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20 Jan 2018

Old Man’s Will "Old Man’s Will" 2013 Sweden Hard Rock Blues Rock

Old Man’s Will” Old Man’s Will" 2013 Sweden Hard Rock Blues Rock ...recommended..!
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Brilliant 2013 debut by a band that has already created a name for themselves by intensive touring and energetic live shows. Featuring Klas Holmgren of Gin Lady on guitars, these Umeå-based rockers deliver a highly addictive blend of smart melodies, groovy soundscapes and heaviness. Combined with the vocal talents of singer Benny Åberg, the monolithic rhythm-section of bass player Tommy Nilsson and drummer Gustav Kejving, Old Man’s Will has created an album which would stand on it’s own alongside legends such as Deep Purple and Led Zeppelin. This record had might as well been recorded during that time. Stunning artwork by Felix Nilsson. An instant classic!…~ 

Swedish quartet OLD MAN’S WILL is one of the new bands on the Swedish rock circuit, formed in 2012 by members of which some may be familiar, at least to those that track band constellations and band projects based in this Scandinavian country. Their self-titled debut album was released in the fall of 2013 on Swedish label Transubstans Records. 
As is the case with the greater majority of Transubstans band roster, Old Man’s Will is another band that looks back in time for inspiration, and again it is the 1970’s that is the targeted decade. In this case we have a vocalist that sounds like the bastard child of Robert Plant and Ian Gillan, albeit with a more controlled delivery than any of those, as one of the key elements maintaining a nerve and tension on the various tracks. 
Supplementing the vocals we have a drummer that knows his nice and easy just as well as he does his more developed and sophisticated, while bassist Nilsson, at least to my ears, comes across as a man that knows both his G. Butler and his J. Dewar. Guitarist Holmgren caters for the main elements of a retro oriented hard rock sound by way of warm, fuzzy guitars, with a certain fondness for blues-oriented escapades when soloing, otherwise supplying elegant, retro riffs both in dampened and controlled guises as well as with more of a psychedelic oriented touch. 
The end result is a band exploring a sound that might be described as a subtle blend of multiple possible inspirations, of which Black Sabbath, Led Zepplin and Robin Trower are some of many names that merits a mention. The band are smart enough to keep their songs fairly short and sweet too, so that none of the songs becomes too repetitive or outstay their welcome. 
There’s even an oddity that breaks the mold here, one song that doesn’t belong deep inside the blues based hard rock universe the rest of the album revolves around. And on this piece, called Smidesvals, the guitar is pushed off the stage, replaced by a majestic organ that dominates this song in a Deep Purple kind of way. Another song with a distinct 70’s sheen to it, but exploring a rather different variety of it when compared to the rest of the album. 
Originality is a word fairly difficult to use when encountering bands exploring material of this kind. There are elements and details that makes any of them more (or less) than what you describe, but ultimately they explore familiar sounding turf and the main question is if they do so in a good way or not. Old Man’s Will are among the better ones in that context, they play on their strengths, of which they have many, and have made themselves a strong debut album. Not a boundary breaking one, but a production of generally high quality on all levels. If you enjoy bands that explore 1970’s sounding blues based hard rock in a good way, Old Man’s Will is a band you can safely add to any list of bands that merits a check….by….Olav M. Björnsen….~

Εξαρχής να αναφέρω ότι το όνομα που επέλεξε η νεοσύστατη μπάντα μου άρεσε πολύ. Και ποια η βούληση του γέρου άνδρα; Μα να παίξει 70s hard rock ‘like they used to’ φυσικά. Εκεί που οι Grand Funk Railroad συναντούν τα ντουέτα των Coverdale/Hughes (πολύ πιο συγκεκαλυμμένα το δεύτερο) και όταν η γενιά του download δύναται επιτέλους να ανακαλύπτει εκ νέου τη δεκαετία του '70 μέσα από δικούς της ήρωες, οι Old Man’s Will αξιοποιούν τόσο τις παραπάνω επιρροές όσο και την κεκτημένη ταχύτητα που τους προσφέρεται από το συνδυασμό της επιτυχίας συγκροτημάτων όπως οι Graveyard και Horisont και του γρήγορου ADSL και ηχογραφούν ένα hard & heavy δίσκο που οι μουστακαλήδες του σήμερα θα εκτιμήσουν και οι συλλέκτες του αύριο θα πληρώνουν αδρά (εν είδει 'underground’) για να αποκτήσουν ως κρυφό διαμαντάκι. Followers, όχι leaders (ακόμα τουλάχιστον), αλλά με ήθος και βλέψεις για το καλύτερο. – Φάνης Μανταίος…~ 


