A world of sonic/musical discoveries reviewed by Dominic Valvona. All entries in alphabetical order.

Le Grand Couturier ‘S-T’
(Un Je-ne-sais-quoi) 7th November 2025

The hula limbo swinging hoop of French-Polynesia is both languidly and more wildly reimagined, transported and pulled in various directions by the Le Grand Couturier trio of Rachel Langlais (keyboards and vocals), Jean-François Riffaud (composition, steel guitar and sharing vocals) and Clément Vercelletto (drums, synths).

Newly formed for the explorative Un Je-ne-sais-quoi label, with two of that group already familiar names to Monolith Cocktail readers – I reviewed Rachel’s solo avant-garde, textural and tactile prepared piano suites album Dothe for the same label back in 2021, and Clément’s nightjar imbued experimental L’ engoulevant album for the label at the start of this year -, this ensemble of widely diverse experiences draws upon a rich soundscape of tradition and the psychedelic to weave a sort of part-beckoning and part-chaotic Hawaiian homage. Cross-referencing a multitude of sources, some form their own projects, the trio’s debut album is an altogether more mirage and hallucinatory vision of Island life, drawn into a modern world of electrical-charged, felt-like rippled interreferences and coarser transmissions. Whilst sauntering and swaying to a familiar Hawaiian rhythm and melody and the sound of the steel guitar, there’s a constant funnelling and layering of what sounds at times like scraps from CAN’s ‘Unfinished’ and ‘E.F.S.’ series, The Beatles Magical Mystery Tour funfair organ and psych trippy reversals, and musique concrete.

If you loved Pete Fowler’s Monsterism Island curated compilations then you will easily pick out traces of Les Baxter, White Noise, The United States of America (especially Rachels’s ether emergent distant voice on ‘Maneki Neko’, a reference to the lucky “beckoning cat” figurine), The West Coast Pop Art Experimental Band and Martin Denny. But maybe surprised to hear the delightful South Seas motions and lilt of Makoto Kubota & The Sunset Gang and the wavey bendy sounds of bluegrass and country: reimagined by Moebius & Plank, Charlie Megira and Bailey’s Nervous Kats. But what’s this approaching from the sea, paddling through the waves on an outrigger canoe of old, but Dick Dale and The Bel-Airs thumbing a lift in the company of Sonido Galle Negro.

A sanctuary come portal to other worlds, this tropical magical hideaway proves fertile ground for musical and sonic manipulation, repurpose. Hawaiian phrases – ‘I Ku’u Wa Li’i Li’i’ or “my childhood days” for example – and typography, the vibe of the place, its blues and more fragrant wilts, marooned lethargy is not so much guarded or restored as woven into something beguiling, strange, serenading, sometimes distorted and often swimmingly lunar. There’s undoubtedly some layer of post-colonial revisionism, of ownership and the anthesis of European lens ethnography, but the trio’s debut album is just a very lovely, magical thing of Polynesia fantasy. It will be interesting to hear more.

Imperial Motors ‘Charlie Don’t Surf’
Released 21st October 2025

States/countries that claim to have adopted the Marxist doctrine have, historically, usually enforced it with a totalitarian fist, forcing its artists to propagate the authoritarian propaganda of its own choosing. We can forgive the exuberance and contemporary rage of the young, possibly knowing that they will have less, pay more, and lose many of their freedoms in the process: making them a doomed generation depending on your pessimism scale. Marxism has its utopian promises: a fairness of distribution, power to the proletarian and all that – and I’m sure Marx, to paraphrase, said that the worker can never be happy working for someone else: though self-employment is no picnic. But like every idea, in reality fails to grasp our innate individualism, our differences. But as I already opened with, artists in such climates have usually been just as threatened, locked up and sent to Siberia for daring to stray from the one-party line.

Anyway, I’m only banging on about this because the latest agit-post-punk-disco-indie band to emerge from the Brooklyn scene, Imperial Motors, have mentioned it in their email to me. Or at least, as an influence (and damn fine one to have) they cite the Gang Of Four’s version of sonic Marxist rhetoric and fire. Whilst also, it must be stated, they use the term satirical, they wish to employ their political polemics and protestations via music, rather than throw real Molotov’s from the barricades. And yet, despite the rightful outrage, disillusion and riled injustices of our present times the quartet’s debut EP is actually very melodic, tuneful, disarming in parts and full of DFA Records and post-punk disco synth lines and beats: think early LCD Sound System and the anarchic energy and maximalist approach of such contemporary groups as Crack Cloud and Squid matched by Martin Dupont, the Pop Group and Boots For Dancing. And that’s only half the story.

