Shawn David McMillen : On The Clock WIth JJ & Mitch

There’s a strong chance that Shawn David McMillen is already sitting in your record collection, he's played in Austin's power-pysch outfit Rubble, featured on recordings with Jack Rose, Steve Gunn and Pete Walker - he's also collaborated with Charalambide's Tom Carter.   In recent years the Austin-via-Galveston guitarist/vocalist/sound artist has turned out some releases for Tompkins Square, and this new offering 'On The Clock With JJ & Mitch' (12XU) is his first new album since 2010’s 'Dead Friends'.

For this new album McMillen recruited JJ Ruiz on drums (Trustees, Naw Dude, Teeners, Air Traffic Controllers) and Mitch Fraizer playing bass (Sweet Talk, Church Shoes) then set to record the whole thing using protools and an interface in New York during Spring 2014.  Using a pay-per-hour practice space the troupe utilized equipment around them - old choir mics, delay & Zvex fuxx pedal plus JJ played the drums already in the rehearsal room.  Some acoustic guitar, percussion and a good portion of the vocals were produced at Tomas Casas’ art studio.  Casas contributed field recordings to the record as the band hung out in his studio absorbing some Yaseef Lateef albums.  As McMillen puts it, "It all just fell together and worked…”, and here we are with nine new songs.  Wayward guitars, laidback vocals and intuitively lead rhythms rooted by coolheaded bass lines are at the core of McMillen’s songs.  ‘Hunting’ was the first song that really grabbed me just by how the pace is propelled in fits and starts – then a swell of guitar riffery comes in and you’re no longer listening to a chilled rock record the first two tracks lead you to think it was, but pretty fantastic psych piece to boot.  ‘Nowhere To Go’ is another favourite “Walking around in the sun all day, nowhere to go I think I lost my way,” McMillen reiterates through the track as it gathers momentum with cyclical guitars,  wired beats and palpitating bass building up to another joyous solo with the song rounded off by one of Casas’ field recordings.  The album leaves as aloof as it came in and the lasting impression from the shreds of guitar and curious field recordings begs for more and more listens.  

Check out some of his material HERE

Balcanes : Plataforma

Balcanes are a four piece from Leon, Spain cauterizing eardrums since 2010.  'Plataforma' is their debut single which came out at the beginning of the year.  These two tracks are a cataclysm of wreckless noise and rock playing out heavy riffs and locked grooves.  Once ‘Platforma’ shows its teeth a wall of fuzz and feral vocals confronts motoric beats releasing some sort of damaged mantra.  ‘Autopista’ just swells with distortion and feedback sounding even more unstable than the A Side (if that’s possible).  I’m uncertain what’s next for Balcanes but this is a pretty fantastic start and hopefully we’ll get a fresh fix soon.

Listen at their label's Bandcamp HERE

Magik Markers : Surrender To The Fantasy

'Surrender To The Fantasy' is the new LP from noise-wave crew Magik Markers.  These nine new recordings feature a fresh line up comprised of: Elisa Ambrogio, Pete Nolan and John Shaw.  Joining the band in basements, J Mascis' attic, Pete's "old music room" and a practice space in Brooklyn were Aaron Mullan and Justin Pizzoflerrato, who captured Magik Markers most compelling work to date.  'Surrender To The Fantasy' focuses on familiar tools: guitars, keys, drums and bass, to refine the savage live approach used on earlier albums.  The record melts American rock swagger, psychedelia, folk and visceral noise together in a way that challenges what the band have done before.  This is fittingly shown on "Acts Of Desperation", with Ambrogio taking over drums whilst Nolan bliss-es out on guitar alongside a bluesy harmonica breezing through the track.  "Bonfire" kicks things up a gear invoking mayhem and destruction in a way that completely turns 'punk' on its head.  Songs tie in to places significant to the band like "Crabs" (Hartford, Connecticut) and "American Sphinx Face" (Holy Oke, Massachusetts) for example.  "American Sphinx Face" utilizes distorted/fuzzed/Wah-ed out guitar to needle notes throughout, apace with improvised beats anchored by Shaw's mesmerizing bass line.  'Surrender To The Fantasy' reveals curious twists and turns the more you spend time with it so don't be surprised to find it calling you back for repeated listens.  Magik Markers continue to tread through the underside of American ritual and rock 'n' roll with their usual zeal on 'Surrender To The Fantasy' whilst hitting a new stride as they go. 