The Cauldron
Why Deprive Me?
Judgement Day
Evil Woman
An Ennobling Evening

19 Jan 2018

Simon Jones “Melanie And Me” 1975 Australia Private Acid Psych Folk

Simon Jones “Melanie And Me” 1975  mega rare Australia Private Acid Psych Folk
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Perhaps the rarest of all the Aussie psych folk albums and one of the rarest acid folk private pressings worldwide 
Acoustic folky acoustic music with electric guitar and organ. Male and female vocals 
Reportedly only 100 copies were made so it hardly ever turns up for sale. 
Original 1975 soundtrack for the Australian movie of Melanie and Me….~

“Melanie & Me” was a promotional tool used for a movie shot by director Chris Fitchett in Australia in 1975. Pressed in an edition of 100 copies, it was handed out to people who partook in the film, and who attended the only screening to date in Sydney. Used as the background music for the entire movie, this was actually the second version of the soundtrack, recorded last minute by Simon Jones as Chris wasn’t happy with the original. The result had become one of the most sought after releases from the Aussie scene, and one of the most obscure records from the region as well. Beautiful psychedelic folk rock with a combination of male and female vocals, fuzz guitars and organ solos, this won’t disappoint. Digipak CD limited to 1,000 copies….~

Melanie and Me was a promotional tool used for a movie shot by director Chris Fitchett in Australia in 1975. Pressed in an edition of 100 copies, it was handed out to people who partook in the film, and who attended the only screening to date in Sydney. Used as the background music for the entire movie, this was actually the second version of the soundtrack, recorded last minute by Simon Jones as Chris wasn’t happy with the original. The result had become one of the most sought after releases from the Aussie scene, and one of the most obscure records from the region as well. Beautiful psychedelic folk rock with a combination of male and female vocals, fuzz guitars and organ solos, this won’t disappoint. This is a fully licensed reissue. The CD comes housed in digipak and is limited to 1000 copies. Also available on Vinyl….~

Historic soundtrack recording taken from a short feature film directed by Christopher Fitchett. “Melanie and Me” was concerned with a struggling actress who pays off debts to her flatmate by some rather dubious means. This privately pressed soundtrack album (100 only) was handed out to the original actors and to moviegoers who attended the film’s Sydney premiere in 1975. 
Musically, the majority of this LP contains folk rock with a combination of male & female vocals, dual acoustic guitars and drums. However the best cuts are “Melanie and Me” with electric guitar & the occasional use of amplified fuzz, and “Nine to Five” featuring an incredible 4 minute plus electric organ & piano jam solo (ala The Doors)……TrippyHippy …~

At its core, Simon Jones’ soundtrack to the art film “Melanie and Me” is a fairly straightforward folk rock album. Dual acoustic guitars, male/female vocals, and drums form the basis for most of the material. There’s some electric guitar and even some amplified fuzz to open and close the album, that most assuredly will give it street cred with the psych crowd. There are a couple of tracks that are a bit different from the norm, and does make one raise their head in wonderment: 1) ‘Nine to Five’ features electric organ and piano, and definitely sounds like a track from the American underground of the late 60s. Perhaps best is the jam starting at the 3 minute mark that certainly reminds one of The Doors at their peak. And 2) 'Welcome’ is one of those introspective folk numbers complete with melancholic recorder, a sound that presents an imagery of the English countryside….by….ashratom….~