But let’s introduce the band first. We have Liam O’Toole on vocals and guitar, Josh Cukier on drums and also vocals, Ben Biber on synth/keys, and again, sharing vocals, and Andrew Graces on guitar. This core has expanded for the proposes of the EP’s second half pairing of tracks, ‘Sonya’ and ‘Infinite Money Glitch’, bringing in the climatic ariel bending intensity of violists Ryan Anderson and Jarrod Ajhar and violinist Lila Lifton on the latter, and the accompanying vocals of Hely Morales on the former.

Referencing, so it says in the email, a level from Call of Duty but obviously a cultural throwback to Sandinista era The Clash via its original immortal line in Apocalypse Now – spoken by Robert Duvall’s character, Lieutenant Colonel William “Bill” Kilgore -, Charlie Can’t Surf is twisted by the toxins in the waters. Each track is a battle between holding it together and falling apart in a world torn asunder, starting with the brilliant opener ‘Bartender’, which pits our protagonist bar fly spiralling into a pit of doubt and reactionary disillusion by the transactional culture that leave us all numbed, isolated and without any sincerity. Lurching like a derailed David Byrne or even Scary Monsters period Bowie, and even an Eno, between eyeing up the unrequited bartender and spinning into bar stool bursts of preachy frustration; a statement on the poisoned waters and our inability to fish without contamination and erosion of our closeness to nature. It sounds like a slice of Scottish 80s post-punk via XTC and has a great chorus that stays with you.

‘Freeloader’ sees a slight change in direction; still riled-up, and almost unhinged in places, but now evoking signs of ‘Helicopter’ era Bloc Party and The Futureheads. The band attempt to find the tangible, connective in a world of synthetic vacuous exchanges; turning on neighbours like a passionately agitated Talking Heads in suburbia. The EP’s most surprising turn is ‘Sonya’, a damaged love song, about to be squashed by the collapse of the Artic shelf. Their most synth-pop-orientated track is disarming with its subject: climate change apocalypse. The lovelorn glaciologists at the centre of this sorry doomed love explosion of euphoric crescendo art-pop contemplate a sort of Romeo & Juliet suicide in the shadow of ecological destruction.

No one could put it better in trying to explain the finale, ‘Infinite Money Glitch’ than the band themselves: I would have missed most of this contextualised layering.  The “uncanny valley is inverted: it’s not machines imitating humans, but humans running on cold, mechanical instinct. Screeching guitar, off-kilter drums, and an asymmetrical bass groove lay the black midi-like foundation as various speakers retell colonial anecdotes through glib, filtered vocals as if automated by their own apathy. “Mortgage rates [are] saved on the mass graves,” sings a real estate agent. “Seafront plots if you can spot some, never mind the bones, the flotsam.” The various narrators then become united by the refrain “help us make a difference / help us make them different, combining into one single voice, one single organism — the US colonial project of subjugation, domination, and profit. In the name of corporate growth, annihilation is just collateral.” You all got that? Good. It’s a very nice closer actually, heavenly gilded with drama and showing signs of all the influences I’ve already mentioned plus Faith No More, PONS and Black Medi. Capitalism is a bitch. Apathy the curse. And yet there is a certain fantastical element, and the sense of something rising up out of the gloom.

An impressive EP that offers much hope and anticipation for the album; a burgeoning band with much potential, caught between dancing and riling at the system.

Shoko Nagai ‘Forbidden Flowers’
(Infrequent Seams) 14th November 2025

Revealing a both playful and more stirring emotional tumult of memories, chapters from the multi-instrumentalist and experimental musician Shoko Nagai’s life encapsulate a musical conjuncture of the wild, the avant-garde and more plaintively classical on a most extraordinary album.

At the head of a new quartet, and in a “semi-autobiographical” mode, Nagai draws upon a lifetime it seems of eclectic influences and experiences; at any one time, and often in the same composition, combining Japanese salon music, free form jazz, klezmer and Eastern European classical tragedy with spine-tingling and haunted tension soundtracks and the manic.

But before we go any further, a little information is needed: some background if you like. For those unaware of Nagai’s reputation and prowess, the keys specialist – I say keys, as on this record, she plays an assortment of such instruments, from the piano to the Farfisa and Fender Rhodes, but is credited for electronics and the most unusual of sound devices, the Nintendo DS – made her way from Japan to the USA, where she studied at the prestigious hot house of Berklee. Career wise, Nagai has rightfully received a number of nominations and awards, and worked with such luminaries as Pauline Oliveros, John Zorn, Butch Morris, Satoshi Takeishi, and Yiddish singers. Joining her on this latest album under the newly assembled quartet are the Brooklyn-based drummer and percussionist Kate Gentile, active on the NYC jazz scene since 2011; the Grammy Award-winning recording artist and composer, and on this album violinist, Pauline Kim Harris; and trumpet/flugelhorn player and composer Pamela Fleming. All three have extensive, admirable CVS, and plenty of experience in their chosen fields. And bring an almost infinite scope of musical and sonic possibilities to the album.

