout, finding an almost impossibly sympathetic foil in drummer, Mac McNeilly. All the while, vocalist David Yow's complete disregard for his own health and safety was becoming the stuff of legend, propelled by tracks like "Mouth Breather", "Monkey Trick" and the effaceable "Seasick". - Pat Daly // If the members of the Jesus Lizard got it "right" on HEAD, then GOAT serves as one of the great pinnacles in the history of the American underground. The Jesus Lizard's third document was the formula perfected, the cylinders firing in time, the crosshairs perfectly aligned in the scope, the last stiff drink before blacking out. - Jason Pettigre.

      TRACK LISTING

      Side A:
      1. Then Comes Dudley
      2. Mouth Breather
      3. Nub
      4. Seasick.
      Side B:
      5. Monkey Trick
      6. Karpis
      7. South Mouth
      8. Lady Shoes
      9. Rodeo In Joliet.

      BONUS TRACKS * Included With Download:
      Sunday You Need Love
      Pop Song
      Seasick (Live)
      Lady Shoes (Live)
      Monkey Trick (Live)

      Goat

      Levitations Sessions

        Levitation Sessions return with a live performance album from Goat. Despite their cryptic and secretive lifestyle, the mysterious Swedish collective have been at the forefront of modern psych, and this live release follows a decade of cult-classic LPs - each a timeless entry into the psych canon, a heady mix of world music, 60s fuzz, afrobeat and funk grooves and Swedish psychedelia, from their 2012 debut World Music, to their most recent 2023 release, Medicine. Their Levitation Session live album was recorded in the heart of winter in early 2023, capturing the alchemy of the band’s creative process and a glimpse of their legendary live show, filmed in the band’s studio headquarters. 

        STAFF COMMENTS

        Barry says: A live document of one of the most important bands in the world of psychedelic rock. Goat are a force to be reckoned with in the recorded medium but it's in their fluid, grooving live iteration that the tunes really come alive. This Levitation session has the best of both worlds. Essential.

        TRACK LISTING

        1. Golden Dawn
        2. Under No Nation
        3. Fill My Mouth
        4. Lorcan
        5. Do The Dance
        6. Behind The Plank
        7. Queen Of The Underground
        8. Let It Burn
        9. Midnight Madness

        Goat

        Medicine

          It is hard to know how many times the mythology and mystery of Goat’s backstory can be written about, but new release ‘Medicine’ does away with any need to dwell on the past, returning with a more introspective, slightly mellower psych-folk sound that remains recognisably them.

          There is a consistently restrained, warm feel across the whole work, and the band suggest that the overall theme of the album is about “the impermanence of life in different ways: sickness, relationships, love, death and how our time is finite”.

          At times the album’s sound has nods to classic Swedish 70s psych/prog/folk acts such as Arbete & Fritid, Charlie & Esdor and Träd, Gräs & Stenar. ‘Vakna’ takes on this influence, progressing across nearly six minutes of swaying, warping guitar solos, without ever breaking out into chaos.

          The ‘Medicine’ of the title may refer to a number of salves, or the value of relationships and love: “For our families, friends, society, this could be done through the use of psychedelics, through meditation, through learning from other people, staying curious and never settling for a ‘solid’ identity”.

          Flute is foregrounded throughout, threading across several tracks from the opener ‘Impermanence And Death’. It duets elegantly with keening synth lines through the beautiful ‘You’ll Be Alright’, and leads the melody of the closing track ‘Tripping In The Graveyard’. ‘TSOD’, with its backdrop of sitar and acoustic guitar, has an indelible vocal melody that could be a lost George Harrison recording.

          The title of the full album version of first single, ‘I Became The Unemployment Office’, comes from an expression for someone taking advantage of you. The joyous, echo-laden groove of penultimate track ‘Join The Resistance’ bursts into life and continues to build to a moment of release with a huge Sabbath-esque riff.

          Whatever your dosage, and regardless of your remedy, it is now time to take your medicine.


