LP REVIEW
Words: Ayfer Simms


Conrad Schnitzler & Pole - Monolith Cocktail

Conrad  Schnitzler / Pole   ‘Con-Struct’
Released  by  Bureau  B,  24th  March  2017

This music is described as avant-garde because on the surface the notes appear to be unwelcoming, obscure and almost shuddery, like a sort of peering into a black hole, with simply no place to grip. However the feeling quickly changes as the story emerges skillfully, then, it is like watching a scene shot thirty thousand years ago. The late Conrad Schnitzler, didn’t describe the future, he forged his music drawing from the depth of consciousness, not just the individual’s, but from humankind’s waking one.

Do you hear the sound of the flint, taping on a rock, mechanically and continuously, for centuries?

Sounds of the album are drawn from the past, from our very own flesh as death looms on us, as it did on our ancestors. The future is behind us, within us, the tracks construct the stages of history in their most subtle aspects. On this beautiful album, time is dismantled, space, gravity, dimensions appear like a flash, a glimmer in the most savage and dreary landscape, portraying the different periods of man who despite his insipidity, has gathered, prudently at first, under thorny elements and emerged strong against the deep, coarse and indifferent nature. And now can you hear how a simple combination of synths-effects renders the strength of ancients? That natural longing for war in the thick of our heart as we hunt, gather and hunt. Hunt until our own blossoming death?

Conrad’s frictionless world is the past disguised in the future. To break the code of the album, it’s best listened to loud and near the ears. The tracks will then unlock and tap straight into your bloodstream.



LABEL LAUNCH/SINGLE
Words: Dominic Valvona


Jono Podmore & Swantje Lichtenstein - Monolith Cocktail

Jono Podmore  &  Swantje Lichtenstein   ‘Miss Slipper/Lewes’
Released  on  Psychomat,  6th  March  2017

Responsible for a stream of experimental electronic projects, both on the cutting edge of technology and vanguard of a return to the roots of analogue, and a member of the manifesto guided metamono trio, Jono Podmore has cranked-up the generator, punched in new coordinates and blown the dust off the dials to relaunch his influential 90s label, Psychomat.

Renowned for his cerebral collaborations with a number of luminaries from across the electronic music spectrum, but famously for his work with both Can’s Irmin Schmidt (together as the Kumo and Irmin Schmidt duo) and the late Jaki Liebezeit (Cyclopean), Jono’s inaugural label comeback pairs him with the Düsseldorf-based sound writer/performance artist Swantje Lichtenstein.

A conceptual meeting of minds, the duo’s upcoming Michaela Eichwald cover art adorned 7”, which is billed as an actual “work of art” in its own right, features two serialism performance-manipulations recorded at Jono’s on the day of the funeral of his friend, the publisher Felix Hiner, in 2014.

The first of these, Miss Slipper, is of all things, riffing off a piece of writing by Jono’s daughter. A spontaneous freewheeling interpretation of an innocent description of a school art teacher is pushed towards the alien by ring modulations and filter trickery. Obscured and transmogrified into something almost sinister, even daemonic, Swantje’s voice shifts between squelched and metallic strange tongues.

Lingering in the same atmosphere, beyond the stratospheric, the idyllic pastoral East Sussex town of Lewes slips into a parallel dimension of weirdness; the metamono sat-nav tuning into a beacon communal with unknown entities, somewhere yonder in the ether. Based on a set of directions given to the group for a gig in Lewes, this extemporized art-piece glitches, buzzes and chants its amorphous script until it becomes directionless; untethered on wave after wave of tubular ringing, echoed and chromed effects; disappearing into the torn fabrics of space.

Miss Slipper/Lewes is every bit as conceptual and experimental as you’d expect, and lays down the start of, what I hope, will be a fruitful union of art and sound work. We may not have to wait long though for the next installment, as a series of remixes from Pete Hope, Hairy Kipper, Inky Blackness, Bastard Status, Jono in his Kumo guise, and Professor Michael Ball (a colleague of Jono’s and a professor of electronic composition), will be released in the coming weeks and months.





HIP-HOP ROUNDUP
Words: Matt Oliver


M Dot - Rapture & Verse x Monolith Cocktail


Singles/EPs

Having had all our ideas for a witty intro brainwashed by the off-piste pizzazz of Strange U’s ‘#LP4080’, (you don’t wanna know about a Biggie/Faith Evans duets album anyway), lead space cadet Kashmere has also been dabbling in backstreet voodoo with Bambooman on the ‘Supergod’ EP. Verbally out of shape as usual, a wee drop of alchemy sprinkled over stripped backdrops goes a long way. Dabbla, in his usual style sounding like he’s dashing in and out of rush hour traffic, shows off how good his ‘Cardio’ is, and Joker Starr does whatever he can to bring doom without the cartoon to ‘Spy Da Man’. Dream McLean and The Last Skeptik know the value of the basics: the ‘Cheese on Brown Bread’ EP is four tracks, not needing any extra garnish, just cunningly sharp words pricking simple neck chops. Back in the old routine, DJ Format and Abdominal ready a new album with a pair of funky head hunters: industry tell-tale ‘Behind the Scenes’, and 100mph throwdown ‘Diamond Hammer’.





Instrumentals to both ease and expand minds from IMAKEMADBEATS on the seven-starred ‘Better Left Unsaid’, include a remoulding of 10CC and views of hip-hop from afar. Attempting to stay Gd up while keeping to a righteous path, Obi J reps ‘Red City’ with reflection and retaliation. The non-stop hustle of Avarice, bending jazz under his control into a hard-as-nails enforcement of ferocious rhymes, makes ‘Words and Sounds’ anything but simplistic, where the only greed is to go all out. Six tracks that stand up to be counted.

Raekwon beat down ‘This is What It Comes Too’ is a timely reminder to respect the gods, well set up by Xtreme’s subtle flip of a hip-hop fundamental that lets the Chef build and destroy. On ‘The Art of Rock Climbing’, Boldy James welcomes you to the total gangsta experience. Whether in the thick of it or just lounging in the aftermath, the DJ Butter-assisted EP runs rewindable rackets out of Detroit. Wallowing ‘In the Mud’, deM atlaS questions everything and nurses a life hangover in the process, and Vince Staples wilds out, plain and simple, on ‘BagBak’. Passport Rav and Asi Frio will measure you for concrete shoes ahead of a trip to the ‘Shark Tank’ in a callous mob style, while on ‘Help’, the all out 16s of Your Old Droog, Wiki and Edan leap from building to building while the world implodes under a prog rock plume and Rob Base is the last voice of reason. Not a track found pussy footing.





Getting sunshine to glance round the corner, Chris Read & Pugs Atomz air it out over ‘Chocolate Milk’, neo-soul with the bonus of a great hook. ‘Black Nite’ goes deeper and slinkier, with two twizzly remixes from Myke Forte. Pete Rock & CL Smooth’s timeless ‘They Reminisce Over You’ makes its 7” debut and enhances its legend that little bit more.

 

Albums

‘The Building’, a towering B-boy document from honourable humanitarians Mazzi and SOUL Purpose, gives familiar samples new life and piles high banks of bricks and mortar beats and rhymes you can always back to do the business. No punches pulled, see it hanging around year bests in 10 months time. Sucker puncher M Dot gets into it with the ‘Ego and The Enemy’, a spokesman for pessimists arguing reality where there’s no such thing as hard luck stories or second chances. Impressive assists from Hi-Tek, Method Man, Camp Lo, Marco Polo, Large Professor and Marley Marl (craftily flipping of all people, Ms Dynamite) help the Boston brawler grab the game by the scruff of the neck and pop vertebrae like bubblegum.





A heavy dose of Oh No & Tristate cuts class A dope for ‘3 Dimensional Prescriptions’; following the Gangrene cookbook, a dangerous connection casting their own shadow and treating willowy funk and soul like a cross-border haul, it’s an album that sounds equal parts elite and illicit, glamour and gall. Get fixed up. Great all round game from LiKWUiD, with 2 Hungry Bros feeding the machine on the boards, makes ‘Fay Grim’ a storybook full of sass, stress, strike outs and scholarly knowledge that shows fairytales for what they are. An album not rhyming for the sake of riddling. Dope KNife’s ‘NineteenEightyFour’ is an absolute battering ram of four wheel drive blasting through the boggiest of boom bap. Describing the savagery as “the movie Taxi Driver in rap form” is no joke, and Big Brother would think twice about listening in.





