Five years on from their most recent work ("Requiem", 2016, hardly a reassuring title), a period punctuated by sporadic solo appearances (including the solo debut of the Goatman project in 2018), the release of "only" a retrospective doesn't dispel fears about the end of the Goat experience. "Headsoup" is in fact a collection of thirteen B-sides, unreleased tracks and singles not previously included on any album – some of them quite well known to fans of the mysterious Swedish collective – which deserved a second, more visible chance.
The material is arranged in strict chronological order: it opens with the recovery of three sparkling tracks dating back to the band's very earliest period, that of their acclaimed debut "World Music". "The Sun The Moon" appeared on the debut single "Goatman", in early 2012, while "Stonegoat" and "Dreambuilding" were the two sides of a seven-inch released in June 2013. From the era of "Commune" come instead "Dig My Grave" (released on Sub Pop in September 2014) and the pairing "It's Time For Fun"/"Relax" (August 2015).
"The Snake Of Addis Abeba" was the B-side of "I Sing In Silence", May 2016, "Union Of Mind And Soul" was released in September of that same year, as was "Goatfizz", an alternate version of "Goatfuzz" made available in a limited run for Record Store Day 2017; "Let It Burn" and "Friday, Pt. 1" date instead from May 2018. To close things out, there's room for the unreleased "Fill My Mouth" (with its fine funk groove) and "Queen Of The Underground", an exhilarating acid-drenched plunge rounded off by two scorching solos in its finale.
Amid voodoo rites, ancestral psychedelia, Afrocentric mantras, Andean dances, fuzz guitars and jazz detours, in the span of just three albums Goat achieved the feat of updating the very concept of world music, proving they possess a vision with few equals anywhere in the world. Credit is due to Rocket Recordings, which, by believing in them, managed to establish itself as one of the leading labels of the psychedelic movement that has developed over the past decade.
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06/09/2021
This article is an English translation of the original Italian text by Claudio Lancia, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.