Goat: World Music

So what’s the point in reviewing an album that’s been released for ages and has lauded critical praise from some of the best-taste blogs and writers out there? Well, it’s because we love it so much that we still feel the need to shower it with more superlatives and because we don’t really (or often) give a monkey’s scrotum that we’re late and not first to review (if the latter ever happens here it’s due to sheer luck rather than intention, but we’ve stated this before).

What makes us keep coming back to Goat’s World Music again and again is, in part, due to its nigh on perfect mix of mystery and pop, recognizable flow and esoteric depth. Simply put, it just warrants further investigation with every listen. It’s a beguiling heady brew of influences and antecedents filtered through a fug of psychedelic and funked miasma that reaffirms its appeal again and again.

With wah-wahs screaming and bongos bashing World Music is a seething singular global vision shot through with Arabic lilts, West Coast fractals, folkish interludes and Disco-funk dynamics. Amounting to a transnational psyche agenda for the weird underground, it hybridizes the global peculiar without ever losing its (third) eye and (second) sight on the here and now. With each outing it gives out more and more sweaty abandon and joy.

We bloody love it and one of us was lucky to see them live. JKneale writes:

Goat at the Lexington – appearing as the exotic filling in a Gnod/Teeth Of The Sea psyche sandwich – felt not so much like an event and more like a happening. They have a perfect grasp of stagecraft, so that when they appeared out of the darkness – all but the bongo player wearing masks and extraordinary outfits – it didn’t feel like a daft stunt. The singer-dancers whirled around on the tiny stage while the man on the bongos stared fixedly into the crowd; the other musicians shifted from genre to genre with supernatural facility. The place was packed, the usual faces complemented by non-scene types come to see what the fuss was about. People danced, as I’d hoped they would, and there were delighted grins everywhere you looked. Madchester with extra magick.

A gig to remember, a sublime mix of the perfectly pop and the deeply strange – come back soon, Goat.

Buy World Music here.

‘Run To Your Mama (Pinkunoizu Remix)’:

‘Goatlord Live’ (very flashing images contained herein):


‘Let It Bleed’:


About angrybonbon

Both Bars On's Manchester correspondent

Posted on November 26, 2012, in Album reviews and tagged , , . Bookmark the permalink. 1 Comment.

  1. Spectacular record . . . I named it Album of the Year for 2012 at Indie Moines: http://indiemoines.com/2012/11/26/top-21-albums-of-2012/

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