A clutch of autobiographical styles from the UK now: the composure of Loyle Carner’s low-key ‘Yesterday’s Gone’, even when the odds of the day to day aren’t always even, creates a new and relatable street bard elect. The decidedly more unrepentant Devlin and the ferocity of ‘The Devil’s In’ is perfect synching second time around after the overproduction that strangled his debut; and Big Heath reminding not to take home comforts and hard work for granted on ‘Smells of Beef’ gets the essentials all in order. Less introspective and just balls out slimy, Stinkin Slumrock & Morriarchi’s ‘Morrstinkin’ parades a doomed brand of swaggering sewer rat rap, hinting what once was polished and optimistic is now ripe for red light zones and no man’s land.

 

Quelle Chris’ ‘Being You Is Great, I Wish I Could Be You More Often’ catches itself in ups, downs (either going in hard or trying to function) and managing the in betweens. Therefore it never sits still both lyrically and stylistically, with wit and reflection both sharp and slowly revealing itself. Worth taking time with. A similarly individual look at the human condition is Stik Figa’s ‘Central Standard Time’, making the verbally dense levitate – “I got some idioms for idiots if anybody interested” – and displaying appealing introspection and emotional intelligence that’s just the right volume of far out. More of a catharsis is ‘Rap Album Two’, Jonwayne’s return that makes personal struggle both poignant and unapologetic for showing its hand. Suitably muted but speaking strongly and openly, in hushed tones without looking for sympathy, watch its humble humanity become the choice of the open eared this year.

 

When you can’t see the angles no more, you in trouble. Alternatively, when Corners come into view, fresh UK hip-hop will get you going. Beit Nun, Benny Diction and Deeflux pass the mic like a Sunday morning game of frisbee, and the casualness of their goodness taking the sting out of everyday slogging is pretty devastating. Eight-track ear swim ‘Tape Echo – Gold Floppies’ has dynamic duo Torb The Roach and Floppy McSpace sedating speakers in some unknown realm. Instrumentals grab armfuls of samples and cook them in slowly boiled delirium to create a thick beat stew. The broth of Batsauce for the ‘Clean Plate’ series is also a heavy ladle using battered wax as a serving suggestion; apple-bobbing funk, hot pockets of flavour, and samples strewn to make some kind of sense. Chrome’s ‘The Remix’ funky-freshens a bunch of Britcore classics, golden age staples, and queues Kanye, Edan, Ty, Savvy and De La Soul for a session in his win-win, no fee surgery.




Mixtapes

Currently giving Midas tips on how to win, Paul White goes through his psychedelic wax satchel and like a hypnotist, comes up with ‘Everything You’ve Forgotten’, a free mix of past/present/future beats marbling into one. Fighting the power with a comprehensive manifesto , Lushlife’s ‘My Idols are Dead + My Enemies are in Power’ is unequivocal in its activism, a rolling funk fire to get hearts racing and fists clenched at once. Ain’t nothing sweet about the tongue lashing ‘Pick & Mix Experience’ of Ramson Badbonez and Jazz T, a half hour of hard nuts to crack teeth and heat that’s off the Scoville scale.





Feet to the floor with A7PHA and Paul White & Danny Brown, and street takes from HPPYPPL and Gatecrasherz.













ALBUM REVIEW
Words: Dominic Valvona


Tamikrest - Monolith Cocktail

Tamikrest   ‘Kidal’
Released  by  Glitterbeat  Records, 1 7th  March  2017

It’s been five years since Mali was last thrust into the world’s media spotlight; the Nomadic Tuareg’s age-old cause to gain control of an autonomous region in the country’s northwest border was abruptly hijacked by a less than sympathetic, franchise of Al-Qaeda. Declaring an independent state, known as the Azawad, in 2012, the Tuaregs were soon compromised by their miscreant partners; their ambitions reaching far further with an insurgency that threatened to destabilize the entire country. In their wake these extremists reduced many historical and revered sites to dust, and imposed the harshest forms of Islamist rule wherever they went: much to the distress of the Tuaregs.

Though it was more or less all-over within a year, the Mali government was forced to seek military assistance from the former colonial overlords, France, who rapidly quashed the insurgency and uprising, restoring, a sort of, peace to the region. An uneasy calm continues, albeit with a haphazard terrorist campaign (more recently in 2015, with an attack on a hotel in the Mali capital, Bamako) replacing the Islamists previous emboldened charge across the country, and a spiritually restless Tuareg population, trapped between a hostile government and the encroaching threat posed by global corporations eager to commodify their desert home.

Still without a homeland, though liberated from their draconian partners, the Tuareg are once again left, as wanderers in their own lands, the unofficial guardians and custodians of the Saharan wilderness. For now only a dream, best realized and protested through music, the rock’n’roll Bedouins Tamikrest emerge once more from the barren landscape with a message of “power and resistance”, on their fourth, equally entrancing, album Kidal. Paying homage to the strategically and spiritually important cultural trading town of the title, the highly-acclaimed (and rightly so) Tamikrest exude both the sadness and suffering of the dispossessed people who cling to the southwestern Saharan hub that is Kidal: a town which has seen its fair share of fighting, fought over, conquered and reconquered over time, it remains a symbolic home to the Tuareg. This is after all the town that nurtured them and where it all began.


Tamikrest - Monolith Cocktail


Preserving an increasingly endangered ancestral culture and language, Tamikrest’s cause cannot be separated from their music. Yet, rather than protest with bombast or angry rhetoric, they articulate their woes with a poetic, lyrically sauntering cadence. Oasmane Ag Mosa’s earthy lead vocals resonate deeply, even if his timbre maintains a stoic dignified pitch. Backed by Aghaly Ag Mohamedine and Cheick Ag Tiglia on backing and duets, a lulling sweetness transcends, which on occasions adds a certain romanticism to the impassioned struggle. Swaying effortlessly between the meandering and up-tempo, the accentuated dynamics of Mosa and Paul Salvagnac’s entwined, untethered and contoured guitar work, Mohamedine’s “gatherer” Djembe rope-tuned goblet drumming, Nicolas Grupp’s askew backbeats and Tiglia’s smooth, free-roaming bass lines transport the listener to the mystical topography of the desert. Tamikrest’s mirage-style emerges into focus on the opening shimmering camel-procession Mawarnih Tartit, before traversing the vast plains with a drifting echo of Afro funk on Wainan Adobat. But perhaps one of the group’s most off-kilter, dizzying, entranced spells yet is the twilight hour twanged, giddy War Toyed, which has an almost dislocated rhythm. And definitely among their most reflective explorations, Atwitas features Salvagnac’s sublime, mournful and pining slide-guitar work; redolent of Ry Cooder’s own parallel American desert blues evocations.

Written in the desert but recorded in the urban capital of Bamako, Kidal was produced by Mark Mulholland (his last production, the Tony Allen and Haiti ensemble collaboration, AHEO, made our top albums of 2016 features), and mixed by Grammy award winner David Odlum. As a result, the album subtly embraces a wider musical palette, with hints of country and folk on the haunting Tanaka, and, what sounds at times like a strange Malian XTC on the plaintive cry for freedom War Tila Eridaran. And so it has already been noted that western artists, such as Hendrix and even Pink Floyd have had an influence on many African bands. A mutual exchange of course, the home of blues taking a little something back from the West. There’s still no mistaking that inherent African desert sound and passion, even if Kidal reaches out beyond the barren reaches of Mali’s borders for an ever expansive and diversified sound.

Assiduous, confident and articulate, the musicianship shows not so much a progression as a balance between the meditative and rock’n’roll spirit of the Tuareg musical resistance. Tamikrest are as brilliant as ever musically, and Kidal is, despite its plaintive and lamentable subject woes, a beacon of hope in an ever-darkening world of uncertainty.





NEW MUSIC REVIEWS
Words: Dominic Valvona

Baluji Shrivastav - Monolith Cocktail

Tickling Our Fancy 046:  Srdjan Beronja,  Nick Blackos,  Clap Your Hands Say Yeah,  Irk Yste,  IRL Remixes,  The Nightjar and Baluji Shrivastav.

In this edition of Tickling Our Fancy, Alec Ounsworth, under his famous Clap Your Hands Say Yeah moniker, returns with a brilliant new “cathartic” purging of an album, The Tourist; the inconspicuous but effective in spreading ever more eclectic world music sounds to a wider audience, Independent Records Ltd label, celebrates its first fifteen years in the business with an album of transmogrified remixes, entitled Terraforming In Analogue Space; ARC Music release two Indian music inspired albums, with a Best Of the legendary Baluji Shrivastav (who made London his home in the early 80s) and a new travelogue that straddles not only India, but also the Balkans and the Middle East, from the erudite Serbian multi instrumentalist Srdjan Beronja; The Nightjar unfurl their accentuated and stark contemplated post-folk debut, Objects; plus the inaugural release for the German label, GiveUsYourGOLD, from the Weimar Techno duo Irk Yste, and a new album of Nick Blackos hip-hop instrumentals from the burgeoning ONV blueprint.


