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The demographic and cultural backdrop surrounding Goat is almost as eccentric as their mythical sound. The group formed in Korpilombolo, a small Swedish town located in Norrbotten County. This remote village was allegedly displaced by Christian Crusaders and resultantly immersed in years of voodoo practice.

There is no definitive time that marks the band’s exact formation. According to the group’s members they have been performing and recording together under different incarnations possibly since the 70s. The current lineup includes three core members; however, during concerts they recruit at least four other musicians to carry out their complex and verbose compositions.

In 2012 Goat signed to the UK label, Rocket Recordings and released their studio debut “World Music” (despite the fact they had already been recording for almost 40 years prior to this release). The album received positive reviews, particularly from the publication the Guardian, which ranked the album as one of the year’s best. It was described as an immense revelry in pan-culturalism, encompassing a hodgepodge of sounds ranging from afro-beat, psychedelia, krautrock, funk, and acid rock. Influences of Can, Faust, Parliament, and Incredible String Band are apparent throughout this recording; however, their is never any sign of direct emulations. The group mixes bizarre, but technically intriguing sounds, culminating into something both absurd and captivating.

Sometimes it is difficult to discern whether to take the group seriously or not. Their live performances are impassioned and frenetic, seeming as though it was spawned off the tail end of an acid trip. They sport colorful/ornate robes and tribal masks (some shaped like animals, others that look like something Michael Myers would wear and the remainder sporting an Indian theme). Their shows include incessant improvisational dancing and the use of a wide range of instruments. The band’s liberal sound translates directly from the group’s uninhibited lifestyle. The members apparently live in a commune, leading a life of ease and peace. They obviously are fond of experimentation as they claim to practice a variety of transcendental rituals often including nudity and satanic prayers.

Goat followed up the release of their studio debut with the live album “Live Ballroom Ritual”. The album was released toward the end of 2013 and was distributed through Rocket Recordings. Their proper 2nd LP “Commune” saw release on 23 September 2014 and was their first recoding to be issued through Sub Pop.

Live reviews

I was told it was somewhere in Partick but last night Glasgow seemed surreal, not a city I recognised at all. On the map I could see it was near the Royal Hospital for Sick Children so I headed down Dumbarton Rd and onto Kelvinhaugh. I couldn't believe the quantity of student accommodation that had sprung up along here and when I got to the end of it everything changed again. I felt I was in the middle of a Murakami novel or had slipped into a parallel world. There was an overpass and a train line overhead and under that, a row of warehouse type premises that looked a bit rundown but when I got to the end of the road, I could see my destination in sight as there was a crowd of people gathered outside and a tour bus with the name 'Midnight Express' inscribed on the side. Inside, the venue had the look of a scene from Blade Runner, there were exposed pipes and ventilation tracts overhead, it was dark and I guess about 1000 people were standing in front of a stage awaiting the appearance of Goat. They were mostly all young students so I felt like I was gate-crashing from another time continuum but this old goat wasn't going to miss an auspicious occasion like this. The band started in Korpilombolo, Sweeden which is said to have a history of voodoo after a witch doctor came and lived there and that helped explain the strangeness of what seemed to pervade the whole day so far. They were the headliners at The International Festival of Psychedelia which had taken place the previous night in Liverpool, they had played at Glastonbury in 2013 and I'd first heard them on Stuart Marconi's Freak Zone on 6 Music. What followed was truly extraordinary... The band began laying down a hypnotic trance like sound which was heavy - the core were a simple bass, guitar and drums - but with a definite late 60's/early 70's sound and an Afro influence too. They looked incredible, no that's putting it mildly, they looked outrageous. The bass player was playing a Rickenbacker but was wearing a full Hijab ! The drummer looked fairly normal but the guitar player had a Greek - like gold mask on his face. There was a hand drummer whose face was obscured by beads or hair I couldn't tell which and the light show was exceptional. Then the 2 girl singers came on... They danced like dervishes for 2 hours straight and sang in Sweedish and sometimes English. They looked like Amazonian priestess's and would 'bless' the crowd with long, feathered poles which looked like Native American coup-sticks. The whole experience seemed nothing short of time-travelling back to the heady peaks of the 1970's and after a 2 hour feast of sound and vision they left the stage to a deafening roar. As the audience were not going to let up, they came back for an encore. After the disappointments of September in Scotland, Goat put a big smile back on my face and for that I'm truly grateful. I envy anyone in Newcastle tonight as they will play there before heading back to Sweeden.

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The visual performance with their epic costumes and crazy dance moves is something that really makes the Swedish experimental and alternative fusion group Goat exciting, and you have to see them live to make the most of this quirky performance element. Back in 2012, they were ranked in the top 10 by the Guardian for album of the year, and their intricate guitar lines are an example of why they were worthy of this nomination.

The stage was in pitch black as a heavy acid style overture played across the auditorium, and as the lights came up, the band were frozen on stage in their absurd costumes, with all of their faces masked, ready to start their set. They opened the show with their track Goatman, before launching into the album Live Ballroom Ritual, and playing it in its entirety. Whilst the band were playing, they carried out almost tribal dances in their cloaks and African style costumes, which seemed to translate really well to the audience, because everyone was dancing non stop throughout the set.

As well as their originality, the music is of a very high standard, powerful lines from each band member, and very solid vocals. All of their music was performed live which made it even more epic. It was one of the best live performances I’ve seen to date.

I truly believe it goes without saying that you cannot enter shows by Swedish indie outfit Goat and not fully invest in their mentalities and ideals. The alternative collective fronted by Christian Johansson hail from Korpilombolo in Sweden which is a town with history firmly rooted in voodoo worship and black magic and now Goat takes a little piece of this around the world.

They have amassed a huge reputation on both the gig and festival circuit for their show which is as much about the atmosphere, costume and theatrics as it is about the high quality whimsical music. As they run through music taken from both of their albums, the show becomes progressively more surreal as the audience are led down the group's personal rabbit hole in order to fully immerse in the music on display. The crowd is more than happy to follow and when they are returned following a finale of 'The Sun The Moon' the applause are rapturous. The group stands stationery with ominous masks staring out onto the crowd before one final explosion of light and sound for 'Goathead'.

Absolutely gorgeous. I have never seen such a show. The opening band, Josefina and the Liberation was also good. Good venue. Well organised.

I wish I would be able to tour with them for a while. I loved to watch even how the technicians where setting up the instruments.

There was a minor glitch with the sound for a couple of songs about a guitar that was giving some feedback, but it can easily be ignored.

Glad I managed to buy tickets as it was sold out. Thanks songkick

I can honestly say that monday 17th october i witnessed probably the best live performance I have ever seen in my 34 years on this planet! It has revived my soul taken me on a journey I need to go on, and perhaps opened the gates to another world ha ha! GOAT you were amazing stay true to yourselves and keep on making people loose there selves in the music.

I've been waiting to see Goat for a while now. Stoked when songkick said that they were playing in Poland only to find out that it's an artist named Goat from Japan. Heartbreaking. Hoping I can see them soon! The live reviews make the wait seem worth it, though.

So much energy and style. Gets you dancing with a south american influence complete with costume.

Best seen live at a Festival. Superb performance with the song 'Run to your Mama' on my daily playlist.