          STAFF COMMENTS

          Barry says: Another slab of Goat for the ol' ears is never a bad thing, and on 'Medicine' the swedish psychedelic powerhouse are on peak form. It's more of the same woozy psychedelic fare but honed to perfection through years of meticulous practice. Fuzzy guitars and scattered percussion, thundering basslines and loads of tremolo. Brilliant.

          TRACK LISTING

          01. Impermanence & Death
          02. Raised By Hills
          03. I Became The Unemployment Office
          04. Tsod
          05. Vakna
          06. You’ll Be Alright
          07. Join The Resistance
          08. Tripping In The Graveyard

          Goat

          Commune - 2023 Repress

            Swedish band GOAT annihilated the usual expectations surrounding ‘the difficult second album’ with the bigger and bolder cosmos of Commune. Ricocheting off the unanimous acclaim of their debut LP World Music - to say nothing of their earned star reputation for putting on a killer live show - the Korpilombolo bunch double down on their fuzzed out riffs and modern ritualist practices. Opener ‘Talk to God’ begins with precisely this sense of holy ceremony, as singing bowls chime in reverent reception of whip-smart highlife licks and a thunderous drum-bass dialogue.

            ‘Goatchild’ and ‘Goatslaves’ sees paces and heart-rates quicken in the tumult of percussive hypnotism and fuzz-wah punctuations with extra-dimensional force. As if an amplification of their sonic fervour wasn’t enough, Commune finds GOAT widening their scope to greet the universe with open arms, contradiction and all - life and death, dark and light - as we’re told on ‘To Travel the Path Unknown’: “there is only one true meaning with life / and that is to be a positive force in the constant creation of evolution”. GOAT send their message of oneness home with blistering closer ‘Gathering of Ancient Tribes’, a riotous six-plus minute fireball which ends where Commune began with the same singing bowl chimes, forming the run-time of the LP into a perfect circle. 

            This ltd edition 2023 vinyl reissue of GOAT's Commune returns the album to its original Gold sleeve and is pressed on a luscious Green/Blue Swirl vinyl.

            Goat

            Oh Death

              Formidable psychic warriors, channelers of the mystic and proponents of a spiritual quest that transcends this realm, Goat remain a band shrouded in mystery. Travelling from their inscrutable origins in the Swedish village of Korpilombo across the stages and festivals of the world in the last decade, this band has created their incendiary music entirely according to their own co-ordinates.

              With all this in mind, the casual observer might have guessed from its title that ‘Requiem’, their beatific and melancholic album of 2016, was to be their last. Yet the ancestral spirits summoned by their art are always restless. Thus the eternal cycles of rebirth have triumphantly produced ‘Oh Death’ - a ceremonial conflagration as powerful as any this band has made.Invigorated by forces we can only guess at the origins of, ‘Oh Death’ is a party to which all are welcome. Blithely waving away easy classification, these heat-hazed serenades are just as comfortable in the headspace of vicious ‘70s funk as they are in zesty ZE records post-punk.

              Folk-haunted incantations and free jazz skronk here find common ground, buoyed by relentless forward motion and raucous energy. Yet all of the above is locked into a delirious gnostic groove that threatens to throw the whole shebang spiraling into orbit. ‘Oh Death’ is driven by a supernatural charge that unifies, invigorates and transcends borders, whether geographical, musical, or between this world and the next. In the hands of these sages and soothsayers, this is just the beginning. Goat Is ‘Oh Death’, Long Live Goat.

              STAFF COMMENTS

              William says: Goat returns with another musical edict from above, a kaleidoscope of demented funk of which the human spirit is desperately in need, according to the band. The fuzzy psychedelia of cracking lead single ‘Under No Nation’ was a perfect mission statement for this phase of the band, so strap in for a wonderfully weird ride with the undeniable forebearers of oddity.