Clap Your Hands Say Yeah   ‘The Tourist’
Released  24th February 2017


Clap Your Hands Say Yeah - Monolith Cocktail

 

 

Inimitably jump-starting a cerebral indie-pop scene in the mid noughties with his unique off-kilter melodies and quivered, yodeled vocals, the fiercely independent, Alec Ounsworth created major ripples with his nom de plume, Clap Your Hands Say Yeah’s self-released debut in 2005.

Every critics nightmare in the labored name department, and so abbreviated to save precious time (oh pity us poor feckless critic darlings!), CYHSY was instrumental in influencing and inspiring a rafter of artists and bands. Ounsworth’s peers have evidently caught up, and his fifth album, The Tourist, reflects this; suffused as it is with familiar echoes of The Parenthetical Girls, Les Savy Fav, Elliot Smith, the Arcade Fire, and on the askew r’n’b lite, A Chance To Cure, Chk Chk Chk.

One man’s vision, orchestrated in a solitary fashion, Ounsworth is self-confessedly “stubborn” when it comes to recording. However, though he writes and arranges everything he’s joined in the studio by a bassist and drummer, who offer a bright, expanded “band feel” to the material. These recordings were further embellished with additional back-up vocals, keyboards, guitars and percussion, tidied up by engineer Nick Krill and eventually mixed (and egged-on) by CYHSY “anchor” Dave Friedman – who previously worked of course on the Some Loud Thunder and Only Run albums. The results of this process are magnificent; the anxiety-ridden, rich challenging themes channeled through an airy and often breezy big sound.

Ounsworth stumbles and ponders through a “post factual” strewn world of challenging emotions trying, to make sense of it all. At times the album title could even be said to act as a metaphor for the artist’s own estranged and removed soul-searching: a tourist in his own country. As lyrically adroit as ever, he carefully crams in as many associated references and wordplays as he can, squeezing a lot out of every phrase and expression in a characteristic style that leans towards a more cheery disposed Thom Yorke. Despite some sad and profound pathos heavy lyricism, Ounsworth’s “purging” of thoughts is meant to be a cathartic experience. The anxieties of our times can’t help but leak from every other line, yet The Tourist is a fairly warm, jangly surprise package of lolloping and anthemic songs. Building and soaring to an emotive brightened crescendo of sweetness and yearning on The Vanity Of Trying; contorting and bending guitar textures in a Robert Fripp fashion on the psych-pop gnarled Down (Is Where I Want To Be); and, up close and personal (every breathe audible) to the mic, driving through an 80s nocturnal rock ballad on Better Off, the inimitable Ounsworth careers through a full gamut of moods and chaos in the most natural and energetically purposeful way.

Clocking in at well under the forty minute mark (bands and artists take note) The Tourist is an unlabored, near-perfect melodious album. It says all it needs to and more; free of indulgence, and despite its bombast, sophisticated suffused layering is incredibly lean and brisk. A most enjoyable if poignant experience, this album already sets the benchmark in 2017, and is without doubt one of CYHSY’s best.





Various   ‘Terraforming In Analogue Space  –  IRL Remixes 2000  –  2015’
Released  by  IRL,  24th  February  2017


terraforming-in-analogue-space - Monolith Cocktail

 

Celebrating fifteen years (the first that is) of “global music” transmogrification – transforming what are in many cases the most raw and basic of field recordings into stunning peregrinations and flights of internationally amorphous fantasy – Independent Records Ltd. have chosen label stalwart Nick “Dubulah” Page to curate a 100th release special of remixes, that once again, in-keeping with their “raison d’être”, offers an alternative sonic vision of choice tracks from the back catalogue.

Regular Monolith Cocktail followers may recall my review of Page’s Xaos mythical Hellenistic soundscape collaboration with Ahetas Jimi and a group of traditional musicians, which made the blog’s choice albums of 2015 feature. The multi-instrumentalist, producer and writer may also be familiar to readers for his work with Transglobal Underground and Dub Colossus. All three of which appear in one form or another on this reinvigorated album: that reimagined Greek tragedy Xaos, for instance, is represented with a David Sylvian flittering, and quickened rhythm and beats swaddled TJ Rehmi mix of Pindos Full Moon, and a subtle bounding timpani, 80s synth-horror soundtrack style treatment, by Stereo Mike, of the esoteric Byzantine evocation Processional – one part atavistic Biblical Aphrodite’s Child, the other, John Carpenter in the “fog”.

But before we venture any further, a little background is needed. The illusive IRL – not one to herald and pontificate loudly – have remained a highly influential purveyor of music from across the most wild, isolated and wondrous corners of the world, even if they remain on the peripherals; relatively obscure. Originally formed by a trio of artist/band managers, whose eclectic CV included managing at one time or another, Sinead O’Connor, Beth Orton, Rialto, Jah Wobble and The Wonder Stuff, IRL’s remit was to remain inconspicuous. Key figures in this enterprise, the guitarist and in recent years, member of Robert Plant’s Sensational Space Shifters, Justin Adams, and field recording specialist extraordinaire and general polymath of distinction, Ian Brennan, have brought the goods, or at least help shape them. And it’s no surprise that they feature heavily, with both their own productions and songs receiving the remix treatment, but also appearing in their original form on a second CD. Brennan, who I interviewed for the blog last year, memorably introduced the sublime ragged and dusty gospel-influenced Malawi Mouse Boys to the label. The rodent kebab sellers and, as it turns out, gifted musicians/singers from one of the poorest of poor hamlets are given a galloping dubstep-lite flitter by The Dhol Foundation on the village serenaded and lolloping, Ndinasangalala (I Was Happy), and acquire a Teutonic electro affects package of drum pad lasers, modulating contoured synth and handclap percussion (remolded from the joyous clapping on the original) on Dalek Romeo’s horizon floating mix of Manja (Clap Your Hands). Other choice Brennan productions, reconfigured and taken off-course, include the Lunar Drive mix of General Paolino’s Congratulations South Sudan, which shifts between two-step accelerated shuffling and half-time dreamy lilting soul, and the Penguin Café Orchestra’s, as ever, lush and subtle scenic mix of Acholi Machon’s Convoy.

ahetas-dubulah- Monolith Cocktail


Making the most appearances however, the already mentioned Justin Adams appears in many guises, both as a solo artist and as a collaborator and producer. His own lo fi Desert Road trip is underlain with a percussive cycle of tight-delayed electronic snare and soft prodding synthesized bass by Dub Colossus, but keeps its original mirage-shimmering candor. There’s also a lunar whistling and quivering Radar Station mix of Adams’, with Juldeh Camera’s Ngamen, and a trio of, mostly subtle transformations of the French chanson group Lo’Jo, who Adams produced. Heavily intoxicated by North African musical influences, Lo’Jo in fact took Adams on his first trip to Mali, which as a result, led to them both producing the sublime Tuareg desert blues group Tinariwen’s legendary 2001 release, The Radio Tisdas Sessions.

Complementing Lo’Jo’s Arab-Franco signatures further, as if in some kind of dreamscape, Bernard O’Neill (comrade-in-arms of Page in Dub Colossus and other incarnations), appearing here under the Syriana banner, accentuates the jazzy seductive, liaison-amongst-the-Tunisian-sand-dunes, mood with a Holger Czukay-like evocation on the group’s Sur Des Carnet Nus. A Boyscout mix of their languid Yalaki reimagines them as Moloko, whilst album closer, Carnet US Vatican Radio, also mixed by O’Neill, lets the concertinaed, yearning lived-in French vocals and atmospheric crackles dissipate into the ether.

Broadening musical horizons, if politically and societally it seems many are retreating towards nationalistic introspection, IRL have released some superb albums. It was through the label’s 2003 Festival In The Desert LP that I first heard the mesmerizing Saharan transcendental blues of Tinariwen. And the “terraforming in analogue space” album opens with a suitably suffused desert contoured and Kraftwerk-like kinetic beats driven peregrination of their entrancing Oualahila by the world music and electronica fusion doyens Transglobal Underground.

