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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)

      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

      Goat Girl

      On All Fours

        Goat Girl’s new album “On All Fours” was produced by Dan Carey (Kae Tempest, Black Midi & Franz Ferdinand) in South London in early 2020. This new record sees the band veer away from the confrontational lyricism of their debut & indicates Goat Girl’s maturing perspectives in discussing the world's injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing.

        Throughout, “On All Fours”, Goat Girl’s Frequent use of sci-fi synthesisers, off-beat chord progressions, analogue drum machines, diverse vocal styles and distinct, gritty guitars fuse a musical language that expresses both former characteristics and newer developments of the band’s sound and vision On All Fours. 

        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

        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

          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

          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.

            Goat

            Goatfuzz / Goatfizz

              THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

              Goat release an unreleased edit of the track Goatfuzz – one of the stand out tracks off their latest album 'Requiem' as a special ltd edition 7" for Record Store Day. The Bside of the 7" is a brand new track, entitled Goatfizz which once again shows another side to the bands take on 'world music'. The 2 colour 'splatter vinyl' 7" is ltd to 2,000 copies and will only be available on Record Store Day – these tracks will not be made available on digital formats.

              TRACK LISTING

              A1. Goatfuzz (Single Version)
              B1. Goatfizz


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