Fuzz : Fuzz

Roland Cosio, Ty Segall and Charles Moothart make up power trio Fuzz.  Their first album follows well received single 'Sleigh Ride' also released through In The Red.   'Fuzz' builds on the explosive rock sound from the 45 merging Black Sabbath-esque metal with Hendrix psychedelic stylings on guitar.  'Fuzz' even references grunge with their sludgy number "What's In My Head" that sees Moothart subvert the riff from Stiltskin's "Inside".  As the band name and title suggest there is fuzz accompanied by pounding drums, hefty bass and meteoric guitars, this is best shown on "Haze Maze".  "Hazy mazes tryin' to get to you, well it will end where it began, with your body placed beneath the sand, in again the cycle never ends, made of SKIN forgive your human sin", Segall sings in a strung out holler - and it's these ideas of morality and mortality that thread through the lyrics.  "Loose Sutures" continues, "Bleak futures on the run, I don't know what's to come, fate's forging, beams bent on burning me, run...", accompanied by 70's stadium style breakdown's in the music letting each instrument have their own joyous tangents (and you should have seen people freakout during this song during their show at The Dome recently).  'Fuzz' is made up of 8 interplanetary metal songs that is everything you want from a modern band interpreting 60's/70's rock sounds, for those who need fuzz in their life, here's Fuzz with 'Fuzz', get fuzzy, get Fuzz.

Fuzz : Sleigh Ride/You Won't See Me

Charlie Mootheart (guitar), Roland Cosio (bass) and Ty Segall (drums) make up new band on In The Red called Fuzz.  As the name suggests the power trio immerse themselves in muddied fuzztone offering up two songs comprised of 60s rock sounds, pop and a heavy-metal smack.  "Sleigh Ride" features thunderous guitars, pummeling beats and a rumbling bass making a brilliantly scuzzy metal number touched by freaked out psychedelia.  Flipping over we have "You Won't See Me", a sludge-fest of chewy guitars and crashing rhythms anchored by a rubbery by bass.  Fuzz certainly live up to comparisons with Jimi Hendrix, Blue Cheer and Black Sabbath and deliver a fantastic full-blown rock single - get a copy while there's still some around...

Sweet Talk : Last Dance Video

Here we have a new video by Sweet Talk called "Last Dance" in support of their debut album 'Pickup Lines' on 12XU.  The Austin power punk four piece are; Stephen Svacina (Mind Spiders), Harpal Assai, Mitch Frazier (Church Shoes) and Marley Jones (60 Minute Man).  Together they play out chewy rock guitars, gulping bass, forthright rhythms and narrative heavy vocals.  Executed with all the pizazz of power pop bands like Cheap Trick or Gentleman Jesse & His Men whilst showing a penchant for ballistic rock.   Directed by Saman Ghanbar and produced by Svacina you can watch "Last Dance" here...