              TRACK LISTING

              01. Soon You Die
              02. Chukua Pesa
              03. Under No Nation
              04. Do The Dance
              05. Apegoat
              06. Goatmilk
              07. Blow The Horns
              08. Remind Yourself
              09. Blessings
              10. Passes Like Clouds

              Goat

              Headsoup

                ‘Headsoup’ is a new compilation that deepens the legend of mysterious Swedish psych collective Goat even further. Collecting rarities from across band’s celebrated career, including standalone singles, B-sides, digital edits and two enormous brand new tracks, it’s a globetrotting acid trip of a record that’s even bigger in its scope than their acclaimed studio LPs.

                From the incendiary heavy psych of their earliest work, like debut B-side ‘The Sun And Moon’, to the serene ‘Requiem’-era alternate take ‘Union Of Mind And Soul’, to the simmering menace of their latest material, it’s a record as multifaceted as Goat themselves, packed with detours in every conceivable direction.

                Taking in jazz-flute solos, pounding Afrobeat rhythms, ferocious desert blues, drifting Ethio-jazz, this is, as the name of Goat’s first album made clear, ‘World Music’ in its most complete form, a sound unrestrained by genre boundaries. Yet the band are anything but lazy appropriators. They approach their forebears with upmost reverence, articulating a celebratory cultural cross-pollination. And what about these two new tracks? ‘Fill My Mouth’ is a scuzzy psychedelic funk knockout, the sleaziest thing the band have ever recorded. ‘Queen Of The Underground’, meanwhile, is truly herculean, a swaggering psychedelic powerhouse of the very highest order.Sometimes dark and heavy, at others joyous and beautiful, like Goat themselves ‘Headsoup’ is mysterious, and constantly shapeshifting, difficult to properly pin down but constantly enthralling. Almost a decade since they first emerged from the depths of Scandinavia, there is still no other band on earth that sounds quite like them.



                STAFF COMMENTS

                Barry says: It's crazy really, that an album of b-sides and unheard album rarities can be just as good as the curated LP's of the same band, but this is Goat we're talking about. A psychedelic and lysergic hitlist of everything that makes these bemasked Swedish rockers so great. Soaring and evocative, 'Headsoup' is a perfect entry point for a selection of Goat's many faces.

                TRACK LISTING

                A
                1/ The Sun And Moon
                2/ Stonegoat
                3/ Dreambuilding
                4/ Dig My Grave
                5/ It's Time For Fun
                6/ Relax

                B
                7/ Union Of Mind And Soul *unreleased On Vinyl
                8/ The Snake Of Addis Adaba
                9 /Goatfizz
                10/ Let It Burn (Edit) *unreleased On Vinyl
                11/ Friday Pt.1

                7":
                C12/ Fill My Mouth *unreleased
                D13/ Queen Of The Underground *unreleased

                (All Tracks Included On CD)

                Goat Girl

                Sad Cowboy Remixes

                  Goat Girl will be releasing a 12” featuring Remixes of ‘Sad Cowboy’ one of the standout tracks from their new album ‘On All Fours’ as a limited edition on May 8th. The ‘Sad Cowboy’ Remix 12” will feature remixes by Tony Njoku, PVA, DJ Dairy (black midi) and Nídia.

                  TRACK LISTING

                  A1 Sad Cowboy Original
                  A2 Nídia Remix

                  B1 PVA Remix
                  B2 DJ Dairy Remix
                  B3 Tony Njoku Remix

                  DJ Muggs The Black Goat

                  Dies Occidendum

                  Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs.

                  ABOUT DJ MUGGS:
                  One of the original architects of dark hip hop in the early ’90s, DJ Muggs helped craft a singular sound that blended darker sensibilities of psychedelic rock and hip hop in a unique way that influenced many in its wake. As the primary producer of legendary rap group Cypress Hill, Muggs’ productions and sonic sensibilities are unmistakable and deeply revered by the truest of hejkvgads. Muggs’ own MC round-robin imprint, Soul Assassins has been home to countless productions, laying sonic drop cloths for everyone from Dr. Dre, Ice Cube, Chuck D, GZA, Mobb Deep to MF Doom, Freddie Gibbs, Roc Marciano and Mach-Hommy.

