Goat Girl – ‘Below the Waste’ album review: their best yet
THE SKINNY: Since they formed in 2015, Goat Girl have become a staple of the current post-punk scene, making a name for themselves early in their career by frequently playing at venues such as The Windmill. They possess the ability to write tracks that will be looked back on as classics of the era’s alternative scene, which has caused them to receive plenty of acclaim during the near-decade that they’ve been active.
Following the release of their self-titled debut album and its follow-up, 2021’s On All Fours, Goat Girl have returned with a considerably more expansive and experimental third record, Below The Waste. It spans 16 momentous tracks, which weave between abrasive guitars—including the heaviest use of their instruments yet—addictive synths, strings, and overpowering basslines.
Vocally, lead singer Lottie Pendlebury is strong as ever, and drummer Rosy Jones even contributes their voice to one track, offering one of the band’s most raw and unbridled moments to date. The album feels considerably more mature and ambitious than their previous work, with songs containing richly layered sections of vocals and instruments they’ve not experimented with before.
Some songs are guaranteed crowd-pleasers, but on the whole, Goat Girl’s approach to the record seems less bothered with creating anthems and radio-friendly slices of post-punk. Instead, they often throw in jolting guitars, heavy moments of disorder, and startling personal vocal deliveries that would perhaps unsettle anyone who hasn’t sat and digested the album in full. There are a few wobbly moments, such as, at times, fairly simple lyrics which could’ve been pushed further, but overall, Below The Waste hardly misses a beat.
For fans of: Staring at the miles of buildings and distant human life out of your window; controlled chaos.
A concluding comment from my boyfriend: “This album is like grandad’s medicine cabinet: tricky to get into, but once you’re in, it’s more than worth it.”
Below The Waste track by track:
‘reprise’: Opening with the sounds of a distant hum of noise and birds chipping, the band layers gentle melodies over one another to make an atmospheric opening. [4/5]
‘ride around”: Turn this one up, and the guitars will have anything in the same room as your speaker rattling. It’s slightly more experimental, with slower sections making way for heavier outbursts of instruments and feedback. [4/5]
‘words fell out’: Led by synths and a strong bassline, Pendlebury sings a tender “I only want the best for you,” referencing a time of crisis and the desire to help a friend in need; in this case, the band’s own drummer, Rosy Jones. [4/5]
‘play it down’: Another track featuring dominating bass, the song is a journey through powering synths and a distinctive vocal performance from Pendlebury, sometimes a little whispered, as though she’s trying to control chaos. [4/5]
‘tcnc’: The heaviest track on the album is one that’ll potentially divide listeners due to the unpolished vocals which open it, yet they work to convey a sense of urgency which fits perfectly with the brooding guitars and pummelling drums. [4/5]
‘where’s ur <3’: There’s a darkness lingering under the surface here, which often rears its head before burying itself back down. “Patience wears your heart down,” Pendlebury sings, questioning the subject’s compassion. [3.5/5]
‘prelude’: A quick, wonky interlude which allows the album to transition to a slower, more intimate track. [3/5]
‘tonight’: Pendlebury’s voice feels extra close to the microphone, so much so that you can hear the movements of her mouth and breath. Behind her, there’s gentle instrumentation, such as a mellotron, before synths give way to a building final act. [4/5]
‘motorway’: The band paints a picture of long drives here, referencing “motion sickness” and “slow lane drifters.” The deep, smoky synths evoke night-time driving, with long stretches of tarmac ahead and sparkling city lights fading out of view. [3.5/5]
‘s.m.o.g’: Another short interlude with twinkling sounds that blend effortlessly into the next track. [3/5]
‘take it away’: Goat Girl steps into ballad territory here, a far cry from their most well-known songs, like ‘The Man’ and ‘Sad Cowboy’. But the band are clearly capable of creating emotionally charged moments as much as post-punk anthems, repeating a moving “If I could, I’d take it away from you” over strings. [3.5/5]
‘pretty faces’: The previous song flows straight into the string-led ‘pretty faces’, which bears more folk influence. Beautifully textured vocals weave across a constant sound – rich and underpinning. [4/5]
‘perhaps’: More strings come into play during the latter half of the album, and on ‘perhaps’, the band allow cohesion to fall apart as an ominous guitar plays over the sound of scattered pieces, of chaos and confusion. [4/5]
‘jump sludge’: An instrumental number that gets more intense as the instruments pick up, which would totally work well during a tense moment of a film. [4/5]
‘sleep talk’: Opening with a haunting quality, like its predecessor, this track also gains traction as it goes along, melting into a vibrant world of its own. [4/5]
‘wasting’: The final track on the album is just over six minutes long, beginning with rather menacing guitars and various noises bustling in the background. The soundscape feels threatening, but as Pendlebury’s voice chimes in, there’s a sense of respite in her calming tones. Moments of softness intersect with sharp angles and coarseness as the album comes to a cinematic close. [4/5]
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