Sweet Talk Website Facebook

You can find copies of 'Pickup Lines' at 12XU's Website

The Men : New Moon

The Men follow up their revered album 'Open Your Heart' with fourth full length 'New Moon' on Sacred Bones Records.  The Brooklyn five piece are; Nick Chiericozzi, Ben Greengerg, Kevin Faulkner, Mark Perro and Rich Samis who play out savage guitars, drums and elastic bass.  This new record brilliantly captures what some already know about The Men, that they lay bare their influences whilst creating something entirely fresh and thrilling.  These twelve songs give a nod to Punk, Country and Rock in an album that feels like their most intimate work to date.  To make 'New Moon' The Men migrated to Big Indian, NY in early 2012 and built their own backwoods studio.  This approach to creating a secluded environment and drawing from primitive elements is wonderfully reflected in the recordings, best shown in opener "Open The Door".  With a warm melody being keyed away on a piano alongside acoustic guitars a mandolin and lap steel it's quintessentially as country as it gets.  The album morphs into bursts rock with songs like "Without A Face", "The Brass" and one of my faves & first single taken from the record "Electric".  While 'New Moon' still has those eye-popping rock numbers The Men are known and loved for don't be surprised to hear a few new things thrown into the mix. With a relentless tour schedule and a new album every twelve months I'm happy it seems there's no stopping The Men.  Lee Ronaldo recently told Uncut, "They remind me of the energy NY bands had when Sonic Youth started out. Totally fierce...rocking out." ...accolades don't come much higher than that in my book.

The Men are playing Rough Trade East Monday 18th for an instore and then the following day on the 19th at the Garage - definitely try and catch them if you can!

Purling Hiss : Water On Mars

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Purling Hiss began, as bedroom recordings of Mike Polizze until a tour with Kurt Vile a few years ago propelled the project into a full band in its own right.   The Philadelphia power trio are; Mike Polizze (Birds of Maya), Kiel Everett and Mike Sneeringer.   Together they play out a turbo-guitar, gulping bass and fiery rhythms.  To date Purling Hiss has four albums, an EP and split 12” with Puffy Areolas, all of which has seen Polizze at the core of the songwriting.   This new album for Drag City ‘Water On Mars’ to my ears at least, sounds like all three members constructed the album together as these ten songs build on the big psych-rock sound Purling Hiss is known for with some new ideas thrown into the mix.  ‘Water On Mars’ channels the kind of fuzzed out approach and saccharine melodies you’d expect from Dinosaur Jr and brilliant tangents of 60s psych.  Opener "Lolita" steamrolls in with chewy, sanguine tinged guitars, rumbling bass, forthright rhythms apace with Polizze's gravelly voice layered with screeching distortion.  "Mercury Retrograde" follows immediately taking things down a gear, filtering out abrasive noise and smoothing over vocals allowing a melody heavy bass to come through alongside roaming guitars.   It's the play on hard/soft, loud/quiet, pop melodies/dissonant noise that best describes the album as Purling Hiss finds the perfect balance between these opposites - just listen to eventide-esque "She Calms Me Down" next to freaked out "Face Down" to see what I mean!  'Water On Mars' feels like a game changer for Purling Hiss where they don't just think outside the indie-rock box, they smash it and build a new box. On tour soon in the UK for Fuzz Box at The Dome in May - not to be missed!

Fawn Spots : Interview

Fawn Spots are an English band who formed in York a few years ago.  The group are a three piece featuring two guitarists and a drummer.  Throughout some line up changes Fawn Spots have released three EPs on Tie Dye Records, Louder Than War (Southern) and Bad Paintings.  The four song EPs are a warts and all snap shot of what Fawn Spots were achieving at that particular time.  These recordings succinctly capture how their sound has evolved over the last two years, and this new split shows Fawn Spots tightening the screws for their most polished work to date. 

Out next month is Fawn Spots' new split record with Cumstain called 'Wedding Dress', released as an LP on Bad Paintings in the UK and a cassette through Burger Records in America.  These four new songs offer up the raw, ballistic approach you'd expect from Dischord and SST bands mixed with the melodic finesse of early Buzzcocks. "Tailor Made" sets the pace for Fawn Spots' side of the record with its savage take on 80s college rock sounds played out by charged, fuzzy guitars and pummeling beats.  It's this mode of complete frenzy that fittingly describes Fawn Spots style, aptly shown on next track "Watered Down".  Highlight for me is "National Anthem" and you can find out more about the track in the band's own words below as I got a chance to catch up with Fawn Spots before their US tour...

