ALBUM REVIEWS
Dominic Valvona





I certainly never planned it that way (honest) but artists from the experimental electronica and ambient music fields dominate this month’s roundup. To start off there’s the all-spanning retrospective collection of the eclectic Finnish electronic one-man cult Jimi Tenor to salivate over; the double album compilation NY, Hel, Barca collects together many of his most seminal tracks from across his first six solo LPs (many of which have been deleted). Finally, after at least four years in the making, Welsh vaporous and diaphanous chanteuse Ani Glass releases her debut album, the cerebral electro pop Mirores. And Rainbow Island produces a colourful fuck-up of cosmic spasmodic bandy effects and break beats on their new LP, Illmatrix.

From the more ambient and understated end of electronic music, there’s the Dan Burwood and James Wilson collaboration for the Tokyo-based obscure label, Kirigirsu Recordings, Singapore Police Background, and musician/composer/sound artist Tony James Morton, inspired by the early developments in Hip-Hop, uses real-time sampled vinyl to create minimalist soundscapes on his new mini-CD release Fragments.

A few exceptions though, including the latest grandiose space opus from the Toulouse trio, Slift, the most recent dreamy shoegaze EP from the Brooklyn trio Vivienne Eastwood and a Turkish-Scandinavian progressive jazz fusion obscurity, Matao with Atilla Engin’s Turkish Delight.


Jimi Tenor   ‘NY, Hel, Barca’
(Bureau B)   LP/6th March 2020


Birthed from a combination of the signature instrument that permeates his omnivorous mixed bag of prolific music and the 70s teen idol, Finnish cult multi instrumentalist and composer Jimi Tenor is unarguably due this double-album overhaul. The later-ego of one Lassi O.T. Lehto, the eclectic ennui-shifting moniker has both absorbed and created a host of fusions over a thirty-plus period – and still continues to do so -, first as the leader of Jimi Tenor And His Shamans and then as both a solo artist and collaborator on a wealth of projects with such luminaries as Tony Allen, Abdissa Assefai, Nicole Willis and The Soul Investigators. From bootyliscious disco funk to Afrojazz and cult soundtracks, Tenor has covered it all. This retrospective spread concentrates on the first six solo albums (of a so far eleven album solo run); covering tracks from the inaugural 1994 Sähkömies album for the Finnish label Sähko, right through to the new millennium and the 2001 album Utopian Dream.

Recorded, hence the first location city of this collection’s title, in a New York apartment on rudimentary equipment, Sähkömies spawned Tenor’s first major club hit, the silly but infectious electro-house bouncing ‘Take Me Baby’. A game-changer, this DAF meets Depeche Mode on the dancefloor earworm took off after Tenor performed it at the Berlin Love Parade. It made the charts in the process and led to a three-album deal for Tenor with the iconic Warp label in the second half of the 1990s. That popular dance anthem is unsurprisingly included here alongside the more erratic burbling Bruno Spoerii-rubs-against-early-hip-hop kooky ‘Teräsmies’ and electronic chemistry set space quirk ‘Voimamies’. The follow-up album for the same label – released a year later – Europa, is represented by the Afro-Techno and minimalist Basic Channel apparition ‘Fantom’, the gyrating sexed-up Yello-House ‘A Daughter Of The Snow’, and lush flute-y Library Music with hints of a Japanese Style Council ‘Unmentionables’.

Moving on to Warp in ’97, the first of a trio of albums for the edgy-electronic label, Intervision, lends four tracks of differing creative influences to this compilation. There’s a transmogrified Lalo Schifrin meets Theremin aria quivered homage to ‘Tesla’, the Glam-skulking Alan Vega seedy ‘Sugardaddy’, Shintaro Sakamoto Kosmische ‘Shore Hotel’ and bubbly, filtered Acid-Jazz spruced ‘Outta Space’. Next up in that run, Orgamism is no less escapist and polygenesis. An Afro-futurist safari of clockwork birds-of-paradise, psychedelic folk flute and square-wave buzzes are conduced on the first track of that cusp-of-a-new-millennia album, ‘Xinotape Heat’, which also kicks off this whole collection. Playing up that millennial doomsday, ‘Year Of The Apocalypse’ is a David Axlerod Biblical somehow waylaid to the Paradise Garage – the rapture played out to a Chicago House piano gospel funk. From the same album the compiler’s of this retrospective have also chosen the jazzy lounge Zombies brooding ‘My Mind’; a semi-romantic curiosity that features Tenor on wafting serenaded saxophone duties.





Into the noughties, the final Warp album, Out Of Nowhere, finds Tenor on a funk odyssey vibe, taking Curtis Mayfield on another of those Acid-Jazz and sitar psychedelic trips with the high value production and commercial ‘Spell’. On the same record, Tenor pairs up with the Riga Symphony Orchestra to spin Easy Listening into a Rotary Connection meets Johnny Richards’ thriller of drama and suspense on ‘Backbone Of Night’. By this point we’re long used to the exotic menagerie of styles and crossovers, and by the time we reach the final solo album, 2001’s Utopian Dream, nothing is a surprise to the ears: The tile track, with its cyber elephant nozzle vacuuming, silly robotic voices and flighty saxophone transduces Marshall Jefferson, whilst on ‘Natural Cosmic Relief’ Tenor puts a pseudo Ian Curtis vocal over a kooky Japanese psychedelic backing.

 

As likely to hear Orlando Julius and Don Cherry as the Pet Shop Boys, International Pony or Ennio Morricone on acid, Jimi Tenor can mix the commercial dancefloor hit with the most cult and fused of sounds too. On this mixed bag, which is neither linear or thematic in it’s choosing and alignment, Garage follows Jazz follows Library Music oddities follows Funk follows Psychedelic Soul. A great place to start for those new to the influential composer, NY, Hel, Barca is a great retrospective but also an opportunity to own a load of tracks from a deleted back catalogue. Hopefully this compilation will also rightly cement a fairly underground maverick’s place in the development and story of electronic music fusion. There’s something, nearly, for everyone on this twenty-track purview.





Ani Glass   ‘Mirores’
(Recordiau Neb)   LP/6th March 2020





It has taken a good few years to materialize but finally the gauze-y vaporous debut album from the Welsh synth-pop siren Ani Glass has dreamily emerged. Since being enticed back to the Welsh hinterlands after leaving the frothy pop belles The Pipettes, the Cardiff native has been busy both with post-graduate studies in Urban And Regional Development (graduating in 2018) and involvement in promoting, through her solo musical projects, the Welsh and overlapping Cornish languages – all the way back in 2013, Ani joined the Cornish Corsedh, a group that awards those who’ve contributed to the Celtic spirit and bardship of that atavistic culture. The play on words title from this inaugural LP is itself taken, in part, from that West Coast vernacular: ‘miras’ being the Cornish word for “to look”, the Miró bit a nod to Ani’s favourite artist, the Spanish abstract doyen Joan Miró. Mirores we’re told,’essentially translates as ‘Observer’ thus presenting the album as Ani’s observation of the city in which she was born and now lives.’

Arriving four years after her initial solo EP debut Ffrwydrad Tawel the follow-up arrives in the wake of so much turmoil political and geographical turmoil. Now would seem as good a time as any to push a disappearing vernacular and heritage as Brexit emboldens Welsh nationalism. All this obviously feeds into the gossamer woven translucent ethereal pop of Mirores; an album that is based on a wealth of concepts. One of which is of course preservation, but another, the idea of movement and progress both societally speaking, but also in the sense of a journey; the contours of a picturesque Welsh landscape set against the more churning busy urban soundscape – a counterbalance that you’ll hear for yourselves, suffused throughout the atmospheric undulations of nature and sampled speeches, broadcasts.





After studying it so intensely, it will come as no surprise that another underpinning thread of this album, ‘A reaction to the values of capitalism’s priorities over the valued needs of society’s most unfortunate’, is the American-Canadian author activist Jane Jacobs most infamous polemic blast at the “urban renewal” zealots, The Death And Life Of Great American Cities.

