In a culture obsessed with content, saturation, and continual exposure, it's rare to find artists who prefer to lurk outside of the public eye. Thomas Pynchon is perhaps the most notable contemporary recluse-a virtually faceless figure who occasionally creeps out of hiding to offer up an elaborate novel steeped in history and warped by imagination-but for crate diggers and guitar mystics, Sweden's enigmatic GOAT may qualify as the greatest modern pop-culture mystery. Who are these masked musicians? Are they truly members of the Arctic community of Korpilombolo? Are their songs part of their isolated communal heritage? Their third studio album, Requiem, offers more questions than answers, but much like any of Pynchon's knotty yarns, the reward is not in the untangling but in the journey through the labyrinth.
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