Fawn Spots! You have a new line up – let’s get a run down of who you are and what you all do…

OG: Hi I’m Ollie and I play the guitar.

JM: I’m Jonathan. I play guitar and sing. Sean plays drums.

Have any of you been in or are currently in any other bands?

  

OG: Have I? Yeah I been in a few bands before, I also sometimes play solo. Sean is in a band called Beware Wolf.

JM: I don’t do anything else.

What was the first type of music that made an impression on you?

OG: Well I think the very first time music had a profound effect on me was when I heard Chris Isaak’s Wicked Game. I was in the car on the way home from school and it made me cry. I still really like the song and I would say its pretty fundamental in some of things I do.

JM: The first ‘proper’ record I got was Rage Against the Machine – some older guys on my school bus persuaded me to buy it. After getting over Korn pretty quickly I spent a couple of years obsessed with Smashing Pumpkins so I guess that’s where music started for me.

When did you have that ‘ I can do that moment’ and start playing?

OG: having been brought up surrounded by musical instruments it’s just something I think I have had all my life. In terms of this though, I had that moment when Jon asked me to play,

JM: When I started working full time. I’ve played a bit for a few years, but when I started working I  really needed to do something else.

Did you have a goal in mind when you started Fawn Spots of what you wanted to get out of playing in a band?

JM: I can’t say I had a definite goal, there was no 5 year plan or anything, but I wanted to see how far I could get trying to play shows in good places and maybe eventually release a record. There’s lots of short term goals that change all the time – shows and places we want to play and sounds we want to get - but it’s all toward the same end.

    

Burger Records are doing a cassette version of your new split release with Cumstain 'Wedding Dress' – how did this all come about?

JM: Mike (who I run Bad Paintings with) and I have been massive fans of Burger Records releases for ages. I checked out Cumstain’s record with the Crass style front cover when we played there last year – it’s amazing and they were a natural choice to ask if they wanted to do a split. When we were sorting out our show at Burger this year we dropped them the record and they were in to doing a cassette.

“National Anthem” really stands out on your side of the record, can you tell me a bit about the song?

JM: I don’t think we really know how we want to sound, so I like including tracks on records that don’t directly fit – they’re a break to a record and when we play live. National Anthem was derived from some other little riff I had, and really came to life when we got both guitars working on it – we play most of the same parts all the way through but hopefully the two or three different tones in there hold it together. It was fun to record, we got to mess about with samples and stuff like that – I think this is the only song on the record where there’s other samples on it.

‘Wedding Dress’ is also coming out on Bad Paintings in Europe – Jon, as part of the label I was wondering how you’re finding releasing records in the UK? 

JM: The first couple of 7”s we put out were The Babies and Xiu Xiu so we actually sold more records overseas initially. It was great to put something out by JOEY FOURR (Joe from Tubelord) at the end of last year– he’s one of my favourite UK artists at the moment. It’s been a steep learning curve but we’ve learnt lots and every time we release something we do a little better. There’s a great network of small labels releasing stuff in the UK now, and Tye Die Tapes from Sheffield are a constant source of support and inspiration. We are rubbish at our accounts.

You’re from York where ‘Wrong Side Of The River’ is based and am I right in saying you guys are involved in this collective?  Can you tell us a bit about it?

JM: WSOTR started, and hopefully ended, as a collective project that aimed at being inclusive and open. It was in this unused basement of an art gallery. It was all ages, BYOB and always cheap to get into. We managed to put on some great bands from all over the place, including my favourites Sex Hands and The Babies. People seemed to like the setup and vibe so it was busy even if it was a band people hadn’t really heard off. Unfortunately it’s dead now – we were totally squeezed by the building owners who thought they could turn it into a money making thing, as well as a council who aren’t really pro anything creative and all ages that’s actually interesting. Our last show was with Iceage and it was crazy – Elias fell over the monitor and all sorts of stuff happened.