In the interregnum between releases Ani learnt a good deal about production. And on Mirores she’s borrowed from some of the best purveyors of synthesized music: Vengalis, Moroder, Jean-Michel Jarre and Arthur Russell. The results of which send Ani through the looking glass of air-y untethered dreaminess. The arty wispy ‘Peiriawaith Perffaith’ (Perfect Machinery) has a touch of Kylie, even a Welsh Carol Rich, about it; the slightly more fearful and less lyrical ‘Cathedral In The Desert’ bears shades of both Soft Cell and early OMD. Taking a vignette style break from the veiled Celtic Avalon synth-pop, Ani merges South African Township gospel with choral Welsh colliery protest yearn on ‘I.B.T.’.

From the glassy transparent to more hazed-dream weaving, from homages to minimalist abstract painter Agnes Martin to lulled activism, Ani Glass’ patience has paid off with a disarmingly sophisticated pop album of subtleties that gradually seep into the unconsciousness.



Slift   ‘Ummon’
(Stolen Body Records)  28th February 2020





The Titan themed Ummon is a supersonic Hawkwind, with Steve Vai in tow as a band member, catching a lift on the Silver Surfers’ board, on an adventure into deep space. I could leave it at just that, but I feel duty bound to expand. So here we go. In search of one of the original heaven and earth usurpers, the Titan seer’s Hyperion (god of heavenly light, father to sun, moon and dawn deities Helios, Selene and Eos), the Toulouse trio of Slift go full on space rock opera with an interstellar epic of doom metal and heavy psychedelic prog.

Trudging with ominous intentions as it is grandiose and squalling in a vortex of bombast, this lengthy conceptual opus swirls around a milky way inhabited by our makers: A universe that, as it happens, rocks to a sonic soundtrack of the Cosmic Dead, Ipsissimus, Sabbath, the Black Angels, Dead Meadows, Pink Floyd, the already Hawkwind, and at its most star-gazing, Spiritualized. Though that’s only half the story. It’s a bastardization of Viking pagan-metal and psych on the fantastical salute to the gods, ‘Thousand Helmets Of Gold’; ‘Width Of A Circle’ era Ronson battles a subdued motorik Can and baggy Stone Roses on the three-parter, ‘Citadel On A Satellite’; and a Teutonic bashing version of The Skids and Saints on the cosmic-punk curtain closer ‘Lions, Tigers And Bears’.

Galactus sized riffs and crescendos are numerous as the stars in the Mother Sky on this Moorcockian misadventure. Ummon is a solid heavy trip with plenty of space dust and ethereal dreamy escapism to break-up the onslaught. Slift go big and bold as the entice Hyperion back from exile to clear up the mess and spread some light on a space-rock epic that is anything but pompous. Slift, we salute you in your endeavor. Keep up the good work.




Singapore Police Background   ‘Antiworlds’
(Kirigirisu Recordings)   Out Now





Quiet of late even for a label that operates under the radar in relative obscurity, Neil Debnam’s (of cult favourites Flying Kites and, post-accident, Broken Shoulder fame) Tokyo-based label makes a welcome return in 2020 with another understated ambient exploration of soporific entrancing unease. The brilliantly named Singapore Police Background is a collaboration between Dan Burwood of Calm! and James Wilson of Opt Out; two artists that have previously both released ambient peregrinations on the Moonside Tapes facilitators.

Methodology wise the pair recorded together but polished off their evanescent ‘hypnagogic’ (the state immediately before falling asleep) experiments separately. This process results in an indolent suite of purred and murmuring ambient drone ‘Fragments’ and sedative induced reverberating lingers. Antiworlds is in most cases disarming and drifting; the barest traces of piano and guitar hidden beneath hazy square waves transmitted from the ether. Haunted, often creeping, elements of uncertainty can be found on the wearily entitled ‘See The Conkering Heroine Comes/Watching Newsnight Taking Valium’ couplet of malaise. This is continued on the equally entrancing ebb and flow sonic diptych ‘Iridescent Bodies/Under The Awning’. Standing out some what from the Boards Of Canada, sound In Silence and Eno-esque dreamy traverses, the beautifully contemplative ‘Outside The Blossoming Trees Wept Like Waiting Room Laughter’ is a conjuncture of a musical haiku, a scene from post WWII art house Japanese cinema and something lamentably and resigned, dreamt up by Ryūnosuke Akutagawa. There are actually some real nice understated melodic evocations to be found on this languid affair: the opening fragmentary drone being a prime example.

Intermittent signs of the elements and humanity often surface among the oscillations and dissipated swathes on an album by a collaborative partnership that shows potential and promise. Hopefully we’ll hear more from this effective duo in the future.



Tony James Morton  ‘Fragments’
(Focused Silence)   Mini-CD/17th February 2020





It might not sound apparent but the cylindrical generated ambience, opaque minimalist stirrings and waves of the musician/composer/sound artist Tony James Morton’s latest ‘fragmentary’ experiments are, process wise, inspired by techniques used in the early development of Hip-Hop; namely, creating new improvised sonic traverses in real time from samples taken directly from vinyl.

‘A fragmented interpretation’ as the PR spill describes it; Morton passes his sources through a custom-built sampler using a specially created visual programme language for music, the Max/MSP. That technique and method is interesting enough, pitching, as it does, Morton as a kind of conceptual DJ. But the most important thing is: how’s it sound.

Well, the sound is quite subtle with soundscapes materializing slowly, building towards fizzled peaks before dissipating gradually. ‘Fragment #1’ of this gently spinning moiety features enervated cause drones and crystallizations that eventually go on to form a heavenly momentum of cosmic rays. The second Fragment has a rotor like motion that turns out a vaporous melody. A distant muffled thunder acts as a deep bass whilst the dreamy and mysterious are evoked from Morton’s sustained pulses and buzzes.

The Fragments material is a stimulating, stirring couplet of improvisations; an evanescent passing of sound that has its moments.


Matao with Atilla Engin   ‘Turkish Delight’
(Arsivplak/Guerssen)   LP/19th February 2020





It won’t surprise you to learn that this latest obscure quirk from the Guerssen hub (this time via the Arsivplak label) is yet another example of a record that didn’t quite make the grade; a strange brew from the edges of jazz-fusion, close but not close enough technically, artistically or inventive wise to break through a crowded market.

A Turkish Delight from the Danish recorded union of the Matao trio and Atilla Engin, this rare (intentionally I’m sure) convergence of Turkish traditional music and progressive jazz, bordering at times on cult library music and at others on Krautrock (Agitation Free, Xhol Caravan) was only ever released in Denmark, but never, surprisingly, released in its spiritual home of Turkey. An exotic shimmy of belly-dancer sequins and trinkets, noodling and whirling between souk rock and sublime porte kitsch, Engin’s rootsy Turkish galloping and rattling percussion goes up against the 5/8 signature wah-wah, fuzzed and choppy electric guitar and clavinet-like electric piano on a series of instrumental jams that ape Santana, Pink Floyd, Passport, Elias Rahbani and Mustafa Ozkent.

Taking another punt a year on, the label is now releasing this exotic curio on limited vinyl, and again via the usual digital channels. Whether you need this Turkish flavoured fusion in your life or not remains debatable. However, that’s not to say there isn’t some interesting highlights or fine playing as the mixed Scandi-Turk quartet certainly stoke up a far zappy progressive noise and dynamic enough rhythm.

Anyone recently introduced to such modern Turkish psychedelic movers like Altin Gun will love it.




Vivienne Eastwood  ‘Home Movies’
EP/2nd January 2020





Appropriating the grand disheveled dame of punk couture, but with a slight change in compass point direction, the gauze-y American dream-wave and shoegaze band Vivienne Eastwood have drifted into my inbox of submissions this month with a melodious, submerged in a dreamy liquid EP of sepia Home Movies. With scant information it seems the trio have been knocking around the lush flange-reverb coated scene of hazy guitar pop for eight years.

Progressively more dreamy in a wash of phaser drifting echo, previous releases have been more cause, fuzzy and distorted compared to this six-track of lo fi diaphanous malingering. Less Ariel Pink or No Age and more Lowtide and Slowdive, Home Movies’ sound spirals in a mirror-y fashion between the veiled layering pop of Sam Flex meets Lush opener ‘Hanging Gardens’, and the John Hughes soundtracked by Holy Wave ‘Afterall’. Nearer the backend of the EP, ‘No Toes’ seems to slide towards acoustic grunge.

