26 Oct 2016

Soundblab reviews Mirage by Josefin Öhrn + The Liberation

It reads:

With a compact schedule of both touring and recording, the Stockholm psych experience troupe - Josefin Ohrn and The Liberation have returned. Since last year's full-length debut album Horse Dance, the group with all the same hands on deck as on their previous encounters, unveil to us the 10-track odyssey - Mirage.

A reverbed repetitive overdriven organ motif with a constant tambourine, 'The State (I'm in)' is the album's pilot light. The flame builds with the familiar motorik pulse from the drums, a steady pulsating bassline throughout, added later is an encircling tampura synth. Whilst seething guitar lines reach out around the other instruments, driving forward Josefin's enchanted mantra. An Air-like intro blends into an emerald jaded eastern drone wall on Sister Green Eyes', velvety grooves alongside a hypnotic rendering of percussive beat tones, distant phantasmic choral echoes, sitar simulated guitar, are all ecstatically underpinned by the contagious drum loop - ending with what could be an electric Shahnaz...

Read in full here: Soundblab


21 Oct 2016

CLASH & Music OMH Review Goat's Requiem



When Goat first emerged caterwauling from the depths of Scandinavia half a decade ago, they were a shock to the system. Their debut album, ‘World Music’, was a resplendent globe-trotting trip of a listen, their live shows a manic ritual worship at the feet of their twin voodoo priestesses, and nowhere else was there anything quite like it.

In the years that followed, psychedelic music experienced its latest revival, and in Goat’s wake came reams of artists with a similar mix of heady riffs and fusion grooves, their previously unfamiliar aesthetic, if not outright copied, clearly bearing its influence on those that followed. By the time the band’s sophomore LP ‘Commune’ was released two years ago, though still armed with the same hectic brilliance as on their debut the mysterious Swedes’ power to shock and awe was clearly fading.

Goat’s second album succeeded on the strength of its songs alone, but now, on its follow-up, there’s a sense they can’t get away with the same tricks three times in a row. How refreshing, then, that in response to what was a creeping sense of predictability, that on ‘Requiem’ the band have taken a total left turn. Where once they were detached and unreachably alien in tone, now Goat have reached out their arms on a warm, bright, even uplifting new record, laced in flutes and mantras of goodwill.

Read the full review here: Clash



On paper, Goat sound like a comically terrible idea for a band. They perform in masks and flowing robes, and claim to hail from the remote northern Swedish village of Korpilombolo, where they emerged less as a band than as a collective which has supposedly handed its identity down to new members over the decades.

Their line-up is a mystery, and Goat give the impression that different members drift in and out of recording sessions: anyone who happens to be there when the band is making music is part of the band. This might sound like a bad parody of a bunch of amateurish hippies making unfocussed music, but the origin story is almost certainly not true, and the music is too good to have been played and recorded by so loose a collective.

Full Review Here: Music OMH


The Times reviews Goat gig at Coronet, London

Here’s an intriguing proposition: masked Swedes, led by two female singers dancing wildly in ceremonial gowns and headdresses, brewing up a hypnotic mix of African highlife, chanted incantations, heavy rock and rustic folk.

There’s a pantomime element to Goat’s voodoo stew — not least because they claim to have been schooled as children by a witchdoctor who moved into their village — but there’s something liberating about it too. With no personalities to focus on and with the music trancelike the audience can lose themselves to the ritual, whatever the meaning of that might be.

An ominous drone introduced…

Read the rest here: The Times


Bristol B24/7 & Bristol Live Mag Review Goat & Josefin gig at SWX

When we heard Swedish psychedelicists Goat were returning to Bristol, we were more than eager to attend. Ask anyone who has ever seen them live and you can almost guarantee they will say it was one of the best live performances that they have ever witnessed. The experimental collective have created a completely original fusion of styles embracing many historical curiosities from across the globe. The mysterious band could be described ‘electrified tribalism’ and, while their aptly named debut World Music was hailed one of the best albums of 2012, unless you have seen them live, you can't comprehend quite how unique they really are.....

Read the rest here: Bristol247


SWX is Bristol’s newest venue, and is absolutely bursting at the seams tonight. A homemade GOAT figurine is held aloft in the crowd, and the atmosphere is like little else seen in the city this year. It’s for good reason too – a consistent highlight of the festival season for the last four years, the Swedish seven-piece have now produced three albums of their tribal-tinged psychedelica, each more impressive than the last.

Despite the triumph of latest album Requiem, it’s the band’s live show which gets them the most plaudits, and tonight unequivocally shows why. From the off, GOAT make every song feel like a fists-up rock show and a head-bowed techno rave simultaneously, and once the crowd figure out exactly what’s going on up on stage, their reaction is wild.

Read more here: Bristol Live Magazine.


Brighton's Finest & The Argus Review Goat/Josefin Corn Exchange Brighton Gig

Brighton's Finest:

'There is a lot of hogwash surrounding this band. A lot of hokum, misinformation, propaganda, legend and myth. Who the hell are they, and where do they come from? Yeah, some of them probably play in other bands, known only to a very few. But, somehow (apart from early on when Christian Johansson, the only publicly known member of Goat, gave some interviews under that name) they have managed to keep that cloak of secrecy around them, the antithesis of reality TV and commercial pop and rock. They are underground, in more ways than one but everyone is welcome to the communal celebratory spirit of the band and it’s this underlying ethos which is part of the attraction. It feels and looks honest, and right for many.