If led is the right word, this ensemble matches and stretches the ideas, sentimental prompts and both bluesy and more poetic fluid language of Nagai’s playing and compositional set-ups. I haven’t any info on how this record was made, so no idea how planned or improvised it is, but it sounds like the perfect balance of both; there’s room for exploration, room for passages and break outs of energy, tension and release, and yet there is something always tangible, a melody, a direction and compositional device to make a return. For every more instantaneous Art Ensemble of Chicago burst or more manic, quick-stepped Bad Plus moment there’s a moment of reflective musical haiku. And for every leap into the jazz-fusion of the Weather Report, or the more fluid quickened piano works of Ryo Fukui and Cecil Taylor, there’s echoes of Cosmic Coltrane, Annie Gosfield and Alex Roth’s Cut the Sky project.

The action is constantly on the move between splashing waves and near cartoon retro gaming music, between deep classical poignancy and the more sinister and troubling. For example, ‘Whispering to the Bubbling Wall’ could be Phillip Glass in troubling, near haunted and ghoulish circumstances, whilst ‘Hello Universe’ sounds like a burbled synth and twinkled keyed and cartoon skidding and skirting of Ethio-jazz and Shigeo Sekito. But then you get pieces that are more like the music of Toru Takemitu, the Jewish diaspora in Eastern Europe, the Don Cherry Quintet and La Monte Young.

Every instrument is put through its paces, stretched but also played with near grace at times, or melodically holding an emotion and reference to a particular piece of Nagai’s story and expressions. And whilst a switchboard of calculations, quirky effects and near shrills and heralded trumpets blast or staccato across kooky flighty spells of quickness, the electrifyingly hectic and whistled, there’s a real weight to each poetically entitled episode in this story. Forbidden Flowers is simultaneously a whirlwind, contemplation, observation and incredible creative outpour of musicianship; the sources and influences proving surprising and dynamically playful in equal measures.

Silver Nun ‘Tabula Rasa’
(The Crystal Cabinet) Release 31st October 2025

Driven up into a ringing and resonating performance of the mystically ritualistic and expressively rallying, the international Silver Nun duo of Lucy Valentine and Simo Laihonen proves that both distance and time are no barriers to a congruous union of creative disciplines. Demarcated to a point, though running near seamlessly into each other, Tabula Rasa is one long complete work set in motion by Valentine and recorded during the Pandemic: born into a very different world to now. On that day, in the venerable, or not, setting of a “deconsecrated” church – shorn of its original afflatus purpose for secular inclusion or as an idiosyncratic venue -, the County Durham silversmith, film maker, label founder (this album is being released through Valentine’s own The Crystal Cabinet imprint, an electroacoustic label that focuses, I believe, on cassettes) and multi-instrumentalist strummed, blazed and whipped up a resounding invocation and rallying concentration on the guitar. This was in 2021. At a later date in 2023, drumming and percussionist foil, Laihonen added his own rhythms, cymbal splashes and crashes and hoof-like gallops. It sounds however like the collaborative partners were both in the same space together, not two years apart, with one in the North of England the other in Finland.

Going much deeper, this nebulous offering and invocation evokes the melodic circled spins and dervish religious music of Iran, of atavistic Persia, the Levant and amorphous echoes of various Gothic folk styles, of doom music and the Biblical. It’s akin at times to dropping Death In June or Ash Ra Tempel in the Middle East of the Sufi. And then again, the stamps and danced steps in places reminded me of Islamic Spain. But then the temenos set ‘Underneath the Hypaethral Sky’ segment sent me into an incense smoked trance-like recall of the Hellenistic. And the guitar at times reminded me of Steve Gunn, and at others, like the music of Wovenhand, the mood describing a more esoteric vision of the old American West.

There’s a lot going on reference wise to be sure: even the title of the album is borrowed from the Latin, “the idea of individuals being born empty of any built-in mental content, so that all knowledge comes from later perceptions or sensory experiences”: or to put it simply, “a clean slate”. And yet “rasa” is also used in Indian culture and religion, describing the aesthetic flavour of any literary, visual or musical work that evokes an indescribable feeling in the reader or listener. Channelled into one reverberating and beating, fluctuating momentum of rattled rhythmic strings, metallic and burnished elements, the spun and more elan, and frame drummed and more kit rolling bounds, both the daemonic and the spiritual collide to create an atmosphere that’s simultaneously refined yet strong. In years to come, generations will study this period of creativity very closely; the most bleak, restrictive and frightening period in most people’s living memory was a catalyst for a pouring of anxieties, stresses but deliverance too. The Silver Nun vehicle, its title reflecting Valentine’s silversmith craftsmanship and how it applies to and informs her musical processes, is ritualistic, a purging almost or letting go; the changes ringing out, sounding out into a suitably atmospheric environment. And yet travelling far, reaching across time and geography to take in near Byzantine and atavistic old evocations. A sound collaboration that proves distance is no barrier to a unifying experience like no other.

