For a group of psych-theatricals who’ve managed to cultivate such mystery, Goat O’Carroll’s statements about the making of Commune in last month’s Crack were confrontationally facetious. To say that the band “just did some music … some drumbeats, some riffs” consciously underplays the tremendous clamour that the masked band from the semi-fictional Swedish town of Korpilombolo muster. And yet, as we become engulfed in album opener Talk to God, it’s hard to deny that the initial joy of Commune is sparked by the fact that it picks up just where 2012’s World Music left off.

The wailed vocals over harmonised thousand-mile riffs summon a similarly physical reaction to the band’s debut single Goatman two years ago. And the characters in the Goat mythology rear their horned heads again – where World Music had Goatman, Goathead and Goatlord, here we are introduced to the latest members of the commune: Goatchild and the Goatslaves, all layered voices in a continuing, far-flung narrative.

But Goat are a progressive band, and certainly there is a progression to be found. On single Words the band employ an elephantine, robotic stomp that’s more tangibly danceable than the freakouts that Goat inspire more generally, though the everpresent wah pedal still shreds addictively overhead.

That Goat have sought to build upon the groundwork of their debut rather than rip up their timeless template shows a confidence and an apparent nonchalance born from the riotous success of those first steps. The resolutely unknowable individuals at Goat’s core have created a sequel to World Music that packs an even harder, weirder punch.

Crack Staff