1. Melanie and Me 
2. Nine to Five 
3. You by Me 
4. Relax 
5. Welcome 
6. Goodbye 
7. Melanie and Me (Alternative Take) 

Goat “World Music” 2012 Sweden Psych Rock,Afrobeat,Afro Psych debut album

Goat “World Music” 2012 Sweden Psych Rock,Afrobeat,Afro Psych debut album
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Well now this is a treat. One of 2012’s biggest underground rock albums – this year’s Uncle Acid and the Deadbeats, perhaps? – is the work of a deliberately enigmatic commune/collective who have supposedly built themselves some kind of snowbound psychedelic Shangri-La in a tiny village in Sweden’s far north. Korpilombolo – so we are to believe – has a mysterious, long-established tradition of voodoo worship, and local priests have been serenading the townsfolk with various strains of far-out, pan-global incantations for generations; Goat are merely the current vessel for this time-honoured mystical practice, don’t you know. Whatever the truth of all that, World Music sounds incredible – a pitch-perfect mix of Black Sabbath, Can, Fela Kuti, Funkadelic and the northern-lights psych of countrymen such as Pärson Sound or Träd Gräs och Stenar. It’s overflowing with ingenious riffing, intoxicating chants and almighty freakouts, all with an exceptional dynamic bite and poppy concision that make it utterly accessible and head-spinningly great fun throughout. Beautifully realised, immaculately recorded, and one of the year’s loveliest vinyl artefacts to boot….by..Tom Hughes…~

As the series of interviews they’ve given in recent months suggests, the Swedish band Goat is hilarious: In September, before their performance at Britain’s Supersonic, the Quietus published its second talk with the ever-vague group. When writer Joe Clay asked who might headline the festival of that unnamed member’s dreams, they answered, “If Holger Czukay and Geezer Butler had a son, it would be him. Just him playing bass for a couple of days.” The Goathead described the band’s live performances as “the harvesting of souls,” and its lifestyle as “invocations, prayers, and total rejoice!” 

Beneath that jester veneer, though, there’s a much more serious idealism at work here. As key member Christian Johansson told The Quietus in an earlier interview, Goat stems from a loose and long-running collective of townspeople in Korpilombolo, a village with a population of a few hundred in the northwest hook of Sweden. Though people in the town have been playing under that name in various incarnations for several decades, the nine-song, steady-burning World Music is the unit’s first proper release. That alleged tradition, it seems, is mostly an excuse for being a true band or collective rather than a collection of personalities, vying for the attention of micro-celebrity at a time when that’s easy enough to find. To wit, they wear masks on stage and discuss the details of membership– who has been in the band, who will be in the band, who is currently in the band– in incredibly ambiguous terms. “In northern Sweden– it is hard to explain in English– it is about not drawing attention to yourself. The important thing is what you do, not who does it,” explained Johansson. “This is why we never have tried to make ourselves heard before now.” The songs matter more than the sources. 

That approach of the whole being greater than the sum of its parts largely defines World Music, a psychedelic rock record that strangely never seems hyperbolic. It’s fun and often dizzying, employing a kaleidoscope of unexpected tones and far-flung influences. But it doesn’t feel forced. Over insistent rhythms that suggest Spacemen 3 and, at least in spirit, the conjuring drones of Pandit Pran Nath and La Monte Young, Goat weave an ecumenical history of rock'n'roll. They intercept signals from Led Zeppelin and Funkadelic, Jefferson Starship and Fela Kuti, the Congos and the Rolling Stones, bending them into a resiliently consistent album. Sure, opener “Diarabi” finishes with a brief drum solo, but that span flows naturally from the song’s steady ascent of tangled guitars and distant keyboards; it feels less like a solo than the end of the song. “Let it Bleed” is a mildly funky number with powerfully strutting (and anonymous) female vocals, suggesting ESG in its sass and sizzle. But even its syncopation seems somehow reserved, taking care not to come too hard or too heavy. With its fuzz-tone bass, wah-wah love, and chanted vocals, “Goatman” is the record’s traditionally heaviest track, keying on a guitar solo that sounds as though played with barbed wire. Still, Goat seem to be holding back, tempering sizzle and drive with a proper modicum of listlessness. This might sound tepid to some; to me, at least, it’s an invitation for immersion… Grayson Currin…pitchfork…~

Its a remarkable album, even more considering that a place as cold as Sweden managed to capture afrobeat so well and make such an infectiously groovy record without resorting to synths. The group seems to pour as much energy as they can into this one and it definitly shows. To the point that the vocals seems close to crack at places, and im pretty sure they busted a few instruments in the studios during the more intense jams. Some of the songs fall a bit flat though, and as such it comes short of 4 stars….by…Threntall …~

