"Goat makes the entire Rickshaw horny"

Here is a great review of Goat's recent show at Vancouver's Rickshaw Theatre:

Goat makes the entire Rickshaw horny
by ADRIAN MACK 

What’s the capacity of the Rickshaw Theatre? Six-hundred-and-fifty, or so? That’s roughly how many horny people walked out after Goat’s performance in Vancouver last night (April 15). I hope the orgies commenced in all corners of the city.

Goat, if you don’t know, is a “collective” hailing from that noted centre of voodoo magic, northern Sweden. The music is a kind of afro-psyche hybrid if it was distilled through the roughest parts of Detroit in 1975 (ie. not northern Sweden). But more importantly, Goat is all goofy costumes and masks with the heaviest sex-cult vibe this side of Yahowha 13 and the Source Family. Only the music’s better, even if the set-opener “Goatman” (was it? I was drunk) came off more technically impressive than heat-inducing.

But you can’t just turn this shit on and off, see. By the time Goat had soared its way to “Run to Your Mama”, the band’s two screeching frontwomen—let’s call them Greenie and Bluey, based on their respective tribal outfits—had whipped, stroked, and generally dervished the club into a condition of total supplication (plus they added some percussion).

Let’s note that Goat actually sounded better live than on its amazing 2012 debut album, World Music. Does that count as enough objective music criticism? Cause the point of the whole night came—and I do mean came—when the exotically limber Greenie was leaping up and down on the spot trance-flashing her undies and clawing at her crotch during hypnagogic encore “Det som aldrig forandras”. The men of Goat, meanwhile, remained rooted where they stood, channeling all that heavy orgone into their instruments, which is why it came out so drenched in super-electric feel. The tension was insane. The climax was Swedish.

See the review and picture here: Straight.com

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