Best Live band on the planet. The energy will consume you and you will wish you could share it with all everyone you love. The music will move you in an incredibly positive way

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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. Thomas Pynchon is perhaps the most notable contemporary recluse—a virtually faceless figure who occasionally creeps out of hiding to offer up an elaborate novel steeped in history and warped by imagination—but for the crate digging audiophiles, guitar mystics, and third-eye visionaries, Sweden’s enigmatic rock outfit GOAT may qualify as the greatest modern pop-culture mystery. Who are these masked musicians? Are they truly members of a remote tribe in the Arctic community of Korpilombolo? Are their songs actually a part of their communal heritage, passed down through generations in their isolated homeland? Their third studio full-length,  Requiem , offers more questions than answers, but much like any of Pynchon’s knotty yarns, the reward is not in the untangling but in the journey through the labyrinth.

Western exports may have dominated the consciousness of international rock fans for the entirety of the 20th century, but our increasing global awareness has unearthed a treasure trove of transcendental grooves and spellbinding riffage from exotic and remote corners of the planet. GOAT’s previous albums World Music and Commune were perfect testaments to this heightened awareness, with Silk Road psychedelia, desert blues, and Third World pop all serving as governing forces within the band’s sound. But GOAT’s strange amalgam isn’t some cheap game of cultural appropriation—it’s nearly impossible to pinpoint the exact origins of the elusive group’s sound. Whether or not the enigmatic collective truly claims Korpilombolo as their home, the fact that they pledge allegiance to a spot on the periphery of our maps—a spot so distant and off the grid that it feels fictitious—bolsters the nomadic quality of their sonic explorations. With Requiem , GOAT continue to rock and writhe to a beat beholden to no nation, no state.

GOAT’s only outright declaration for Requiem is that it is their “folk” album. For the initiated, such a proclamation seems almost unnecessary—GOAT has always vacillated between electrified exuberance and unplugged tribalist hymns. But Requiem does findGOAT focusing more on their subdued bucolic ritualism than on the psilocybin freakouts. Opening tracks “Djorolen/Union of Sun and Moon” and “I Sing in Silence” both set the stage for GOAT’s rustic approach, with the guitars laying down simple chord progressions and pan flute providing the primary hooks. From those very first notes, the piper leads us down a path where GOAT relies less on acidic guitar lines and more on sun-bleached psych-pop. “Trouble in the Streets” carries all the jubilance of classic African highlife. “Try My Robe” bares the group’s signature ceremonial hip-shaking rhythms, but eschews guitar for a mandolin line that would make John Paul Jones proud. But GOAT hasn’t completely foregone their fiery charms—tracks like “All-Seeing Eye” and “Goatfuzz” conjure the sultry heathen pulsations that ensnared us on their previous albums.

Perhaps the most puzzling aspect of Requiem comes with the closing track “Ubuntu”. The song is little more than a melodic delay-driven electric piano line, until we hear the refrain from “Diarabi”—the first song on their first album—sneak into the mix. It creates a kind of musical ouroboros—an infinite cycle of reflection and rejuvenation, death and rebirth. Much like fellow recluse Pynchon, GOAT doesn’t offer up any explanations for their strange trajectories. But like Pynchon, they have managed to create a world of their own where the line between truth and fiction is so obscured that all you can do is bask in their cryptic genius.

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Watch goat’s new video for “union of mind and soul” + ‘requiem’ is out tomorrow, 10/5.

Thu, Oct 6, 2016 at 6:00 AM

Listen To GOAT’s New Track “Union of Mind and Soul”; Full-Length ‘Requiem’ Is Out October 7

Thu, Sep 15, 2016 at 6:00 AM

Listen to “Alarms,” A New Track From GOAT’s Upcoming Album ‘Requiem’ (out 10/7)

Tue, Aug 16, 2016 at 6:00 AM

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• I Sing in Silence I Sing in Silence
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Loud And Quiet

Moderately successful since 2005.

• L&Q Weekly

The radical openness of GOAT, and the band’s only photoshoot to date

Thomas May discusses with what we can only presume is the closest thing the group has to a figurehead, the band’s insistence on secrecy, the commune that spawned their concept and freedom from individuality.

Words by Thomas May Photos by Ante Johansson

“Oh I don’t know, we call ourselves all, like, different things all the time,” the hesitant voice tells me from the other end of a struggling international phone-line. I’ve asked my anonymous interviewee how I should refer to him in the present article, a question that seemingly catches him off-guard. What I had thought would be a passing formality before our conversation really begins becomes a sticking point, a stifling atmosphere of awkwardness quickly emerging. “But you can call me…” He trails off to silence.

With the sole exception of Christian Johansson, who gave a handful of interviews in the band’s infancy, the identities of Goat’s members have remained veiled in mystery ever since they emerged into the public consciousness two years ago. Although, to refer to them as “members” is probably overly prescriptive. Supposedly hailing from a commune in the remote north of Sweden, Goat functions more as a continuum of ideas and musical activity than a strictly delimited group: a fluid collective of individuals coalescing – albeit temporarily, perhaps fleetingly – around a shared sensibility, a shared music.

“It doesn’t really have a beginning and an end, maybe, you know,” my interviewee tells me later, once our ungainly conversation has begun to flow more easily. His fractured English is spoken fitfully, the musicality of the Swedish accent straining against an unforgiving foreign tongue, his economical clauses strung together with heavy silences and verbal tics. “But it’s more of a way of… A view of the world maybe, a view of music, or of cultures, that everything belongs to everyone, you know? To be influenced from, or to enjoy all cultures, all music, everything. And Goat is mainly somehow a tradition, a tradition of how to live, maybe, how to view things, how to look at things. And that probably doesn’t have a beginning or an end.” Within Goat’s internal logic, the concepts of identity, of authorship and ownership, become irrelevant – if not totally meaningless – as the individual is subsumed and dispersed within the collective.

“You can call me…” Again, he pauses. Floundering, he eventually asks: “I don’t know, what did Rachel say?” By this point, only a minute or so into our conversation, we’d both chosen to ignore my catastrophic blunder of addressing him by his real name, which had been relayed to me by my PR contact Rachel prior to the phone call. (“Hi, is that X?” was my ham-fisted opener. “No… It’s not X,” suspicion palpable, I’d clearly miscalculated, “but is this, er, is this from a paper?”) His name now an open secret, the only option was to plow on in earnest. “Well, she told me to ask you,” I replied with pained and insufficient jocularity. Another pause.

It’s hard not to be reminded of Rudi van der Saniel, a minor but particularly well-rendered character from the surrealist comedy series The Mighty Boosh , during our conversation. Played by Julian Barrett, Rudi is a jazz-fusion guitarist and High Priest of the Order of Psychedelic Monks, seeking to attain spiritual nirvana via his mastery of the phaser pedal and soaring, axe-hero solos. And when, at their first meeting, Noel Fielding’s Vince Noir enquires as to Rudi’s identity, he responds: “I go by many names,” before a long silence. “Well, what are they, then?” Vince eventually prompts. “Some call me Shatoon, bringer of corn. Others call me Mickey Nine, the dream weaver. Some call me Photoshop. Others call me Trenoon, the boiler.” The list goes on and on, culminating in the final pseudonym: “Others call me R-r-r-rubbady Pubbady.”

Of course, Rudi’s character acts as a metonym for the utopian pretentions of late-60s psychedelia, allowing the hipper-than-thou duo of Fielding and Barrett to poke gentle fun at its naïveté, jibing – albeit fondly, one suspects – at its contrived mystique. Throughout his appearances in the series, Rudi’s commitment to the dictum of the Order of Psychedelic Monks – his unerring belief in the power of music to offer blissful loss of self – is continually made quaint by his self-consciousness, his numerous cognitive dissonances, and the unavoidable absurdity of his appearance. In the aforementioned episode, Barrett appears particularly ridiculous: his head and arms poke through a carnival cutout done up to make him look like a disproportioned Jimi Hendrix, in his hands a miniature Fender Strat.