Before Goat get started tonight though we have Josefin and The Liberation, also from the same stable, who proved to be an excellent support (making a rare appearance in the UK). They provided a more psychedelic and heavier rock show, with the ephemeral Josefin weaving her seductive vocal throughout the set. Very often support bands can fall well short of the main attraction but Josefin and the Liberation definitely wowed the audience, receiving enthusiastic responses for their often brilliant musicianship and strong material. It almost gave the impression that The Liberation could have included members of Goat, unrecognisable without their masks.'

Read the rest: Brightons Finest


The Argus:

Anonymous Swedish band Goat have denied that their gigs are intended as rituals, but it would have taken a heart of stone not to have felt spiritually invigorated by their Brighton show. Judging by the amount of people stamping their feet on the ground in demand of an encore, I wasn't the only one.

The costumed troupe are an absolute tour de force, a freewheeling but tight unit who merge various world music styles into a borderline transcendental product.

Whether it was the kraut trance of The Sun The Moon, afrobeat euphoria of new song Trouble in the Streets or the classic rock wig-out of closer Det Som Aldrig Förändras, the band were never less than enthralling.

Read the rest: The Argus


See some photos from the night here: After Dark


17 Oct 2016

Introducing 'Feed the Rats' – new album by Pigs Pigs Pigs Pigs Pigs Pigs Pigs

We are extremely excited to announce that we are releasing the great new album 'Feed the Rats' by the amazing Pigs Pigs Pigs Pigs Pigs Pigs Pigs.

You can listen to the track 'Sweet Relief' above and preorder a ltd to 300 copies Blood Red vinyl and CD from here: Rocket Bandcamp

And preorder digital from here: iTunes

The album is released on 20 January and the band are celebrating the release of their new LP with two launch shows:

Jan 20th - Venue TBC / Newcastle
Jan 21st - The Lexington / London

Now booking EU tour early Feb. Contact - johnny@highnoiseageny.co.uk 


The press release reads:

“He who makes a beast of himself gets rid of the pain of being a man”, as a sage wiser and more debauched than most of us once remarked. Such is the headspace of Pigs Pigs Pigs Pigs Pigs Pigs Pigs, whose animalistic headspace is set out by their very moniker, yet who have wasted little time in creating an almighty psychic charge that has blown minds and summoned bedlam in sweat-drenched venues across the UK’s underground and beyond.

“It’s a pretty perfect balance of obnoxiousness, ridiculousness, intensity and theatrics, and somewhere within that spectrum is where our music sits too.” reckons Matthew Baty, whose vein-popping onstage performances and cathartic bellow form a primary ingredient of the Newcastle five-piece’s devastating live shows. “We truly love the emotionally dark bands that we are in (Ommadon, Blown Out, Khunnt). Pigs however provided an opportunity to do something different, something that is fun with a different kind of intensity.”

Playing their first gig supporting Goat at what was only the latter’s second ever show, the band have gigged relentlessly with kindred spirits including The Cosmic Dead and Luminous Bodies, not to mention gracing festivals like Supernormal and Portugal’s Reverence with their feral attack. Yet the time has come for this band to transcend the realm of word-of-mouth phenomenon and be judged on their feverish and demented collision of psych-drone dementia and riff-driven salvation alone. 

The inarguable proof is Feed The Rats, the overwhelming first album the band have created for Rocket Recordings - equal parts righteous repetition, bludgeoning brute force and Sabbathian squalor, its alchemical charge has the power to transform bleary-eyed abandon into small-hours revelation. This three-track, forty-minute monument of chaotic catharsis captures the everything-on-eleven spirit of the band’s live manifestation whilst adding a level of finesse and texture often less easily accessible in a dangerous haze of flying hair, discarded clothes and spilt premium lager. Channeling the grimy trip hazards 
of Monster Magnet’s ‘Spine Of God’ through a prism of kraut-derived repetition and Part Chimp style bloodymindedness, the resulting hallucinatory vortex appears constantly on the realm of breaking point. 

Yet for Baty, the porcine realm is less about a nihilistic quest for fiery oblivion than one might imagine. “You know, I think we’ve experienced it, many times. It’s those gigs where we can almost sense that everyone in the room is engaged. The energy created is so thick you can almost bite down on it and it feels like there’s no longer any barrier between band and audience. Those are the special shows, where there’s a solidarity and a very visceral bond. That, and being able to smell our amps melting”.

Amps and brains alike, as these psychic omnivores bring seven times the joy, seven times the pain, seven times the dementia and deliverance. 


14 Oct 2016

Listen to Goat's exclusive mix for Solid Steel on NTS

Listen to the mix here: Solid Steel

This is what Solid Steel say about the mix:

Solid Steel (14th October) In Hour 1 we welcome Goat to Solid Steel celebrating the release of their new album 'Requiem', which is out on Rocket Recordings. The Swedish collective go back a long way, but it was their debut album 'World Music' from 4 years ago that got everyones attention. Their influences are varied, as you can tell from their mix which takes in music from Archie Shepp, Don Cherry, Clap!Clap!, Oumou Sangare, Paul McCartney, Chicago, Tom Ze and Albert Ayler. If you caught them at Glastonbury last year, you'll know that their live sets are not to be missed and you can see them on tour in the UK next week, including the Coronet in London on the 18th October.