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Pitchfork have written a nice 8.1 / 10 review of Goat's World Music:
"As the series of interviews they've given in recent months suggests, the Swedish band Goat is hilarious: In September, before their performance at Britain's Supersonic, the Quietus published its second talk with the ever-vague group. When writer Joe Clay asked who might headline the festival of that unnamed member's dreams, they answered, "If Holger Czukay and Geezer Butler had a son, it would be him. Just him playing bass for a couple of days." The Goathead described the band's live performances as "the harvesting of souls," and its lifestyle as "invocations, prayers, and total rejoice!"
Beneath that jester veneer, though, there's a much more serious idealism at work here. As key member Christian Johansson told The Quietus in an earlier interview, Goat stems from a loose and long-running collective of townspeople in Korpilombolo, a village with a population of a few hundred in the northwest hook of Sweden. Though people in the town have been playing under that name in various incarnations for several decades, the nine-song, steady-burning World Music is the unit's first proper release. That alleged tradition, it seems, is mostly an excuse for being a true band or collective rather than a collection of personalities, vying for the attention of micro-celebrity at a time when that's easy enough to find. To wit, they wear masks on stage and discuss the details of membership-- who has been in the band, who will be in the band, who is currently in the band-- in incredibly ambiguous terms. "In northern Sweden-- it is hard to explain in English-- it is about not drawing attention to yourself. The important thing is what you do, not who does it," explained Johansson. "This is why we never have tried to make ourselves heard before now." The songs matter more than the sources…."
Read the full review here Pitchfork
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