SML ‘How You Been’
(International Anthem) 7th November 2025

The inter-connections and overlaps are strong on this one, with the enviable might and scope of influences stretching across a multitude of scenes, styles, decades and geography.

Based in L.A. but from a multi-national and even international cast, the often abbreviated Small Medium Large includes the Aussie-born artist, bassist and composer Anne Butterss (last year’s solo headed, but featuring many SML band mates, Mighty Vertebrate album was included in our choice list of 2024), “synthesist” Jeremiah Chiu (another favourite from 2024, Chiu’s team up with the violist Marta Sofia Horner and luminary of new age trance Ariel Kalma, The Closest Thing To Silence, another highlight of 2024), saxophonist Josh Johnson (back in March Johnson collaborated with fellow SML member Gregory Uhlmann and Sam Wilkes for the Uhlmann Johnson Wilkes triumvirate), drummer Booker Stardrum (this is the first time that the all-round percussionist and drummer, educator and composer, who’s worked with Weyes Blood and Lee Ranaldo, has appeared on this site I believe) and the guitarist Uhlmann. In some ways this combo could be called the International Anthem house band, or the label’s super group of a sort, as near enough each member has released of featured on an album or two on that Chicago institution – celebrating a modest birthday anniversary recently, the label has managed in a quick time to establish itself as one of the most critically favoured experimental imprints; a hub for all things jazz and beyond, and just the other month, the chosen platform for Tortoise’s first album in years – a group who’s imprint can be heard and felt on this SML album.

For the ensemble’s second album together, and following a similar process, methodology to their debut, the rhetorical How You Been features an “extensive post-production of recordings from a handful of shows” pulled together to make a whole – you can hear the audience’s appreciation at one point. Flexing and honing their improvisations and more locked-in work outs, they’ve managed to surprise and take a few quirky, kooky and often funky turns to create a kinetic fusion of post-rock, post-jazz, no wave, agit-dance music body movements, fourth world musics, environmental ambience and vague ethnographic percussion. On one hand its Ariel Kalma and Tortoise meet with Jan Jelinek and Kirk Barley, and on the other, like Kraftwerk deciding to move to downtown NYC in the early 80s. But then again, I’m hearing Eno & Byrne, Golden Teacher, Heroes Side Two Bowie, Kriedler and Carl Stone too. For between the longer future-post-punk-funk and jazz-fusion (if rewired by the Chicago hothouse of stars) numbers there’s shorter passages of the tubular, fluttered, new age and liquid: a lot of water passing through, from deep dives to the ocean bed to water side tranquillity gazing.

Titles merely set out amorphous prompts, steps and references, as a “Moving Walkway” is musically represented more by a Greg Foat-esque walking milky way traverse. And “Blood Board SHROOM” shapes up to be an atmospheric passage of crystallised light forming. But generally, you never know exactly where the SML group are going to take you. Essentially though, this is an outfit with groove and rhythm and confidence in extending an already loose jazz core into new fields and orbits. If no one has put this proposal forward already, they’d be great touring partners with Tortoise.

Snorkel ‘Past Still Present Tense’
(Slowfoot & Archaeon) 14th November 2025

Tortoise with a groove and rhythm as manipulated and effected by Lee Scratch Perry. The Mosquitos meets Populäre Mechanik at the workshop of Walter Smetak. Just as couple of reference point combinations I’m throwing out there to describe this evolving and revolving South London based ensemble’s sound and scope of influences. And yet, it barely scratches the surface, as the fixed – at that moment of time when recording this loose collection come both retrospective and future teasing survey – lineup modulate, discombobulate, stutter, flex, warp, transform, oscillate and reverberate ideas as eclectic as gamelan, industrial funk, krautrock/kosmische, post-rock, jazz, d ‘n’ b, no wave, post-punk, cult library music, the fourth world “musics” of Hassell, Byrne and Eno, and of course dub.