                  TRACK LISTING

                  1 Incantation (2:15)
                  2 The Chosen One (3:03)
                  3 Nigrum Mortem (4:07)
                  4 Liber Null (3:41)
                  5 Alphabet Of Desire (2:12)
                  6 Subconscious (2:42)
                  7 Veni Vidi Amavi (1:48)
                  8 Anointed (2:23)
                  9 Anicca (2:57)
                  10 Transmogrification (5:16)

                  Goat Girl's latest offering lets off the distortion pedal just enough to make room for a more electronic pool of inspiration. It's delightfully wonky at times and tracks like “Jazz (In The Supermarket)” explore tempo changes and chord progressions that 2018 Goat Girl wouldn't dare consider. This doesn't mean they've held out on pure melody though, “P.T.S Tea” is satisfyingly poppy and “Sad Cowboy” breaks off into a New Order-esque sci-fi trip only after first smashing out four and a half minutes of delicious guitar twanging.
                  There is (to my delight) an overarching melancholy present throughout, keeping the pop at bay. Sadly, this might be because the album was put together during uncertain times for guitarist Ellie Rose Davies who was diagnosed with blood cancer. Now in remission, one can’t help but think that facing mortality changes everything and perhaps the band, as a whole, have been left feeling these shockwaves.


                  STAFF COMMENTS

                  Barry says: Goat Girls' swooning jangle takes a step into the future with their newest outing, adding moody synths and angular changes to their already impressive foundations. It's a brilliantly refined forward step, and shows that great things will come from Goat Girl in the future.

                  TRACK LISTING

                  Pest
                  Badibaba
                  Jazz (In The Supermarket)
                  Once Again
                  P.T.S.Tea
                  Sad Cowboy
                  The Crack
                  Closing In
                  Anxiety Feels
                  They Bite On You
                  Bang
                  Where Do We Go From Here?
                  A-Men

                  Goat return with Commune, the eagerly awaited follow up to their astonishing debut album World Music. Commune continues on with World Music's acidic grooves, hypnotic incantations, and serpentine guitar lines but also introduces a darker, more angry edge to the band, not seen before on previous releases. Starting with the layered percussive groove, Eastern guitar flourishes, and convoking vocals of "Talk To God", it re-establishes the trance-inducing rhythms and exotic blaze of guitar that characterized their debut so well.

                  That spellbound pulse delves into darker and more propulsive territories on "Words" and "Goatslaves", while "Goatchild" veers towards the transcendental pop of '60s Bay Area rock. The vintage psychedelic vibe permeates through songs like "The Light Within" and "To Travel The Path Unknown" - tracks that suggest that these rural Swedes operate on the same wavelength as the Turkish psych-folkies recently rediscovered by reissue labels like Finders Keepers. Commune reaches its apex when Goat's hymnal invocations meet a heavy doze of proto-metal fuzz on "Hide From The Sun" and "Gathering of Ancient Tribes".

                  STAFF COMMENTS

                  Martin says: Goat, those anonymous citizens of the world, reflect their magpie exoticism in sound and appearance, a blazing array faithful at once to all and no culture in particular. 'World Music' was, then, a completely appropriate, somewhat ironic label for a joyous, free spirited manifesto of universalism that exploded into the world like an asteroid strike, rendering at a stroke much else tired, conservative, and lacking in passion. 'Commune' follows that tradition, but, cradled at either end within the serenity of Buddhist singing bowls, this is a more concise and aggressive ritual, inheriting a strong African influence (specifically Mali this time) but built more around guitar lines, less around rhythm. This is typified by the sublime opening snarl of "Talk To God", insolent vocal chants soaring over a hypnotic guitar spiral. Worth waiting for? ‘Commune’ is at least as good as its incredible predecessor - and that is really some achievement.