And whilst Goat are less explicit in their guiding principles than the politically charged music of the Woodstock era, the group’s unashamed adherence to an almost mystical sense of universalism places their music within the same category of art striving, perhaps naively, to tear down barriers between people – be they personal, political, spiritual. “There is only one true meaning of life and that is to be a positive force in the constant creation of evolution,” states a heavily-reverbed voice during their new, second album ‘Commune’, released last month on Rocket Recordings. And the group’s intrigue is only amplified by their strictly guarded anonymity: the seductive pull of the unknown emanates from their music, itself wide-eyed and intangible in its eclecticism.

“He said to ring him any time, and if he’s free he’ll talk,” I was told, somewhat ominously, after a long period of attempting to pin the group down for an interview. But just as Rudi’s ambitions and cultivated aura are undermined by his unavoidable silliness, my conversation with this member of Goat is coloured by similar juxtapositions of the lofty and the amateurish. When I finally made contact with my elusive interlocutor I found a modest family man attempting to contain his marauding three year-old in the background. “Do you have kids?” he asks me later over the noise of what sounds like a full-scale riot in the background. “You can never do something, you always have to interrupt something. But it’s great, but you have to be… especially when they’re” – emphasising each syllable – “three years old.”

And these traces of the quotidian – the messy, the unguarded – at the centre of Goat’s elaborate game of smoke-and-mirrors lends a sense of charming artlessness to my interviewee’s responses, keeping his occasional ambiguity from becoming tiresome schtick. It’s not until the end of our hour-long conversation that I finally press him again on his chosen pseudonym. “Just call me… just call me…” pausing, and then, almost apologetically: “Just call me Goatman.” He stops again before adding, “Probably people have used that before but it’s all I can think of now.” Goat’s enigma is clumsy, ill-formed, and, above all, human.

“Well, it’s like ‘World Music’ – like with the first album – [which] begins with the same melody and it ends with the same melody actually. And we did the same thing with this one but in another way. It’s just a nice way to make it circular, you know?” Goat’s latest record, ‘Commune’, is bookended by a hushed bell-like sonority – the sound of a Buddhist prayer bowl, Goatman informs me. A subtle gesture, but one which lends gravity, a sense of obscured significance, to the unkempt music within: the repeated tone forms a frame that draws the album’s disparate sound-worlds together in tentative and partial synthesis. “It ends with the beginning somehow,” Goatman elaborates, “and it gives a good wholeness to the album, I think. It’s mainly a musical thing; it’s no other thing really. It’s a musical thing to make it whole, like a piece of art, you know, it sticks together all around. That’s the main reason.”

And the desire to create a musical experience of tangible, yet fleeting, unity was embedded into the group’s approach throughout the process of writing and recording ‘Commune’. “We worked more with the wholeness from the beginning,” Goatman tells me. “With ‘World Music’ we worked with the wholeness afterwards, somehow, to make it as an album. Now we could do it more from the beginning, which was a little different. And ‘World Music’ was maybe more spontaneously recorded, this time we recorded it – we’re better with the studio now as well – so we recorded it more as an album: we knew it was going to be an album.”

Goat’s debut album, ‘World Music’, was released in 2012 after Rocket Recordings stumbled upon the group’s music online. “We recorded two songs – I think it was ‘Goathead’ and ‘The Sun and The Moon’, it was called – and those songs were… a friend of ours, I don’t know if they’re a friend of me really, but some friend, some friend’s friend or something…” As he often does throughout our discussion, Goatman briefly tangles himself in a moment of self-revision and contradiction before continuing. “…made a video for those songs, two videos, one for each song. And they put them on YouTube, I think, and Rocket found them, I think it was like that.”

As our conversation returns to ‘Commune’, Goatman offers a second motivation – aside from the purely musical reasons he initially noted – for his group’s desire to cultivate a unified musical experience. “And it’s also because, you know, our music sometimes – it’s a spiritual thing, all music is a spiritual thing. It somehow fits, I think. It fits the context of the album, I think.” As his explanation becomes increasingly fragmented, his sentences disintegrating into unfinished clauses, he laughs: “I don’t know how to explain it in English.”

It’s about expressing a completeness that is nevertheless coloured – even defined – by difference, I suggest. Something larger, more elaborate arises from the multiplicity of constituent parts. “Yeah, exactly. That’s what I think both of those albums do. Because they start and they end in the same way, and the song structure – we’re very, you know, this is the thing that we’re very careful about, or we put a lot of thought and feeling into getting the sequencing of the albums to be good, so it’s not just a collection of songs, it’s a wholeness that is bigger than the pieces in a way. That’s the main reason of it in a way – to get a bigger spiritual experience from listening to the wholeness of the album rather than picking songs out.”

Drawing on everything from Afrobeat to druggy psychedelia, from funk to Middle Eastern sonorities, both of Goat’s albums vibrate with internal energy, invigorated by dissonances and contrasts, but also fleeting moments of harmony, between the multitude of genres and traditions that comprise the collage. As such, Goat describe their music, defined as it is by such an eclectic approach to recombination and juxtaposition, using the somewhat loaded term ‘world music’ – which was also, of course, the faintly provocative title of their debut album. When I broach the topic of the label’s undesirable associations, at least in British English, of post-colonial Western consumerism, Goatman concurs, saying: “I don’t know how it’s used exactly in Britain but in Sweden the term is used to…” At this point he pauses, laughing: “my son is trying to speak English…” He continues: “The term here has been used to put together all music that is non-Western, non-European, non-American music. And you put all those different musics together and you call it ‘world music’. You know, if you look at a record shop, and you look at ‘world music’ and you find music from every country that are not nearby. And that is, I wouldn’t say it’s racist, but it’s, it’s really… stupid, in a way. You know what I mean? Yeah, it’s not racist, but it’s ignorant, in a way.

“And so, we also feel that, like, genres are pretty, pretty – I mean, sometimes you need to call things stuff – but it’s pretty old-fashioned also, you know? Because things are mixed up now, things are mixed up all the time and are getting mixed up more and more and more. The world is getting more global and connected with each other. All music exists in all music, so the genres we talk about today are so silly sometimes. And so we call our music ‘world music’ because it belongs to the world and it comes from the world, as simple as that really. You know, it comes from the world and it belongs to all parts of it. That’s how we want to use the word.”

Goat’s use of the term, then, is an intentional attempt at reclamation: an attempt to imagine a way of listening in which music from a culture foreign to one’s own is not heard simply as an exoticism but rather as part of its own nuanced and complex history of aesthetic practice. “I hope so,” Goatman agrees. “And I hope people can, not through us, but I hope people can discover or can change their opinion about music from other places, and not call everything ‘world music’, which does have negative associations over here as well. Music is music, wherever it comes from. Let’s call everything ‘world music’, you know. In a way, everything should be called ‘world music’ – you shouldn’t just call music from non-Western places ‘world music’.”