But let’s pull back a moment before ploughing into this generous double-album spread – the group’s third studio album proper I believe, following on from 2007’s Glass Darkly and 2012’s Stop Machine -, and share a little information about this incarnation of Snorkel. Original instigator, drummer-percussionist, performer with This Is Not This Heat, Daniel Sullivan and the Lifetones, and producer for such acts as Gong, Charles Hayward and Vibration Black Fringe, Frank Byng is joined by Ben Cowen (another connection to Vibration Black Fringe, Cowen was also formerly a member of 7-Hurtz and has collaborated with Morcheeba) on keys and synths, Tom Marriott (a member of Pest) on trombone and effects, Roberto Sassi (formerly of the Vole Trio and Cardosanto, and a current member of Heckle Chamber and Charles Hayward’s Abstract Concrete project) on guitar, Ralph Cumbers (releases music under the Bass Clef moniker) on modular synth and samplers, trombone and bass, Charles Stuart (currently the music director for Grace Jones’ live band, but also the driving force behind The Fish Police; Stuart also goes under the “clandestine” cloak of 129 when producing and gets a separate credit under both on this album) on various electronic apparatus, percussion, melodica, vocals, keys and guitar, and, popping up on two tracks on the D-Side of this double-album, Nick Doyne-Ditmas (credits include Pinski Zoo, Monkey Puzzle Trio and Crackle) on bass duties. You’ll probably not going to get the chance to listen to this particular septet configuration again, so enjoy the moments captured, improvisation style, during the time it took to lay all nineteen tracks down in the studio environment. I imagine that whatever happens next, the set-up will again have changed: another varied lineup of connected players from the scene, orbiting around the mainstays.

Past Still Present Tense mixes not only time but combines elements of sci-fi, global rhythms, the near clandestine, Giallo spooks and something more alien into an often-post-punk-funk of the kooky, mystical, esoteric, futuristic and galactic. The foundation, the base, or I should say, the main influence that permeates throughout is dub (more On-U Sound, Lee Scratch Perry and World of Echo); transmogrified and liquified to vibrate and resonate off an electrical wave of zapped electronica and jilted, skewered, wavy metallic dance music. And yet somehow, they’ve managed to run it through the same processors, the same gait metric as Dunkelziffer, Conrad Schnitzler, Der Plan and Klaus Kruger to give it a Germanic bent.

Hand drums, various ethnic percussion and instruments (the Ghanian Gyil is mentioned in the accompanying press notes) are interwoven and merged with electronica, the yells and hysterics and riles of post-punk (the vocals pitched somewhere between the Pop Group, Cabaret Voltaire and Damo Suzuki) and the subversive. There are traces of everything from tubular concrete musique to the ambient, from Bill Laswell to Jeff Parker, Krononaut and Holy Fuck; from Roni Size to Finis Africae, Moebius, The Missing Brazilians, Gary Numan and Irmin Schmidt. The organic and machine in a loose rhythm cross multiple borders to create both a post-no wave dance and more mysterious, sometimes creeping and dystopian sci-fi (the nod to Iain Banks ‘The Wasp Factory’ couldn’t escape anyone’s notice). There’s much to discover and absorb with each play that I can imagine this collection will keep listeners very busy – a lifetime of work in some band’s cases.

Suntou Susso ‘Jaliya Silokang: The Path Of A Griot’
7th November 2025

“Some people are born into a family of kings
Some people are born into a family of farmers
Some people are born into a family of scholars
God has created me to be a Griot.”

Right from the outset the Gambian Griot, multi-instrumentalist, singer, composer and filmmaker (you could claim a true polymath) Suntou Susso sets out his afflatus legacy with the chorus on this album’s title track and opener ‘Jaliya’. Born into a service, the divine anointed position of “cultural guardian”, of “storyteller”, of “praise singer” (all terms used to describe the ancient role that stretches back over 700 years), Suntou like his father before him continues in the grand tradition, yet always looks to pastures new, working with and pushing those roots forward.

Roughly explained as a musician or entertainer from Western Africa whose performances include tribal histories and geologies, the Griot’s instrument of choice is the 21 or 22-string (Suntou favours the later), a long-necked lute crafted out of half a gourd and covered with cow skin. Suntou is just one such brethren from the extended family to play this harp-like sounding instrument; his half-brother is none other than the equally celebrated Seckou Keita (no stranger to this blog over the years), and his father, the legendary Mamudou Susso. Just in the last year or so, Suntou toured the great Griot songbook with his father: an intergenerational experiment you could say. That musical heritage continues through his sister, the applauded vocalist Binto Suso. Binto makes an appearance on the serious kora spilling and, starting off with, near solemn attentive piano backed track ‘Jula Jekereh’; a reimagining of an ancient Griot song, the protagonist of which was a well-known wealthy flamboyant trader called Jekereh Bayo who decided to celebrate the age-old traditional Muslim festival of Tobaski ten days later than usual, co-opting the regions kings and all the right movers with his riches. Close to her brothers lead vocal, Binto carries a beautiful echo of Miriam Makeba – the kora actually reminds me of Suntou’s half-brother Seckou. As the song progresses this voice starts to soar and cover the heights, beautifully sung, like all the songs, in the ancestral Mandinka mother tongue – a community and dialect found predominantly in the Senegambia region, but also in Southern Mali and Eastern Guinea, the Mandinka are said to be descended from the atavistic Mali Empire.

