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GOAT

Psychedelic/Space Rock • Sweden


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Goat biography
An experimental rock tribalism GOAT came into existence from a small and remote village called Korpolombolo in Sweden. Their music rendition has got pretty inspired by the worship, Voodoo practices, and the power of Voodoo curse all handed down since ancient Korpolombolo, according to what they say. Their debut album "World Music" has been released in August 2012 via Stranded Rekords (Sweden) and Rocket Recordings (UK). The album entered the Swedish Albums Chart at No. 8 as the peak position upon October 19, 2012.

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World MusicWorld Music
Rocket Recordings 2012
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GOAT discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

GOAT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 25 ratings
World Music
2012
3.90 | 14 ratings
Commune
2014
3.20 | 5 ratings
Requiem
2016

GOAT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.59 | 4 ratings
Live Ballroom Ritual
2013
0.00 | 0 ratings
Fuzzed In Europe
2017

GOAT Videos (DVD, Blu-ray, VHS etc)

GOAT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

GOAT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

GOAT Reviews


Showing last 10 reviews only
 Commune by GOAT album cover Studio Album, 2014
3.90 | 14 ratings

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Commune
Goat Psychedelic/Space Rock

Review by Guldbamsen
Special Collaborator Retired Admin

4 stars Spinning lessons one-on-one, Sweden style

There are some quite original facets to this sophomore release by Goat that literally leap into your ears. The humble traveller will right from the get-go be facing female vocals of the different kind. Shouting like a deranged teenager or a very young Renate Knaup, this girl spits out words - deliberately taunting you with every cute syllable. That same mischievous and playful feel seeps right through to everyone else involved - conjuring up an unbridled and youthful energy to Goat's sound that fits oh so beautifully well.

......and then you hear the guitar and it's unusual expression. It's a style of playing most commonly known as Tuareg blues (or Tishoumaren), the Moroccan flair. You sense it in the way the fingers rrrrrroll spiralling across the strings, like a genuine rock harp, much in the same way that John Weizierl used to riff during the early years of Amon Düül ll. Think Wolf City for reference. What this 'spiralling' effect has on the surrounding music is that it makes it twirl - like a meditating Sufi preacher making his way into the back of his mind by spinning his body at ferocious speeds.

Accompanying all of this is a rhythm section that is as comfortable playing in the style of old school rock n roll bands as they are doing funk and something akin to space disco coming from the insides of a tee-pee. Aside from the bass and drums you additionally get a furious percussion element to the mix. They rustle up the all important jungle vibe of this group. Instead of hiding in the back like normal congas and bongos tend to do, these guys have opted for the more in-your-face-approach ultimately planting a deep earthy note within the music. It feels raw and untamed because of this. Coupled together with the mosaic see-sawing guitars you wind up with a music that is tribal and wild at heart.

These cats never show their faces. They wear big ornamented masks at their concerts, which in turn are like these raging hypnotic Navajo parties with psychedelic light shows and strange colourful voodoo rituals. In fact, the band claims to hail from Korpilombolo, situated in the northern part of Sweden - up where the lingo starts sounding remarkably Finnish. According to the band, the city has had a history with black magic and voodoo ever since a presumably unknown witch doctor lived there.

This is most likely just old wives' tales, but it all ends up adding to the strange and altogether enigmatic reputation Goat has garnered. Now I know I've already succeeded in painting a picture of a drugged out psychedelic band that attaches exotic and abnormal fittings to their sound, yet the final product is about as easy to get into as a pair of old slippers. I kid you not. That is if you can handle the female shoutsinging.......yep I shouldn't have said that. No one wants shoutsinging on an otherwise exciting and infectiously funky record. It works though. It isn't avantguarde or purposely "difficult". It's zany, energetic and perfectly in tune with the spinning guitar patterns that constantly remind me of the Sufi preacher twirling around in the desert to the gentle tunes of the Arabian Funkadelic. Oh yes there's a real boom to this baby!

With a bellowing reverb adorning the production Commune removes itself ever so slightly from it's predecessor, though only a tiny bit. It still feels as if the whole thing was recorded live in the studio during an inspired séance.

It's an album you can dance to - especially during those funky boogie sections of 'Words' and the Krautrock tinged 'Bondye' that entices you deep into it's celestial groove.You can even sing along to it. The words and melodies all seem to slip so easily off the tongue, that you, at times, wonder if you're listening to revamped and entirely beefed-up nursery rhymes.