Just finally grabbed this from bandcamp direct, but I’ve been grooving on it for a couple years with headphones. 
Most of the time I prefer my music loud, but even on headphones, Goat works. Everything they set out to do they effortlessly succeed in doing and then some, and afterwards I feel exorcised. 
My first and thus far only live ritual, Goat last month blew myself and my lady friend quite a way away. The way they seamlessly combine…blues, jazz, afro-funk, pop, psychedelia, stoner rock/space rock/love making rock, jam, and tribal rhythms and a crazy good bassist churning this infectiously catchy voodoo rock through its entirety is stupefying. This was my # 3 album of 2012; Pallbearer’s debut took top honors, with OM’s latest a very close second, and Goat, yeah, a very close third. 
This is a pure example of one the bright albums that is reigning sunshine into my life, post-depression and post-negative sounding music in general. There’s other emotions, and Goat gives me the I want to rock out feeling, and man, that’s all I ever want from my bands in a live setting, so they are there. I can’t wait to hear this louder and I absolutely am dying to get Commune in the mail, their sure to be stellar sophomore serving. You have been warned….by…SabbathJeff …~

I gave this album 5 stars (and I’m only reviewing 5 stars top cualty new stuff) and I’ll tell you why. When I first listened to this I thought it was simply fresh and very original (specially in this case from a band coming out of the dark forests of Sweden)(and I can expect this from Africans but not by Europeans). Ok now, here the “music” is FIRST. Rampant rocking guitar melodies that will make you feel like a hippy from Woodstock, not like some stupid stoned nude dude but like a smart malicious-music like devil, for you will be haunted with voodoo ambient chants that the singers propells. Another excellent quality about World Music is the flow of the percussions, drums, timbals and tambores going along the brutal pounding yet sophisticaded sound of the bass witch makes it even more interesting. Overall Goat’s WM is an exiting thrill to listen to, very very fun….~

Rocket Recordings must be a happy label right now. For 14 years it’s, have been trawling the neglected underbelly of psychedelic rock in all its branches, taking on the role of a street pulpit-standing prophet, dragging anyone who come near by the shirt lapels, banging them up against a wall so the cement dust beds in their hair and imploring them to listen to the latest Gnod or Ufomammut record - even when trends and fads and whimsy has meant many have looked the other way instead. Now, though, you sense there’s a sea change; look and listen to those who appeared at this year’s Supernormal festival and who are playing Liverpool’s forthcoming Psych Fest and the evidence is that a new breed of explorers of the outer paradigm are coming forth and, more excitingly, finding an audiences for their wares. It’s a pretty good time, then, for Sweden’s Goat to enter the UK fray with their debut LP World Music. 

Indeed, there’s a sense for Rocket Recordings that, following years of shouting into the void, they look like they’ve finally really hooked one: Goat arrive from Sweden with interest rapidly building, with both a 7-inch and a small cassette run selling out rapidly earlier in the year, a generous presence on the blogosphere and an overall momentum that equates – to put a dull employer sort of stamp on it – to the sort of CV that newly-signed Rocket bands have rarely previously had. 

Their back story is, at worst, gloriously entertaining hokey and, at best the sort of passed down folklore that fizzles with magic and mysticism, an almost alien tale among 2012’s relentless search for answers in black and white. Korpolombolo, where Goat reside, is in the north of Sweden; it’s apparently a place that, for centuries, was a haven for voodoo worship, the result of a travelling witch doctor who just happened to be passing thanks to the directions of an ancient scripture. This came to an abrupt end when Christians discovered these pagan rituals and burnt the locals for witchcraft, placing a curse on the settlement that Goat say survives to this day. 