You’re about to go over to the states and do some shows with Cum Stain – any particular places/shows you’re really looking forward to?

OG: I cant wait to play the Smell -  thats the one I have heard the most about, however I have never been to LA before so I am just really looking forward to being there to be honest.

JM: Burger probably. Lots of beer and records and stuff. Although I’m really excited to check out places in LA I’ve not seen before and  see friends I met last year. There’s a guitar shop called Truetone in Santa Monica that has the best guitar I’ve ever played in it, and Amoeba has an insane collection of records.

Do you prefer playing or recording?

OG: Definitely playing; especially when its a good show, it just puts me on a high. Recording can be fun and it’s really useful for really honing the performance and sound but I get more satisfaction from a crowd than laying down a good recording

JM: I like both. I think they’re designed to go together, and I like each for different reasons. It’s fun to play to get out there and thrash about, but recording means you focus on your sound and your tone. I love writing with a view to playing live, but the end of writing seems like recording if that makes any sense at all.

What else can we expect from Fawn Spots this year?

OG: Hopefully a lot more shows, touring and ideally a full album am I right?

JM: You’re not wrong!

"I'm full of dust and guitars" - Syd Barrett, if you were sliced in half what would be inside?

OG: Probably a huge tapeworm.

JM: The shredded tatters of my dignity.

JM & OG: Sean's full of shit.

'Wedding Dress' is out February 18th on 12" pink vinyl in the UK, cassette in the US and as a download

Fawn Spots Tumblr
Cumstain Tumblr

Ty Segall 'Twins'

Ty Segall knocks another one out of the park with his latest album that came out at the tail end of last year, 'Twins' on Drag City. Albums leading up to this, 'Melted' and 'Goodbye Bread', had a ballad focus adding a new dimension to the garage rock approach Segall has become so well known for. Not only that, but moved the goal posts as to what garage rock can achieve. Just as we were immersed in these strung-out, sun-drenched numbers on Record Store Day 2012 Segall released an album with White Fence which saw the return of his hair-raising rock roots. 'Twins' picks up where this record leaves off and sure, Ty Segall has released a garage rock record before, but what sets him apart from his peers is he always keeping things innovative and exuberant.

"Thank God For The Sinners" and "Inside Your Heart" shows the sludgy, ballad-centric songs are fresh in mind as they ooze with sizzling guitars and that laid-back nature indicative of west-coasters. This doesn't last long though as Segall kicks things up a gear with manic numbers like "You're The Doctor". Highlight for me though is "Would You Be My Love", it just hits all the pop, rock, garage pleasure centres and gives on every listen - one of my favourite Segall songs period. 'Twins' offers head scratcher moments too by closing on folk track "Gold On The Shore" featuring layers acoustic guitar, vocals and bass.  There's not many artists around where you can say two albums and some four singles in a year doesn't seem like enough - can't wait to see what Segall has up his sleeve for 2013. 

UK copies here 

US copies here

Bits Of Shit 'Cut Sleeves'

(cover by Rona Green)

Here we have debut album from Bits Of Shit called 'Cut Sleeves' on Homeless Records.  Grounded in Australia the four piece are; Andy (guitar), Elias (bass), Danny (vocals) and Pete (drums) - who some may know from  The Southernhay Orphans.  To date the band have released one other 7" through Lexicon Devil since their inception three years ago.  Bits Of Shit churn out all the best bits of punk whilst bringing new blood-or shit-to the genre, fueled by raw energy of 70s/80s era 'Cuts Sleeves' is played out with the gusto of pub rock.  