Given their sensitivity to the myriad complexities surrounding our consumption of music from around the world, it’d surely be a simplification to label Goat’s music – and, in particular, its use of African and Middle Eastern sounds – as an example of crude, or politically suspect, cultural appropriation. Yet, the fact that this charge is not uncommon in discussions of their music is more likely due to the subtlety of the distinction – between Goat’s ideal of ‘world music’ and the more common meaning of the term – than the shallowness of their listeners. As The Guardian ’s Michael Hann wrote in his review of ‘Commune’: “After all, the notion of a bunch of Swedes taking African-styled guitar melodies and welding them on to droning psychedelia could easily be taken for cultural appropriation. But then Goat, with their masked players on stage, are reliant upon appropriation for their exotic sense of otherness, which is key to their appeal.”

Hann’s equivocal stance is understandable: Goat’s cultural tourism may well have pure motivations, but their music is nevertheless in continual danger of being consumed almost as a contemporary form of blackface, at least at the extreme end of the scale. Even within the context of our broader discussion of his conception of the term ‘world music’, I still feel a twinge of discomfort at the occasional turn of phrase emerging from Goatman’s otherwise impeccably considered explanations. (Perhaps most strikingly: “if you feel something appeals to you, use it: it’s yours.”) And if these instances are merely attributable to our not-inconsiderable language barrier, then perhaps that only reinforces this point: communication is never free from the spectre of mis communication, especially within the semantic haze of musical meaning. And, in that sense, Goat’s game is a risky one.

In any case, Goat’s vision of an idealised ‘world music’ can be seen to lend a political edge, an urgency and force, to their otherwise abstract songwriting. Is Goat’s music intended to evoke such an image of a utopian society, one in which differences are woven together into a complex, yet harmonic, whole? “Well if you think like that or if other people think that, it’s fine,” Goatman responds. “But it’s nothing that we have planned or strived for. It’s just what we wanted to do and what sounded right. It’s not like we have a political agenda that we want to bring forward or anything like that, it’s just – I can understand that people feel like that – but it’s not planned.

“It’s just that we listen to a lot of music and if you don’t control your creativity in a certain direction, it comes out the way it comes out,” he continues. “And this is the way it comes out. But we don’t try to create something really – it just happens when we put down a lot of jamming into songs.” Goatman goes on the elaborate on the group’s recording process: “It’s just the people who are involved at the time – it could be two people, it could be ten people actually. It’s, you know, if someone brings a friend to the recording session, it’s like, ‘if you want to do something then you can do something’. But also, the people who can operate the studio: they are the bunch of people who mostly are involved. But some people can be there and the other people are free to do whatever they like. So not all people are featured on all songs.”

So Goat’s aesthetic of ‘world music’ – one which could spark so much theoretical wrangling – is perhaps merely a symptom of the group’s openness to new ideas in the compositional process. I suggest to Goatman, though, that an intangible sense of a political stance – a sense of what is right, of what is worth creating and working towards – can arise naturally from any aesthetic object, however supposedly insular it may be. “Yeah, I guess so, I guess so,” he concedes. “The only thing I would like to point out is that… Ah, here comes my girlfriend, finally. I can concentrate on one thing…” – his son now receiving the undivided attention he’s been clamouring for – “Collectiveness; collectiveness and togetherness is one thing in our minds, you know. But it’s worth pointing out, we don’t have a political agenda or anything like that.”

The sense of radical openness – to other people, to other cultures and musics – so integral to Goat’s way of operating can be traced to the shared sensibilities of the broader collective to which the group belongs. For, the name “Goat” refers not to a band but a commune situated in the village of Korpilombolo in the far north of Sweden. “I’m not even from the North, actually,” Goatman tells me. “I’m am not from the original Goat commune, but I’m part of the commune now, I’ve been travelling up there since I was small. My parents knew – I’m from Gothenburg originally – my parents knew people up there, we would travel there and then I’m part of that and the band now. But the band consists of younger people and Goat are a lot more people than that.”

Embroiled in mystery and rumours – largely provoked by the group’s infamous first press release – of voodoo-based religious rituals, Goat’s official backstory is tinted with playful ambiguity and evasion, always withholding far more than it reveals. I suggest to Goatman that, as such, the group – as a concept, as an entity – appears to hover somewhere between reality and fiction: an enigma enmeshed within a chaotic slippage of meaning. “Maybe it is, maybe it is,” he laughs, guarding his answers carefully. “I don’t know. It’s hard to say.” He continues: “Maybe people are really disturbed by it, they can’t put their finger on it. Maybe they don’t know if it’s true, as you said. They don’t know. And maybe they hate it because of that but maybe they like it because of that.

“But it’s not constructed,” he continues. “I understand what you mean. But it was nothing, it was nothing planned. We told Rocket about ourselves, and they made this press release, which was part” – emphasising – “ part of our story. But it was part, it wasn’t the whole picture. I guess because we embraced spiritualism and religions and all that, you know, it gets probably a bit unreal for people. But it’s nothing we’ve sat down and had a meeting about, you know, how we’re going to do this. It was just happening quite spontaneously.” He pauses before arriving at his conclusion: “It’s the music: if you like the music, you like the music. If you don’t, then you don’t.”

Indeed, despite the aura surrounding the group and the story of its origins, the Goat commune is actually made to sound remarkably quotidian and non-mysterious in Goatman’s descriptions. “A commune is just a bunch of people living together, sharing the same beliefs, somehow,” he tells me. “But it’s also the natural way for people to live. All people live together with other people all the time, you know what I mean? And people today need to be aware of that more, I think. People of today need to be aware that we are all part of different collectives – your family, your friends, your work, your society, your country, your city, your whatever… your village – we’re all part of collectives or communes and the more we recognise that, the more we can personally play a positive role in our communes or collectives. Which is really our purpose. Don’t live for yourself, live together.”

So what does the band’s music share with the music played within the commune? After a pause, Goatman replies: “It’s not the same. It can be whatever, but music is pretty free up there. There’s lots of [styles]. Like in the ’70s there was prog rock, probably, but in the ‘80s, I don’t know, actually – but still it’s a lot of instruments, a lot of drums, lots of rhythms, lots of dancing, lots of like pretty natural, natural…” he trails off, searching for the right word. “Natural music. You know what I mean?” laughing, “Natural music is not the right word… it’s a stupid word but… don’t write natural music…” I did, but only because I think the term is probably more precise than Goatman feels: the Goat commune and its music seems oriented around an ideology of authenticity, of music and expression arising organically from unconstrained self- and group-expression, free from pretence or individualism.

“Like, simp… not simple music” – still struggling for the best description – “But people play together, you know, jamming with drums maybe. Or the next day, people jamming with drums and a guitar. It doesn’t really matter. Mostly jamming but they pop up like bands or stuff like that – groups that want to do their own music like we have done. And then some young people from up north moved to Gothenburg and hooked up with me and some other people and… So it’s not just people from here influenced by other music. It can be punk rock or whatever, you know. So influences are brought in, it’s the openness for it that is the thing, in a way. You mix whatever you like with whatever you like in the songs and it’s your own expression.”

I mention that there seems to be a subtle, and paradoxically constructive, interaction between tradition – in the commune’s approach to collective music making – and the erasure of tradition – in the desire to incorporate sounds from elsewhere. “Yeah,” he agrees. “I would say that [the latter] is the musical tradition, basically. That is what the tradition is: to stay open, to travel, to explore, you know. To explore cultures and music and, if you feel something appeals to you, use it: it’s yours. That’s the tradition, maybe, in a way.”