Still, if they’re letting such fears bother them, then it doesn’t show on sprawling upbeat jams like ‘Disco Fever’ and ‘Golden Dawn’, tracks that give themselves to the reed thin guitar and syncopated rhythms of afrobeat, evoking a freedom of spirit that snakes its hips in defiance against the anguished shrieks of their ancestors. ‘Let It Bleed’, meanwhile, crosses continents completely in its part-tribal paean, part funk odyssey, sweating from the hottest New Orleans humidity. There’s also a very primal sense at play; songs like ‘Goatman’ and ‘Goathead’, two colossal tracks that sit back to back, are built atop great big slabs of bloodshot-eyed guitar and tribalistic chants. Way back when The Stooges started out in 1967 The Psychedelic Stooges, they were known for playing rough, marijuana-induced improvisational sets as otherworldly as they were heavy – you sense they might’ve sounded something like this as six-string ripples like whipped rope. 

In the very few interviews the band have given thus far, the inclination has been that they’re travellers by nature and, whether by broadband connection or footwork, they’ve conjured a vast multitude of touchstones here. More impressively, though, is how they’re tightly packed and cohesively woven into the fabric of one another, as opposed to the group jumping loosely between sonic souvenirs. Occasionally that does let them down. For a group whose palette is clearly so broad, the comparatively limited array of sounds used to bring it together, coupled with a largely constant tempo that never quite fully stretches its wing span, means that peaks and troughs in dynamic and tone are rarely found, the band bringing out all their various exoticisms from the off. There is one sharp shift, and it’s great, ‘Goathead’ suddenly disappearing in a cacophony of noise and leaving behind its shivering, naked riff on acoustic guitar, a rare moment of fragility amidst this ferocious aural land. 

‘Det Som Aldrig Förändras’ is the album’s final mind-bending finale, meaning in English ‘it that never changes’. They prove that to be true by segueing back into the opening track ‘Diarabi’, the circle complete. World Music is pretty much just that, a wonder through the traditional folk and more amplified sounds of the planet’s history, yet infused with enough of Goat’s own character to all glue together. Whether they’re travelling shamans becomes irrelevant to the point; the music alone possesses enough magic on its own to captivate….by Simon Jay Catling ….~

Close your eyes while World Music spins and it’s easy enough to piece together a scene for yourself. Think ritual drumming; the soft, rhythmic thump of unclad feet; ancient rites chanted in an unfamiliar tongue and rapt faces lit by the flicker of ceremonial fires while condensation drips lazily from jade-green palm fronds. 
Where, now, do you think you might find yourself? Haiti? New Orleans? Saint Sebastian? Matool? Nope, instead all this voodoo-inspired wonder hails from decidedly un-tropical Sweden, courtesy of mischievous newcomers Goat. 
While they might be many miles from William Seabrook’s Magic Island and their shtick – which includes an ancient curse and one member claiming he’s the 11th son of a voodoo priest – requires more than a pinch of salt to get onboard with, there’s at least one pivotal factor that certainly doesn’t fail to convince and that’s the music itself. 
Channelling a more joyous energy than many others might if given the same source material (Fabio Frizzi or Steve Moore, say), Goat’s music is enigmatic and fittingly potent given the religion they’ve used as inspiration. Startling and possessed with a steady grasp of how different elements can gel and offset each other, the vertiginous mix means they’re perhaps the only band on the planet who can simultaneously bring to mind Can, Fela Kuti, Liquid Liquid and Moby Grape. 
Basslines hulk and lurk, goading you pushily towards the dancefloor while psychotropic guitar parts conjure impossible colours and chanted, voice-as-instrument ululations score a deep path through your subconscious despite only one word in 50 ever actually making sense. Dip in at any point and you’re bound to hit gold, whether you light upon the cartwheel riffing of opener Diarabi, the glorious, organ-dappled funk of Disco Fever or the primal rattle and grunt of the beautiful but far-too-short Run to Your Mama. 
You’ll soon find, however, that being a casual bystander simply isn’t an option: it’s all too captivating, too delirious and too gosh-darn wonderful for you not to join the fray. So surrender your mind, body and soul to the Goat and one of the year’s best albums so far….by…Alex Deller …BBC review..~

