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review: ENTER THE TILTED REALM OF GOAT GIRL'S SELF-TITLED DEBUT


Goat Girl’s sound is one far removed the urban settings the band frequent, their debut record engulfs with the bubbles and squelches of a quagmire, and at times guitar riffs and nonchalant vocals coo and caw like The Wild West. Despite this, though, they remain one of the capital’s most exciting and singular guitar bands. Savagery! Depravity! Debauchery! All is on show for the world to see; the Creep with ‘his dirty trouser stains’, and the higgledy piggledy world of The Man With No Brain or Heart, all coming direct to you with a hefty dosage of Country Sleaze.

The seediness of Goat Girl’s music does sonically allude to a tilted Leone western, but it’s difficult to typecast the band with the ten-a-penny country garage outfits that frequent backwaters pubs. Goat Girl’s country-western sensibility is mixed with an eye for the uncanny, rip roaring psychobilly is juxtaposed with bizarre skits which revolve around piano loops, liminal guitar hiccups and vocal scraps, making this not a collection of songs, but a wholly unique listening experience as difficult to make full sense of as the ghoulies and spectres that adorn it’s technicolour cover illustration.

Goat Girl have reached a perfect balance of weird little skits and sketchy ideas, and bona fide great tunes. Viper Fish is a personal highlight, a woozy number with vocal harmonies that spook and a guitar riff that protrudes through the gloaming with its torrefying tones, whilst murky banger Cracker Drool is simply perfect.

The 411 on Goat Girl is thus; a refreshing take on rock ‘n’ roll for fans of The Fat Whites or Country Teasers, but with a sense of humour that extends to playful riffs and strangeness that extends to every second of the album. If Goat Girl make it as big as some of Rough Trade’s other recent signings, then the world can rejoice.

You can read our interview with Goat Girl in Issue 1, out May 4th, alongside a host of other album reviews.

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