And it’s this goal of forging a purity of musical expression – one which arises from the spontaneous and egoless meeting of individuals – that drives Goat’s desire for anonymity. “When we play together wearing masks, wearing something that expresses our sense of the music, we feel more united, we feel more like one person,” Goatman tells me. “It’s more easy. It’s more easy to express something when you know that your face is not there, when your identity is not there. It’s just music coming out. It’s easier to let it out, because there are people watching you.

“And, yeah, it’s also about the individualism of our time because it’s that individualism that we want to get away from. You know, we’re not individuals, Goat is not consisting of individuals.” He pauses briefly and laughs. “It is of course consisting of individuals but it’s not the way we want to be seen, that’s what I mean.”

It’s almost as if the anonymity is a form of secular sacrifice, of the individual to the larger group, I suggest.

“Yeah, I agree with it, yeah,” says Goatman. “It’s a hard word to use, but at the same time I think it’s pretty correct. That’s what Goat is mainly about: you have to give up something for the greater good of the group, of the collective or the commune or whatever. We give up: it’s for the music in a way.”

Goat’s anonymity, then, is an integral part of the group’s self-concept as a commune, allowing the individual to surrender their ego, their desire for ownership or recognition.

“Exactly,” he concurs. But then, in a characteristically self-contradictory move, he adds: “And also, you know, you can’t forget that a show is a show.” His laugh punctuates and halts his train of thought. Refraining from elaboration, Goatman merely leaves the statement to hang briefly between us in all its opacity and knowing ambiguity. After a pause, he adds simply: “That’s also true.”

10 Oct 2014

Cover Feature

We really like Goat here at L&Q, but we're not quite sure what the point of this new release is

23 Aug 2021

GOAT's Gary Barlow has gone solo

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Swedish psychedelic enigmas Goat: 'Our ancestors ate mostly heron. I mean herring'

What is Goat? A centuries-old collective from a remote part of Sweden, thousands strong, whose existence would stop if ever their masks fell off

I n Goat’s dressing room, high above the Coronet theatre in London, are three sofas crammed with people from Sweden. Goatman, the mysterious mastermind behind the enrobed psychedelic dervishes, drags me outside before I can talk to them. Recalling the room later, as if piecing together the scene of a crime, I see in my mind’s eye what could be any rock band from Scandinavia: tall men with lustrous hair, centre-parted, and fair women, some or all of whom are members of Goat.

Their leader wants to conduct his first ever face-to-face interview (no tribal costume, no mask) in a stairwell in the bowels of the building. He leans against a wall with a bottle of beer looking uncomfortable. I sit on a step hoping he’ll join me but he doesn’t, so I’m forced to shoot my questions up at him from his feet.

Let us start with something easy. Can he tell me more about Goat’s famous costumes?

“Well, you know, they’re made of cotton. Most of them,” he says.

It’s going to be a long 18 minutes.

The atmosphere at a Goat gig is that of a festival – that rare sense of transcendence and musical open-mindedness you usually only achieve when stumbling into a tent, wobbly sleeve of Tuborg in hand. The phrase “they’re a live band” is one of rock’s slurs but it shouldn’t be. A kind of magic can be felt at the Coronet, with punters whirling and circle seats shuddering, and not because everyone’s on drugs.

Goat’s scant and apocryphal biography is already well-thumbed. They are said to originate from Korpilombolo, a small village in Norrbotten county, which is home to just 529 people. The village must swell considerably when Goat are in town because, Goatman says, the band has 2,500 members.

One of the pitfalls of making up stories because you don’t like doing press is that the stories themselves become a bit of a drag, so Goatman tweaks details here and there to keep himself interested. He’s long said that Goat has in fact been around for 30 or 40 years – the current members took on the mantle four or five years back when they released their debut album World Music . Today he reveals that his shamanic group actually go back two centuries. Were these direct ancestors?

“Something like that.”

And what does he know about them?

“They were like us, but wore different clothes and ate different food,” he says, wearily. “Mostly heron. I mean, herring. And potatoes. And jam, lots of jam. Their instruments were the same, but without electricity.”

The village was an awesome place, he says: “The best place, full of rejoice all the time.” He only lives there in the summer now. The rest of the time he’s in Miami. Sometimes he swims in the ocean, sometimes he rollerskates. He is trying to start a commune there, but it’s not caught on yet. (He doesn’t really live in Miami.)

Nile Rodgers recently said that the great thing about Daft Punk is that they can never grow old because no one knows what they look like. But immortality does not seem to be a great concern for Goatman, who has a more mundane view of his musical creation. He is theoretically free to have a night off and put someone in his place from gig to gig, because no one knows where he is on stage. He claims this happens regularly, though one suspects it doesn’t. I ask him what it takes to be a member of Goat.

“Nothing. You could be a member if you like. Just start making music in mask.”

Would I have to learn anything?

So it’s easy to be in Goat?

“It takes no skill at all.”

Their current album, Requiem , is their best yet, he says, “because it is longer”. On stage tonight, the anonymous girl vocalists sing-shout, raw and in unison, while executing joyously amateur dance moves. They wheel about in large squares of material, like children wrestling with empty duvet covers. Try My Robe, a new Goat anthem, is a self-explanatory title, Goatman says. It contains a warm invitation to partake in various of their lifestyle rituals: “share my bread,” “taste my food” – and something that sounds less like “try my robe” and more like “try my bong”.

“No!” he booms.

Dry my bum?

“Not dry my bum. There have been many interpretations of this line. I am sorry. You’ve got to keep on listening to the song.”

Would Goatman say he doesn’t like publicity?

“Yes, I’d say that.”

So how does he feel being on stage?

“That’s not publicity, it’s performing,” he says, reasonably. “It’s making music, it’s connection with people, it’s different.”

I suggest it is unusual for a very successful musician not to reveal his face.

Yes, I say. Sometimes people want to get famous.

“Sometimes people don’t want to get famous.”

What would it feel like, if suddenly, one night, they took their masks off?

“We won’t,” he says. “It would be a big day. And we’d have to quit, of course. We couldn’t go on stage after that. If the mask falls off during a show, it would be the last show. It would be over.”

Then I hope the masks are well secured.

“No, they’re very loose actually. It’s a very dangerous game.”

With their career hanging by a thread every night, life in Goat must be tense. It’s not a laugh to wear a mask, he says, it’s a very serious business. Their rules on anonymity are strict. He does not want to be photographed, or seen in public. He can talk to me, but no pictures. Doesn’t he worry about a fan taking a photograph after a show and putting it online? It is amazing this has not happened.

“It would be a very disturbing thing. But people respect us. Mostly, people are nice to each other and respect each other,” he says.

At this point, I suggest we go back upstairs to talk to the others, but he says he’s not sure whether they like journalists up there – “So just talk to me. I’m the most social one, anyway.” He tells me that the people I saw up in the dressing room were just the crew anyway, and not actually the band.

But how would one know? At their first UK gig in 2012, Goat ran their own merch stall and no one was any the wiser. Hiding in plain sight.

• Requiem is out now on Rocket
• Psychedelia
• Pop and rock

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GOAT Announce New Album “Headsoup” out 27th August on Rocket Recordings + Share New Single “Queen of the Underground”

G OAT Announce New Album  Headsoup out 27th August on Rocket Recordings Listen to their brand new single, “Queen of the Underground”

Rocket Recordings  are excited to announce a new album from the Swedish masked psych-collective,  Goat!   Headsoup,  is a globetrotting acid trip of an album, collecting rarities spanning the band’s career: standalone singles, B-sides and two brand new tracks. It will be released on  27th August 2021.

