A little off the Landscapism beaten path this
one. I spent the early hours of Sunday morning with 1,500 like-minded souls
crammed into an old warehouse in Liverpool’s Baltic Triangle, adjacent to
the dock where 18th century whaling ships landed their cargoes, watching a pulverising
performance by a modern day Scandinavian force of nature, the Swedish
psych-collective, Goat.
Seemingly arriving out of nowhere in 2012, Goat claim
to originate from a commune in a small village in remote northern Sweden with a history of voodoo and arcane pagan
practice; the core members having made music together since they were children
and for the last 30-40 years. On stage and in interviews the members wear masks
and elaborate costumes, similar in style to the Afrofuturistic Sun Ra Arkestra,
and keep their identities hidden. Now this back-story and image is clearly
somewhat tongue-in-cheek, and there is a fine line between genuine and original musical
and cultural fusion and cliché and novelty value. However, that Goat have so
far managed to walk on the right side of this line is down to the quality of
their records and mesmeric live performances: a mixture of wah-wah driven psych
rock (a genre that Swedes seem to excel at), kraut-rock drone, North African
inspired desert blues and hypnotic Afrobeat rhythms.
There were a number of excellent Swedish bands playing
at the Liverpool Festival of Psychedelia, clearly a psychedelic genius loci is abroad along the
Baltic; the enigmatic Goat will, however, remain strongest in the memory, a counterpoint to the rather bland and formulaic image that most artists and bands of
note currently portray.
Image from www.subpop.com |