Charging the gates is opener "Orphan Age", a snotty number featuring amphetamine beats, demented guitars and gulping bass fronted by a shrill punk holler.  Thrown into the fray are warped moments like "Traps" delivered by skewed guitars, forthright rhythms and belligerent vocals.   It's this raucous approach that best sums up the album, further shown on spinal spazzing track "Rock Sing".   Recorded by the band at Thombury Clubhouse and mastered by Mikey Young, the first pressing of 100 (blue vinyl) is now sold out, a second pressing of 300 copies is available but only through the band's distribution channels (bandcamp is sold out), grab one before it's gone!

You can hear the whole album on Homeless Records Bandcamp

Bits Of Shit Blog Facefuck

European copies through Don't Buy Records

USA copies through Easter Bilby

Bedwettin' Bad Boys "Bite My Tongue"

Crawlspace have unveiled the first track from upcoming Bedwettin' Bad Boys LP 'Ready For Boredom'.  "Bite My Tongue" plays outside the margins of melody heavy power pop and time-honoured indie sounds.  This teaser is unbelievably infectious and sets hopes very high that 'Ready For Boredom' is going to get 2013 started off right.  

Copies in Australia from R.I.P Society
Copies in America from Easter Bilby Distro

It's also worth noting Raw Prawn have their highly anticipated first single out on the same day, you can find copies in the links above.

Blank Realm 'Go Easy'

Australian quartet Blank Realm have returned with a new full length called 'Go Easy' (Bedroom Suck/Siltbreeze).  This new album follows up 2010's well loved 'Heartless Ark' (Not Not Fun) which was a bleak, improvisational piece recorded in a barn on the fringes of Brisbane suburbia.  In contrast 'Go Easy' delivers rich, bright sounds with a more high-fidelity approach drawing from a spectrum of genres explored through Blank Realm's tilt for noise.  At the crux of the songs are guitar, synths, drums, bass accompanied by girl and boy vocals against sheets of distortion.  Opener "Acting Strange" surges with guitar fuzz in full force alongside delay heavy vocals -- with things cooling off right after with curiously serene number "Cleaning Up My Mess", featuring otherworldly keys that continue to breeze through the album.  Standout track "Pendulum Swing" features oscillating beats at the core steadily gathering momentum through swells of distortion from swirling guitars before brilliantly collapsing.  This album pursues rock, pop and punk coloured by the experimentalism of psychedelia.  Blank Realm's ability to transforming sounds we know and love into something fresh and exhilarating attests that, they are one of the most compelling bands around today.

Blank Realm Facebook

Sonic Youth 'Smart Bar Chicago 1985'

Goofin' records has unearthed one, if not the, earliest known live recording of Sonic Youth.  Predominantly, the tracks are from 'Bad Moon Rising' and these live versions wonderfully capture the improvisational quality of the band adding a new dimension to studio recordings we've come to know so well.  Raucous guitars, savage vocals, forthright drums alongside audience banter drifting in and out of focus create a great sense of chaos throughout the album. Two 4-track recordings were made at Chicago's Smart Bar in 1985.  The first by Rich Menning from Atomic Records, who only realized he'd accidentally left the tape deck on pause half way through the first song, the second recording was by Aadam Jacobs - this live album is an amalgamation of both tapes.  Personal favourites on here are 'Death Valley '69', 'Brother James' and 'The Burning Spear'.  Like so many other people out there I'm my sure Sonic Youth are one of my favourite bands, and for me 'Smart Bar Chicago 1985' isn't just a great document of the band for fans, it's also a great live album.

The Men 'Open Your Heart'

Been meaning to write this review for quite some time and with out trying to sound cheesy I've been enjoying listening to this record so much the urge to put a few words down about it hasn't surfaced until now. It's been everywhere with me, car, iPod, at home - really just can't get enough of it.

'Open Your Heart' is The Men's third album, second for Sacred Bones, comprised of songs that tightens things up whilst paying homage to every corner of rock music. The velocity of guitars echo levels you might expect from Dinosaur Jr and as the album develops The Men continue to wear influences stretching from rock to punk and folk on their sleeve. These familiar sounds thread through the record act as an anchor, allowing guitar, bass and drum parts to reveal elaborate bursts of re-imagined rock.