Binto appears alongside a number of special guest stars and an extended company of musicians (twenty in all). For this is nothing if not an ambitious record, recorded both in the UK and Senegal with an expanded ensemble of gifted players; from strings to brass, drums, guitars and of course a host of backing vocalists. Perhaps one of the most iconic names to have contributed to the album is that of the Malian guitar legend Vieux Farka Touré, son of the rightly venerated late icon Ali Farka Touré. He brings a more tamed version of his sustained fuzz desert rock style and Bamako club movers’ shoe-shuffle to ‘Joulou Fula’, a song that entwines both sets of guitar and kora strings together in an electrified bluesy union across the sand dune contours of the land. Another “super” star, the Ghanian performer, vocalist, percussionist, arranger, bandleader and art director Kweku Sackey, otherwise known professionally as K.O.G., makes an appearance and leaves an impression on the Afro-rock fusion ‘Lannaya’. In celebration, the values of trust, integrity, love and mutual respect are given a funky ride, as Kweku both toasts and vocalises with a positive energy: if there was a camera in on the session, I’m sure he’d be very animated and dancing about in the vocal booth.

With a production of both fluidity and softened punches, elliptical and staccato rhythms merging effortlessly with the smooth, Jaliya Silokang: The Path Of A Griot’s amorphously crosses porous borders culturally and musically. With both golden and rustic threads, the spindled and cascading, and a kora sound that is simultaneously harp-like and woven as if making a tapestry, it’s a most pleasant, beautiful, soul-searching, yearned, reflective and gracefully transportive listening experience. And with the addition of strings and serenaded and more drifty saxophones, there’s both subtle evocations of the classical and jazz genres to enrich the overall sound.

All of this fits together very nicely, extending the musical family geographically, and embracing modern sounds and the old in another successful intergenerational project that looks back whilst facing current strife and the topics of immigration. But at the heart of this album is a joy and need to embrace heritage, and to celebrate the Griot: a role that bookends the album, firstly at the very beginning with a song about the family’s traditional roots, and at the end with a ruminating panoramic display of rolling and expressive kora playing that articulates the eternal Griot traveller’s journey from destination to destination, storytelling and musically sharing the stories and bonds of that calling. This is a most ambitious and sprawling album that uses its many threads brilliantly and evocatively and will do much to cement Suntou Susso’s reputation as a burgeoning star and virtuoso of the Griot form and the kora.

Tana Delle Pigri ‘Wunderkammer’
Released 3rd October 2025

Five EPs into a newish project from the very excellent K. Board & The SkreensJacopo and friends Guido and Pioppo, and the Monolith Cocktail is introduced to a languid amorphous sound world of post-punk-jazz, post-punk-funk, krautrock, psychedelia, post-hardcore and vague Ethnic destinations. A play on words that only really works in Italian, Tana Delle Pigri or “Den of the Lazy” repurposes Den of Tigers, is an illusion/hallucination of almost organic and relaxed influences, cast adrift, dangled or hovered, almost as if improvised or in a live setting.

From the mirage like shadows cast across arid plains on the opener to spells in which the atmosphere of finger cymbals and percussion evoke the Middle East and the Far East and the Byzantine, or when the woody breathed and chuffed lazy flute points towards fourth world sketches of the Amazon or Egypt, there’s both a balance of prods and flexed wanders across familiar turned unfamiliar terrains. All the while that trebly bass provokes echoes of post-punk mixed with Fugazi, but also CAN, Dunkelziffer and Embryo. But the vibes change on nearly every track, moving between the Killing Joke and The Untied Knot, Isotope 217, Mosquitoes, The Cosmic Range (for sure on the lovely finale ‘Musica Maestro’) and Slint. There’s even an organ serenade of Ethio-jazz at one point, and a sort of Red Hot Chilli Peppers if warped by Introvoid bit on ‘Felpa Grigia’ (“grey sweatshirt”). Touches on every instrument seem near indolent at times, relaxed, as they manifest pictures, scenes and landscapes both earthly and on the astral planes. But overall, there’s some intriguing and brilliant ideas taking shape from such indolent qualities. A fascinating project from the Italians.

Yalla Miku ‘2’
(Bongo Joe Records) 7th November 2025

Cornering the market in musical Cyril’s it seems, the Swiss-based loose collective of Yalla Miku features both the Cyril Cyril partnership of Bongo Joe label honcho Cyril Yeterian and drummer/percussionist Cyril Bondi, plus a revolving lineup of congruous foils plucked from the canton’s diverse assembly of globally imbued and post-punk groups and projects. The mainstay in this case, and co-founding instigator and Ethiopian and Eretria pentatonic scale Krar lute player come vocalist, Samuel Ades Tesfagergsh brings the roots and connections of his homeland to an already busy and seamlessly blended fecund of sounds and influences. A refugee starting life anew in Switzerland, Tesfagergsh came to the attention of Yeterian through the Bongo Joe shop and hub; the record store and label founder’s own upbringing and roots traverse the Middle East, with the PR notes referencing Lebanon, Syria and pre-Türkiye, Anatolia. 