                  TRACK LISTING

                  01. Talk To God
                  02. Words
                  03. The Light Within
                  04. Travel The Path Unknown
                  05. Goatchild
                  06. Goatslaves
                  07. Hide From The Sun
                  08. Bondye
                  09. Gathering Of Ancient Tribes

                  THE PICCADILLY RECORDS ALBUM OF THE YEAR 2012

                  For those who are unaware, Goat are a collective of musicians who hail from a small and very remote village called Korpolombolo in deepest darkest Sweden.

                  Legend has it that for centuries, the inhabitants of the village of Korpolombolo were dedicated to the worship and practices of Voodoo. This strange and seemingly unlikely activity was apparently introduced into the area after a travelling witch doctor and a handful of her disciples were led to Korpolombolo by following a cipher hidden within their most sacred of ancient scriptures. The reason it led them there is unknown, but their Voodoo influence quickly took hold over the whole village and so they made it their home - there, they were able to practice their craft unnoticed and unbothered for several centuries.

                  This was until their non-Christian ways were discovered by the Church and they were burned out by the crusaders, the survivors cursing the village over their shoulders as they fled. To this day, the now picturesque village of Korpolombolo is still haunted by this Voodoo curse; the power of the curse can be felt throughout the grooves of this Goat record.

                  The nine track album follows the underground success of the now sought after 7” Goatman, which is also included in this selection. The band takes in many influences, from the Afro groove that is central to the album, through to head nodding psych, post-punk, turkish rock, kraut repetition and astral folk.

                  STAFF COMMENTS

                  Darryl says: Back in February 2012 we stocked an intriguing 7” called “Goatman” from a mysterious Swedish group called Goat, we loved its wacked out voodoo psych and judging by sales so did our customers, but little did it prepare us for the amazing debut album that followed seven months later under a shroud of myth and mystery.

                  The story surrounding the group is becoming the stuff of mystical legend; Goat, according to their press release, are from a remote village called Korpolombolo in deepest darkest Sweden, the tale of the place being that the inhabitants were dedicated to the worship and practices of Voodoo after a travelling witch doctor stayed there a few centuries ago. The band itself is believed to be a collective of local musicians who have been recording music under the name of Goat for the past 30 or 40 years, this being the first incarnation of the group that’s ever released anything for the outside world to share. Of course whether this epic fantasy tale is true remains debatable, but in reality it really doesn’t matter when their musical output is this good.

                  After the debut 7” we naturally expected “World Music” to be an album full of heavy psychedelic mantras, but what we got was something more mind-blowing - a loose melting pot of afro-voodoo-beat rhythms, blistering psyche guitar freakouts, kosmische drenched metronomy, and post-punk funkiness. It’s at times poppy and accessible (the 3 minute “Run To Your Mama” could grace the top of the charts in any other parallel universe) and at other times raw with an underground swagger, but what really hits you full-on is the spontaneous energy and sassy fun of the album. Think Funkadelic meets Spacemen 3 meets Fela Kuti meets Can meets ESG. It’s an album that’s done pretty much the impossible and united all tastes behind the counter here at Piccadilly, we all absolutely love it, and so will you!

                  TRACK LISTING

                  1. Diarabi
                  2. Goatman
                  3. Goathead
                  4. Disco Fever
                  5. Golden Dawn
                  6. Let It Bleed
                  7. Run To Your Mama
                  8. Goatlord
                  9. Det Som Aldrig Förändras/Diarabi

                  John MOuse

                  The Goat

                    When lockdown commenced John MOuse seized the opportunity to create a new album. The concept behind The Goat, was to write, record and release a song on a weekly basis. Each song was then uploaded to bandcamp. The album was remixed and mastered for both vinyl and digital and the initial recordings were then ordered in a cohesive and exciting running order. Social distancing meant that the music for the album was created Lincolnshire by long term collaborator Phil Pearce and then sent to John in Cardiff who worked on the lyrics and vocal melody for each track. The result is a typically idiosyncratic, electronic pop album, heavy on spoken word content and catchy chorus hooks, these songs possess musical hints of everyone from Adian Moffat, Momus to early Pulp.

