GOAT GIRL inflames the London underground scene

…AND PAYS TRIBUTE TO BRITISH POP MUSIC

 
 GOAT GIRL | © Rough Trade Records

GOAT GIRL | © Rough Trade Records

 

While Meghan Markle and Prince Harry are on the covers of all British tabloids to speak about their engagement and wedding, the punk scene is in a turmoil. In South London, around the areas of Greenwich, Lambeth and Southwark, Clothe Cream, Naima Jelly, L.E.D. and Rosy, four twenty-something-year olds have been preparing the resurrection of the London indie scene for a few years now. A bit like Beatles meets Velvet Underground while speaking to Alison Mosshart of The Kills.

They sound like Janis Joplin with their four nonchalant voices, as if the seventies had never faded. GOAT GIRL is the British girl’s archetype when she thinks about pissing off her parents and giving them the finger to show she’s independent and won’t respect their authority. Their music is the sound that would come out of Trainspotting if it could sing, and it instantly throws us into the current garage music atmosphere.

Straight from an underground basement, GOAT GIRL signed with Rough Trade Records just as more than half of the UK voted to leave the EU. But the tense atmosphere didn’t keep them from working their bums off. Two years later, on April 6th 2018, they finally released their self-titled 19-track album produced by no other than Dan Carrey. Remember Franz Ferdinand and The Kills? Yep, that’s him. It’s something to be proud of. With some kind of nostalgia, they four are now going to leave their basement and show the rest of the world that the planet earth hasn’t stopped turning yet.

GOAT GIRL are a band reacting to all these classic boy bands, like The Beatles, that girls worship so much they could faint. So we’re not surprised the video clip for their new single
The Man is an adaptation of the famous Beatles’ video A Hard Day’s Night, which was released in 1964. In the original clip we can see John, Paul, George and Ringo running to escape from obsessed fan girls that couldn’t imagine a life without them.

 

Taken from Goat Girl's debut album 'Goat Girl', out now on Rough Trade Records

 

Come rain come shine, the men are scrutinizing them and want them. From the top of the roof, the girls wave at them knowing they’re safe. However, as the police can’t contain the fans anymore, the band ends up being chased by their fans, forcing them to escape and run all around London. Who said that Beatlemania was over? We’re in the middle of a sexual revolution, conductive a new musical creativity.

Yet, when your stage name is GOAT GIRL, one might think of a follower, a herd, or else a girl without any personality whose only desire is to be loved. Those girls don’t consider themselves as a herd of goats. As shown in The Man, the goats are re-imagined as men. Likewise in Cracker Drool: a lot of smoke, one of them driving a car and in that black and white - the past as we know it has never existed. Women are powerful, they can express themselves and nobody can change that. They’re not only about feminism - those women simply have a voice and are willing to use it to convey a message.

 

Taken from Goat Girl's debut album 'Goat Girl', out now on Rough Trade Records

 

Pete Doherty can then pack his bags and leave with his torn clothes,
tramp look and sleepy voice; GOAT GIRL are ready to take over.
GOAT GIRL are currently touring the UK, France, the Netherlands, Canada and the US.
They will be performing in London on May 2nd, 2018 at The Garage.

 

VIDEO CREDITS

VIDEO 1 | The Man:
Directed by - CC Wade | Producer - Elena Isolini | Executive Producer - Katie Lambert | Production Company - Stink Films | 1st AD - Nevra Topcu | DOP - Ahmet Hussein | Steadicam Op - Henry

VIDEO 2 | Cracker Drool:
Directors: CC Wade | Producer: Elena Isolini | Key Grip: Christian Murray | 1st AC: Kui Pun | 2nd AC: Amy Douglas-Morris | Art Director: April Ibinceanu | Hair and Make-up: Kate O'Shea | Action Vehicle/Driver: Simon Clarke | Production Assistant: Lara Laeverenz | Production Assistant: Ben Hughes | with special thanks to: Konrad Adamczewki, Simon Adamczewki and Scott Pattinson

 

Story by Nina Lecourt