This combination, the spheres of influence and backgrounds makes for some surprising and edgy fusions.

Marking a shift in personal after the departures of Simon Aubert, Annouar Baouna, Vincent Bertholet and Ali Bouchaki, the simply entitled new album, 2, features Boxing Noise’s Emma Souharce on machines, synths and vocals and Louis Knobil, who goes under the Knobil signature, on electric bass and vocals. Apart from slimming down to a quintet, the main changes have been vocally, with now every member of the group providing singing, narrating or talking duties. But the merger of the Swiss post-punk underground and the international sounds of the Middle East, North Africa, but Arabian world at large, remains the focus; it’s to what degree that signature is loosened and widened. 

Thematic wise, this album is imbued with references to Tesfagergsh’s former Eritrean home, his culture too. His village of Embeyto is immortalised via the vibes of an East African PiL lurking in a dubby reverberated soundscape of metallic hand drums and creaky opening doors, and a ghostly taste of The Specials. Common throughout the album’s ten tracks, between the authentic trills, hollers, cries of the Arab world, the post-punk jutted, elliptical and spikiness of The Pop Group and the Dead Kennedys (see ‘Post-Aventures’), the resonated dub exotics, otherworldliness and wavey bass lines of The Mosquitos and Jah Wobble, and the Anatolian and Egyptian dance pop disco of Altin Gun, there’s a sound that mimics the organ of both Ethio-jazz and fun house spooks garage music: a ghost train merger of Hailu Mergia, ? And the Mysterians and Baba Zulu. Seemingly more pliable, more crypt frights and hauntology than general dark arts and paranormal, the veils of the esoteric add a layer or mist of mystery and creeping disquiet to the themes being aired: the use of religion as a tool to wield power, the geopolitical and status of disposed, and traditions of marriage. Embeyto could be just a lovely nostalgic admiration of home, but its location within the Tigray region can’t help but draw attention to the recent, and much forgotten, conflict there.

To be honest, it’s far beyond my own knowledge and scope of specialism, the conflict fought in the Tigray region (the most northern state within the borders of Ethiopia) is convoluted and has a long history stretching back generations. But to be brief, this two-year conflict pitted forces allied to the Ethiopian federal government and Eritrea against the Tigray People’s Liberation Front (TPLF). The TPLF had previously been a dominant force politically in Ethiopia before conflict with its neighbours, unrest within the country, and disputes over leadership spilled out into horrific violence. But during this particular and most recent chapter, between the 3 November 2020 and 3 November 2022, it is estimated that two million people were displaced from the region, and 600,000 killed. Tigray was itself left in ruins; its capital turned over to the federal government. Reports began to emerge in the aftermath of ethnic cleansing and war crimes. And the situation is no more stable now, a few years along, with conflict once more looming within Eritrea. If you were interested in Tigray musical culture, and liked the sound of the Krar, then you should check out Ian Brennan’s recent raw and uncloyed production project, Tigray Tears ‘The World Stood By’. There’s even a reference, title wise, on the hoof galloping, gangly post-punk North African dance ‘Alemuya’ to the song and album by the Eritrean singer Dehab Faytinga. Mixed in with the Tigrayan/Eritrean thread are references to the Arabian world, its language and even religion; the diverse region’s music effortlessly fused with a myriad of influences from across the diaspora, from Europe and beyond. One minute its quite chic Swiss French, the next authentically North African. It’s Bloc Party, Stereolab, Dunkelziffer, the Orchestre Tout Puissant Marcel Duchamp and Snapped Ankles meets Bongo Joe’s own Maghreb K7 Club survey and Cyril Cyril in an electrified new wave punk and no wave confederation. I can’t think of a better album with which to encapsulate the Bongo Joe sound, which celebrates its tenth anniversary this year. A highly recommended album.

If you’ve enjoyed this selection, the writing, or been led down a rabbit hole into new musical terrains of aural pleasure, and if you can, then you can now show your appreciation by keeping the Monolith Cocktail afloat by donating via Ko-Fi.

For the last 15 years both me and the MC team have featured and supported music, musicians and labels we love across genres from around the world: ones 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 or interest in. 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 say thanks or show support, than you can now buy us a coffee or donate via https://ko-fi.com/monolithcocktail

Our Monthly Playlist selection of choice music and Choice Releases list from the last month.

We decided at the start of the year to change things a little with a reminder of not only our favourite tracks from the last month but also a list of choice albums too. This list includes both those releases we managed to feature and review on the site and those we just didn’t get the room for – time restraints and the sheer volume of submissions each month mean there are always those records that miss out on receiving a full review, and so we have added a number of these to both our playlist and releases list.

