26 Nov 2015

Goat to play Field Day 2016

We are VERY excited to announce that Goat will be playing Field Day Festival next year...joining artists like PJ Harvey, Thurston Moore, Ata Kak, Four Tet and more.

This is the first show the band have confirmed for 2016!

Field Day London
Victoria Park
Saturday 11 & Sunday 12 June

Tickets from here: Field Day


25 Nov 2015

Sister Ray, Normans and Piccadilly EOY lists

So as mentioned in previous posts Resident and Rough Trade featured Rocket releases in their End of Year charts.

Well now we have Sister Ray, Normans and Piccadilly:

Sister Ray
No.3 / Hills – Frid
No.37 / Teeth of The Sea – Highly Deadly Black Tarantula

No.7 / Shit & Shine – 54 Synth-Brass, 38 Metal Guitar, 65 Cathedral
Near miss / Teeth of The Sea – Highly Deadly Black Tarantula
Near miss / Gnoomes – Ngan!

No. 94 / Shit & Shine – 54 Synth-Brass, 38 Metal Guitar, 65 Cathedral


24 Nov 2015

The Quietus reviews Josefin Öhrn + The Liberation and Capra Informis records

It reads...

Columnfortably Numb: 
Psych Reviews For November 

Josefin Öhrn + The Liberation - Horse Dance
Like Dream All Over, Horse Dance has a strong opener in 'Dunes'. The track's repetitive backing throbs make it virtually impossible to resist nodding along. What do you call it when you end up nodding along with the whole of your physical frame? A full body nod? That's what I was doing anyway. As with Gun Outfit, there's a Neu! thing going on here but this time it's executed in a far cleaner, less ragged and fuzz-free way. It's the kind of glistening psych you'd imagine that bloke from LCD Soundsystem streams through his 4G lapel button while designing luxury furniture or whatever he does these days. The music floats along like a Phil Manley or Jonas Munk solo release, albeit with a charismatic Swedish lass whispering over the top, Josefin sounding cool to the point of jaded disinterest. I realise I'm unintentionally making Horse Dance come across as an odious hipster elevator soundtrack, a maliciously gentrifying corruption of the nebulous Rocket label, but it's actually really neat because you can't just listen to hairy males stomping on distortion pedals all your life, mate. Historically, psych-rock has been a proper sausage fest and the likes of Josefin Öhrn (and Carrie Keith, see above) show there are viable alternatives to the vacuous psych of the Cyruses.

Capra Informis - Womb Of The Wild
I am reliably informed that Capra Informis is Latin for "shapeless goat", which is apt because this is a new project from one member of the Swedish world-music psych-fusion collective Goat, specifically their "unnamed djembe player".......Maybe it's too early to judge from this slight EP but I may like its shapeless side-project more than the proper, solidly-formed Goat. The latter band can be excessively exuberant at times, whereas Womb Of The Wild stays slow, understated and om-like. The first song's a meditative chant with blurred edges. The title piece is more riff-based and nasty-sounding, with sinister hints of Dead Skeletons or the Tomahawk tracks where Mike Patton channels his Native American ancestry. The organ-licious final number, on the other hand, sounds like a missing scene from Phantom Of The Opera where Erik naffs off to a Moroccan hippy retreat for some much-needed holistic bongo therapy.

See the full piece here: The Quietus


Back Seat Mafia reviews Teeth of the Sea – Highly Deadly Black Tarantula

It reads...

Here we are then, around fifteen years late, but it finally feels as if the end of the millennium has arrived. As the forces of power and terror mass within and without a great dystopian darkness seems to be falling on the land. As while the mainstream media continues to spew out ephemera to keep the masses diverted away from it all, at the margins of culture there seems to be an awakening of macabre meaning.

The new Teeth of the Sea has arrived like no other, by anyone. This is an album that has a ‘fuck you’ strength to it, yet closer inspection reveals an altogether more subtle and fragile sense of reality that suggests a real fear for the present and, I am sure, the future.

The album’s opener ‘All My Venom’ begins with a monotone, indeed monochrome, chord through which the lightness of a trumpet shines through. This is overpowered by a huge electronic beat and the sound of a far more sinister trumpet, and guitar. There seem to be two things competing here, hope and alienation. As the track plays out the whole track becomes more and more sombre, building into a huge crescendo and the scene unfolds with even some guitar reminiscent of Jeff Wayne’s War of the Worlds: they are here! Who they are is not clear, more alienation than alien, but at just past five minutes into the track it explodes and the venom pours out: you can feel the anger and the despair in this huge moment of catharsis. This is music at it’s most powerful, music designed to overcome! I am exhausted and only at the end of track 1.

Read the rest of the interview here: Back Seat Mafia


Josefin Öhrn + The Liberation interview on Hoxton Radio this Thursday

Paul Hanford will be airing an interview he did with Josefin Öhrn this Thursday on Hoxton Radio between 4-6pm. He’ll also be playing music from their debut album album 'Horse Dance'.

More info here: Hoxton Radio


Lay Llamas interviewed at Varvara Festival 2015


Disorder reviews Josefin Ohrn + The Liberation: First UK Show at Shacklewell Arms

It reads:

...We spotted Josefin in amongst people drinking a beer whilst her fellow band members set up their gear onstage. With only minutes to spare things got off to a shaky start: one of the guitars was dropped and smashed, writing it off completely. But being one instrument down wasn’t going to hold things back for Josefin Ohrn + The Liberation; brushing aside the incident in style, they wasted no time at all, tearing into the introduction of their set. It began with a simple kick drum, and bass that evolved into one hell of a groove, with spooky, delayed guitar sounds glazing over the surface. Josefin, centre stage, was dressed immaculately in black and looked slick to the bone with her hair skimming the microphone as she swung from side to side, wholly immersed in the moment. It was a cool sight indeed. 

Their breakthrough single, ‘Take Me Beyond’, saw people in the crowd edging closer to the stage and from this point onwards the room was pretty much packed out. The ever-present thud of its motor drum rhythm went on in ceaseless effort and in response a flock of heads…

Read the rest of the glowing review here: Disorder