It’s a lovely dream-pop, with certain post-punk edge, kind of EP, rich with wafting recollections and yearnings.





Rainbow Island  ‘Illmatrix’
(Artetetra)  LP/2nd February 2020





For a label synonymous for the chthonian and dangerous, the latest spams of omnivorous derangement from the sugarcoated named Italian quartet Rainbow Island at least finds some cosmic levity amongst the despair of the age. Though the recondite facilitator label responsible for this, as usual, limited release – the Italian experimental underground specialists Artetera – says it features darker, heavier sonorities than usual, Illmatrix rebounds across a frazzled bubble bath of bandy and bendy effects and off-kilter drum breaks. Certainly under a multitude of stresses and contorted manipulations, the fucked-up matrix has its moments of tangible rhythm and even melody to lock onto.

From a polygenesis source, with all four members spread throughout the UK, Thailand and their native Italy, the Rome conceived Islanders have pulled and stretched in all directions. Somehow it all comes together though, in an admittedly weird fashion. The opening candy kook ‘Jesterbus Ride’ is simultaneously lax, primal, Kosmische and psychedelic; a spherical chemistry of ever-shifting ideas that sounds like a Trip-Hop meets Library Music remix-in-motion by Andrew Weatherall. Elsewhere you hear what sounds like someone repeatedly hitting plastic tubes with a paddle reverberating beats, obscured masked voices and conversations, the clashing of blunt swords and menacing vacuum reversals.

It’s an odd sonic world indeed; a cosmology that harries the more mysterious sedation of Cluster with a 2-Step Dub beat (‘Simmia’), evokes the spasm-industrial sound of Populäre Mechanik (‘Cacao Hip Mini’) and plays Ping-Pong with Autechre and Unlimited outtakes Can (‘Dropzone’). It’s dance music on the verge of a nervous breakdown in one instance, utterly fucked-up the next, a deranged colorful information overload transduced into a concentrated energy of warped brilliance.

If you find Rainbow Island somehow cute, then you can always try the more sobering augurs of apocalyptic doom from label mate and fellow compatriot Giancarlo Brambillia. Released at the same time as the Illmatrix LP – a double bill if you like – the Milan-based maverick pitches the end of the “human epoch” on his limited cassette tape discourse Bee Extinction. Under the Kuthi Jin moniker, the drone-monger gives a less than optimistic outcome to our chances of survival.

Both albums from Artetetra inhabit a similar anxiety yet couldn’t sound more different. Go seek out, and whilst you’re at it take a perusal of the label’s entire back catalogue. You won’t be disappointed.








The Monolith Cocktail is now on Ko-Fi

Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

PREVIEW/REVIEW
Dominic Valvona





A quick shifty, glance, a perusal of the mounting pile of singles, EPs, mini-LPs, tracks, videos and oddities that threaten to overload our inboxes this month by me, Dominic Valvona.

For your consideration this week, tracks, even a film trailer, from The Band, Chassol, Nordine Staifi, Graham Costello’s Strata and, Van Pool.


Graham Costello’s Strata  ‘Cygnus’
(Gearbox Records)  Single/14th February 2020




From out the burgeoning Glasgow jazz scene rises Graham Costello’s Strata; an impressive sextet that edges towards post-rock and minimalism but was founded on a synthesis of flowing progressive and fusion jazz. Embodied in their latest untethered mini-opus, a free-flowing ascendance to the northern constellation of ‘Cygnus’, drummer Graham and his Strata troupe dynamically turn in an amorphous performance. Both moody and mysterious, with a certain gravitas, they build subtly from horizon emergent lingering caressed saxophone and ebbing gentle piano to a crescendo of rapid percussive barreling rolls, punchier horns, slam the lid down on the keys avant-garde piano and Afro-jazz undulations on a suffused journey towards the stars.

A freestanding single, ‘Cygnus’ was recorded, as it happens, at Bryan Ferry’s Studio One in West London, and engineered by Hugh Padgham. Alongside Graham on this night flight peregrination were Harry Weir on tenor saxophone, Liam Shortall on trombone, Fergus McCreadie on piano, Mark Hendry on guitar and Joe Williamson on electric bass.

Of interest from the Archives:

Also on Gearbox Records: Abdullah Ibrahim ‘The Balance’ (review)



Nordine Staifi  ‘Zine Ezzinet’
(Sofa Records/Bongo Joe)  Teaser track from the MAGHREB K7 CLUB: Synth Raï, Chaoui & Staifi 1985​-​1997 compilation/27th March 2020




The Maghreb as you’ve probably never heard it before: All whistles, Casio presets and boogie disco on the cusp of alt-pop, like a North African Postcard Records. Sofa Records in conjunction with Les Disques Bongo Joe present Maghreb K7 Club: Synth Raï, Chaoui & Staiif 1985-1997, a compilation of tracks recorded and produced between those years in Lyon, France by musicians from North Africa’s Maghreb region; created in the hothouse environment of the city’s café culture by artist mostly from Algeria. This compilation brings together eight tracks that were then released on audio cassettes only, offering them for the first time ever on vinyl. Now there’s an offer you should find hard to refuse.

As the PR spill explains: ‘Most of Lyon’s musical scene is composed of men originating from eastern Algeria, but since the 1950s, the Croix-Rousse and Guillotière cafés have counted musicians from all over Maghreb. These cafés were social hubs, where these individuals met up weekly; playing together and sharing their everyday life experience — but they also had a major role in the development of popular music of French-based North Africans. In Lyon, Le But Café in the 3rd arrondissement or the bars on Sébastien Gryphe Street in the 7th arrondissement were among these: one could conduct business there, getting booked for a wedding, a baptism, a gala, or a studio session… all took place there.

Playing together in Lyon. The practice of music was cross-regional with different North African influences, but also with local traditions. These versatile musicians also absorbed new local influences: music within the context of immigration was a perfect school for musical cosmopolitanism. Chachacha or tango versions of some Cheikh El Hasnaoui tracks come to mind, or Mohamed Mazouni’s jerks and twists. Like their predecessors, the musicians in this compilation brilliantly integrate raï or staïfi tunes with disco aesthetics or funk guitar riffs as Nordine Staifi did. You could also think of Salah El Annabi who used the Oxygene theme (1976) by Jean-Michel Jarre, the Lyon-based composer and electronic music pioneer. “As we say around here, mixed weddings make good-looking lads!” said Abbès Hamou, a musician from Place du Pont. Following on from their musical traditions and unrestrained inventiveness, the musicians’ repertoire naturally assimilated their era’s aesthetics and technologies.’

From that compilation here’s Nordine Staifi’s ‘Zine Ezzinet’. Expect a full review report next month.


Robbie Robertson And The Band documentary   ‘Once Were Brothers’
Film/Select cinemas from 21st February 2020




As the earnest progenitors of a peregrination soundtrack, later to be expanded into a whole genre in its own right, under the audacious ‘Americana’ moniker, The Band defined a bygone pioneering spirit at a time when the American youth (especially) were pushing for both social and political change. Their songs spoke and sympathized with a certain inherent truth and hardiness from an age of steam, aligned with the country’s most destructive historical chapter, the civil war; out-of-step yet somehow wholly relevant in the face of civil rights and the Vietnam war. In a manner they would also be chief instigators of the whole ‘revival’ scene that saw The Beatles and bands like The Kinks return to more pastoral roots.

It didn’t matter, and is a totally fatuous bum-steer that four fifths of that quintet were born and raised over the boarder in Canada; an historical America will forever be immortalized by such summary tales of the old west as ‘The Weight’, ‘The Night They Drove Old Dixie Down’ and ‘Across The Great Divide’ regardless of the authors nationality. Tales, which were so vivid as to be cinematic in their storytelling and nature; encompassing both tragedy and perseverance through the eyes of richly textured characters: the sort of individuals that could have easily stepped out of the novels of Steinbeck, Faulkner, Hemmingway and the photo-plated almanac chronicles of the 19th century.