The record launches with "Turn It Around", an exhilarating track featuring layered guitars, palpitating bass and breakneck beats. Throughout 'Open Your Heart' The Men curiously place vocals in unexpected places, best shown on "Oscillation". At the core this track is built on one riff that evolves into brilliant patterns of entangled guitars, before vocalists Perro/Chiericozzi conclude "Please take the stand, I just have a couple of things that I'd like to ask". Highlight is "Please Don't Go Away", a track tinged with pathos through urgent rhapsodic guitars and the use of poignant boy/girl vocals. 'Open Your Heart' embodies everything there is to love about rock music and there's good cause why so many people have raved about it this year. If you haven't had a chance to check it out yet, this record is a great reason to pay a visit to your favourite record store.

The Men Blog Sacred Bones

Sewers 'Tour Cassette 1'

A band name after my own heart.  Australia's Sewers began as a duo for their 2008 demo CD and are currently four piece; Shan Corrigan, Alex Griffin, Joshua Watson and Daniel Decsi.   'Tour Cassette 1' is the follow up to the demo material, recorded by Josh Watson in Woodland on their home turf, Brisbane.  Nine songs are said to have been made and five of those you'll find on this tape with a full length album rumored to be in the works for this year.  Sure, Sewers share an affinity with feedtime, Lubricated Goat and King Snake Roost but they bring new blood, and guts, to a well loved genre.  Bottom feeder lifestyles are described with cacophonous guitars, insubordinate-snotty vocals and forthright rhythms sounded out through swampy distortion.  "Grease My Chain" brilliantly depicts the tone of these five songs through its genuine sense of apathy. "Sinkhole/Bitches' Fuck Off" takes on a Country Teasers track that doesn't challenge what has come before but gives a nod to influences on their songwriting, and to my ears at least captures the same air of frustration as the original.  The troupe began selling this self released tape at shows which are limited to 50 copies but are now available to order through Vacant Valley as well.  It's also worth mentioning their track "Lineage" (not on this tape) also appeared on Negative Guest List compilation 'Wings Over Gabba' - if there was ever a stronger seal of approval I'd like to hear it...

Goat 'World Music'

They've come out of nowhere, no really. Goat originate from a village located on the fringes of Sweden's backwoods called Korpolombolo, a settlement that legend has it, was introduced to the worship and practice of Voodoo by a traveling witch doctor and her disciples years ago. Inhabiting the remote area going undisturbed for centuries whilst honing their craft this community were eventually discovered by the Church and ostracized. Traces of Korpolombolo's dark history are said to still be found in the now pleasant village and are a source of inspiration for Goat's debut album 'World Music'(Rocket Recordings) which has struck like a bolt from the blue.

The clan offer up nine genre bending songs that result in something refreshing, entrancing and exuberant. 'World Music' weaves spoken word, tribal rhythms, saxophones, keys, otherworldly guitars and female vocals together testing the limits of psychedelia. From opener "Diarabi" revealing guitars shaded with a penchant for middle-eastern sounds to "Goathead", comprised of heavy rock juxtaposed by tranquil folk arrangements, each track introduces its own sonic muse and head-scratcher moments. "Run To Your Mama" is front runner for personal highlight featuring hypnotic beats, vocals full of gusto and ballistic guitars weighed out by xylophones, this isn't just a favourite from the album but for me, a great modern-day rock song. "Let It Bleed" lends pop, dance and indie elements to the record and has received a video release which is set in 1970s urban New York - you can check it out below! If you told me a few weeks ago I was going to find an amazing new record from Korpolombolo the first in a line of questions would've been "from where?!", but Goat are surely going to put Sweden on the map this year for 'World Music'. It's the last place I was expecting to find trailblazing rock but here it is, Goat's music for the world.





Goat's Blog