Taking the LP title literally, “terraforming” describes the process of making a planet habitable for us humans, changing the atmosphere and life-giving properties to that of Earths. In this instance, IRL allow others to reshape their back catalogue in an attempt to introduce the listener to inhabit an ever richer and eclectic space. Despite drifting untethered into the galaxy, at times sounding almost alien, this remix appraisal seeks to bring the global community together in the spirit of human commonality.




The Nightjar   ‘Objects’
Released  17th  March  2017


The Nightjar - Monolith Cocktail

 

To the group’s credit, The Nightjar’s accentuated and stark contemplations on the human condition and the constructs that give meaning to reality itself, including the inevitable specter of death, couldn’t have sounded more peaceable and full of grace. Such heavy themes as these, inspired in part by both Eastern philosophy and the Catholic afflatus metaphysical quandaries, posed by the late venerable French composer Olivier Messiaen, usually promise a hard slog and grueling experience for the listener. Yet, despite the raw directness of this Bristol ensemble’s naturalistic, poised, songbook of “hope, loss and disaster”, every performance is beautifully and dreamily executed.

Referring to their debut album, Objects, as a collection of “songs for the end of time”, “concerned with transformation, transience and impermanence”, The Nightjar articulates the fleeting and sings of a time when nature reclaims the encroaching man-made landscape. Describing their particular style as “lo fi post-folk”, they do push and experiment with the folk genre, though the choice of themes, and even with the inclusion of the re-arranged traditional songs Hangman and Dle Yaman, summon up the atavistic. For instance, the age-old standard, Hangman, is a scion of over hundreds of variations on the same central trope; an unknown fated protagonist waits, hoping that out of a litany of visitors, from family members to lovers, someone will arrive in time with the right coinage bribe to free them from the hangman’s noose. The Nightjar hauntingly resurrect this morbid tale with a suitable lamentable vocal, paused, sighing electric guitar and a harrowed bowed drone. Albeit from what I can gather with little information, Dle Yaman is another standard, this time a plaintive Armenian ode, an exclamation of mourning, which the group furnishes with a divine sacrosanct ascendency.

Exploring the void, submerged under a amorphous gauze of diaphanous and ether atmospherics, The Nightjar recorded their album in rural Portugal on the most basic of equipment. Informed by such “interesting” locations as a dilapidated bar in the Old Town of Sertã, and the distressed run-down piano that came with it, they fluctuate between (what sounds like) a gramophone scratched transmission, from the great beyond, and a clearer, more evocative and resonated style or recording. The backing is mostly subtle and attentive: the electric and acoustic guitars erudite and drums attentive throughout, ascending, descending in the ebb and flow of the building drama. But most striking is the vocal work of Mo Kirby, who perfectly articulates the mood with a measured performance of sorrow, yearning, tumultuous lament and the ethereal.

Finding a passage through an allegorical “wardrobe” into an earnest, toiled world of cockleshell dredger inhabited coastal shorelines and riverbeds; swallowed whole by the soil into the psychogeography, The Nightjar waft through centuries of despair and meaning to map out an auger of unease about our future.





Baluji  Shrivastav   ‘Best  Of…’
Srdjan Beronja   ‘Sounds  Of  The  East:  Music  From  The  Balkans,  India  And The  Middle  East’
Both released by ARC Music,  24th  February 2017


Photo credit to Simon Richardson

Photo credit to Simon Richardson

 

Capping off last year’s 40th anniversary celebrations with a top three placing in the highly regarded Womex “top 20 labels” awards, the industrious world music label ARC Music starts the new year as they mean to go on, with a duo of congruous Eastern imbued musical travelogues from Baluji Shrivastav and Srdjan Beronja. The first of which is a “best of” collection and timely appreciation of the revered Indian music virtuoso – who was recently honoured with an OBE -, the second, is a collection of field recordings taken from a geographical triangle of India, the Balkans and the Middle East. Both albums overlap; Shrivastav’s polygenesis array of ragas and concepts chiming with Beronja’s own sitar and Indian redolent cornucopia of recordings. And coming as they do from different starting points and cultures, compliment each other well.

Highly qualified, gaining a degree for his vocal studies from the University of Lucknow, and a BA for tablas and an MA for sitar from the Allahabad University, respectfully, multi-instrumentalist composer Baluji Shrivastav has journeyed a well-travail(ed) road to reach his richly deserved status as one of India’s most cherished exports. Musically championed of course on this collection, he’s equally respected for his fervent campaigning as a cofounder, alongside his wife, the composer and songwriter Linda Shanson, of the London-based Baluji Music Foundation. Shrivastav, who was blinded at only eight months from glaucoma, and Shanson’s foundation has and continues to help further the cause of the blind and visually impaired, as well as disabled in music. Whilst this impairment hasn’t held the gifted and tactile musician back – if anything, inspiring experimentation and an alternative, sometimes original, way of doing things – it has obviously shaped him.

A positive extension of his foundation is the Inner Vision Orchestra; steered and directed by Shrivastav, the 14-piece ensemble is a melting pot of cultures, with members from the Afghanistan, Iran, Lebanon, Japan, and Nigeria. This troupe can be heard on both the exotic Persian love yearned Chashma Sia Dari (sung in the Dari dialect, a spoken form of Persian used in Afghanistan), and the swimmingly reedy ensemble-vocal piece, Diggy Diggy Diggy Ya Rababa.


Photo credit to Simon Richardson

Photo credit to Simon Richardson




Making London his home in the early 80s, Shrivastav’s humble journey from the North Indian state of Uttar Pradesh to the streets of the England capital informs most of the material. Taken from his recording career over this four-decade period, some tracks make more obvious allusions to this than others. One of the earliest, Fruit from 1982, is a lilting sitar version of the Linda Shanovitch written South American-bound love tryst. Languid Cuban flavours and sauntering sway work well with the Indian instrumentation, in what is a fusion of styles we seldom hear. Reflecting, in a more grandiose manner, his attentive first steps in, and embrace of, London, there’s the instrumental trilogy of Discovering London & Friendship, Walking Through The Streets and Mixing With The Crowd And Spirit Of Joy. All of which tie together Shrivastav’s experiences, mixing classical British pomp and circumstance with the exotic reverberations of India across three various mood soundtracks. The rest of this collection mixes more traditional adaptations with contemporary arrangements; devotional standards such as the melodious Raag Shobhavari, and the spritely, full of life, Indian dance, Nartaki.

As highly complex and intricate as you’d expect, with countless forms, scales and “ascending’, “descending” notes of praise, adulation and contemplation, as well as guest appearances from not only Inner Vision but also the Egyptian master tabla player Hossam Ramzy, Andy Sheppard and Guy Baker, all these performances remain organic and fluid – there is a detailed inventory and backstory booklet however for those who wish to dip further into the finer details.

Though he’s worked with a dizzying cast of eclectic performers including tabla legends Anindo Chatterji and Ustad Fayaz Khan, and artists as diverse as Massive Attack and Stevie Wonder over the years, Baluji Shrivastav is now enjoying a welcome appraisal: On top of that OBE he received in the Queen’s birthday honours list last year, a GG2 Leadership Award for Achievement Through Adversity, there’s also a new documentary about the Inner Vision Orchestra, Colours Of Sound, from the director Marie-Cécile Embleton, and now this highly enjoyable survey compilation. An introduction and retrospective, this Best Of album will endear the listener to the prowess and multifaceted evocations of the sitar and its accompanying Indian instrumentation.


Srdjan Beronja - Monolith Cocktail

Imbued with a similar Indian sound palette, though one that has amorphously blended it with those of the Middle East and the Balkans, Serbian composer Srdjan Beronja takes the familiar buzz of the sitar and highly deft, rapid tapping rhythms of the tabla and merges them with a host of instruments from ancient Persia and North Africa on his latest album, Sounds Of The East. Drifting across a geographical triangle of influence, the ethnomusicologist travels between all three corners of his sonic map, recording both traditional and original field recordings and improvised performances. It is in short, a veritable odyssey of discoveries; moving seamlessly through the exotic landscape, capturing many unusual and surprising sounds.

Following on “effortlessly” from his previous 2015 album, Sounds Of Varanasi – the Indian holy town of the title appears again on this collection -, Beronja, again, spends most of his time in India. Recordings vary in length and drama; from the menagerie “morning chorus” of wild twirling, hooting and convoluted birdlife, found on the heat-sapping Alapana – recorded in Kerala – to the gunpowder explosion firework snapshot of the famous Diwali Festival Of Light, on Visphot – meant as a poignant reflection on the damage that this bombastic firework display inflicts on the environment. There’s also more performance-based instrumentals, including the improvised, joyful, Raag Jog Dhun, which partners Beronja on the tabla-like darabuka drum with maestro violinist Pt Sukhdev Prasad Misha (a revered ambassador of Hindustani classical music no less), and the more groovy but reflective, Raga Sitar-Daf Kirvani, which sees Beronja play the Persian frame “daf” drum and the notable Pt Dhruv Nath Mishra sit in on the sitar.