It wasn’t just the landscape and their own interpretations they owned so convincingly, they could also be relied upon to adopt the mantle of the artists they covered too, from Chuck Berry to Sam Cooke. As a backing band themselves for such luminaries as Ronnie Hawkins, through to Bob Dylan (electrifying the troubadour laureate’s sound), that spiritually revered line-up of Robbie Robertson, Rick Danko, Levon Helm, Garth Hudson and Richard Manuel lived up to their presumptuous ‘THE BAND’ moniker; incorporating the sweet gospel soul of the deep south with country, ragtime, Tin Pan Alley and bluegrass at the drop of an old proverbial hat; they were ethereal and superior in musicianship, way beyond most of their contemporaries reach.

Rightly receiving another moment in the spotlight, a new documentary film, focused towards the group’s only surviving member, Once Were Brothers is inspired by Robertson’s 2016 bestselling memoir testimony of the same name. Presumptuous (that word again) to now single out his name (Robbie Robertson and the Band), even if he saw himself as unelected leader, this latest overview is billed as a confessional, cautionary, and sometimes humorous tale of Robertson’s young life and the creation of one of the most enduring groups in the history of popular music. The film, directed and put together by the trio of old hand Martin Scorsese (who of course memorably captured The Band’s The Last Waltz curtain call for posterity), Brian Grazer and Ron Howard blends rare archival footage and interviews with many of Robertson’s friends and collaborators, including Bruce Springsteen, Eric Clapton, Van Morrison, Scorsese, Taj Mahal, Peter Gabriel, David Geffen and Ronnie Hawkins, among others.

Hopefully it will prove a worthy chapter in the story of one of the greatest Bands to have ever stalked the Earth.



Chassol  ‘Rollercoaster (pt.2)’
(Tricatel)  Single/Out Now




On the big dipper of life, the surreal mindscape of the very much in-vogue idiosyncratic French producer Chassol is as cerebral as it is fun.

Firstly though, for those who’d like a bit of background, Paris-Martiniquais Chassol (real name Christophe Chassol) has been finessing his own experimental ‘ultrascore’ approach to composition, in which – inspired by Steve Reich and Hermeto Pascoal – vocal and ambient sounds from video footage are harmonised in perfect sync to create a living, breathing soundtrack. His experiments caught the ear of Diplo, who in turn put Frank Ocean onto Chassol’s 2013 album, Indiamore. Ocean – at the time working on Blonde – then tapped Chassol to join him at Abbey Road, to develop speech harmonisation on the album (following a period of Chassol ignoring his calls, having no idea who Ocean was). Shortly afterwards Solange – having Shazam-ed his music at a performance installation – sought out Chassol to produce several tracks on 2019’s When I Get Home.

His latest album, the upcoming Ludi (released on 6th March) is inspired by Hermann Hesse’s first long-form novel The Glass Bead Game, or as it is sometimes published the Magister Ludi (hence the LP title), and the themes of play, both in relation to that novel’s central board game theory and to an inspired reification of four sociology-based elements of ‘play’, as envisaged by sociologist Roger Caillois: chance, masks, competition (as depicted in the previous single, ‘Savana, Céline, Aya’) and on this latest single, ‘Rollercoaster (Pt.2)’, vertigo.

A bizarre ride that transduces and harmonises the sounds and sights Chassol captured on a ride at the Tokyo Dome theme park (captured GoPro gonzo style and without permission in the accompanying video), ‘Rollercoaster (pt.2)’ is a kooky adrenaline rush that features the guest vocal “ohms” of Alice Lewis, Thomas de Pourquery and Alice Orpheus.

There are certainly some heavy depths to both this single and the forthcoming multi-disciplinary double-album, yet a sense of wonderment, exploration and excitement too.


Van Pool  ‘Bathing In The Open’
LP/26th January 2020




If you’re familiar with the expletory saxophone playing and electronic manipulations of the prolific Andy Haas – from his burgeoning days as a Muffin in Martha’s new wave outfit in the late 70s to his work with Meg Remy’s ever expanding U.S. Girls troupe, to his myriad of solo and collaborative projects, then you’ll be thrilled to hear he’s just formed a new group, the Van Pool. Different in mood to the amorphous unsettling augers and outright nightmares that permeated the evocations of his collaboration with Dan Fiorino on the American Nocturne visions, this latest improvised experiment of smoldering, squawking and yearning saxophone contortions and attuned blowing is a traverse of contemporary jazz.

Joining Andy on the quartet’s second album, Bathing In The Open, are the guiartist/bassists Omer Leibovitz and Kirk Schoenherr and drummer Layton Weedeman. From tranquil undergrowth wanderings, permeated by wafted guitar twangs and lingering saxophone to the more bent out of shape, more piercing and intense, this fantastical, transportive suite of ‘ideas’ is for fans of the Cosmic Range, Donny McCaslin, the Ross McHenry Trio, but also just fans of free-form, unburdened performance in general.

Of interest from the Archives:

Don Fiorino and Andy Haas ‘American Nocturne’ Review

U.S. Girls ‘In A Poem Unlimited’ Review


The Monolith Cocktail is now on Ko-fi

Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

PHOTOS/GIG
Giorgio Lamonica




Continuing in 2020 with our collaboration with the leading Italian music publication Kalporz, the Monolith Cocktail will be cosying up and sharing reviews, interviews and other bits from our respective sites each month. Keep an eye out for future ‘synergy’ between our two great houses as we exchange posts.

This month we feature Giorgio Lamonica‘s recent photos of the virtuoso jazz drummer Yussef Dayes at the Locomotiv in Bologna.

Yussef Dayes Live At Locomotiv, Bologna, Italy


For the only Italian date for the British drummer (accompanied on bass by Rocco Palladino, the son of the much better known maestro Pino) the Locomotiv was completely full. The surprising thing was the very young average age of the audience, a sign that the idea of jazz being mainly the object of passion for those beyond a certain age is perhaps an outdated concept given the evolution that the genre is having; increasingly contaminated, as it is, by other sounds and other cultures.

Yussef Dayes is very good. He seems to have a brain for every limb and can create a deep empathy with the audience. Fantastic a long moment of improvisation during which a dialogue was established between the drummer and the audience: Yussef proposed a rhythm and the audience responded with vocals. This went on until the quatrains proposed by the drummer became so complex to sing that the whole Locomotiv broke out in a thunderous laugh. A very pleasant evening, we can only thank the venue once again for the always interesting choices in their programming.

 

 

 

 

 

 

 

 

 

 

REVIEWS
Brian ‘Bordello’ Shea





Brian ‘Bordello’ Shea joined the Monolith Cocktail team in January 2019. The cult leader of the infamous lo fi gods, The Bordellos, has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His newest release, a beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, is out today via Metal Postcard Records (here).

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.


Martin Månsson Sjöstrand Trio  ‘Universum Faller’
LP/ 15th January 2020




Martin Månsson Sjöstrand was the leader of the excellent Dog Paper Submarine who’s final LP I think is due for release on Small Bear Records in the coming years. This album by his new trio takes over from where the Dog Paper Submarine left off but this time concentrating on the joys of instrumental music. Space rock wrestles with surf rock in this fine melee of fretboard wizardry.

If Joe Meek had survived to see the 70s and prog rock this could be the kind of music he would be releasing; a succulent blend of ear enlightening Frisbee throwing joy: all out frugging joy.

Of interest from the Archives:

Martin Mânsson Sjöstrand  ‘Wonderland Wins’


Bruce Hendrickson And The Blue Giant Zeta Puppies  ‘New Jerusalem’
Album/24th January 2020




A few weeks ago those with memories not riddled with middleageness might remember that I reviewed the fine debut single from Bruce Hendrickson And The Blue Giant Zeta Puppies (how I wish they had a shorter name), calling it ‘quite magical’. Well here is their EP/mini album and again I will describe it as magical.