'World music’ is a loaded term. Taken a certain way (late 80s Womad, say), it evokes dainty divisionism – 'world’ encompassing pretty much anything that may fall outside the established rock & roll continuum. On the other hand it means music. Listening to Goat’s debut LP ensures the title makes absolute sense: primal, pulsating sound that uncorks the elemental to miraculous effect. Goat draw fascinating dots between psych, krautrock, doom and disco. Imagine Amon Düül, Electric Wizard and Roy Ayers collaborating in a ganja-wreathed 70s summer Harlem brownstone on a lost soundtrack to a Kenneth Anger film. You won’t be far off – hard driving analogue freak music, real hotness. 
The product of one of the more curious – and very possibly spurious – back-stories of the past few years (band form in supposedly 'cursed’ voodoo Swedish backwater of Korpilombolo, get well acquainted with the rhythmic arts) Goat are a band out of time. However, one gets the feeling that – much like Electric Wizard or Uncle Acid and the Deadbeats, say – the outward 70s obsession is no mere kitsch dalliance but more a fertile layline connecting the vibe that keeps on giving to the present, and a heartfelt reflection of what genuinely turns these musicians on. 
Indeed, the very fact that Goat have managed to reference the most readily identifiable audio outposts of 70s counterculture in one record without sounding camp, trite or silly is highly impressive. So it is that raw disco licks nestle against hard fuzz tones, plinking tablas and audacious sax solos are layered happily betwixt whacka guitars and echo-laden vocal chants. The overall effect is seedy, funky, simply life affirming: and if it plays this vital on a drizzly Sunday night, lord knows what it’ll sound like outdoors with a belly full of Guinness and shrooms. 
Instrumental opener 'Diarabi’ has an admirably strong New Wave Of British Heavy Metal accent – the opening riff could (if sped up a little) comfortably fit with early Maiden or Angel Witch. The virtuoso pulse is though – as elsewhere - pure Can, staggered, drunken and swung. 'Goatman’, meanwhile, is voodoo sex music, and powerfully infectious at that. 
That a majority of the nine tracks here come in at under five minutes gives some indication as to Goat’s hotheaded intent. 'Disco Fever’ is mania, a clear incantation for elemental movement; 'Run To Your Mama’ is a fevered two minutes of furious bongo-fuelled Sabbacana. The production value throughout is fittingly warm – no doubt the product of cranky, hotch-potch kit – but although vehemently analogue, this LP is by no means a lo-fi exercise. World Music has surely passed through the ears of a serious mastering engineer, sounding at points – the psych freak-out section in 'Goathead’, for example – like it could comfortably go up against Death Magnetic in the loudness war stakes. 
Goat has distilled what could have so very easily become an overblown meandering jam fest into a punchy, forceful and infectious masterpiece of cosmic rock & roll – the will is palpable, nigh a trace of fat on these bleached bones. Elemental fire music from the land of the midnight sun, pure incantations to ye gods of rock & roll. Watch out!….by…Harry Sword ….~