Leaving behind the scenery but not the music, those Indian sounds lingering on as Beronja journeys to the Middle East and the Balkans. The strangest recording, Nora Of Hama, captures the weird buzzsaw and motorbike revving sounds of a wooden water wheel in the Syrian town of the title. Disturbing, almost ominous, the scraping and creaking mechanics offer a surreal window into age-old apparatus; still in use; still providing an essential resource. In a similar landscape of musical influence, the Serbian composer invites the Sarajevo born oud player and multi-instrumentalist Marina Tošić to join him on the “open air” improvised liturgy, Maqam Bayati Oud Taqsim. Tošić also appears, playing the pan flute, on the live in concert recorded, Shepherd’s Love Song. Two musical spheres and traditions, one from (again) India, the other, the Balkans, entwine on this sad tale of the lonely shepherd pining on the hillside in wistful lament because of a former lover’s unreciprocated love. Another “virtuoso” (just one of the many) oud player, but also more than handy on the zither-like qanun, Stefan Sablić plucks away dreamily on the ethereal album closer lullaby, Maqam Ajam Qanun Taqsim.

As with many ARC Music releases, in depth notes can be found in the accompanying album booklet. Not that you need an extensive knowledge, and with so many different influences and ways of interpreting meaning from the highly sophisticated, centuries old traditions of specific scales, it’s better to let the music breathe unburdened. Of course it’s all interesting and informative, but it also shows the cross-pollination process and intricate blending of styles that makes this music so universally connected. Sounds Of The East is an intriguing, often surprising, musical travelogue; one that reminds us just how erroneous those musical borders really are, as Beronja finds the sounds that bind us.






Nick  Blackos  &  LOA   ‘No Reason’
Released  by  ONV,  available  now


Nick Blackos/ONV - Monolith Cocktail

 

Dropping releases surreptitiously without any fanfares or grandstanding, the burgeoning London-based hip-hop (and all it’s many congruous bedfellows) label ONV has in the last week, shinnied an eight-track instrumental showcase up the flagpole in the hope someone will salute it. Entitled No Reason of course, this latest collection of transmogrified 808 beats, tight kinetic drums, tetchy glitches, and warped languid samples is every bit as in line with the label’s signature subterranean and gritty London-soundscape style as previous EPs, LPs and odd tracks.

No Reason travails a strewn, strung-out sonic landscape, littered with cryptic chemicals (T88), vortex obscured utterances, speech and lulling voices (Four Horsemen, Get Away), languid vapours of dubstep and grime (Grotti), and the slow ticking away of time (Tranceforma). Lo fi and off most radars, ONV’s principle Nick Blackos, and the mysterious LOA, have produced another curious, underground and leftfield hip-hop album.




Irk Yste   ‘Wumpe/Stroppe’
Released  by  GiveUsYourGOLD,  3rd  February  2017


Irk Yste - Monolith Cocktail

 

The first release of the year from our friends at GiveUsYourGOLD – the artist-run Berlin label founded a few years ago by Alexandre Decoupigny and Thomas Tichai, of Psycho & Plastic fame -, the cool aloof Irk Yste debut is a sophisticated three-track techno transmission from the historically and culturally important eastern German town of Weimar.

Since bonding in the sandbox of their playschool in ’84, the Irk Yste’s Christoph and Benjamin (no surnames given) have shared a penchant for music, especially acid techno. Introduced to the style whilst in Denmark during the dawn of the noughties, the musical partnership toured the (as the bio describes it) “flattest of kingdoms” to ride on that inimitable acid wave. Via a number of projects, including The Zonnhaider’s Club and Norsal Flow, and a sojourn studying electroacoustics at the SeaM institute, in the city they now call home, the Weimar duo now release their inaugural explorations under their latest darkly melodic techno incarnation.

Informed by an “iterative” process of building sonic structure and harmony before dismantling and starting anew, the three-track Wumpe/Stroppe suite is a sophisticated, suffused mix of minimal techno, house and, even, jazz. The opening machine-age with soul, Wumpe, starts with a nauanced chain reaction of R&S and Basic Channel flavoured kinetic beats and a sonorous bass drum, but gradually builds to an ascendant, cinematic melody finish. From a similar mould but hinting towards a more lilting nocturnal escape, Stroppe is a metallic glistening slow ride into an unsure future scape. More a vignette, the final track, Pumps, fades in on a stirring pronounced synthesizer drone wave, before a serial accompaniment of warping, wobbling robotic and dial-up sounds interweave with the minimalist stripped-down techno foundations.

An impressive glimpse inside the machine, GiveUsYourGOLD promise that there’s more to come from their latest signing. Stay tuned for further techno explorations in the future-now.



PLAYLIST
Compiled by Dominic Valvona


Monolith Cocktail - playlist 27

Continuing in 2017 with the first of, we hope, many Monolith Cocktail Socials, Dominic Valvona presents another eclectic playlist. In case you don’t know the drill, previously only ever shared via our Facebook profile and on Spotify, our regular Monolith Cocktail Social playlists will also be posted here on the blog itself. With no themes or demarcated reasoning we pick songs from across a wide spectrum of genres, and from all eras. #27 includes thoughtful post-country evocations from Bruce Langhorne; southern-drawled, Steppenwolf-esque, roadtrip musings from Circuit Rider; a rebooted live version (with friends) of I Have Known Love by Silver Apples; diaphanous soulful rays of Africa from post-punk outfit Family Fodder; a Malian jazz odyssey from Le Mystere Jazz de Tombouctou; desert rock yearnings from Mdou Moctar; exquisite balladry from Drakkar Nowhere; the sweetest of soul takes from the felonious The Edge Of Daybreak; and 23 other equally evocative, stirring, foot-shuffling and sublime tracks from across the decades.



Bruce Langhorne  ‘Opening’
Circuit Rider  ‘Forever Angels Proud’
Trance Farmers  ‘She’s Made Of Rainbows’
Mistress Mary  ‘Dance Little Girl’
Elyse Weinberg  ‘Your Place Or Mine’
Sensations Fix  ‘Grow On You’
Silver Apples  ‘I Have Known Love’
Family Fodder/Vic Corringham  ‘Walls Of Ice’
Diane Coffee  ‘Never Lonely’
Black Peaches  ‘Chops On Tchoupitoulas’
Le Mystère Jazz de Tombouctou  ‘Leli’
Khiyo  ‘Amar Protibaader Bhasha’
T.P. Orchestre Poly-Rythmo  ‘Finlin Ho’
Mdou Moctar  ‘Iblis Amghar’
Black Hippies  ‘Love’
The Beach Boys  ‘Here She Comes’
Dr. Lonnie Smith/George Benson/Ron Carter/Joe Lovano  ‘Apex’
Mongo Santamaria  ‘In The Mood’
Volta Jazz  ‘Air Volta’
The Frightnrs  ‘Trouble In Here’
The Olympians  ‘Sirens Of Jupiter’
King Tubby  ‘King Tubby’s Special’
SOMA  ‘Deepa’
Moloch  ‘Dance Chaney Dance’
Takeshi Terauchi (Blue Jeans)  ‘Tsugaru Jongarabushi’
Los York’s  ‘Facil Baby’
The Critters  ‘Blow My Mind’
Pierre Cavalli  ‘Cacador’
The Edge Of Daybreak  ‘Your Destiny’
Roy Wood  ‘Songs Of Praise’
Drakkar Nowhere  ‘Any Way’


REVIEW
Words: Ayfer Simms


Retoryka - Monolith Cocktail

Retoryka   ‘Enhanced  Techniques  I.’  &  ‘Enhanced  Techniques  II.  EPs’
Released  by  Everyday  Life  Recordings,  20th  January  2017

Retoryka hooks its amplifiers somewhere in the horizon, to let their sound blow with the four winds, standing perfectly tranquil amid the chaos and commotion they create with their instruments: there’s a party under a shade.

Dazed, rapturous and noisy, underground and yet classy, peaceful even, the melodic vintage compositions of the band are like masses of energy breaking down in brief fluttering lethal notes, all mingling together in a distorted tireless ensemble.

