Having listened to Goat’s first two records, 2013’s New Games and 2015’s Rhythm & Sound, I was firstly blown away by their minimalism, but mostly by their precision. Featuring primarily percussive elements, the act from Japan perform an etude on both technical aptitude but also creativity. I was even more impressed when I had the chance to see them perform live at 2018’s Supersonic Festival. Before the event, I was nearly positive that this style would not translate live, and yet I was proven wrong. And I could not be happier about this. So, through the years I have been waiting for a follow-up to Rhythm & Sound, and finally, it has arrived with Joy In Fear.
This is no easy work for Goat. Joy In Fear is meticulously built through what can only be an exhausting process. The solid foundation they set up in “III I IIII III” is intense in its repetition, with Goat patiently adding flourishes and new elements. And so, the minimal structure begins to expand and take on new features, as more extravagant sounds come to the fold. The sudden, alarming sounds create a sense of danger and urgency, a technique that is further explored in “Spray.” While Goat appear to be content in retaining the traditional timbre of their percussion intact, they do have moments when they move towards excessive renditions. The record’s closer in “GMF” completely turns the table, offering an industrialized take on what is otherwise a quite common timbral approach. It is a powerful inclusion and not the only one that Goat make.
The compositions here act like wordless mantras, being repeated and slowly altered through time. In turn, this can take a spiritual motif, a meditative quality as you become lost in this intricate design. This can be performed through tribal and esoteric moments, as is the case with “Wapred.” It sees Goat open up this mystical realm just by establishing the strong progression and adding simple flourishes with cymbals. Still, there is a deeper layer that they can reach. The start of “Cold Heat” becomes transcendental, as slight chimes create an otherworldly effect. This is also where the additional instrumentation further opens up this atmospheric domain, in this case, the wind instruments move this procession to a deeper level in this spiritual domain. It acts as a psychedelic effect, contorting the world around you.
But, from psychedelia, Goat then move towards a more free-flowing jazz phase. “Cold Heat” first introduces the saxophone, adding a touch of sentimentality to the proceedings. However, it is “Modal Flower” that fully establishes this form. It draws much more from the likes of John Coltrane and Miles Davis when it comes to the groove, and it does so through most of its duration without the need for the familiar saxophone. That of course still makes an appearance in the latter part of the track, but it acts more like an affirmation of this influence, rather than a core component of it.
Joy In Fear is an experience and a work that showcases the uniqueness of Goat. Consider this. This is a record primarily based on percussion, and yet through its duration, Goat can navigate through psychedelia, jazz, and ambient music with ease. They can awaken feelings of urgency and anxiety, and then return to a state of spirituality and transcendentalism. And all this without losing any of the precision of their craft, balancing creativity and discipline. Yeah, that is very rare.