                    TRACK LISTING

                    Side A
                    Le Pigeon
                    A Well-Planned Part
                    Kerplunk Sticks
                    Felix And Sebastien
                    The People Vrs Charles Mitchlemore
                    Buy To Let Industry Expert

                    Side B
                    Professor Max Beta
                    Use Neutral Tones To Accent Eyes
                    The Raven Argonette
                    O’Sullivan, Reardon, Doherty, Bond

                    Across 19 tracks in just 40 minutes, Goat Girl’s self-titled debut creates a half-fantasy world out of a very dirty, ugly city reality.

                    Goat Girl belong to a burgeoning, close-knit south London scene, born in venues like The Windmill in Brixton and including bands like Shame, Bat-Bike, Madonnatron, Horsey, Sorry, and many more. “We help each other - I put you on, you put me on - because we genuinely like each other’s music. We’d played gigs all over before but never really settled in a comfortable environment, which is what The Windmill is. It’s an important place for us, it was the first space that our music made sense to exist within. It’s a safe space where music is genuinely listened to and appreciated, and where laws and licensing haven't reached over to ruin the venue.”

                    This live freedom enabled the band to think without constraints when it came to recording. Goat Girl enlisted producer Dan Carey (The Kills, Bat For Lashes, Franz Ferdinand) to help them capture their vision, set a goal to write and record a piece of music in a day in effort to capture that raw first-creation moment, and chose to record to tape.

                    It’s a very English album -- sharp-eyed observations like The Kinks, louche rage like The Slits -- but it’s also full of swampy, swaggering guitars and singer Lottie’s filthy drawl. Each member brings a diverse range of influences and contributions, ranging from krautrock to bossa nova, jazz to blues. They resist being boxed in to an indie, guitar-based genre, and focused intensely on the layers and textures of each song as well as the different contexts they could sit within.

                    The result, Goat Girl, succeeds in conjuring a complete world all unto itself, and is arranged in segments -- divided by improvised interludes -- that offer glimpses of an even stranger parallel universe. With each song acting as its own story of sorts that features different settings and characters, listeners are transported therewithin. It’s dark yet cheeky, varied yet cohesive, and striking in its vision; this world is populated by creeps and liars, lovers, dreamers, and wonderful lunatics. Lead single “Cracker Drool” is at once jaunty and sinister, a foreboding tale full of swirling guitar, echoing vocals and synthetic drum hits that stumbles and gurgles straight into “Slowly Reclines,” an equally menacing and considerably heavier track. “Creep” is, predictably and grimly enough, inspired by actual events: Creep on the train / I really want to smash your head in.

                    On “Country Sleaze,” she sings about sex in a way that embraces visceral reality and defeats shame. “If you say you’re sexually free, as a woman, society still deems that a bad thing. But really it’s a beautiful thing to be confident in yourself - to know that you can have sex and it doesn’t have to mean anything and that doesn’t make you a bad person.” Ellie smiles: “That song is quite disgusting, in a good way. It’s not trying to be nice, it’s not a love song.” Goat Girl is altogether an album crafted with intention, and invites imaginations to run wild; it draws listeners in to its half-fantasy world from the slow fade, eerie instrumental intro “Salty Sounds,” to the gorgeous, unsettling closer “Tomorrow” -- a rendition of the song featured in Bugsy Malone -- which ends with dawn-chorus birds and the feeling of new possibilities after a long and messy night.

                    STAFF COMMENTS

                    Darryl says: A superbly textured and stylistically varied outing from Goat Girl, holding within it's 19 tracks a fiery resolve and melodic leaning of the highest order. Brilliantly written and performed with heart!