Kicking off with ‘After The Apocalypse’, a stunning space aged Bowie like Scary Monsters era rocker, all whirring synths and screaming guitars, a track that sets one thinking that maybe the apocalypse won’t be so bad after all. That is followed by the album version of their debut single. And without going over already covered ground, is quite beautiful and my fave track of the year so far: quite stunning in fact. Track three ‘Pale Horse’ once again has the dark but beautiful vibe that the wonderful and much missed Sparklehorse used to emit quite naturally. The final track is the title song ‘New Jerusalem’, which has one’s mind scurrying to the rare occasion when Mark E smith would leave his heart open for all to see, when he would bare his soul and give us a ballad ala ‘Bill Is Dead’. ‘New Jerusalem’ is a fine way to finish a fine album.




Of interest from the Archives:

Bruce Hendrickson and The Blue Giant Zeta Puppies  ‘Any Sunny Day’


The Saxophones  ‘Eternity Bay’
(Full Time Hobby) LP/6th March 2020




This is the sound of a romantic early evening stroll across a beach with the love of your life; a soft shuffle across a dance floor with one of those late 50s jazz tinged ballads soundtracking the innuendo dance of life. For this LP supplies a beautiful escape to the everyday hustle. At times reminding me of Lambchop at their seductive best, the subtle strum or pluck of jazz guitar and the soft soul ecstasy of the horns backing the tuneful crooning of Alexi Erenkov.

An ideal and relaxing way to soundtrack a evening-in, Eternity Bay is a fine and crafted album with beautifully written and performed songs whose subtle elegance washes over you.





C.S.E Art Project  ‘The Truths On The Telly’
(Metal Postcard Records)  Single/19th January 2020



Out of the ashes of the New Art School, a band that released a number of storm driven post punk singles last year, arises C.S.E. Art Project, a band that continues where New Art School left off with another three-minute blast of art beat poetry. An aural equivalent of reading an old copy of the Sniffing Glue fanzine C.S.E Art Project could well of stepped out the pages from that legendary old rag: Guitars that should make today’s youth throw away their smart phones and do something more revolutionary instead, like listen to this fine single and be inspired.




Of interest from the Archives:

The New Art School ‘Mod Kid’ Single Review


November Bees ‘Claw an’ Feather’
LP/17th January 2020




I will be honest, I wasn’t expecting to like this LP as they describe themselves as psychedelic and most bands nowadays think psychedelic is have-many-foot- peddles-will-travel (to as far as the closest psychfest normally). You know, those fests where bands have to check in their inner melodies at the door.

But I’m pleased to report that the November Bees are indeed a true psychedelic experience were song craft is crafted with humor, heart and invention, and melodies are things to be cherished not scoffed at. At times this fine album brings to mind the wonderful Edwyn Collins at his sardonic best whilst sharing the same drugs as The Coral and the Super Furries. This is the kind of album the wonderful Stolen Body Records release. In fact, Stolen Body Records why on earth have you not released this? Are you slipping? A fine album indeed.





Picniclunch ‘Yor Boy’
LP/Out Now




I like Picniclunch. I like The Fall. I like the way they both go around their post punk riffery. This is the kind of album John Peel would have adored and played constantly and the kind of album BBC 6 music ignores because of the strangeness and out of world joy that mid 80s post punk influence emits. It just is not bland and generic enough for them.

I am so glad and happy that bands like Picniclunch exist and still feel the need to share their outsider discordant take on their musical art and at times this album reminds me of the another American musical maverick, the fine Occult Character. Not in sound but in feel and ideals. I’d also recommend this album to anyone who loves the sound of early Pavement and the aforementioned Fall. Well worth investigating.





Anytime Cowboy ‘S/T’
(Third Coming Records) LP/28th February 2020




Anybody out there who knows me and my band of underground cults The Bordellos, will know of my love for the great Syd Barrett who’s music I adore. And so I’m ever so pleased to report that this, the Anytime Cowboy debut album, is filled with the joy and spirit of that great man. The Television Personalities may have known where Syd Barrett lives but Anytime Cowboy doesn’t just know the address but the colour of his walls and his inside leg measurement as well.

The songs do not just shilly but shally in equal measure. Wonderful discordant jangle guitars drip from the speakers with the all-consuming glory of the early Pastels. Underground guitar lines collide with the melodious offbeat beauty of a man in the know that pop music is the greatest and most moving of art forms. This debut LP is well worthy of any music lovers attention and I shall be investigating further the releases from Third Coming Records, the home of this excellent release.






Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

ROUNDUP
Dominic Valvona





A quick shifty, glance, a perusal of the mounting pile of singles, EPs, mini-LPs, tracks, videos and oddities that threaten to overload our inboxes this month by me, Dominic Valvona.

Featured artists include Bob Destiny, Elefant, John Howard, MAI MAI MAI, Mazeppa and Remington Super 60.


Bob Destiny  ‘Wang Dang/Mahna (Troubles)’
(Pharaway Sounds/Guerssen)  Double A-Side Single/19th February 2020



‘Wang Dang thank you ma’am!’ Another scintillating raucous obscurity from the Spanish Guerssen umbrella of reissue label specialists, the Puerto Rico born, Harlem furnace baptized Bob Destiny’s double A-sider is a blistering souk soul missive from the North African r’n’b back pages. Originally dug up by the Habibi Funk crew a few years back and featured on one of their compilations, ‘Wang Dang’ is a scuzz-y howled hustler that was laid down in Algeria, of all places. Bob headed out there at the tail end of the 60s to teach music at the Algerian National Theater. He continued a singing career whilst living there, and in 1970 released both the ‘Wang Dang’ and more localized percussive and sauntering ‘Mahna (Troubles)’ 45s.

Pharaway Sounds have chosen to select tracks from both singles to make up this blazing reissue 45.

The backstory is as interesting as the fusion of funk. Bob started playing piano as a child (self-taught) and tap danced with the Five Chocolate Drops when he was just six years old. He’d go on to meet and play with Billie Holliday, appear in a film with Shirley Temple, hot-foot it in musicals on Broadway, dance at Mankiewicz’s movie Cleopatra, and sing at the San Remo Festival. All this before he made it across the Atlantic, where he also played in Morocco with Hahmed Maraki and formed bands like The Fingers. A well-travelled man, Bob moved to Spain the 80s where he created a jazz school in Zaragoza and was involved with the famous Jazz en la Margen festival. In the 90s, Bob hopped over the border to France, focusing on composition, gospel, musicals and soundtracks. Sadly, he passed away on March 31, 2016. This then serves as a befitting tribute.



Remington Super 60  ‘New EP’
(Café Superstar Recordings)  EP/29th January 2020





How beautifully melodious is this?! Like a hazy 60s Californian dappled light shining on a velvet morning, the nostalgic lulling Norwegian band of Remington Super 60 have caressingly released a brand New EP. On the circuit for twenty odd years these dreamy drifters of soft lush psychedelia, folk and peaceable troubadour wholesomeness have released several albums, EPs and appeared on numerous compilation albums since their inception in 1998. Set-up by producer and songwriter Christoffer Schou the band has featured a changing lineup that includes Magnus Abelsen, Benedicte Sveinsson and Elisabeth Thorsen, among others.

Released through their own label imprint Cafe Superstar Recordings, and also as a cassette version through the small Slovakian indie label Z-Tapes, this disarming six-song collection evokes dreamy recollections of Fleetwood Mac, Bacharach, Lee Hazelwood & Nancy Sinatra, Stereolab, the Velvet Underground, Susan Christie, Chuck and Mary Perrin and the Beach Boys. In other words, a nice gentle wash of softly lulled gossamer pop and undulating synthesized liquid lushness. The most attractive thing about this EP though is that it sounds and feels like an endless dreamy summer; the kind we’re all in desperate need of.


John Howard  ‘It’s Not All Over Yet’
Single/7th February 2020





In a second nee third, even fourth, wind of creativity the enigmatic pianist troubadour John Howard has enjoyed a considerable renaissance in the last decade. Choosing his projects wisely and wholly on artistic and desirable (enjoyable too) merit, Howard has recorded a well-received collaboration with Andy Lewis, Ian Button and Robert Rotifer, under The Night Mail moniker, the cerebral open-ended experimental Across The Door Sill opus, and delivered the first volume in a vivid and travail rich autobiography (part two to follow anytime soon) that not only deals with Howard’s haphazard rise and misfortunes in the music industry but chronicles the misadventures of a gay artist in a far from understanding world. Though he gave up the recording and performing for a good couple of decades to focus on A&R, Howard hasn’t wasted any time in returning to the fold; more prolific than ever. Howard’s last album, and 16th, was released just last year on the You Are The Cosmos label; the beautifully rich romantic balladry and stage show-like Cut The Wire.