Preorder link for the ‘Special Rocket Edition’:  https://goat.bandcamp.com/album/headsoup Don’t worry if these sell out, Normans Records and Rough Trade Records also have very ltd exclusive versions. There is also a ltd edition version available for indie stores. And for all you ‘audio purists’, there is a ltd ‘Black’ vinyl version available as well.

Now, Goat share a brand new single, “Queen of the Underground” – a swaggering psychedelic powerhouse of the very highest order .   As Goat themselves state, “ Who says a rock band can’t play funk? Electric guitars can be just as sexy today as when Eddie Hazel funked the shit out of ‘em.”

GOAT relish within this flawless and experimental setting. The new arrangement exudes charm and showcases this array of bright textures, soulful surges, and vibrant percussive lead bold beats. GOAT creates these enormous passages that just engulf the audience. Utterly intoxicating whilst GOAT offer this refreshing composition. The vivid ambiance soon becomes this addictive experience, hit play then hit repeat.

When  Goat  first emerged in 2012, armed with an incendiary debut single “Goatman” and a backstory for the ages – the band’s anonymous members claimed to hail from the remote and cursed village of Korpilombo in northern Sweden, where inhabitants had for centuries been devoted to a form of voodoo introduced by a travelling witch doctor – there was no one else on earth quite like them. Their mythology enticing, their music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. Their debut album, 2012’s  World Music ,  received an avalanche of acclaim, critics and psych heads left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the earth. All the while, Goat’s live performances were fast becoming the stuff of legend. With the members’ identities hidden behind imposing masks, making them look like ancient idols, instrumentalists provided relentless backing as twin high priestess vocalists whipped crowds into ritualistic frenzy. Things got darker and even more hypnotic with 2014’s  Commune ,  and then, just as Goat’s sound was beginning to settle, they turned it on its head completely by mutating into a wondrous cosmic folk outfit for their third studio LP, 2016’s  Requiem. Headsoup  is a new compilation that deepens Goat’s legend even further. Collecting non-album material from across their career, standalone singles, B-sides, digital edits and never before heard songs, it’s a record that’s even bigger in its scope than their studio LPs. It’s a globetrotting acid trip of a record, one that moves from the magnificent heavy-psych of their earliest work, like “Goatman” B-side “The Sun And Moon”, to the serene “Requiem”-era alternate take “Union Of Mind And Soul”, to the simmering grooves of their latest material, and a myriad of other detours. Sometimes dark and heavy, at others joyous and beautiful, like Goat themselves,  Headsoup  is mysterious and constantly shapeshifting, difficult to properly pin down but constantly enthralling. Jazz-flute solos, pounding Afrobeat rhythms, ferocious desert blues, drifting Ethio-jazz and churning drones are just a fraction of their dazzling mix of influences. This is, as the name of Goat’s first album made clear,  World Music  in its most complete form, a sound unrestrained by genre boundaries, although the band are anything but lazy appropriators. They approach their forebears with upmost reverence, providing a celebratory cultural cross-pollination. Headsoup  also includes two brand-new tracks, recorded towards the end of 2020, which show that Goat are far from finished evolving. “Fill My Mouth” is a scuzzy psychedelic funk knockout, the sleaziest thing the band have ever recorded and “Queen Of The Underground” is out today!

Almost a decade since Goat first emerged from the depths of Korpilombo, there is still no other band on earth that sounds quite like them.

Headsoup  Tracklisting: 1 The Sun and Moon 2 Stonegoat 3 Dreambuilding 4 Dig my Grave 5 It’s Time for Fun 6 Relax 7 Union of Mind and Soul  8 The Snake of Addis Adaba 9 Goatfizz 10 Let it Burn (Edit)   11 Friday Pt.1 12 Fill my Mouth   13 Queen of the Underground 

https://smarturl.it/goatqueenoftheunder

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DREAM NAILS Unveil New Lead Vocalist Leah Kirby + Announce New Headline Tour Dates

The golden dregs share new single “john” due via end of the road records.

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GOAT: Medicine [Album Review]

Thomas Wilde | October 18, 2023 October 18, 2023 | Reviews

GOAT Medicine Rocket Recordings [2023]

GOAT, the enigmatic Swedish collective known for their unique blend of world music, psychedelia, and mysticism, has swiftly reemerged on the global music scene with Medicine . Following last year’s harder-edged and busier-sounding Oh Death , the band’s fifth full-length offering propels you gently across another sonic journey into the mystical and tribal. Medicine invites listeners to partake in a psychedelic ritual, offering a musical experience that transcends the boundaries of time and culture.

On the opening track, “Impermanence & Death,” the first thing you hear after some distant-sounding chanting is the question, “Sir? Shall we practice a little meditation together?” This is when the flute and rhythms take off into a mesmeric groove. “Raised By Hills” is an instrumental track that takes you on a foot-tapping voyage, driven by a relentless groove. The hypnotic guitar riffs, layers of percussion, and interwoven acoustic guitar create a mind-bending and trance-inducing experience that’s both mesmerizing and danceable. Next up, “I Became The Unemployment Office” takes a darker turn with its distorted guitars and haunting vocals. It’s a hazy and intense piece that captivates the listener’s attention and imagination.

GOAT has traditionally done a fantastic job of bringing the listener into their space. Medicine accomplishes this with all of its tempo changes and seamless transitions. Even though more of this album maintains a nice mid-pace, GOAT still offers several psychedelic rock jams throughout the record, as seen on “Join The Resistance,” which delivers an entrancing blend of world music rhythms and finishes with sprawling metal riffs. The steady percussion and swirling instrumentation evoke a sense of ritualistic fervor, making it an engaging and transfixing experience.

Medicine is a captivating musical journey that invites the listener to participate in a trance-inducing blitz of sound. GOAT’s ability to weave together a diverse array of musical influences, from world music to psychedelia, is once again showcased in this album. Medicine is an immersive experience, a ceremony of auditory exploration that transcends cultural boundaries and resonates with primal and spiritual aspects of the human psyche.

KEY TRACKS “Impermanence & Death” / “Raised By Hills” / “Join The Resistance”

ARTISTS WITH SIMILAR FIRE Kikagaku Moyo / The Soundtrack Of Our Lives / Acid Mothers Temple

GOAT LINKS Official Website | Facebook | Instagram | Bandcamp | Rocket Recordings

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GOAT - Medicine 'Bohemica Colour' Vinyl Version Record/Vinyl + Digital Album

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Lyle Lovett, Graham Nash, Ricky Skaggs among the headliners in Door Community Auditorium 2024 season

The main stage season offers a wide range of genres by award-winning performers, including rock, americana, r&b, jazz, dance, comedy and even throat singing.

FISH CREEK - Big names, names you should know, a few returning favorites, legendary and rising stars making their local debuts, and a slew of award winners fill the schedule for Door Community Auditorium's 2024 Main Stage season, which was announced Friday morning.

Cari Lewis, the auditorium's executive director, said she's proud of the coming season put together by DCA, even coming after a 2023 season in which the auditorium sold out more shows than it ever had in its 33 years.

"I don’t remember us ever having this many recent Grammy winners in the lineup. This might be a record," Lewis said in a news release for the season. "There’s something for everyone: Comedy, dance, soul, family programming, a little nostalgia, a good amount of harmony and Americana, and some world-class regional talent, too.”

