In a culture obsessed with content, saturation, and continual exposure, it’s rare to find artists who prefer to lurk outside of the public eye. Sweden’s enigmatic Goat may qualify as the greatest modern pop-culture mystery. Who are these masked musicians? Are they truly members of the Arctic community of Korpilombolo? Are their songs part of their isolated communal heritage? Their third studio album, ‘Requiem’, offers more questions than answers and it remains nearly impossible to pinpoint the exact origins of the elusive group’s sound. With ‘Requiem’, Goat continue to rock and writhe to a beat beholden to no nation, no state. Goat simply creates a world where the line between truth and fiction is so obscured that all you can do is bask in their cryptic genius… We talk to band member Fluffan about making music in a collective, mysticism and transcendental meditation…
TSH: How would you say the excellent latest record ‘Requiem’ ties in with the evolution of the band’s progression?
Fluffan: Well by you saying “excellent”, I assume you like the album? So thank you, it means a lot to us. I think the whole album comes from a space and a place where we felt total creational freedom. How ‘Requiem’ ties in with the other albums, I really do not know. I think that it is partly up to the listener to delve into. I rarely think about the music once it’s done and in this case recorded.
TSH: Like previous Goat works, the album offers more questions than answers – do you feel art should raise questions in general?
Read the rest here: The Seventh Hex