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BRENDAN PARK – Melbourne
What the The Coost crew are listening to right now….
Meredith Music Festival 2015, Friday, 10:25pm. A bunch of merry pranksters wander joyfully into the hearth of the supernatural amphitheater – a place where dreams are made. Tents are pitched, the punch is spiked, yearly catch-ups been had, smiles are plastered. Big Daddy Kane had just whipped the Sup’ into something approaching a frenzy. It’s early summer. It’s Time for Fun.
Bring all your friends
Look at the sun
No time for troubles
It’s time for fun
The fun that unfolded over the next hour has been ringing in the ears of your scribe ever since. So much so, that when Goat released their fourth LP this month – on sexy orange vinyl, no less – it was buy on sight time. After a couple of road tests, it’s safe to say that this is a certified Coost classic. Although the pagan-mask-wearing Swedes have been setting the pace on the world music scene since naming their debut LP just that, it’s on Requiem that Goat underline the fact they are operating on a higher plane. Or, as Pitchfork’s Stuart Berman put it, “this is their Zeppelin III move”.
In a world where most innovative musicians are surely electronic producers, Goat have managed to stand out from the crowd of traditional guitar bands by drawing on a pool of musical knowledge that knows no bounds. There’s the obvious reference points – Zeppelin among them – but it’s the wider-reaching influences that make up the full story. There’s afrobeat, fusion and folk, however this music is a melting pot for the entire world. In troubled times and with barriers being erected around the globe, Goat are tearing them down.