The tunes under that shade give the spotlights to well-approved guitar swirls, whilst turmoil prevails in the tiny details of all the tracks. Retoryka seems to go loose, walking gleefully along a greasy and messy road full of complexity because different styles collide and merge, the same way they would on a newly forming galaxy. At first we feel off balanced and then the cohesion miraculously appears.

Our feet are dangling from a truck; we are dizzy while the music plays. The instruments’ cords slowly become our umbilical sweaty bond that provides us with nourishment and an ear-splitting nursery rhythm to our nights.

These are destructive younglings, in search, of the perfect shriek, with sprouting shy impressions in the first EP and calmer ripened attitude in the second. In contrast the vocals are soft and endearing, welcoming, like the soft touch of a wobbly titan.

The notes and the guitar may show some rebellious arching but the listen is all around light, with agreeable melodies and “safe” spurts of the instruments.





EXCLUSIVE VIDEO
Words: Dominic Valvona


Sankofa - Monolith Cocktail

 

Intoxicatingly beckoned by their satanic majesties into the subterranean, the bewitching new single from the reputable morbidly curious Liverpool band Sankofa, Into The Wild, is a sassy, knowing two-geared esoteric augur. Following hot on the heels of their last, and equally daemonic psych single, All The While, ahead of the band’s debut album (released later this year), this entrancing incandescent liquid lightshow video adorned doom-monger shifts from a malady of Crime And The City Solution style tremolo twanged gothic country, The Doors and The Creeps, to a final unyielding, heavy rock guitar crescendo. In case you missed the subtle hints and miasma, both sonically and lyrically, the cover art can’t help but give you nightmares, alluding as it does to very real metaphors of puritanical regimes and their witch-hunts.

Into The Wild will be released by the, burgeoning, independent Glasgow-based In Black Records label (home to Acting Strange and Mark McGowan) on the 3rd March 2017; for now, you can catch our exclusive taster video.





ALBUM REVIEW
Words: Matt Oliver


Strange U - Monolith Cocktail

Strange  U   ‘#LP4080’
Released  by  High  Focus,  10th  February  2017

“I worship the Sega God with the blue fur; my mother’s Lara Lor-Van, my father’s Lex Luther”.

Though the chrome may not be shiny and the cylinders can’t help but misfire, High Focus’ ownership of 2016 (summarised here) is safe in the hands of Strange U’s voodoo children for the New Year. Venerable UK hip-hop rogues Kashmere (The Iguana Man, Lord Rao), and Dr Zygote (The Maghreban), theorise conspiracies through comic book schlock writing its own legend. A classic hip-hop one-two manning long established loose cannons, #LP4080 has a deftness that allows it to be daft, transplanting MF Doom and Kool Keith through zodiac mind warps and Vulcan death grips.

Kashmere’s telling of stranger than fiction tales, sex drugs and rock & roll laced with wild one-liners that’ll either gob smack you or smack you in the gob, joyrides Zygote’s primitive vision of the future made to the specification of a mint condition Dalek (intermission Taurus makes a public service announcement of a space colony being unveiled by the year 2000). Black hole-sized beats, decommissioned Casios, arcade consoles that have long flashed ‘game over’, and electro downloaded over dial-up internet, create the perfect simulation of space’s loaded vastness, always one false move away from catastrophic consequences. If the ship’s going down, Strange U are gonna fly it their way, accentuating High Focus’ cast of many characters that would fill a sticker book.

How you feel the Gs is down to tracks like Bullet Proof Mustache: trying to achieve a body count of the 80s silver screen megastars it references, acting the fool and plotting nonsensical courses is Strange U’s smartest move, particularly with Lee Scott boarding the same vessel like Dave Lister. The unexpected self-deprecation Waste of Space shows that guardians of the galaxy have to start somewhere, without exactly speaking up for the little guy, and Mumm Ra, stepping up the supreme Veronica RIP from Kashmere’s In the Hour of Chaos, plays Russian Roulette with a female species, Zygote taking the narrative on the run with doomed boom-bap.

The emcee’s power up has also sharpened his social awareness. Despite long peddling the world’s end, reality means tragedy must accompany comedy, showing that #4080 is still the devil’s number. On Mr Kill, the star strider inaugurates himself as Alan B’stard (“this is not Jeremy Corbyn in a tie-dye vest…the type of sub-human you would love to own the country”), and with the graphic Armageddon of Eden’s Husk – the guesting Jehst rhyming like a correspondent live at the scene – the outlandish predicament sounds like what boffins have been predicting for years, plastered across the front page of your favourite red top.

For all the anecdotal complexity, the sandpapered English is virtually always plain, call and response choruses leaping into the front row in carrying on the good work of Power Cosmic’s Bang! Splat!. The appeal of Strange U’s odyssey is simple respect of the basics in beats and rhymes, no matter how far bent to the left. Syllables set to stun in the middle of an Asteroids field, it’s a first class bizarre ride to and from the far side.







NEW MUSIC REVIEW ROUNDUP
Words: Dominic Valvona


Monolith Cocktail - Bargou 08


Tickling Our Fancy 045: A Journey Of Giraffes, Bargou 08, Delicate Steve, Dr Chan, Emptyset, The Food Of Love Project, Le Petit Diable and Julian & Roman Wasserfuhr.

In this edition of Tickling Our Fancy, the great and good of experimental and atavistic folk interpret sonnets and songs referenced in the works of Shakespeare, on The Food Of Love Project; John Lane produces his most experimental, esoteric, collection of field recordings yet, under his A Journey Of Giraffes alter ego; Delicate Steve marks his return with his first solo LP in four years, a collection of personable “songs without words”, entitled This Is Steve; Dr. Chan make their most “mature” howling skate punk meets primal garage row yet, $outh$ide $uicide; there’s mesmerizing Tunisian desert funk and atavistic vibes from Glitterbeat’s latest signing, the Bargou 08 project; the latest reification sonic suite from Emptyset; the accomplished jazz siblings, Julian & Roman Wasserfuhr’s recruit David Bowie’s Blackstar line-up for their Landed In Brooklyn suite; and finally, a welcome new solo direction from Jinko Vilova’s Ander López.


Bargou 08   ‘Targ’
Released  by  Glitterbeat  Records,  17th  February  2017


Monolith Cocktail - Bargou 08

Ahh…the sounds of a dusky reedy gasba flute; the tactile patted and burnished bendir drum; the rustic, earthy strung loutar, and the flowing, scaling vocals of the Bargou 08 project’s chief instigator, Nidhal Yahyaoui, set an impressive atmosphere in the first couple of minutes of the album’s opening, Chechel Khater.

The source of this sound derives from a relatively uncharted region that lies obscured between the mountains of northwest Tunisia and the Algerian border, called the Bargou Valley, which despite its barren isolation, has cultured a unique musical fusion, stretching back hundreds of years. Captivating and magical enough in its ancestral unchanged form, the songs of the valley, sung in the local Targ dialect (a language that is one part Berber, the other Arabic), are given a contemporary jolt that transforms the atavistic paeans, odes and poetry of yore into an intoxicating swirling rapture of electronic North African funk.

 

In the same way that Noura Mint Seymali’s griot traditions of Mauritania were boosted by an infusion of psych and a polyrhythmic, bordering on breakbeat jazz, drums the Bargou valley’s heritage is given a fattened keyboard bassline, warping Moog oscillations and a modern production. The results are exciting and often lively. The dynamics, especially Yahyaoui’s emotionally powerful vocals, are an especially imaginative giddy thumping mix of desert rock, Arabian dance music and snake-charming mysticism. Suffused with this cocktail of sounds, each passionate evocation, learned and passed on by the village elders, begins with a signature introduction of searching, plaintive or mysterious flute before a pulsing backbeat kicks in; suddenly jump-starting and placing those songs in a modern context. Modulating between the nocturnal desert soundclash of Dek Biya and the Barbary coastal tidal motion candor of Le Min Ijina, different eras are magnificently bridged.

 

Honed on the road, the Bargou 08 project, conceived by Yahyaoui and steered by his musical partner and friend, keyboard player and producer Sofyann Ben Youssef, was recorded in an ad hoc manner: Youssef juggling both the recording equipment whilst playing the Moog. Yet despite its often loose and hypnotic nature, devoid of tension, this album is a highly sophisticated, joyful, groovy and tight; the musicianship first rate.