Since then there has been the odd congruous set of recordings, including the piano suite Four Piano Pieces. And now, a tender rendition of Daniel McGeever’s fatherly tearjerker It’s Not All Over Yet; a label mate of Howard’s on the You Are The Cosmos label.

Attracted to this steadily building wash of recollection – which when Howard gets going, and on the highest vocal notes, sounds very Friends era Beach Boys – Howard says: ‘I first heard the song on Daniel’s album Cross The Water…I instantly fell in love with the album, especially It’s Not All Over Yet, which resonated with me very much. Daniel wrote it for his father Andrew McGeever, who died just a few days before Daniel recorded it. My own father was poorly then too; he died in the summer of 2018.

The lyrics tell of how Daniel’s dad inspired him and how his influence will remain forever. I grew up listening to my dad playing the piano, as a toddler I’d hear him practicing for his gigs with his jazz band, something he continued to enjoy into his eighties.

It was because of hearing my dad play in our front room in Lancashire in the 1950s that my ambition to become a pianist myself grew. I started taking piano lessons aged seven with a determination to be as good as my dad. I don’t think I ever achieved that – Dad was an amazing jazz pianist admired by his musician friends and anyone who watched him play at the various clubs he performed in from the age of fourteen.

When you listen to the song, you’ll understand how it blew me away the first time I heard it and why it touched me so deeply.’

Today, we’re sharing the video version of this faithful but inimitable cover.

Howard explains the imagery used on it: ‘The video features photos of my dad through the years, including a couple which Neil took during our last visit to Dad in his nursing home near Rochdale. He had advanced Alzheimer’s by then but he absolutely loved seeing pics of his old mates from his jazz band days, telling us the name of each musician and what they were like as people. His fondness for them and those times were still tangible, even in dad’s frail state of health by then. He was 93 when he passed away.’



Mazeppa  ‘The Way In’
Single/29th January 2020





Coming on like a Kabbalah Patti Smith wafting and lingering around an intoxicating incense of Middle Eastern and Byzantium psychedlica, the second single from the Haifa, Israel based Mazeppa is an entrancing hallucination of esoteric spiritualism.

Formed in 2017 for the purpose of putting a psychedelic score to the poetry of the Bohemia-Austrian lyrical poet Rainer Maria Rilke, the quartet of Michal Perez Noy (vocals and guitar), Juicyjew Koren (guitar), Elad Bardes (bass) and Amir Nomiros Noy (drums) have started to incorporate Michal’s own lyrics into the heady astral mix.

‘The Way In’ will be followed in the summer by the group’s debut LP.


Elefant  ‘Ultra Plus Ultra’
Video/Latest track taken from the Bejahung LP





Sludge metal and gallows Krautrock merchants of the Belgium underground Elefant are back. With a contortion of phaser drudge fuzz and industrial post-punk elasticated distress, Wolf Vanwymeersch’s led collective of agitated miscreants once more wrestle with NIN, Swans and the Killing Joke on the group’s latest video track ‘Ultra Plus Ultra’.

Following on from 2018’s dystopian deranging Konark Und Bonark (which made our albums of the year feature), the boiler-suited misfits (think forensic team meet Time Bandits villains) have just released, rather sneakily, their second LP Bejahung; of which this is the second single to emerge. For the most part a continuation of that same disillusionment and basement dwelling creepiness, the latest offering seems to be more roomy, spacious and varied this time around. In short: an alarming twisted work of art-rock and menace.


MAI MAI MAI (Feat. Vocalist Maria Violenza)  ‘’Il Secondo Coro delle Lavandaie’
(La Tempesta)  Single/21st February 2020





Continuing to transmogrify, in part, the ethnographic recordings made by Alan Lomax and Diego Carpitella in the 60s and 70s of Italian southern music, native noise tormentor Mai Mai Mai follows up on the previous dark arts caustic Nel Sud LP with another disturbing vision of a folk obscurity.

Translated as the ‘Second chorus Of The Washerwomen’, the lamentable beauty of Roberto De Simon’s (with the Compagnia di Nuovo Canto Popolare) original is lent a discordant, hypnotizing and gradually more sinister fizzle of ritualistic and primal voodoo pulsations. The real Southern Gothic, ‘Il Secondo Coro delle Lavandaie’ features the voice of Maria Violenza, who can be heard in choral mantra amongst the intoxicating scuzz, whistling and dreamy industrial churns.

The spill from the PR sums it up perfectly: A dark journey into the past of the Italian south, a ‘Mediterranean Hauntology’, this ominous extended single encompasses an ethnic and folkloric tradition in a more contemporary way, conjuring a work in which art, music & theatre intersect.

Ahead of its official release in two weeks time, we’re sharing the video, which I warn you is a menacing cartoonish horror show: The protagonist limbering up with the worst ever Kung-Fu workout before increasingly deranged, stalking and volatile commits bloody murder.

Interview: Joss Cope

February 7, 2020

Interview Special
Words: Brian ‘Bordello’ Shea





Sibling to arch druid polymath of the ‘head’ community, Julian, brother Joss Cope shares an equally colourful CV; serving and rubbing shoulders during his formative years with a number of famous and cult figures from the Liverpool music scene, including Echo & The Bunnymen’s Les Pattinson, Wah! Heat’s Peter Wylie and Spiritualized’s Mike Mooney. Not before fleetingly spearheading Bam Caruso label favorites Freight Train – releasing the modestly pivotal album Man’s Laughter in 1985 – before splitting and joining ‘rivals’ the Mighty Lemon Drops, Joss left Liverpool to be absorbed into the Creation Records mayhem of London. During his spell in the capital he played with Crash, The Weather Reports and Rose McDowell before carving out a solo career, releasing two albums under the Something Pretty Beautiful banner.

Inevitably Joss would at some point cross paths with his elder brother, contributing famously to the Fried and St. Julian solo albums; co-writing with both Julian and his former Freight Train band mate Donald Ross Skinner the album tracks ‘Pulsar’ and ‘Christmas Morning’.

Joss would go on to form and play with many more bands during the 90s and noughties – The United States of Mind, Dexter Bentley and Sergeant Buzfuz among them -, balancing music with a careers as a video director for MTV, narrator for a children’s BBC animation series and as an online producer/activist for Greenpeace.

The most recent chapter in a checkered backstory of affiliations sprung from Joss’ regular sleepovers in Finland, home to his current partner, the cartoonist Virpi Oinonen. In 2016 he began collaborating with the guitarist Veli- Pekka Oinonen, bassist Esa Lehporturo and percussionist Ville Raasakka trio of Helsinki talent, and the (what must be the most Irish of Irish sounding names in history) keyboardist O’Reilly O’Rourke on what would become the Unrequited Lullabies album; his first release for Ian Button’s estuary romantics label Gare du Nord.

Ahead of his upcoming album of soft bulletin psych for the same label, Indefinite Particles (released on the 28th February 2020), our very own one-man cult Brian ‘Bordello’ Shea puts forward some questions.



Brian Shea: What was the first record you ever bought? 

Joss Cope: ‘Ride A White Swan’ by T Rex after seeing Bolan on telly. He definitely had something.

 

When did you realise that you wanted to be in a band, or did you just fall into it and it just happened?

I’ve been in bands in some form since I was 14, but long before we could play instruments my brother and I would spend hours making up imaginary bands, complete with all their members and song titles. Eventually we graduated to writing and later recording the stuff we made up – it was generally on the surreal/absurdist side.

I tend to think of ‘the band’ as a default human unit – and not just for music. A small group of people with disparate but overlapping skill sets who come together enthusiastically to focus on making something which each individually could not achieve. When it works, the whole is greater than the sum of the parts. Once I figured that out I always wanted to be in a band – who wouldn’t?

