And we play the game of love, and we hope that it’s enough

Here’s a welcome bit of news to perk us all up as Winter begins to poke it’s needy little face in at the window. Erstwhile (or current if you believe the rumours) Super Furry Animals bass player, Guto Pryce has a rather lovely little side project emerging, called Gulp.

Gulp

Formed with singer Lyndsey Leven and with the help of (erstwhile / current) SFA drummer Daf, Gulp this summer released a single on ELK Records from Cardiff. And it’s a bit of a belter…

In the last few months, I’ve done some pretty extensive digging into the various back and side catalogues of most of the members of Gorky’s, but inexplicably, Gruff aside, have rather ignored the outputs of the SFA members. More fool me, I guess, because I really like this Gulp record. The main track (do people still speak about A and B sides?), “Game Love” is particularly fine – insistent but ethereal vocals, draped languidly over a gorgeous, loping bass line.

You’ll like this:

Then there’s this rather more dancy, dubby offering on the other side, called Diamonds in the Sky. Words like “cinematic” and names like “Ennio Morricone” are being bandied around, but I gues nobody likes to say that it sounds a bit like, you know, Super Furry Animals… (No problem with that…)

I’m really keen on this, and am really looking forward to the album that’s being planned for next year. They’ve done a few dates recently and are, I think, due to support Django Django through October and November in the UK and Ireland. Catch ‘em while they’re hot!

Here’s a couple of  clips of Gulp playing the Club Ifor Bach in Cardiff this summer, sorry no idea of the name of either track:

 

…the power of the curse can be felt throughout the grooves…

I’ve recently bought copies of the new records by Calexico and Grizzly Bear. Both are releases I’ve been anticipating for a good while now. I saw Grizzly Bear in the summer and I have a ticket for Calexico’s visit to Bristol in the New Year, so really you’d imagine they’d be vying for position in the car stereo and iPod, like a pair of demented boy-racers pulling out of KFC. Fact is, though, both albums have been cast carelessly aside and lie sulking on the back seat of the car…

And I’m not just being willful or butterfly-brained about this.

Turns out the last three months have been a terrific time for other more intriguing, quirky and just plain wild releases.

I’ll no doubt gush about the new Woods, Kid Koala, TOY, Moon Duo and Tame Impala records in the coming weeks, but right now, it’s this record that’s hogging the speakers:

Goat

Goat are one of those bands that magazines love, partly because they’ve released a belter of a record, but also because they have this mouth-watering back story about coming from an obscure and remote part of Sweden where bizarre pre-Christian rituals are performed.

This is what the Goat Blog says about the band:

Goat are a collective who hail from a small and very remote village called Korpolombolo in deepest darkest Sweden. Legend has it that for centuries, the inhabitants of the village of Korpolombolo were dedicated to the worship and practices of Voodoo. This strange and seemingly unlikely activity was apparently introduced into the area after a travelling witch doctor and a handful of her disciples were led to Korpolombolo by following a cipher hidden within their most sacred of ancient scriptures. The reason it led them there is unknown, but their Voodoo influence quickly took hold over the whole village and so they made it their home – there, they were able to practice their craft unnoticed and unbothered for several centuries. This was until their non-Christian ways were discovered by the Church and they were burned out by the crusaders, the survivors cursing the village over their shoulders as they fled. To this day, the now picturesque village of Korpolombolo is still haunted by this Voodoo curse; the power of the curse can be felt throughout the grooves of the Goat records.

Quite possibly a load of old bollocks but clearly irresistible old bollocks that this punter is more than willing to buy into. It’s pretty much the only information about them available on the Internet apart from this interview on the Quietus website which although absorbing doesn’t really make anything clearer (“There have been previous incarnations of Goat and the music has not been the same in all the years, but it comes from the same musical tradition”)

No matter, “World Music” is an infectious, noisy and above all feral record, not in any way to be confused with WOMAD or craft markets. The music’s delicious and right up my street; in fact if Goat had come upto me (presumably while taking a breather from ritualistic activities) with a questionnaire on which direction their new record should take, I’d undoubtedly have ticked the “fuzztone/wah wah”; “afro-funk” and “psychedelic organ” boxes which they’ve gone on to use so feverishly.  Tremendous fun…

Some more, you say?