Re­ward­ing solo ef­fort from un­named mem­ber of Swedish psy­cho­nauts Goat.

Prog - - The Musical Box -

In the ab­sence of any fresh stu­dio prod­uct by Goat, who most re­cently pro­vided the sound­track to last year’s Bri­tish hor­ror flick Dou­ble Date, one of its mem­bers has now branched out into solo work. Given Goat’s in­sis­tence on anonymity, there are no clues as to Goatman’s real iden­tity. What we do know is that he/ she plays more or less ev­ery­thing you hear on Rhythms, save for a hand­ful of cameo turns. Ded­i­cated to the pur­suit of a de­cent groove, the al­bum isn’t a rad­i­cal de­par­ture from Goat, which isn’t nec­es­sar­ily a bad thing. Open­ing track Jaam Ak Salam is mag­nif­i­cent, rush­ing for­ward on an ir­re­sistible West African rhythm, punc­tu­ated by brass and fea­tur­ing Sene­galese singer Seydi Man­doza. There is, too, a sly nod to Funkadelic’s One Na­tion Un­der A Groove. The gospel-in­debted Carry The Load is bright­ened by wood­winds and Swedish singer Amanda Werne, off­set by the slow swing of Hum Be­bass Nahin, with its squawky horns and jazzy sense of the avant-garde. Rhythms doesn’t al­ways live up to its prom­ise, most no­tably on Lime­light, with its pop­ping elec­tronic drums, but the al­bum re­dis­cov­ers its mojo on the Fela Kuti-like Afrobeat of Aduna. RH

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