The none-more-keenly awaited vinyl debut of Japan’s inimitable goat is a 10 year anniversary reissue of their acclaimed first album, featuring YPY aka Koshiro Hino (half of KAKUHAN) in nanometric syncopation with the exemplary no wave/experimental quartet - Huge RIYL Moin, Klaus Dinger, Wharton Tiers, Mark Fell.
Arguably the tightest band we’ve ever seen play live, Osaka’s goat are the definition of a cult property, beloved by the likes of Mark Fell and Rian Treanor, yet unfathomably little known beyond the heads. As their maiden international release, the decade anniversary vinyl edition of ‘New Games’ should go some way toward rectifying that matter with its utterly captivating display of needlepoint-precise drums and flinty guitar prioritising pure percussive sound and propulsion over melody. In a sense, they operate in a tradition that reaches back to experimental rock forms pursued by Klaus Dinger with Neu!, Wharton Tiers’ catalytic work in the NYC no wave underground, or indeed the uncompromising, pointillist percussive bias of Mark Fell, but all with an in-the-moment agility and airtight precision that’s pretty much breathtaking if you ask us.
With the scene now prepped in recent years by band-member Koshiro Hino’s stream of rhythmically compelling sides as YPY and Hinosch on his birdFriend & NAKID labels, the rest of the world is set to catch up with the might of goat’s ‘New Games’. Typically taking up to and over 10 minutes to cycle thru their permutations per track, Hino, Ando, Tatami and Nishikawa pucker up the sharpest rimshot and neck-top interplay in the LP’s title piece, rupturing the sheer latticed patterns with stop/start punctuation that lets you know they’re doing it live, and subtly but exactingly shifting patterns between the panic-attack of ’STD’, to more lissom evocations of Asian and African rhythmelody in ‘Solid Eye’ or the sinuous muscularity of ‘On Fire’, while unravelling a wickedly knotted miniature ‘Ghosts (Part 1)’ primed for DJ and radio use.
Playing right on the sweetspot where experimentalism yields to propulsive purpose, goat are uniquely worthy of their moniker in its acronymic sense, practically showing up everything either side of them as lazy and uninspired in relief of their meticulous drills.
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Back in stock. Anniversary vinyl edition of goat (JP)'s debut album “New Games” (2013) plus tracks from their second album “Rhythm & Sound” (2015). Recorded and mixed by Bunsho Nishikawa, mastered and cut by Rashad Becker.
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The none-more-keenly awaited vinyl debut of Japan’s inimitable goat is a 10 year anniversary reissue of their acclaimed first album, featuring YPY aka Koshiro Hino (half of KAKUHAN) in nanometric syncopation with the exemplary no wave/experimental quartet - Huge RIYL Moin, Klaus Dinger, Wharton Tiers, Mark Fell.
Arguably the tightest band we’ve ever seen play live, Osaka’s goat are the definition of a cult property, beloved by the likes of Mark Fell and Rian Treanor, yet unfathomably little known beyond the heads. As their maiden international release, the decade anniversary vinyl edition of ‘New Games’ should go some way toward rectifying that matter with its utterly captivating display of needlepoint-precise drums and flinty guitar prioritising pure percussive sound and propulsion over melody. In a sense, they operate in a tradition that reaches back to experimental rock forms pursued by Klaus Dinger with Neu!, Wharton Tiers’ catalytic work in the NYC no wave underground, or indeed the uncompromising, pointillist percussive bias of Mark Fell, but all with an in-the-moment agility and airtight precision that’s pretty much breathtaking if you ask us.
With the scene now prepped in recent years by band-member Koshiro Hino’s stream of rhythmically compelling sides as YPY and Hinosch on his birdFriend & NAKID labels, the rest of the world is set to catch up with the might of goat’s ‘New Games’. Typically taking up to and over 10 minutes to cycle thru their permutations per track, Hino, Ando, Tatami and Nishikawa pucker up the sharpest rimshot and neck-top interplay in the LP’s title piece, rupturing the sheer latticed patterns with stop/start punctuation that lets you know they’re doing it live, and subtly but exactingly shifting patterns between the panic-attack of ’STD’, to more lissom evocations of Asian and African rhythmelody in ‘Solid Eye’ or the sinuous muscularity of ‘On Fire’, while unravelling a wickedly knotted miniature ‘Ghosts (Part 1)’ primed for DJ and radio use.
Playing right on the sweetspot where experimentalism yields to propulsive purpose, goat are uniquely worthy of their moniker in its acronymic sense, practically showing up everything either side of them as lazy and uninspired in relief of their meticulous drills.