The harmonies start right off the bat as the season opens June 19 with the latest incarnation of 1970s-'80s pop-rock hitmakers Little River Band ("Reminiscing," "Lonesome Loser," "Take it Easy on Me"). Next up is roots-folk duo Watchhouse, who played DCA in 2016 back when they were called Mandolin Orange, on stage June 27 with special guest troubadour Charlie Parr. Closing the month is a concert by progressive bluegrass pioneer, three-time Grammy Award winner and International Bluegrass Hall of Fame member Sam Bush on June 30.

A couple more Grammy winners kick off July at DCA, starting July 2 with Americana guitar phenom Molly Tuttle, who won the 2023 Grammy for Best Bluegrass Album for "Crooked Tree." She's followed by another Grammy winner (for "Infinity Plus One," 2017's Best Children's Album), family-friendly hip-hop artist 23 Skidoo and The Secret Agency on July 8, before country-blues gospel band The Wood Brothers takes the stage July 14.

Back at DCA by popular demand is Lyle Lovett and His Large Band for a July 20 date. This will mark the fourth time the alt-country icon and four-time Grammy winner has played DCA with his band, with the previous shows in 2015, '16 and '19 all quickly selling out.

Then for the last week of July, JJ Grey and Mofro bring their Southern soul-rock July 24; a triple bill of The Drifters, The Platters and Cornell Gunter’s Coasters sing their early rock-soul hits of the 1950s and '60s in a July 28 show; and acclaimed songwriters Eilen Jewell and Chris Smither are on stage July 30.

August brings three shows that vary widely in style, beginning with 15-time Grammy-winning mandolin picker Ricky Skaggs with his band Kentucky Thunder returning for an Aug. 2 date; he'd previously played there in 2017. Following on Aug. 4 is SistaStrings, a violin/cello duo of sisters who are natives of Milwaukee, now based in Nashville, blending R&B, gospel and classical sounds. Then comes Graham Nash, a two-time Rock & Roll Hall of Famer as a member of The Hollies and Crosby, Stills and Nash, for an Aug. 18 show.

September opens with a mystery show, an alternative/indie/reggae concert by a yet-to-be-announced act Sept. 7. Then comes another returning act, the Alash Tuvan Ensemble, which brought its throat singing to DCA in 2016 and is back for a Sept. 13 concert, followed by Americana singer-songwriter Angel Olsen on Sept. 20.

A unique dance program is on stage Sept. 22 with Jumaane Taylor’s “Supreme Love,” tap dance set to the offbeat rhythms of hard bop music, especially John Coltrane's "A Love Supreme," in a co-production with the Door Kinetic Arts Festival. Neo-soul iconoclast Meshell Ndegeocello performs Sept. 29 and recent U.S. Poet Laureate Joy Harjo, the first Indigenous person to serve in that post, plays with her band Oct. 4.

Late October sees the return of DCA's Blues, Roots & Hoots Festival. The second annual festival with four straight nights of acts features a jazz-and-tap show in “Some Enchanted Evening” Oct. 24; improvisational comedy Oct. 25 from 10-season "Saturday Night Live" member and Emmy Award winner Tim Meadows, Matt Walsh and Friends (Oct. 25), an encore performance Oct. 26 of last year's tribute concert “Door County and Memphis Voices: Sister Rosetta Tharpe and Beyond”; and folk-jazz by Madeleine Peyroux on Oct. 27.

The auditorium has two holiday-time shows on the schedule. The Nov. 30 show "A Ketchup Christmas" has local band Ketchup covering the album “In the Christmas Spirit” by legendary R&B band Booker T. & the M.G.'s. Then, Colin Welford, a musician, composer and musical director of shows from Broadway to Northern Sky Theater, is joined by some musical friends for “Songs that Sleigh” Dec. 14.

A handful of shows also are on for early 2025, with Afro-jazz circus Cirque Kalabanté on Jan. 26, Spanish-English kids’ duo 123 Andrés on Feb. 28 and 23 Skidoo & The Secret Agency returning from their July gig for an April 4 show.

In addition to the Main Stage shows, DCA plays host to the classical music of the Peninsula Music Festival season over the first three weeks of August as well as a variety of community concerts throughout the season.

Tickets go on sale to the general public May 14, with presales for DCA VIPs beginning May 7. Season subscriptions with discounts are available for those who plan to attend multiple shows. The auditorium also continues to seek sponsors and volunteers for the season.

Door Community Auditorium is at 3926 State 42, Fish Creek. For tickets or more information on shows, subscriptions, volunteering or becoming a DCA VIP, go to the DCA box office, 3926 State 42, Fish Creek; call 920-868-2728; or visit dcauditorium.org.

2024 Main Stage season

• June 19 : 1970s-80s pop-rock hitmakers Little River Band
• June 27 : Roots-folk duo Watchhouse (formerly Mandolin Orange) with special guest Charlie Parr
• June 30 : International Bluegrass Hall of Fame member Sam Bush
• July 2 : Guitar phenom Molly Tuttle
• July 8 : Family-friendly hip-hop with 23 Skidoo and The Secret Agency
• July 14 : Country-blues gospel with The Wood Brothers
• July 20 : Alt-country icon Lyle Lovett and His Large Band
• July 24 : Southern soul-rock with JJ Grey and Mofro
• July 28 : 1950s-'60s rock-soul hits with The Drifters, The Platters, and Cornell Gunter’s Coasters
• July 30 : Acclaimed songwriters Eilen Jewell and Chris Smither
• Aug. 2 : Legendary mandolin picker Ricky Skaggs and Kentucky Thunder
• Aug. 4 : Classical/R&B string duo SistaStrings
• Aug. 18 : Legendary rocker Graham Nash
• Sept. 7 : Alternative/indie/reggae concert with a yet-to-be-announced performer
• Sept. 13 : Throat singing with the Alash Tuvan Ensemble
• Sept. 20 : Americana songwriter Angel Olsen
• Sept. 22 : Jumaane Taylor’s “Supreme Love,” a bop jazz/tap dance performance
• Sept. 29 : Neo-soul pioneer Meshell Ndegeocello
• Oct. 4 : Former U.S. Poet Laureate Joy Harjo and her band
• Oct. 24 : Jazz and tap in “Some Enchanted Evening," part of the second annual Blues, Roots, & Hoots Festival
• Oct. 25 : Improv comedy with Tim Meadows, Matt Walsh and Friends, part of the second annual Blues, Roots, & Hoots Festival
• Oct. 26 : Encore performance of “Door County and Memphis Voices: Sister Rosetta Tharpe and Beyond,” part of the second annual Blues, Roots, & Hoots Festival
• Oct. 27 : Folk-jazz chanteuse Madeleine Peyroux, part of the second annual Blues, Roots, & Hoots Festival
• Nov. 30 : A Ketchup Christmas, with local band band Ketchup performing Booker T. & the M.G.’s’ “In the Christmas Spirit”
• Dec. 14 : “Songs that Sleigh” with composer/musical director Colin Welford and Friends
• Jan. 26 : Afro-jazz circus Cirque Kalabanté
• Feb. 28 : Spanish-English kids’ duo 123 Andrés
• April 4 : Family-friendly hip-hop with 23 Skidoo and The Secret Agency

C ontact Christopher Clough at 920-562-8900 or  [email protected].

MORE: Northern Door County home that houses J-1 visa student workers is damaged by fire

MORE:   Is Door County one of the best summer travel destinations in the U.S.? Voters will decide

MORE:   Door County's 'goats on the roof' Swedish restaurant makes plans for its 75th anniversary

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Goat announce the UK tour for 2023

Mysterious Swedes Goat sound as enigmatic as they look. The audiences in the UK will unlikely see them unmasked, yet the real look of the artists is always compensated by the intensity of the music. The band will start the tour in Bristol and finish at London’s Electric Brixton.