                    TRACK LISTING

                    Salty Sounds
                    Burn The Stake
                    Creep
                    Viper Fish
                    A Swamp Dog's Tale
                    Cracker Drool
                    Slowly Reclines
                    The Man With No Heart Or Brain
                    Moonlit Monkey
                    The Man
                    Lay Down
                    I Don't Care Part 1
                    Hank's Theme
                    I Don't Care Part 2
                    Throw Me A Bone
                    Dance Of Dirty Leftovers
                    Little Liar
                    Country Sleaze
                    Tomorrow

                    Ariel Pink

                    "Another Weekend" B/w "Ode To The Goat (Thank You)"

                      Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, Dedicated to Bobby Jameson. The album’s title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. Standout tracks from Dedicated to Bobby Jameson include “Feels Like Heaven,” a lovelorn insta-classic paying tribute to the promise of romance, “Another Weekend,” which encapsulates the lingering euphoria of a regrettable weekend over the edge, “Dedicated to Bobby Jameson,” a rah-rah psych romp paying homage to L.A.’s punk history, and “Time to Live,” an ironic anti-suicide anthem that promotes survival as a form of resistance before devolving into a grungy, “Video Killed the Radio Star”-style breakdown that supposes life and death as being more or less the same fate and embraces the immortal anarchy of a rock song as an alternative to the prison of reality. Alternately contained and sprawling, Dedicated to Bobby Jameson is a shimmering pop odyssey that represents more astonishing peaks and menacing valleys in the career of a man who, through sheer originality and nerve, has become an American rock and roll institution. The album marks his first full-length release with the Brooklyn-based label Mexican Summer.

                      In a culture obsessed with content, saturation, and continual exposure, it’s rare to find artists who prefer to lurk outside of the public eye. Thomas Pynchon is perhaps the most notable contemporary recluse—a virtually faceless figure who occasionally creeps out of hiding to offer up an elaborate novel steeped in history and warped by imagination—but for crate diggers and guitar mystics, Sweden’s enigmatic GOAT may qualify as the greatest modern pop-culture mystery. Who are these masked musicians? Are they truly members of the Arctic community of Korpilombolo? Are their songs part of their isolated communal heritage? Their third studio album, Requiem, offers more questions than answers, but much like any of Pynchon’s knotty yarns, the reward is not in the untangling but in the journey through the labyrinth.

                      Western exports may have dominated the consciousness of international rock fans for the entirety of the 20th century, but our increasing global awareness has unearthed a treasure trove of transcendental grooves and spellbinding riffage from exotic and remote corners of the planet. GOAT’s previous albums World Music and Commune were perfect testaments to this heightened awareness, with Silk Road psychedelia, desert blues, and Third World pop all serving as governing forces within the band’s sound. But GOAT’s strange amalgam isn’t some cheap game of cultural appropriation—it’s nearly impossible to pinpoint the exact origins of the elusive group’s sound. The fact that they pledge allegiance to a spot on the periphery of our maps bolsters the nomadic quality of their sonic explorations. With Requiem, GOAT continue to rock and writhe to a beat beholden to no nation, no state.

                      GOAT’s only outright declaration for Requiem is that it is their “folk” album, and the album is focused more on their subdued bucolic ritualism than psilocybin freakouts. But GOAT hasn’t completely foregone their fiery charms—tracks like “All-Seeing Eye” and “Goatfuzz” conjure the sultry heathen pulsations that ensnared us on their previous albums.

                      Perhaps the most puzzling aspect of Requiem comes with the closing track “Ubuntu”. The song is little more than a melodic delay-driven electric piano line, until we hear the refrain from “Diarabi”—the first song on their first album—sneak into the mix. It creates a kind of musical ouroboros—an infinite cycle of reflection and rejuvenation, death and rebirth. Much like fellow recluse Pynchon, rather than offering explanations for their strange trajectories, GOAT create a world where the line between truth and fiction is so obscured that all you can do is bask in their cryptic genius.

                      TRACK LISTING

                      Side A:
                      01 Djôrôlen / Union Of Sun And Moon
                      02 I Sing In Silence
                      03 Temple Rhythms
                      04 Alarms

                      Side B:
                      05 Trouble In The Streets
                      06 Psychedelic Lover
                      07 Goatband

                      Side C:
                      08 Try My Robe
                      09 It's Not Me
                      10 All-seeing Eye –
                      11 Goatfuzz

                      Side D:
                      12 Goodbye
                      13 Ubuntu


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