 

Filled with a legacy of turmoil and tension that goes back an aeon the song’s many themes, from describing a lover’s vital attributes on Mamchout to laments of alienation, resonate strongly with the growing unease of events, initiated six years ago by the Arab Spring. Tunisia itself is facing a struggle and teetering on the edge, with no guarantee that certain cultures won’t just disappear or be fragmented in the ensuing melee. Originally setting out to document his Bargou Valley home’s musical heritage before it disappeared, Yahyaoui has successfully and thankfully, with Youssef, captured this rich mesmeric culture for posterity. And in doing so, produced a masterpiece that will endure. 2017 will have to be an exceptional year if Targ doesn’t make this year’s “best of lists”; it’s certainly earmarked for ours.





Various  Artists  ‘The  Food  Of  Love’
Released  by  Autolycus  Records,  via  PinDrop  and  TMD  Media, 20th February 2017


Monolith Cocktail - Food Of Love Project

 

Despite being one the most laid back people I know, though judging by the multiple projects, schemes, events and albums he’s working on at any one time he may just be tired out, Oxford polymath Sebastian Reynolds is in a constant state of ennui. He made the TOF column four times in a row last year with various remixes and productions including the multimedia Thai meets West production Mahajanaka – a collaboration fusion of both traditional Thai forms and Western contemporary dance and music, which reinterprets the ancient stories of Buddha on his multiple incarnations journey of perfection towards becoming fully enlightened. In between his roles as a promoter and head honcho at PinDrop, Seb’s set to release a pair of solo albums, Remembrance and Epiphany, later in the year. It is once again in his role as both a performer and instigator that sees him, alongside Tom McDonnell of TMD Media, commission and curate a celebration of the great bard Shakespeare.

 

Originally part of the wider Oxford Shakespeare Jubilee festival programme in 2016, the adroitly conceived compilation has had some trouble with its official release date, being put back and now hovering over January ready to drop at anytime. But the wait has been worthwhile. The twelve-strong track list features an inspired choice of both Oxford locals and carefully plucked international artists interpreting, transmogrifying and playing around with both the most fleeting and integral songs performed or merely referenced in Shakespeare great cannon of work. In what is now an obligatory requisite, Seb performs with both the electronic-indie outfit he’s been a member for years, Flights Of Helios, and as one half of a unique collaboration with Food Of Love project partner McDonnell, under The Children Of The Midnight Chimes appellation. The first of these is a constantly evolving alternative indie and trip-hop dance peregrination of I Loathe That I Did Love from Hamlet, the latter, is a heavy, thick supernatural vortex drone representation of O Death, Rock Me Asleep from Henry IV Part 2. Considering its source is “allegedly” from a poem written by the tragic fateful Anne Boleyn on the eve of her execution, this abstract soundscape, which features shrouded in the ether vocals from McDonnell, is like a haunting: the unrested spectre of Ann caught in perpetual anguish.

 

Equally good at removing the original material from any sort of familiarity, taking it over the threshold into alien realms, steam-punk maverick and musical contraption inventor Thomas Truax transforms the Tudor court stalwart Greensleeves into a ethereal cosmic trip abroad Gene Roddenberry’s Starship Enterprise; landing on The Tempest inspired Forbidden Planet. David Thomas Broughton meanwhile closes the album with a ten-minute experimental finale, reinterpreting Lawn As White As Driven Snow from A Winter’s Tale. Sounding like multiple takes of the same song, set into motion at different times and played all at once, Broughton impressively weaves all the discord, overlaps and amorphous bleeds together to create a drifting, sometimes anemic panoply.

 

In a more congruous manner, closer to the times they were written in, the Scottish troubadour Alasdair Roberts, with only the minimal though attentively atmospheric “historically accurate” lute of Gordon Ferries to back him up, steps straight off a Tudor tapestry to coo in an atavistic lulling timbre the “oblique” referenced Caleno Custure Me from Henry IV Part 2. Elsewhere the tone is of a folksy twee yet often stark and ominous droning beauty. A Highland imbued version of Strength In A Whisper, from Much Ado About Nothing, by, another Scott, the folk songstress Kirsty Law, and a stirring quivered Celtic orchestral treatment of Bonnie Sweet Robin Is To The Greenwood Gone, from Hamlet, by the Dead Rat Orchestra both share hints of Jed Kurzel’s mesmerizing score for the 2015 movie version of Macbeth.

 

Missing unfortunately from the line-up, the classical folk legend John Renbourn sadly passed away before recording his contribution. The Food Of Love is as a result dedicated to his memory. And it is a touching tribute but most importantly a successful exercise in bringing vitality to Shakespeare’s yellowed parchment; lifting what were in many ways just fleetingly touched upon songs to life.





Delicate  Steve  ‘This  Is  Steve’
Released  by  ANTI-,  27th  January  2017


Monolith Cocktail - Delicate Steve

I must confess. Delicate Steve (as he’s known) has until now escaped my detection. The accompanying bio however offers an impressive resume, listing David Byrne, The Dirty Projectors, Lee Ranaldo and tUnE-yArDs as admirers and collaborators. As a testament to Steve’s range, the erudite guitarist and songwriter has “cut records” with both Sondre Lerche and Death Grip’s Zach Hill; and recently appeared playing guitar on the new Paul Simon record.

His first solo album in four years, and the first for the Anti- label, This Is Steve is billed as an “introduction” from the artist to you, the audience. A one-man band, producing and playing everything himself, Steve’s peaceable, often acid-country and surf twanged jaunty and ruminative, guitar themes run through an eclectic array of genres without settling on any specific. The signature cosmic swirling phaser guitar effect and intricate but relaxed perusal technique apes a number of other instruments, including the sitar on the opening glam-psych wilderness of Animals, the zither on the George Harrison exotic bluegrass walk along a California boardwalk Winners, and a Theremin on the nocturnal slouchy candor Nightlife.

Untethered as such; meandering mostly, but at times more forcefully careering through expressions and moods, Steve is scuzzing down ZZ Top’s highway towards a Todd Rundgren drive-through one minute (Cartoon Rock) and yearningly picking out a poignant personal Woodstock gospel anthem the next (This Is Steve).

 

Despite it being an entirely instrumental affair, you may find yourself singing along. And that’s due to each song’s uncanny familiarity, but also down to Steve’s personable touch, unguarded, channeling a lifetime of both conscious and unconscious melodies and articulating them in his own unique manner.





Emptyset  ‘Borders’
Released by Thrill  Jockey,  January  27th  2017


Emptyset - Monolith Cocktail

 

Transmogrifying, compressing and distorting their chosen “tactile” instruments (which include a six-stringed zither-like contraption and a drum) through vintage analogue equipment, the Emptyset duo perform a live contortion of fuzzy and frazzling trepidation on this latest conceptual offering, Borders.

Commissioned in the past to articulate musically and sonically the abstract; Emptyset have produced successful reification suits, with a number of self-imposed rules, from a number of architectural spaces, including the decommissioned Trawsfynydd nuclear power station and the neo-gothic Woodchester Mansion. This time around, sat in a Faraday cage as towering metal leviathans communicate with each other overhead, James Ginzburg and Paul Purgas set themselves another series of prompting parameters to work within. On this particular score the duo focus on subtly adjusting the timbral qualities of their performance, for an often ominous concatenate series of sonorous and abrasive evocations.

 

Though Borders doesn’t seem to offer a specific architectural environment; it evokes instead an electrified industrial-scarred force field of dread. Sounding not too dissimilar to Sunn O))) making a cerebral techno album on Basic Channel, the eleven-track soundtrack is suffused with long drawn-out pylon throbbing rhythms, seething and flexing with various fluctuated menace. Descent for instance opens the furnace door of a machine-age fire-breathing Moloch, whilst Speak brays with a monstrous didgeridoo-like rasp.

The album is a heavy dose of bestial sizzled magnetic crackling and giant rumblings; an electrified fence of static doom, both highly atmospheric but also teasing with anticipation.








A  Journey  Of  Giraffes   ‘F²’
Self-released,  January  11th  2017


A Journey Of Giraffes - Monolith Cocktail

 

A Journey Of Giraffes’ John Lane has come a long way since his chirpier and languorous lo fi Beach Boys (circa Pet Sounds and SMiLE) inspired renderings and washes. Now almost fully immersed in the esoteric; exploring strange new soundscapes, Lane takes “a long walk into the deep forest” of his Maryland, USA home for something approaching the supernatural. Those California vapours of old do still linger, though removed even further, lost on a swell of reverb, Foley sounds and a heavy miasma of abstracted experimentation. A leitmotif of field recordings from the Hampton’s Cromwell Valley Park underpin this latest journey: the trampling underfoot of the valley floor and, threatening to blow us off-course, gusts of wind create an environment that sounds like an ominous meander into the Blair Witch Project.