 Commune by GOAT album cover Studio Album, 2014
3.90 | 14 ratings

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Commune
Goat Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars The colorful voodoo cult mystery band from the Scandinavian hinterlands has emerged from their woodland sanctum with another lively sampling of psychedelic / funkadelic / enigmatic dance music, after making a prismatic splash with their 2012 debut album "World Music". The names and faces of the individual players are still disguised behind an excess of eye-catching bal-masqué camouflage, but they can't hide the vitality of the music itself, no less invigorating the second time around.

For their sophomore trip the group dialed back the contagious Afro-Beat party vibe of "World Music", relying instead more on their trademark, throwback Psych-Rock grooves and riffing, cued by the transcendental call of a Tibetan gong at the top and bottom of the album. Ringing guitars and a driving rhythm inaugurate the opening ritual "Talk to God", but we're not invoking Yahweh here: the music of Goat celebrates the elemental cosmology of older, more profane deities, the ones who enjoyed coming down from the clouds to boogie with the congregation, begetting a few half-human demi-gods along the way.

The song gives the album an irresistible kickoff, matched by the equally hypnotic (and even louder) "Gathering of Ancient Tribes", the two tracks positioned like dynamic bookends in a secret library of forbidden knowledge. In between are several shorter, less essential cuts, including two additions in the ongoing cycle (I almost wrote 'psychle..!) of self-titled melodies: "Goatchild" and "Goatslaves", like the earlier entries ("Goathead", "Goatlord" et al) almost minimalist in their unpolished pursuit of the almighty groove.

The album isn't beyond criticism. Several cuts (the totemic plod of "Words", for example) are little more than filler. And the self-conscious (male) backing vocals in "Goatchild" undermine the orgiastic intensity of the band's usual distaff singers: a pair of brightly painted dryads in ceremonial headdress. The album also sounds like it was rushed into production in order to maintain a steady career momentum, employing little studio wizardry beyond a cosmic surplus of studio reverb.

If true, the silver lining was an undiminished plateau of musical energy, and a thrilling spontaneity to the performances, best heard in the boilerplate Middle Eastern chords of "Hide From the Sun", and in the raw Krautrock trance of "Bondye" (aka Bon Dieu: the benevolent creator god of Haitian Voudo). By then the adrenalin rush is well-advanced, and when the twin priestesses begin shouting the mantra "into the fire!" at the ecstatic climax of "Ancient Tribes" you too might be tempted to shed your inhibitions, your clothing, and what's left of your earthly sanity to be reborn in the communal flames.

 Live Ballroom Ritual by GOAT album cover Live, 2013
3.59 | 4 ratings

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Live Ballroom Ritual
Goat Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars As exciting as the debut Goat album was ("World Music", 2012), it gave little indication of the spectacle the band presents on stage. Music aside, the sartorial splendor of their concert attire alone is something to behold, resembling an explosion in a counterculture fabric and costume factory. The colorful masks and robes might only be a canny (I almost wrote 'corny') promotional gimmick. But they work to focus attention on the ensemble playing and foster a symbiotic alliance with the audience.

The real enigma behind the masquerade is the actual size of the tribe itself. The flimsy cardboard CD case (perhaps designed in homage to the cut-and-paste artwork of Klaus Dinger) shows two guitarists; a bass player; one drummer plus a separate conga player; and a pair of sultry odalisques from the perfumed harem of a Middle Eastern sultan. So who's playing the saxophone, in the song "Let It Bleed"? The instrument appears out of nowhere, interrupting another monster funkadelic jam with a sudden frenzy of Free Jazz noise, while the twin nymphs shout the song's title like a life-or-death incantation, until their voices are hoarse. A quintessential Goat moment, in other words...

This is a group with something for (almost) everyone. Krautrockers will feel at home with the power chords of the concert opener "Diarabi" (originally a sub-Saharan folk melody), and the imposing one-chord monolith named "Det Som Aldrig Forandas...etc." Party animals will appreciate the uninhibited revelry of "Golden Door" and "Disco Fever". Connoisseurs of heavy-duty Funk Rock will thrill to the elemental grooves of "Let It Bleed" and "Run to Your Mama". And rebellious star-children born under the sign of Capricorn will embrace the songs "Goathead", Goatman", "Goatlord", and "Stonegoat".

More than just a live album, the disc is also an omnibus collection of everything the band had recorded to date: the entire "World Music" album; plus non-album singles and B-sides, including the mini-epic Space Rock mantra "The Sun The Moon", their first recorded song and a killer encore to an already lethally attractive show. And the performances don't simply regurgitate the studio material: most of the songs have been extended for maximum visceral impact, an important consideration with two barefoot pagan goddesses gyrating and jumping all over the stage.

