Goat Girl - Below The Waste

Goat Girl - Lottie Pendlebury (she/her), Rosy Jones (they/them) and Holly Mullineaux (she/her) are excited to announce their third album, Below The Waste, which was co-produced by the band & John Spud Murphy (Lankum & black midi). Goat Girl’s approach to Below the Waste is confident and mature, whilst maintaining a playful sense of curiosity and wonderment. Delving deeper into the extremes of their distinctive sound, Spud’s knowledge, enthusiasm and patience provided a safe pair of hands to bring Goat Girl’s lofty ambitions to life. Weaving effortlessly between disparate elements of expansive noise-rock, delicate folk experimentation and satisfying synth-pop, their unique combination of styles and unorthodox recording methods is a testament to their new collaborative production style.

+ Limited Dinked Edition No. 281 pressed on crystal clear audiophile double vinyl, with exclusive 7" and signed A3 poster!! 

Pieced together like a collage over an extended period of time, the instrumentation was tracked mostly over a ten-day stint in Ireland at Hellfire Studios, in the shadow of the infamous Hellfire Club itself. They also used Damon Albarn's, Studio 13. Additional strings (Reuben Kyriakides and Nic Pendlebury), woodwind instruments (Alex McKenzie) and vocals (including a choir made up of family and friends) were added to this framework at a number of locations, from a barn in Essex to Goat Girl’s own studio in South London.

From the varied styles of vocal delivery, which range from gentle and restrained to blood-curdling and raw, to the tasteful incorporation of voice notes, samples, animal noises and miscellaneous objects used in unconventional ways; Goat Girl’s innovative use of their surroundings results in a sonic world that belongs to them alone. Going heavier than ever before on avant-garde instrumental composition ‘jump sludge’, unlikely love song ‘sleep talk’ and full-throttle number ‘tcnc’, the blissed-out nursery rhyme of ‘pretty faces’, the ambient field recording of ‘tonight’ and the triumphant electronica of ‘motorway’ and ‘play it down’ demonstrate an ongoing exploration of darkness and light. In playing with such stark contrasts, Goat Girl’s consideration of space and flow is vital, placing lo-fi vignettes ‘reprise’, ‘prelude’ and ‘s.m.o.g’ strategically to offer moments of reflection, which counteract the grandiosity of Below the Waste’s dense orchestral arrangements.