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GOAT GIRL

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

    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

    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


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