The tour will begin on 15 April 2023. More information and tickets are available here .

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Weekly News Quiz: April 25, 2024

By Alexandra Banner and James Grant

A protest movement. A dust storm. A virus outbreak. What do you remember from the week that was?

Keep up with the news you need. Sign up for the 5 Things newsletter.

College campuses across the US have erupted with pro-Palestinian protests. Which university emerged as the epicenter of the demonstrations?

A pro-Palestinian encampment at Columbia University prompted similar protests at colleges across the country . Hundreds of demonstrators were arrested this week.

Which European city was blanketed by an orange-colored haze this week?

An orange haze of dust from the Sahara Desert covered parts of Greece , prompting authorities to issue health warnings.

President Joe Biden signed a $95 billion foreign aid package that could lead to a nationwide ban of which app?

A wide-ranging foreign aid package meant to support Israel and Ukraine poses a serious risk to TikTok. Under what is now US law, TikTok will be forced to find a new owner within months or be banned from the US entirely .

Roughly what percentage of people in the US live with unhealthy air pollution?

Nearly 40% of people in the US are living with unhealthy air pollution, according to a new report from the American Lung Association. The report showed several populous cities also received "F" grades for ozone smog , a form of pollution caused by emissions from cars, power plants and refineries.

According to a new bill in Tennessee, which public service workers may now carry guns in the workplace?

Tennessee lawmakers passed a bill allowing teachers to carry concealed handgun s on school grounds if they meet certain conditions.

Which automaker recently reported a 48% plunge in earnings?

Tesla reported an ugly financial performance for the first quarter of the year. However, the embattled company is promising a cheaper car model will still go into production in 2025.

Which type of livestock in the US is being impacted by a bird flu outbreak?

Viral particles of H5N1 bird flu viruses have been detected in dairy cows . The FDA believes most milk products on US grocery shelves are still safe to drink because the viruses will likely be killed during the pasteurization process.

NASA is aiming to install a 4G network on the moon that could enable texting and streaming on the lunar service. Which company is NASA partnering with on the venture?

NASA and Nokia are working to take 4G into space later this year. It could lay the groundwork for an off-world internet similar to Earth's.

Which theme park reported a ride collision this week that injured more than a dozen people?

A tour tram at Universal Studios Hollywood crashed and "ejected multiple passengers," according to California authorities. Fifteen people were taken to a hospital for treatment with minor to moderate injuries.

Which artist was inducted into the Rock & Roll Hall of Fame this week?

The Rock & Roll Hall of Fame has announced their 2024 class of inductees , which includes Cher, Mary J. Blige and Dave Matthews Band. The induction ceremony will take place in October.

Entertainment | Things to do in Loveland on Friday: Face Vocal…

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Things To Do

Entertainment, entertainment | things to do in loveland on friday: face vocal band concert; ‘cabaret’ by northern colorado performing arts.

Face Vocal Band: 7:30 p.m., Rialto Theater Center, 228 E. Fourth St., Loveland. Acclaimed all-vocal rock band from Boulder. $35, 970-962-2120, rialtotheatercenter.org.

“Cabaret”: 7 p.m. Friday and 2 p.m. and 7 p.m. Saturday, through May 4, Northern Colorado Performing Arts, 575 N. Denver Ave., Loveland.  The musical explores the dark and heady life of Bohemian Berlin as Germany slowly yields to the emerging Third Reich, as an American writer falls in love with a nightclub performer. $18 in advance, available at harringtonartsalliance.org, or $20 at the door.

Texas Hold’em: 7-10:30 p.m., Boise Tavern, 1475 N. Boise Ave., No. 4, Loveland. Free, rockymountainpokervenues.com.

Chess Games: 1-4:30 p.m., Chilson Senior Center, 700 E. Fourth St., Loveland. The community is welcome to drop in to play chess with others in the Senior Center Recreation Lobby. Free, 970-962-2783.

Bingo: 11:30 a.m.-1:30 p.m., Bingo Planet, 281 E. 29th St., Loveland. Benefits Fort Collins Lions Club charitable activities. $10, email [email protected].

Pub Quiz Night: 6:30 p.m., Big Thompson Brewery, 114 E. 15th St., Loveland. Free. Website: bigtbrewery.com

Homeward Alliance Mobile Laundry: 9 a.m-noon Thursday and Friday drop off at Loveland Public Library parking lot, 300 N. Adams Ave., Loveland. Pick up by 2:45 p.m. the same day. Free,  970-460-6451, email [email protected].

“Annie”: 7:30 p.m. Friday, 2 p.m. and 7:30 p.m. Saturday and 2 p.m. Sunday, Lincoln Center, 417 W. Magnolia St., Fort Collins. A musical celebration of family, optimism and the American spirit remains the ultimate cure for all the hard knocks life throws your way. $20-$91, 970-221-6730, lctix.com.

“Our Town”: 7:30 p.m. Friday-Saturday and 2 p.m. Sunday, University Center for the Arts, 1400 Remington St., Fort Collins. The Thornton Wilder play, winner of the 1938 Pulitzer Prize tells the story of the fictional American small town of Grover’s Corners, N.H., between 1901 and 1913 through the everyday lives of its citizens. $18 adults, $14 ages 62-plus, and $9 youths under 18, theatre.colostate.edu.

“Portraits” Exhibit Opening Reception: 5:30-7 p.m., Lincoln Center Art Gallery, 417 W. Magnolia, Fort Collins. Main gallery features portraits from Vitus Shell’s “Gold Everything” series, and lobby gallery features Windsor artist Yuki Horikawa. Runs through June 8. Free, lctix.com/art-gallery.

Family Law Day: 9 a.m. to 4 p.m., Larimer County Justice Center, 201 La Porte Ave., Fort Collins. People representing themselves in family law cases in Larimer County can get education and consult with an attorney, free of charge, during a Family Law Day event being offered in person and online via WebEx on Friday, April 26. To sign up for a class or a 30-minute Ask-a-Lawyer appointment, go to bit.ly/24FLD.

Northern Colorado Masks Exhibition and Fundraiser: 10 a.m.-5 p.m. Wednesday-Friday and noon-5 p.m. Saturday-Sunday, Museum of Art Fort Collins, 201 S. College Ave., Fort Collins. Community members have decorated masks for the museum benefit. View in person at the museum and through an online auction at fly.causepilot.com/moafc/masks2024. Runs through June 7. Museum admission $8-$10, moafc.org.

Weld RE-4 AP Art Show: noon-4 p.m. Friday-Sunday, Art and Heritage Center,116 Fifth St., Windsor. Free, windsorgov.com.

Baby Animal Days: 10 a.m.-3 p.m. Friday-Saturday, Centennial Village Museum, 1475 A St., Greeley.  Families can interact with goats, lambs, a calf and chicks, as well as the museum’s resident turkeys, chickens and Ethel the cow, and try some of the museum’s historic games and visit living history presentations. $4 per person, ages 3 and older, 970-350-9220, greeleymuseums.com.

Estes Park Environmental Film Festival: 2 p.m., Historic Park Theater, 136 Moraine Ave., Estes Park. Day passes are $35 and two-day passes are $60, available at historicparktheatre.com/movie/environmental-film-festival-.

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