October 18 street date. The Ouroborus - that is, the icon of the snake or dragon eating its own tail - appears to some a statement of the brutality of nature. Commonly, it's taken simply to mean the endless cycles of death and rebirth that characterise life on this planet. As such, it's an image that looms large in the world of Goat, the ever-mysterious and endlessly revivifying collective whose latest album marks another adventure above and beyond this particular plane of reality. This may be a band that has named albums both "Requiem" and "Oh Death", yet this eponymous salvo proves yet again that transcendence and metamorphosis are their watchwords. "Goat" sees this ever-unpredictable outfit summoning rhythmically-driven rituals in unmistakable, uplifting and scintillating style, equally adept at ignitiing dancefloors and expanding minds. ‘One More Death’ and ‘Goatbrain’ are spectacular curtain-raisers, embodying a hedonistic spirit driven by incisive funk and possessed by merciless fuzz/wah-drenched guitar. Yet elsewhere, the band's love of hip hop is the fuel for the end-credits-epic album closer ‘Ourobourus’, which marries infectious chant to breathless Lalo Schifrin-style breakbeat action. And which also means ultimately, like the titular oldest allegorical symbol in alchemy, we're right back where we started.
October 18 street date. The Ouroborus - that is, the icon of the snake or dragon eating its own tail - appears to some a statement of the brutality of nature. Commonly, it's taken simply to mean the endless cycles of death and rebirth that characterise life on this planet. As such, it's an image that looms large in the world of Goat, the ever-mysterious and endlessly revivifying collective whose latest album marks another adventure above and beyond this particular plane of reality. This may be a band that has named albums both "Requiem" and "Oh Death", yet this eponymous salvo proves yet again that transcendence and metamorphosis are their watchwords. "Goat" sees this ever-unpredictable outfit summoning rhythmically-driven rituals in unmistakable, uplifting and scintillating style, equally adept at ignitiing dancefloors and expanding minds. ‘One More Death’ and ‘Goatbrain’ are spectacular curtain-raisers, embodying a hedonistic spirit driven by incisive funk and possessed by merciless fuzz/wah-drenched guitar. Yet elsewhere, the band's love of hip hop is the fuel for the end-credits-epic album closer ‘Ourobourus’, which marries infectious chant to breathless Lalo Schifrin-style breakbeat action. And which also means ultimately, like the titular oldest allegorical symbol in alchemy, we're right back where we started.
October 18 street date. The Ouroborus - that is, the icon of the snake or dragon eating its own tail - appears to some a statement of the brutality of nature. Commonly, it's taken simply to mean the endless cycles of death and rebirth that characterise life on this planet. As such, it's an image that looms large in the world of Goat, the ever-mysterious and endlessly revivifying collective whose latest album marks another adventure above and beyond this particular plane of reality. This may be a band that has named albums both "Requiem" and "Oh Death", yet this eponymous salvo proves yet again that transcendence and metamorphosis are their watchwords. "Goat" sees this ever-unpredictable outfit summoning rhythmically-driven rituals in unmistakable, uplifting and scintillating style, equally adept at ignitiing dancefloors and expanding minds. ‘One More Death’ and ‘Goatbrain’ are spectacular curtain-raisers, embodying a hedonistic spirit driven by incisive funk and possessed by merciless fuzz/wah-drenched guitar. Yet elsewhere, the band's love of hip hop is the fuel for the end-credits-epic album closer ‘Ourobourus’, which marries infectious chant to breathless Lalo Schifrin-style breakbeat action. And which also means ultimately, like the titular oldest allegorical symbol in alchemy, we're right back where we started.
April 20 street date. RECORD STORE DAY release. Following the original, digital only, release of Goat's score for ‘The Gallows Pole’ TV series, we are now thrilled to announce an expanded, limited edition vinyl version, which will be released as part of Record Store Day 2024. ‘The Gallows Pole’ is a three-part Element Pictures production, written and directed by Shane Meadows which was aired in the UK on BBC Two and BBC iPlayer. The vinyl version of the ‘The Gallows Pole: Original Score’ differs from the previous digital release as it now only features the music which was specifically written for the series itself - it doesn't include the three, previously released back catalogue tracks. Instead, this vinyl edition contains three "unused" "unreleased" tracks: ‘Goat Witch’, ‘Timeless Awareness’ and ‘Kampsång (Instrumental)’. Limited to 3000 copies worldwide - the package comes as a colour vinyl LP + 7" and is housed in a special gatefold sleeve.
June 7 street date. Goat Girl - Lottie Pendlebury (she/her), Rosy Jones (they/them) and Holly Mullineaux (she/her) - present their third album, "Below The Waste", arriving on Rough Trade Records. Progressing from their angst-fuelled self-titled debut (2018) to the escapist world of sophomore LP "On All Fours" (2021), the South London trio enter their most self-assured era yet with this 16-track record. 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 Albarn's Studio 13. Additional strings, woodwind instruments, 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. Co-produced by the band and John Spud Murphy (Lankum/Black Midi), "Below The Waste" takes the band's distinctive sound to new extremes, as they delve fearlessly into expansive noise-rock, delicate folk and synth-driven pop.
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