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I may be a bit late on this but fuck it: Get on the Goat.

These Swedes are getting a fair bit of attention of late. Possibly largely due to their spurious claim to have existed for generations in little known, Voodoo curse haunted, backwaters village Korpolombolo.

Put that press release carry-on aside and this could still be one of the best new records you’ll hear this year. Imagine space rock in the vein of some scorching White Hills, filtered through Fela Kuti, filtered through mystic Swedish hipsters. Also imagine an obligatory Can influence. If that’s not working, put your imagination aside also and have a listen:

World Music is out on Rocket Recordings (home of Gnod and UFOmammut). I have no idea if it’s possible to purchase directly from them (maybe I suck at the Internet). Why not try the good English chaps at Norman Records.

Just re-pressed. Get to it.

1983: a 25 year old Bobb Trimble trades his band of 9-12 year olds for a band of 15 year olds, records The Crippled Dog Band, has 500 copies of The Crippled Dog Band pressed, and throws 500 copies of The Crippled Dog Band in a skip-bin. 28 years later, Yoga Records have given this record the release that it deserves.


Here, on his third record, Trimble trades the fragile folk of 1982’s Harvest of Dreams (re-released by Secretly Canadian in 2007) for energetic Garage Rock and he is generally less reliant on his frequently grating falsetto. Never fear; there’s still plenty of the outsider-psych weirdness, poppy turns and relentless introspection that made Harvest of Dreams and Trimble’s debut Iron Curtain Innocence (also available from Secretly Canadian) fantastic records both.


Check out a couple of tracks below and/or do it to it your format of choice here.

Undercovers Man

Fight or Fall – Screw It


 

As is typical of drone musicians, with at least three and a half releases this year alone and another three or so on the way, Sean McCann has been a busy boy. His recent release, The Capital, has been getting rave reviews all over the place and is currently my go-to listen when I’m looking for a drone fix.

 

On The Capital, McCann utilises a wide range of instrumentation from synthesiser and other electronics to banjo, viola, and piano. The first side is heavy on synthy, swirling jams; on the second McCann expertly combines the more traditional instruments with field recordings resulting in what are, at times, highly emotive tracks. This record seems more focused and composed than what I’ve heard of his other releases, each track has its own purpose and nothing drones on to the point where it becomes no more than background noise. Aguirre still have some copies of the LP in stock, only 300 were released so get on this before they’re all gone.

Aerial Sapphire Show

This Was Nearly Mine