Wednesday, April 16, 2014

Ritual

Swedish psych-collective Goat brought their Live Ballroom Ritual set to the crumbling Rickshaw Theatre last night, right in the heart of Vancouver's friendly Downtown Eastside. Goat's World Music album has probably gotten as many spins on the altar as anything since it came out in late 2012, (although I didn't hear it until a few months later, and it didn't make my list of top favs from that year, natch. It woulda been way up the list.) so needless to say I'd been looking forward to this show for some time. Not only that, but I have a good number of friends of different tastes and walks of life who were also curious to see the group in the flesh, so wide and varied is its appeal. It promised to be the social event of the season.

I'm pleased to report that the show exceeded my expectations, although things got off to a less than promising start. My ticket clearly said the show was to start at 9:30, but when I arrived, I was told by friends that opening band Three Wolf Moon had already played. Clearly something was fucked up, which is a real shame as I'd been looking forward to seeing these locals live for the first time. The mellow, yet forceful classic rock jams of last year's self titled LP made an impression on me, though I always felt their golden, analog sound needed some work in the songwriting department to become more dynamic and memorable. It's a pleasant listen though, and I'm disappointed I didn't get a chance to see them with another year of seasoning under their belts. I'm told by reliable sources they put on a good set, although they were better opening for Dead Meadow at the Electric Owl a couple weeks back.

Holy Wave hit the stage next with a solid set of modern psych rock. The crowd seemed reasonably into it, as did many of my friends, but I wasn't as enthusiastic. Although they hit all the pleasure centers that I enjoy with this type of music, the influences stood out too starkly for the band to create its own identity. It was a bit of Spacemen 3 and Brian Jonestown Massacre, some Moon Duo and Wooden Shjips, and a lot of Black Angels and Dandy Warhols. The band were tight, with multiple good vocalists and some powerful grooves that got the place moving. Unfortunately while their set was at times quite intense and engaging, it was also uneven. At times songs dragged and got tiresome, a common problem for young bands honing their voice and songwriting chops. I have no doubt that given some more time, Holy Wave will continue to improve as they refine their approach, and I'd say they showed the talent and promise to become quite good someday.

At last, Goat hit the stage, immediately capturing attention with a stunning visual package. The seven-piece included a drummer, precussionist, bass player and two guitarists, all of whom were decked out head to toe in all manner of exotic African and Middle Eastern regalia. The band was fronted by a pair of dashiki-clad women who gyrated and screamed in time with one another, all while shaking and banging an assortment of precussion instruments and shakers. Together they conjured up a sonic stew that incorporated decades of musical history into a sound that's both comfortingly familiar and yet boldly fresh. From Fela Kuti to Funkadelic, from Can to Cream, all manner of mind-expanding music from the last 50 years was smeared together on Goat's canvas.

Stripped of the blaring saxaphones that brought a chaotic free jazz edge and a little Exile on Mainstreet-era sleaze to their sound, the band was instead heavier and more guitar dominated than on record. The band's primal stomp was elemental in its ferocity. From my vantage point on the top balcony I was able to witness the whole spectacle unfold, and the band's instrumental performances were all top notch. As loose as the music seems, this is a band that is completely attuned to the individual voices of its members, a collective that due to the massive empathy of the players is truly more than the sum of its parts.

The setlist was dominated by material from their fantastic World Music album which was performed in its entirety, albeit in a different running order. There were also some songs I didn't recognize... It would not be surprising to me if Goat had much more material than just what has been laid to tape. And of course, these songs were blown up and stretched out live... this is music that is in constant movement... pulsing, grooving, and undulating. It was electric and alive. And the incredible purpose with which the music was played was evident... it truly was a ritual, and we neophytes were privileged to take part. Ten thumbs up.