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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.”

    STAFF COMMENTS

    Barry says: Otherworldly melodies and cracked, ethereal vocals come together into a drifting wave of dreamy post-punk and gloomy synth-pop. It's a departure from their earlier work, showing more sonic variation and stylistic fluidity while retaining the near-perfect hooky songwriting that made their self album and 'On All Fours' such hits.

    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)








    Goat

    The Gallows Pole: Original Score (RSD24 EDITION)

      THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

      IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.



      Goat

      World Music - 2024 Reissue

        (Abbey Road master but in the original sleeve) When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album ‘World Music’ – there was, and there still isn’t, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. ‘World Music’, received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. ‘World Music’ is brimming with tracks now seen as ‘classic’ Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of ‘Disco Fever’, the fuzz abuse of ‘Goathead’, the post-punk groove of ‘Let it Bleed’, the sing-along repetitive pop of ‘Run to your Mama’... From the first note to the last, ‘World Music’ oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique – they’ve managed to create a sound unrestrained by genre or any other boundaries. So if you haven’t done so already, then it is now time you joined the Goat commune. 

        TRACK LISTING

        01 Diarabi
        02 Goatman
        03 Goathead
        04 Disco Fever
        05 Golden Dawn
        06 Let It Bleed
        07 Run To Your Mama
        08 Goatlord
        09 Det Som Aldrig Förändras / Diarabi 

        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

          Levitation 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 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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