Once upon a time, many moons ago, in the tiny Swedish hamlet of Korpolombolo, a voodoo witch doctor came to town. Falling under his spell, some of the villagers embraced his mystical teachings…before he was put to death by a Christian horde, cursing the town in his last breath. Years passed, and through them all an enigmatic band named Goat, with members changing from generation to generation, would gather to practice those secretive voodoo rites. Until one day, they walked into a studio and conjured up the acid-fried, otherworldly romp of World Music. 
As far as band biographies go, Goat’s formation tale is a doozey–one best left un-spoilt and just enjoyed for its arcane mysteriousness and hoodoo supernaturalism. Certainly, the band’s material is oozing with a heady leitmotif bound intrinsically to its back-story. World Music features Afro-beat and Afro-rock meeting the intoxicating Krautrock of Amon Düül II, Can and any number of proto-punk outfits jamming over the Omen soundtrack. It’s all lysergic shards of guitar, necromantic percussion, and entangled chants and melodies. It’s a peek into the minds of the Brothers Grimm as they astral travel from Kinshasa to Detroit, stopping off for a mushroom-fuelled trip with Hawkwind through the valleys of Wales, and a Stockholm-based avant-jazz gig along the way. It’s insane, chaotic, and wholly brilliant. 
World Music is a twisted disharmony of palpable, trance-like grooves, loose jams and masses of wah-wah, reverb and tweaked-out guitar–all of which screeches, howls, clangs and crashes in a wacked-out fuzzy din. Sound good? It’s better than good; it’s a masterpiece. Squalls of psych and steel strums make up “Diarabi” and “Goatman”, the latter cut with tribal drumming and a tumbling, corpulent bass. Sinisterly picked, propulsive notes overrun the dirty, disco metal of “Run to Your Mama”. “Disco Fever” brings the seedy funk, dripping with '70s organ and chopped up, tinny ringing chords. And the hollowed out, tinkling chimes of “Golden Dawn” are slathered in lolloping bass and flashes of distorted guitar, before dropping into a Cambodian keyboard jam, which is halted by a squealing solo. 
It could have all gone so terribly wrong. World Music is soaked in a vintage '70s vibe, and, as plenty of redundant retro and proto-this-and-that-inclined acts can attest to, simply throwing on some flares, sparking a spliff, and reenacting a few moves is definitely not the same as invoking a genuinely free-spirited mood. No such issues for Goat though. The band exudes a wanton ritual rum-guzzling eccentricity, and its songs are crammed with unconventional swerves, making for a weird and wonderful hallucinatory atmosphere throughout. Sure, you might well recognize the retrospective components here, but I guarantee you’ve never heard them arranged like this. 
There’s the standing on a mountaintop, acid-bleeding grim folk of “Goatlord”, with shrieking, echoing vocals, and more of those beautiful amp-fusing picked leads. There’s the watching the Wickerman burn orgy of “Goathead”, with low-end bass rumbles, fervent percussion, warping feedback, and a gentile folk stroll to finish. “Let it Bleed” has fuzzed-out vocals and a jazzy-saxophone flourish to subvert its uplifting indie-pop riffs, and everything comes crashing together on spectacular closer “Det Som Aldrig Förändras”. Droning, psychedelic keyboards, motorik percussion and funk-laden bass are tossed together, until the hypnotic rhythms boil over into a kaleidoscopic jam–where World Music is taken to its freakiest and most aggressive point, with Goat unleashing the wickedness in abandon. 
The majority of World Music’s tracks are brief and nasty, giving the album a mean lo-fi edge. But while the album is filthy and echo-laden, it is also warm, with a hefty, thick pulse. It’s stuffed to the corners with sounds, and the balance between messy analogue ambitions and ensuring all the instruments are captured and rendered for maximum narcotic effect is superbly gauged–both the production and mix are excellent. 
World Music is a masterwork of the eldritch, bizarre, and celestial, and one of the best and most unhinged psychedelic rock albums you’ll hear in 2012. The fact that this is the band’s debut sends shivers up the spine as you contemplate what Goat could possibly have in store next time round. It’s all bewitchingly unorthodox–but how could it not be, given the band’s history, invented or not? The pure dementedness and fearlessness of throwing all this together is to be celebrated, and Goat has clearly tapped in to psychedelia’s deepest, darkest reverberations. Channeling whatever ceremonial endeavors (or imbibing whatever substances) are required, Goat has come up with an exuberant album filled to the brim with potent mysticism; World Music is fittingly possessed by a sprit of pure adventurousness….by…CRAIG HAYES…pop matters….~

• Fuzz? Check, 
• Polyrhythms? Check 
• Funky basslines? Check 
• Soul grinding organs? Check 
• Sultry female vocals? Check 
• A Whiff of the occult? Check 
• A time machine that takes me back to a place where semi naked people dance in fields in a swirly arm flailing dance? Check 

What isn’t to like about the amazing debut album ‘World Music’ by Goat on Rocket Recordings? This Swedish collective who bring along a hypnotic blend of voodoo, early 70s funky afro beat and ethnographic film flashbacks have certainly nailed something here that is huge. ‘World Music’ is an apt title as well with its styles of music from around the globe which to these cloth ears seems to reference not only the much referenced voodoo, also Celtic, Arabic, Brazilian, Salsa, Indian Tabala and Mridangam drumming. With its early 70s lo-fi feel and production, there is something that just feels right about this album. 

As the first track ‘Diarabi’ starts with its transcendence and a snaking charm calling the Orishas to gather and be your guides on a journey through the minds of the Korpolombolo natives as they show the power of their guiding spirits lost in a world past. The tribal beat starts for single ‘Goatman’ with its Fuzz-Wah guitar lines that are to die for, chanting vocals filling the spirit with light and dance in celebration. 