 

You have been in and around the alternative underground indie (whatever you want to call it) music scene and music business for quite a long time now, and I feel it is currently struggling due to a lack of a figure head – be that John Peel – or there being no music weeklies. Do you agree? And can you see a way of it once again rising into prominence, or will it shift still further underground becoming a minority art? 

Someone with the (eventual) cultural clout of John Peel was only possible because media options were so limited in the 70s and 80s. Everyone was listening to the same shows and there was more of a shared conversation.

That has been fragmented by new online media, and at the same time the digital revolution has given access to almost anyone to record and prove themselves online. This is a very positive development in terms of the sheer numbers of people fulfilling themselves through their own music, but the explosion of production means in practice an ever more fractured audience for genuinely indie music.

Genuine indie music has always been a minority art, but the best examples will always have an appeal precisely because it’s ultimately more human and personal than anything the mainstream hit factory commercial complex is capable of producing, Outsider art is unfettered commentary with no bottom line considerations to temper its visions. The power lies in people telling their own truths in their own ways, always has done.

 

Your debut solo LP, 2017’s Unrequited Lullabies, was a sparkling psych tinged pop LP (one of my faves that year). Is your latest album more of the same?

 Yes I hope so. There’s definitely a continuity of sound, the backing tacks were recorded live in the same way with same musicians (Veli-Peka Oinonen on guitar, Esa Lehtopuro on bass and Ville Raasaka on drums). I was very pleased with the process the last time around and happy to repeat it. And hopefully there’s more mixing of the sublime with the ridiculous, at least that’s the intention.

 

I understand that you will be touring with the lovely but crazy [in the best possible way] Rose McDowall this year. Will you be performing any of your songs or will it be as part of her band?

Rose recently asked my to play guitar with her for a few gigs, but there are no plans to play any of my tracks at this stage. She and I were in a sort of proto-band together back in Creation days; Alan McGee put us together. But then she got loads of solo work in Japan which she couldn’t really turn down, so nothing came of it. But I’ve always thought she had a great voice, and coincidentally my old mate Dave Morgan is drumming for her, so it’s been a lot of fun for me.

 

And to finish, what was the last record you bought?

Happy Endings by Crayola Lectern. Pastoral British psychedelia of the highest order, for my money. Well worthy of a listen! (MC: We agree Joss, as you can see from our review, here…)





Further Reading From The Archives:

Unrequited Lullabies LP Review From 2017


Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

Video/Single
Words: Dominic Valvona
Photo Credit: James Kriszyk



Simon McCorry  ‘The Nothing That Is’
(Close Recordings)  Single/7th February 2020


Following on from last year’s acclaimed (especially by us) ambient album of field recording manipulations Border Land, classically trained cellist and composer Simon McCorry is back with an equally evocative, though far less supernatural and mysterious, work of atonal art, ‘The Nothing That Is’.

Created from the musical ideas that informed his involvement with the original score for Javaad Alipoor’s play Rich Kids: A History of Shopping Malls in Tehran – which premiered at the Traverse as part of the Edinburgh Fringe Festival in 2019 -, ‘The Nothing That Is’ peregrination is a subtly airy and stripped back performance that builds upon McCorry’s use of live looping and computer processing: processes and technologies that transform the cello to sound ever more ambiguous.

As McCorry explains it: “Each layer [on ‘The Nothing That Is’] has one sustained note followed by silence. As one note finishes the next is added. An overall harmonic motion is established that pushes the piece to its conclusion. There is no melodic solo line to tie everything together. The cycling individual tones all together create an emotive power. By themselves they are just looped individual notes and reveal nothing.”

Imbued with Brian Eno’s pioneering long tape loop works of Discreet Music and in part by ‘Fratres, Cantus in Memoriam Benjamin Britten and Tabula Rasa by Arvo Pärt, The Nothing That Is – which takes its title from a line in the American modernist poet Wallace Stevens’ seminal and empirical ‘The Snowman’ poem –The Nothing That Is continues McCorry’s exploration of compositional techniques that perfectly marry sound, space and silence.

Expanding on the track and accompanying video, McCorry explains, “My thought is being influenced by reading David Abram’s The Spell of the Sensuous: Perception and Language in a More-Than-Human World or rather I’m finding a lot that resonates in how I’m thinking at the moment. The Nothing That Is video looks at diverse processes and their cycles in time and how they are all similar, whether “artificial” or “natural”. They all ‘flow’ and ‘ebb’ in similar ways. There is also an underlying theme of the anthropocene and the decay of civilization, the tension between our dominant ‘modern’ logical positivist approach to the world around us and dislocation from ourselves as other animals, as living breathing entities in a living breathing environment.”

The Monolith Cocktail is pleased to share with its readers the precursor video version of this track ahead of its official release tomorrow, Friday the 7th February 2020.


 







Background: Having worked as a composer for theatre, contemporary dance and circus, McCorry has channeled his experiences of creatively supporting the conveyance of a narrative or theme and laid down a series of responses to what he sees in the world at large. Originally born in London to mixed Indian/British heritage, McCorry trained in cello at The Centre for Young Musicians & Morley College then studied philosophy at Durham University. He is now based in Stroud, Gloucestershire. As a performer McCorry is well travelled, he has performed at many prestigious events and institutions including in Orlando Warrior with Julia Cheng at the South Bank as part of China Changing Festival 2017 and more recently supported luminaries such as ambient electronic legends The Orb.

Further Reading From The Archives:

Border Land in review from 2019

Album Review
Dominic Valvona




Pulled By Magnets  ‘Rose Golden Doorways’
(tak:til/Glitterbeat)  LP/28 February 2020


Prime motivator/instigator behind a myriad of acclaimed experimental jazz outfits, Seb Rochford’s influences and scope could be said to be wide-ranging and highly eclectic. This is due in part to the prolific and very much in-demand polymath’s Anglo-Indian and Irish-Scottish heritage; all of which has been fed, transduced into contemporary luminaries Polar Bear, Sons Of Kemet and Basquiat Strings, his collaborations with such notable doyens as Patti Smith, David Byrne and Brian Eno, and his soundtrack work. Though it might not be initially obvious, but the Indian part of that heritage informs his newest and most dark, murky abstracted project yet, Pulled By Magnets. Imbued by that and recent travels to India itself, the pacing and timings of the improvisational colouring ‘raag’ permeate the serialism subterraneans of this new trio’s debut LP, Rose Golden Doorways.

Featuring fellow Polar Bear Pete Wareham on contorting inpained and withering saxophone and Zed-U and Empirical’s Neil Charles on stalking, menacing bass guitar duties, Seb instigates, sets in motion opaque industrial post-punk rituals and esoteric jazz moods from his drum kit on an album of both the primal and mysteriously cryptic – adding another layer of mystique and interpretation through the album’s artwork, Seb visually offers a number of numerical value symbols to decipher.

Recorded in a Stoke Newington church (of all places), the atmosphere is not so much godly as supernatural, often even chthonian. No holy communion here, rather a recondite performance of searching and roaming about in the darkness under various stresses. The album starts with a howl of machinery and industrial wanes; a heart of darkness oscillation of piercing quivers and Bish Bosch style Scott Walker mood accompaniment. From this the staccato and strung-out evocations move with a certain menace through a suite of pendulous tribal witchery, lurking leviathans, lunar prisms, dungeons and cosmic doldrums. Between the churning maelstrom and river Styx voyages you may hear shadows of Andy Haas, Arthur Russell, Massive Attack, Mani Neumeier, Faust and a sedated King Crimson. All of which is of course undulated with that transformed vision of classical Indian music; a melodic framework that has no direct translation to the classical ideas of European music, and so encourages this kind of experimentation that Seb’s new project grants it.

Not a jazz album in the traditional or even avant-garde sense, Rose Golden Doorways is Seb’s most amorphous dark exploration yet; a total escapism from the tangible. It will be interesting to hear where he goes next.






Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

PLAYLIST
Dominic Valvona & Brian ‘Bordello’ Shea





The behemoth Quarterly Playlist Revue is now more! With a massive increase in submissions month-on-month, we’ve decided to go monthly. The inaugural playlist carries on from where the popular quarterly left off; picking out the choice tracks that represent the Monolith Cocktail’s eclectic output. New releases and the best of reissues have been chosen by me, Dominic Valvona, and Brian ‘Bordello’ Shea.



JANUARY’S TRACKS ARE:

Les Amazones d’Afrique  ‘Love’
Hailu Mergia  ‘Abichu Nega Nega’
Dijf Sanders  ‘Santoshi Mata’
Penya Na Msafiri Zawose  ‘Heyyeh (Guedra Guedra Remix)’
Tony Allen & Hugh Masekela  ‘We’ve Landed’
Ani Glass  ‘Mirores’
Brainstory  ‘Beautyful Beauti’
Syd Nukukluk ft. Monika  ‘Plasticene’
Lee Scott ft. Dream McClean, DJ Frost & Sumgii  ‘Sainthood’
Leaf Dog ft. Smellington Piff  ‘Under The Spell’
Verses Bang  ‘The Eagle Has Landed’
O.G. Natal & Kool Keith  ‘Crime Don’t Pay’
The Van Allen Belt  ‘Let It Goddam Be’
Extradition Order  ‘Manhattan’
The Epstein  ‘Lay Me Down’
Hallelujah!  ‘Your Duck’
Deutsche Ashram  ‘Slackjaw’
Sunflowers  ‘Oscillations’
Shadow Show  ‘Charades’
Black Lips  ‘Odelia’
Pintandwefall  ‘Ah-Ah-Ah’
Floodlights  ‘Backyard’
Seattle Stomp  ‘January’
Colin Stetson  ‘West Of Arkham’
Lina_Raul Refree  ‘Destino’
Brona McVittie  ‘The Green Man’
Jonah Parzen-Johnson  ‘Stand Still’
Ippu Mitsui  ‘Recovery’


Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

 

Videos/Singles/LPs
Dominic Valvona




In quick succession, following last week’s inaugural roundup of 2020 of perused singles, videos, previews and the odd album that threaten to overload our inboxes, another selection of releases that you need to know about. This week’s honors go to Tony Allen & Hugh Masekela, Brona McVittie, Ippu Mitsui, Verses Bang and JZ Replacement.


Tony Allen & Hugh Masekela  ‘We’ve Landed’
(World Circuit Records)  Preview Video


 

This is one convergence of talent worth ‘rejoicing’. Arguably two of the most important motivator/instigators in the development of African music over the last 50 years, Afrobeat progenitor, drummer extraordinaire Tony Allen and his foil trumpet virtuoso, bandleader, activist and South African national treasure, the late Hugh Masekela, finally crossed paths in 2010 to record this sublime swinging and lilted atmospheric album: an album that had been in the making since the two central figures in Afrobeat and Afrojazz first met in the 1970s. However, those original sessions were put on hold until last year.

With renewed resolution, Allen and producer Nick Gold, with the blessing and participation of Hugh’s estate, unearthed the original tapes and finished recording the album last year at the same London studio where the original sessions had taken place. Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians including Tom Herbert (Acoustic Ladyland/The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.

Rejoice is set to drop on the 20th March 2020; until then here’s the loose Francophone swinging jazz announcement ‘We’ve Landed’ to savior: every bit as effortlessly cool, bouncing and smoky as you’d expect. Look out for a full review on the site in the next month or so.

Links of interest from our archives

Hugh Masekela ’’66-‘76’

Tony Allen ‘The Source’

Afro-Haitian Experimental Orchestra  ‘A.H.E.O’


JZ Replacement  ‘Tubuka’
(Rainy Days Records)  Single/Now

Introducing the new dynamic fusion project from saxophonist Zhenya Strigalev (Ambrose Akinmusire, Eric Harland) and drummer Jamie Murray (Sun Ra Arkestra, Native Dancer), the first single to drop from the JZ Replacement moniker duo is the off-kilter acceleration of moodier Massive attack prowls, lurching breakbeats, d’n’b and vortex squawking contemporary jazz with blasts of hard bop, ‘Tubuka’.

With an already enviable providence as both a performing duo in their own right and with a host of luminaries on the scene, Strigalev and Murray look further afield to develop and challenge their sound. As part of that challenge, the duos upcoming new LP, Disrespectful (due to drop on the 13th March 2020) was recorded with the increasingly in-demand L.A. bass master, Tim Lefebvre (who played with the Donny McCaslin led troupe that backed David Bowie on his swansong album, but also such notable talent as Wayne Krantz, Elvis Costello and Mark Guiliana). On the evidence of this precursor single, the album promises to be a ball of exploratory jazz and grooves.


Verses Bang  ‘The Eagle Has Landed’
Single/Video/January 2020


In case you missed one of the UK’s most burgeoning talents on the Hip-Hop and beyond music scene, the ever sartorially sharp Verses Bang drops a reminder single and new video from last year’s high anxiety deconstruction of an addicted personality, Cardigans & Calories, ‘The Eagle Has Landed’. From his own mission control, Verses’ convergence of rap, grime and trap lurks menacingly on this unsanctioned Apollo flight into the shadows.

Verses name drops idiosyncratic references to British culture and TV and tongue-in-cheek digs at the varnished validation culture of many of his more puffed-up peers on social media, with the pressures of trying to make it whilst battling those addictions. One to watch for sure in 2020.


Ippu Mitsui  ‘Break Through 50 Watts’
(Pure Spark Records)  LP/23rd January 2020


Always in a state of developing and reworking, Tokyo electronic composer and label boss Ippu Mitsui draws breath with an album of rerecorded, remasterd and in some cases, alternate visions of his back catalogue on Break Through 50 Watts.

Delivered via his very own burgeoning experimental electro and dance label, Pure Sparks Records, Ippu hurtles and careers through a miscellaneous of tracks from 2017, including a freshly coated twitch-house take of the opening 32-bit, dial-up tone skittish collage ‘Bug’s Wing’s’ (taken from his L+R LP for the Edinburgh label Bearsuit Records) and a sophisticated shadowy airy refresh of the cruising ‘Rotation’ (taken from his Shift Down EP for Submarine Broadcasting Company). Ippu watchers might also recognize remasters of the E Noise EP’s breakbeat thriller ‘Chromium’ and the Resonance EP’s re-Warp busy percussive ‘Biorhythm’. Scattered amongst these are a host of equally cybernetic and machine code engineered techno treats: the dulcimer chiming timepiece soundtrack ‘Recovery’, melodic childlike piano downtempo ‘Playground’ and the strange putting-robots-to-sleep deconstructive techno number ‘Sea Slug In Love’ being some of the more interesting and diverse tracks on offer.

New to the charms and exploration of Ippu Mitsui, then this collection would be a grand starting point to a one-man electro and techno industry.

Links of interest from our archives

Ippu Mitsui  ‘L + R’


Brona McVittie  ‘The Green Man/Eileen Aroon’
(Company of Corkbots)  Single/20th January 2020


In anticipation of the ephemeral harpist and diaphanous lulled singer’s second solo album this year, Brona Mcvittie releases a couplet of fluttery yearnings that pay homage to Celtic imbued contoured landscapes. Brona’s magical, lingering, self-penned ode to the atavistic ‘The Green Man’ (a song idea that “literally grew out of the trees visible from my living room window”) and beautifully sang version of the Carroll O’ Daly 14th century paean ‘Eileen Aroon’ (a song in which the protagonist of that tale espouses his love for Eleanor Kavanagh, daughter of the Leinster chieftain, comparing her to a “flower of the hazel glade”) continue the harp-led evocations and trip-folk cinematic landscaping of the debut LP We Are Wildlife (which made our albums of 2018).

Producing melodies and phrases that often feel like a breath or just the merest presence of the harp and voice, Brona amorphously pushes the often-ancient feelings and geography towards John Martyn and Bert Jansch one minute, towards the Incredible String Band or Boards of Canada the next.

Be sure to keep an eye out for a future review of that upcoming album.

Links of interest from our archives

Brona McVittie  ‘We Are Wildlife’