GOAT + MC YALLAH - Nimerudi Remixes GOAT + MC YALLAH

Goat has long been mapping the shape of fuzzed ’70s sounds culled from far-flung corners of the world, splicing tape-market aesthetics and poly-rhythmic pounce with a deep bench of Swedish psychedelics. This clash of ideas fully came to a head with February’s release of single Nimerudi, a collaboration track with Kenyan-born, Ugandan-based rapper MC Yallah. Matching the band’s lived-in, lysergic production, Yallah brought her nimble, multi-lingual flow, leaning into the band’s Nordic wrecking crew with an acumen that’s earned her an honor roll of critical praise.

Yallah has been building steam since ’99, releasing a litany of singles and two albums with Debmaster on acclaimed Nyege Nyege sublabel Hakuna Kulala, and her elastic phrasing is the perfect fit for the band’s timeless feel. On its release, the track quickly gained prestigious BBC 6 Music A-list playlist status after picking up an unprecedented number of spot plays from many of the station’s DJs including Gilles Peterson, Mark Radcliffe, Huey Morgan, Iggy Pop, Don Letts and more — everyone couldn’t help but fall under the spell of the Goat/Yallah groove.

Now, Rocket Recordings are happy to reveal an EP containing five more remixes of the track, following the acid dub of the Salmagundi Remix that accompanied the original release of Nimerudi. The first of the five remixes comes from Wayne Adams, the London producer who is one half of Goat’s label mates Petbrick, a duo that pairs Adams with former Sepultura drummer Iggor Cavalera. Wayne’s dark electronic mix teases out the hazy early hours of post-rave urban London rather than the golden warmth of sun-soaked Uganda.

The second remix sees GNOD continue their seismic sonic palette by stripping out the flesh and bones of the original track like the roughness of a tiger tongue wrapping around your infinity-machine mind — hypnotically grinding as a throbbing electronic sine wave of neurotoxins.

Malcolm Catto’s remix is a track of two worlds — the world of the living and the world of the spirit — where his burrowing rhythmic intensity summons Can’s deeply cosmic afro-krautrock-funk-psych of Ege Bamyasi, dappled with intricate polyrhythms and the fuzzy lead guitar signature of Malcolm’s The Heliocentrics project.

Finally, elusive Bristolian producer Claude Cooper brings the whole release burning full circle with his old-school beats and stylized rhythmic chop-around reworking, embellishing the original with West Country heavy funky breakbeats and scratching turntablism.