It would be wrong to say the album is the next best thing to being there. In concert Goat is more alive than most live bands, and without the visual cues this companion album is only a two- dimensional facsimile of a typically eye-catching, toe-tapping, mind-frying Goat gig. But it still manages to capture the psychedelic Mardi Gras spirit of the event: not a concert but "a harvesting of souls", in the band's own mock-portentous vernacular. So until the herd arrives in your hometown the old cliché will have to stand: the album is the next best thing to being there.

 World Music by GOAT album cover Studio Album, 2012
4.00 | 25 ratings

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World Music
Goat Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars I am a Goathead.

I admit that (if you'll pardon the choice of words) a little sheepishly, as an introverted ex-garage band drummer with two left feet who recently fell, after only a slight nudge from a Fellow Traveler in these Archives, under the spell of this young Scandinavian ensemble. Hardly surprising, given the colorful mystique the band has created for themselves, extending beyond the music itself toward some sort of arcane ethno-spiritual connection with the inner experience of communal song and syncopation.

Like THE RESIDENTS, the Goat collective understands the attraction of myth and mystery. You'll notice a lack of individual credits here, because the band insists on masking its shared identity...literally, using homemade masks and gaudy costumes. Even the total number of musicians is a dark secret, with (maybe) four employed in the studio but seven (or more) on stage. "All the members of Goat will never be seen together", says a spokesperson for the herd, adding a lot of portentous mumbo-jumbo about the past lives of the band in earlier generations.

So where does that leave the music? Their debut album is eclectic in design but totally uniform in quality, despite being released on vinyl in a rainbow of editions matching the kaleidoscope of influences behind it: Krautrock psychedelia; "Maggot Brain" Funkadelic grooves; Talking Heads intelligent dance circa "Remain in Light"; Scandinavian Black Metal; and the Beach Boys (the last two in their own words: personally I don't hear it). The female vocalist(s) tend to shout in exuberance instead of actually sing, but it's all part of the ongoing Dionysian frenzy of funked-out rhythms and freaked-out guitars.

The band may hail from Sweden, but are travelers on every continent: northern Europe, central Africa, creole America. Their backwoods hometown, supposedly a nexus of ancient voodoo sacrament and early Christian witch-hunts, is located above the Arctic Circle less than 30-kilometers from the border of Finland, which may explain the slight edge of insanity. Don't be surprised to hear a wild, Hendrix-inspired guitar solo give way to a gently unplugged acoustic coda. Or a heavy Space Rock adaptation of a Boubacar Traoré folk song. Or the sort of one-chord power raga not heard since the heyday of AMON DÜÜL II and AGITATION FREE, forty years earlier.

More than simply energetic, the album is celebratory. This is music ideally suited to forbidden rituals in dark forest glens: the perfect diversion for extroverted pagans. Which, of course, makes it very appealing to a flat-footed, freethinking wallflower like yours truly.

Look for the ceremony to continue with a new studio album, due next month as of this posting.

 Live Ballroom Ritual by GOAT album cover Live, 2013
3.59 | 4 ratings

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Live Ballroom Ritual
Goat Psychedelic/Space Rock

Review by SpecialKindOfHell

3 stars Goat is a band you should make sure to see live. The combination of their psychedelic multi-influence music and their costumed and masked personas (such as an executioner, wizard, Voodoo preistess, etc.) is a wonderful and crazy thing to behold on stage. The dual front women / singers are a force to be reckoned with. An intense show, they caused a lot of stir at the 2013 Psych Fest and were a must see act that weekend.

On record, it doesn't quite match that experience. It is good mind you, and this review is really 3.5 stars rather than just three. But, with all of the songs being from their releases (all but one from their LP "World Music" and their new single) there's not much new here to experience. However, the performances are great and the sound is very good.

Recorded in the summer of 2013, this double-LP in a gatefold sleeve comes from Rocket Recordings, with early pressings in white / green vinyl. No download codes comes with the LP, which is always a bit disappointing. Several songs get to stretch out a bit, and this is a good thing, things aren't rushed and the intensity can build. Many songs are very similar to the releases though. Where things get the most interesting is in the couple of tunes where they really extend it in a sort of "Jam Band" fashion. "Det Som Aldrig Förändras" and "Run to Your Mama" are each much longer. I also don't recall hearing quite as amazing of a sax solo on the studio version of "Let It Bleed" as is on here, very nice. The segue from "Dreambuilding" into "Run to Your Mama" is also cool.

The females' voices aren't quite as nice to hear in the live versions, probably a bit rough from so much touring, but they are still very effective. For fans of Goat this is a must hear, but for those who don't know them yet, you should start with their LP "World Music" first.