Best described as Coil picking apart Panda Bear on the way to Alejandro Jodorowsky’s Holy Mountain, (an element which you won’t find on the periodic table; a symbol instead that Lane uses to represent a sentiment of “family first”) features venerable monk-like chants and wordplay, subterranean echoes, Tibetan chimes and paranormal doo-wop. Hermitages, caves, atavistic idols to old gods the ghosts of previous generations that once hewed a living from the landscape and the sainted Father Damien De Veuster of the 19th century leprosy colony of Hawaii’s Molokai Island, all haunt Lane’s imagination.

 

Self-released via Bandcamp, almost happenstance style, this avant-garde soundtrack opus benefits from the kind of freedom that the internet can offer. However, with no restrictions and a methodology of total exploration, the album is perhaps overly long in places and can stretch the listener’s patience. Still, Lane works out his ideas and expands his sound further on every release; taking that original Beach Boys influence into seldom charted waters.





Dr  Chan  ‘Southside Suicide’
Released  by  Stolen  Body  Records,  24th  February  2017


Dr Chan - Monolith Cocktail

 

Like some obscure French exchange garage band of students – the kind you’d find, if it existed, on a European version of the Teenage Shutdown! compilations – hanging out in the 80s L.A. of plaid shirt and paisley bandana fatigue wearing skater-punks, Dr Chan are an abrasive and coarse mix of renegade petulant inspirations.

Essentially powered by garage rock and all its various manifestations, the group from the south of France hurtle through an up tempo and raging backbeat of The Chocolate Watch Band, Standells, Rationals, Black Lips and Detroit Cobras. The difference here is that they also throw in a miscreant Molotov of thrash punk, courtesy of Fidlar, and “death rap”, cue Florida’s $uicideboy$, into the riot. It gives the Chan’s brand of garage band mania a different intensity and drive: more screaming in a ball of flames spikiness than tripping psych.

The opening title track is a lively introduction to this controlled chaos; the distorted scrawling spunk-rockers rumbling and attacking surf, bluegrass and rock n roll in adolescent fury. It isn’t always this fast and noisy. I Can’t Change for example takes a, dare I say, poignant respite; sounding like a yearning Roky Erikson dodging the whistling drop of bombs from above.

 

Despite the increasingly distressed cartoon screamed resigned sentiment of the swansong, Life Is Not Fun – Southside Suicide is a blast. Riled and obviously pissed about the current state of affairs both at home and overseas, Dr Chan’s protests are in keeping with the primal spirit of rock’n’roll: fun, fun, fun! It’s a blast.





Julian  &  Roman  Wasserfuhr   ‘Landed In Brooklyn’
Released  by  ACT,  24th  February  2017


Monolith Cocktail - Julian & Roman Wasserfuhr

 

It can hardly be denied that New York always has and always will be an epicenter of musical innovation and fusion. Sure, there’s a growing unease at not just New York but mega beacons of creativity everywhere in the West. That the artists are pushed out and forced into the outlier regions because of gentrification, high rents and a general enervation of culture. Manhattan still has the jazz legacy and sports the venues (from the Lincoln Centre to The Village), but we’re increasingly told the “action” is happening elsewhere: in the borough of Brooklyn to be exact. A sprawling region of the New York panoply, Brooklyn has become a cheaper, more viable alternative; though in the last decade this hotspot has seen a massive influx of millennials, students and creatives flood the area, and so changed the very nature of the neighborhoods and inevitably made it more expensive.

Lured to this hotspot, the exceptionally talented trumpet (though on the latest album also partial to the flugelhorn) and piano sibling partnership of Julian and Roman Wasserfuhr “land” in Brooklyn for their 5th LP together. Prompted by the German jazz label ACT, and producer Siggi Loch (one of the first to foster the brothers talent, Loch produced their debut 2006 album Remember Chet, as part of that label’s “Young German Jazz” series) the duo initially hadn’t given much thought to the project. Spurred on however by the mounting reputation of New York’s largest borough, the brothers relocated. Imbuing themselves with Brooklyn’s history and present “where the action is” status, they recruited members of David Bowie’s Blackstar backline; man-of-the-moment tenor saxophonist and bandleader Donny McCaslin and the equally in-demand, former New York native, electric and double-bass player, Tim Lefebvre. Both have, in great part due to the attention Bowie inevitably drew, helped shape the city’s persona and rep for pushing the boundaries of jazz. And here they do what they do best; lifting and taking ideas and melodies into ever more inventive directions. Consummate enough to boost the foundations, yet also erudite enough to know when to blow or noodle away ten-to-the-dozen, they prove a congruous fit. Finishing the lineup, another link to McCaslin, is supremo drummer Nate Wood, who gets the chance to showboat with a salvo of never-ending rolls and crescendos on the cover of Tokio Hotel’s power-rock ballad, Durch den Monsun – a vast improvement upon the original.




Making a final connection to the city’s wider jazz legacy; the brothers chose to record at Joe & Nancy Marciano’s legendary System Two Recording Studio; using the venerated studio’s classic ribbon mic, once owned by John Coltrane no less, and a piano previously used for concerts at Carnegie Hall. Utilizing the environment, which has seen its fair share of legendary names from the jazz lexicon record there, the quintet produced an extemporized performance. Far from rehearsed and contrived – other than the choice of covers and the odd bit of sheet music – there’s little prompting on Landed In Brooklyn. Instead we get a flowing, loose semi-improvised interplay between all involved. This method is demonstrated on the opening “ensemble sound”, Bernie’s Tune. Relaxed, springy even, Julian Wasserfuhr and McCaslin’s interweaving horn section flews impressively over a quickened backbeat to create an update on the New York siren wailed TV detective theme tune. Roman Wasserfuhr, who leads on most of the album, is deft and supple on the ivories; caressing warming with a rippling effect even though you can tell he’s working hard on some complex countermelodies.

 

Whether it’s been planned, or unintentionally just floated into the quintet’s melting pot sound, there are traces and nods to a number of key jazz doyens throughout. There’s purposeful, and noted in the album’s accompanying booklet, hints of the horn geniuses Freddie Hubbard and Stanley Turrentine for instance on a couple of tracks, most notably however on the nestled trumpet and swaddling saxophone – Gershwin on Blue Note – Tinderly.

 

Elsewhere there’s Marimba-lilted waltzes; a 5/4 timing transformation of a moribund Sting song; and a cluttering railway-track travail style meditation on America’s past segregation woes to take in. And marvelous they all sound too. There can be no denying that this is a quality line-up; musically speaking, even if the covers are hardly inspiring, this is an accomplished recording. The Wasserfuhr brothers do creative things with the scenery and mood of a hub currently in the spotlight; producing an album that arguably bridges the old with the new guard.





Le  Petit  Diable   ‘Seeds’
Self-released  through  Bandcamp,  available now


Le Petit Diable - Monolith Cocktail

 

An important force for good on the underground Spanish music scene, predominantly in the last five years with the Krautrock and “Motor City” inspired Jinko Vilova, songwriter/musician and full-on space-rocker Ander López has taken on a new role as a troubadour for his solo album.

As demonstrated on his new collection, under the Le Petit Diable guise, López removes all but a brassy-stringed resonating acoustic guitar from the Jinko Vilova blueprint sound. Taken from the group’s previous LP, Líquid, the opening gambit, You’re Standing, is reduced from its original cosmic thickset Detroit bombast to a far more intimate acoustic affair, which sounds at times like a missing track from Can’s Unlimited Edition. It serves as a transitional introduction to ease the listener into the new raw, stripped direction. The album, Seeds (a metaphor for the ideas he’s evidently planting), has a real live quality about it, recorded in an atmospherically favourable space that lends itself to the echoing chimes and rings of his “lived-in” guitar playing.

Countering a gentler picking and plucking articulation with a mixture of attacking and ringing reverberation style rhythm guitar, López works up a fair old pace at times; filling the space when he needs to: The rebellious folk gallop, Purple Sphere, could be considered even spiky!

Vocally he channels a litany of hard-worn melancholic wayfarers; including Blixa Bargeld (Who Cast The First Stone), Nico (Snake’s Dance, Follow The Leader) and Roy Harper (My Eyes). There’s even a hint of the languid Damo Suzuki about López on the opener.

Le Petit Diable is a welcome move towards a parallel solo career; a surprise exploration and change from the music he’s become synonymous with. There is a lot of promise on this album, and the future looks bright.




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