The sleazy bassline for ‘Goathead’ signals a deeper level of sexiness that amazingly transforms in to a pastoral Spanish tinged acoustic guitar coda. ‘Disco Fever’ is full on afrobeat, I deny anyone not to try and move involuntarily to it, let alone try and sing a long with it. ‘Golden Dawn’ comes on like strong with its late 60s style European detective film sound track and the vibraphone riff, grooving bassline and squealing guitars. In fact it has a feel of ‘Millionenspiel’ by Can which was recently released on the ‘Lost Tapes’. 

Things slow down with ‘Let It Bleed’, with its simple psychedelic pop feel, sleazy sax and a Siouxsie sounding vocal. ‘Run To Your Mama’ brings a different take on the tribal drumming with a more Native American feel and then we are in to a Hurdy Gurdy spin of ‘Goatlord’ swirling us a long in to the crescendo of the finale ‘Det som aldrig förändras / Diarabi’ and the cycle begins again, like life returning to the earth to be reborn. 
‘World Music’ by Goat will be up there on a lot of list of album of the year and I can’t argue with that. There is a familiarity to it that brings about a smile that is a result of the melting pot of influences and references. This is also music for the outdoors, which we should use to commune and celebrate nature. So crank up the volume, find a wooded glade shed your clothes and dance with voodoo spirits….by Chris Hughes……~

A lesson of humility from Swedish shamans 
Here they had already spoken opportunely in October; I, in my small way, today I feel like I’m going deeper into the subject, I hope not too long out of time (read: a delayed burst). 
I want to talk about it not only and not so much because this record is incontrovertibly interesting, and because the Goats are completely out of their mind and deserve all our curiosity for anything else they want to give us for the future, but especially because behind their album of exorcism “World Music” (published by Rocket Recordings), there is a story that concerns me, and that I wish to share with the people of Musicaddiction. 
Take one that by now had surrendered to the inexorable superiority of the synthetic; one who was preaching - with horror of all his friends musicians (especially his colleague and sister Fenderiana doc) - that a whole series of instruments were unequivocally deceased, outdated, kaput; one that claimed that a whole range of effects should be disdainfully archived (or resold to the highest bidder); one that dealt with intolerable snobbery whole chapters of the history of music (from hard rock to grunge) … That hideous girl was (I) I, and I’m telling you about my existential crisis the other day. 
In Frusciante’s stereo I listened to this condensation of tribal wildness, which at times became psychedelic pure, and that a moment later, in the solos in the smell of old school virtuosity , made me think of the more vintage Santana, and then modulated the sound in the declensions more fat of distortion, all while an invaded sang his stream of consciousness tearing the vocal cords, a little 'riot, a bit’ folk, a little 'voodoo. 
Here, I stopped for a moment, and I told myself that maybe it is not true that now only the synthesizers and drum machines and all those hellish effects machines that make the instruments other than themselves make sense ; maybe it’s still nice to hear a guitar that does something tamarro in a non-tamarro way; maybe it’s still nice to let yourself go to percussive suggestions that you never ever thought would hypnotize you, and be surprised to scream at someone who shreds their voices like there’s no tomorrow. 
Ultimately, perhaps it is still possible for music to take you away from where you thought you were: the Goats have melted the ice of their Sweden to take me straight into dry steppes, deserts and forests; elsewhere from where I would have believed to arrive, elsewhere from where I had left. The Goats made me wonder: of them, but also of myself. 
Destabilizing and engaging: exactly what you need when you need to change your mind, just a little bit, about what you thought you knew, and luckily it was not all that yet. 

A1 Diarabi 
A2 Goatman
A3 Goathead
A4 Disco Fever
B1 Golden Dawn
B2 Let It Bleed
B3 Run To Your Mama
B4 Goatlord
B5 Det Som Aldrig Förändras/Diarabi 

Goat "Fuzzed In Europe" Release Date: 27/10/2017 Sweden Psych Rock new album 

Goat “Commune” 2014 Sweden Psych Space Rock 

Goat “Live Ballroom Ritual” 2013 Swedish Psych Rock 

Goat “Requiem” 2016 Sweden Psychedelic Rock,World 

johnkatsmc5, welcome music..







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music forever

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