 World Music by GOAT album cover Studio Album, 2012
4.00 | 25 ratings

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World Music
Goat Psychedelic/Space Rock

Review by SpecialKindOfHell

4 stars The World According To Goat

This new group, who call themselves a collective and essentially formed from a commune, hails from Korpilombolo and Gothenburg, Sweden, and until recently, they had reportedly not performed outside of their commune. A rare 7″ exists, but World Music is their first LP, released in August 2012, and went three weeks on the Swedish charts no less. From their physical appearance to the music on the LP, they appear to be very intense individuals. African and Indian clothing with Mardi Gras-ish masks and voodoo priest-type outfits contribute to their dramatic performances that appear to the viewer as a secret cult ritual as much as a rock show. The LP artwork is also quite amazing, a beautiful die-cut geometrically psychedelic pattern of African origin with large windows of "W"s and "M"s letting the similar, but differently hued pattern inside show through.

The record is a strong debut of colorful, acidic, textural blasts of neo-psych, with enough different cultural musical references thrown in to become a sort of perfect melting pot. This is not world music as in the music genre of traditional sounds from the geographic world, but rather a reverent combine of the world of psych, from all points of the globe from where it came. With a simple acid-folkish feel, "Goatlord" evokes a candlelit meloncholic disquiet with a bit of spiritual chant. In some moments, one's reminded of the strange cult records of YaHoWa, and the never-ending free jams of Amon Duul, but Goat actually know how to play their instruments well and put together what one might call a "song".

It's not Metal though, this is Psych, Acid Rock mixed with influences from the Caribbean, Africa, Germany, and Vietnam, among others. "Let It Bleed" has a very strong Afro-Beat influence particularly in the repeating guitar melody line's interplay with the percussion. The standout track, "Det Som Aldrig Förändras/Diarabi" floats along in a semi-raga drone, but with a more danceable beat. It eventually settles down into a reprise of the first track to bring the whole album full circle. Although the record is not without its hiccups, particularly in sections that channel too much of the drum circle vibe, it begs for repeat listens, particularly for fans of Os Mutantes and WITCH.

LP issues: Stranded Rekords, Sweden, EKO 154 LP, Colored vinyl: 1st issue: Purple, Repress: Blue/Yellow Rocket Records, UK, LAUNCH048 LP, Colored vinyl: 1st issue: Orange, Represses: Green, Red, Yellow, Clear

 World Music by GOAT album cover Studio Album, 2012
4.00 | 25 ratings

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World Music
Goat Psychedelic/Space Rock

Review by stefro
Prog Reviewer

4 stars If you stretch right back to the mid-sixties, to a time before Jimi Hendrix, The Doors and Iron Butterfly, you can chart some of the earliest appearances of what would soon come to be known as 'psychedelia'. Initially found in the radical new sounds of New York's esoteric folk collective The Holy Modal Rounders, the fuzzy electric garage-rock of the seminal Texas-based outfit The 13th Floor Elevators and the heady, mind-rippling literary musings of a one Timothy Leary, the first shimmering wave of what we now characterize 'psychedelic rock' burned brightly throughout the latter half of the 1960's as it seemingly does now in 21st century Scandanavia. The latest offering from Sweden's psychedelic scene, Goat whipped up a fair amount of curiosity during the summer months of 2012 thanks to their genre-straddling debut 'World Music', an album that hitches afro- beats, ethnic fusion flurries and deeply-layered tribal melodies onto the fledgling group's Dungen-tinged psych-rock origins. As a result, 'World Music' belongs to that ever-growing collective of 21st century psych-rock crusaders - the likes of Wooden Shjips, The Black Angels, Dungen, 120 Days, Gnod, Tame Impala etc - who have managed to blend the funky camouflage of modern hip-rock with old-school acid-rock dynamics and their own tripped-out characteristics. Although Goat lack the dance-laced edge of the Swedish contemporaries, 'World Music' - never has a title been so apt - works a colourful mixture between cosmic poppery and more experimental avenues; progressive this ain't. It's also a surprisingly short album, though those who discover the African-blessed opener 'Diarabi', the heavy, beat-blustering catch of the excellent 'Let It Bleed' and the final, drowsily-toned epic 'Det Som Aldrig Förändras' will surely make 'World Music' last that bit longer. Imagine a heady brew of Fela Kuti-sized rhythm chops and Sky Saxon Seeds-drilled guitars, all drenched in a gutsy experimental coating, and what you have is a thoroughly contemporary take on the ever-mutating 'psychedelic' sound from this oddly unique Swedish group. STEFAN TURNER, STOKE NEWINGTON, 2013

Thanks to DamoXt7942 for the artist addition.

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