All entries in the Choice Releases list are displayed alphabetically. Meanwhile, our Monthly Playlist continues as normal with all the choice tracks from October, taken either from reviews and pieces written by me – that’s Dominic Valvona – and Brian ‘Bordello’ Shea. Our resident Hip-Hop expert Matt Oliver has also put forward a smattering of crucial and highlighted tracks from the rap arena.

CHOICE RELEASES FROM THE LAST MONTH OR SO:

Bedd ‘Do Not Be Afraid’
Review

Joel Cusumano ‘Waxworld’
(Dandyboy Records) Review

Peter Evans’ Being & Becoming ‘Ars Ludicra’
(More Is More Records) Review

Will Glaser ‘Music of The Terrazoku, Ethnographic Recordings From An Imagined Future’ 
(Not Applicable) Review


Amira Kheir ‘Black Diamonds’
(Sterns Music/Contro Culture Music)
Review

The Legendary Ten Seconds ‘Ricardian Churchward’
Review

NiCKY ‘with’
(PRAH Recordings) Review

Picniclunch ‘snaxbandwitches’
Review

Cosimo Querci ‘Rimane’
(Quindi Records) Review

Širom ‘In the Wind of Night, Hard-Fallen Incantations Whisper’
(Glitterbeat Records)


Striped Bananas ‘Eternity Forest’

Review


Sum of R ‘Spectral’


Tortoise ‘Touch’
(International Anthem X Nonesuch Records) Review

Vexations ‘A Dream Unhealthy’
(Cruel Nature Records) Review

Violet Nox ‘Silvae’
(Somewherecold Records) Review

THE PLAYLIST::

Howling Bells ‘Heavy Lifting’
Melody’s Echo Chamber ‘Eyes Closed’
Arcigrandone & Sone Institute ‘Ancide Sol La Morte’
Pray-Pax ‘Can’t’
Peter Evans Being & Becoming ‘Pulsar’
Petter Eldh Ft. Savannah Harris ‘MIDSUM BREW’
Myka 9, Blu & Mono En Stereo ‘Battle’
Jesse the Tree & Sage Francis ‘A Bad MFer’
Verb T & Vic Grimes ‘Distraction’
Elsio Mancusco & Berto Pisano ‘Nude per l’assassino’
Joker Starr Ft. AnyWay Tha God & Jazz T ‘Don’t Try to Test’
Summers Sons Ft. Ben B.C ‘Promises’
Sebastian Rojas ‘Pulmon Del Tropico’
Amira Kheir ‘Rabie Aljamal (Spring of Wonder)’
Oswald Slain ‘Cranberry Juice’
NiCKY ‘I Saw You’
The Legendary Ten Seconds ‘Bones in the River’
Edward Rogers ‘Astor Place’
Joel Cusumano ‘Death-Wax Girl’
The Stripped Bananas ‘Vampire of Mine’
Bedd ‘Paulie’s a Bum’
Legless Trials ‘American Russ Never Sleeps’
Vexations ‘Let Me In’
OvO ‘Gemma’
Sum of R ‘Violate’
GRABENFUSSS ‘Broken Kingdoms’
Cosimo Querci ‘Rimanemai’
Valley Voice ‘As Though I Knew’
Samara Cyn ‘vitamins n minerals’
The Strange Neighbour ‘No Mans Land’
Truth by Design ‘Stray Shots’
The Cool Kids, Sir Michael Rocks & Chuck Inglish ‘We Got Clips’
Dillion & Paten Locke ‘Always Never’
Sol Messiah & Connect The Dots Movement ‘Small axe wins the battle’
Tortoise ‘Works and Days’
Sirom ‘For You, This Eve, the Wolves Will Be Enchantingly Forsaken’
Violet Nox ‘Whisper’
Liz Cooper ‘New Day’
Sweeney ‘Silent J’
RULES ‘Run Boy’
Tinariwen ‘Chaghaybou – Adalan’

For the last 15 years both me and the MC team have featured and supported music, musicians and labels we love across genres from around the world: ones 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 or interest in. 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 say thanks or show support, than you can now buy us a coffee or donate via https://ko-fi.com/monolithcocktail

Fiendish sounds and fever dreams, the devil’s music selection this year is, as ever, a twisted tale of soundtracks, freakish and macabre passages, harrowed indie, horrorcore rap, the theatrical, esoteric post-punk and rock ‘n’ roll jukebox mischief. The selection this year devilishly devised by Dominic Valvona.

Pulp ‘The Mark of the Devil’
My Solid Ground ‘The Executioner’
The Wytches ‘Coffin Nails’
The Awkward Silences ‘Haunted by my own ghost’
Byron Lee & The Dragonaires ‘Frankenstein’
Naked City ‘Graveyard Shift (Live in Quebec 1988)’
itsokaylove & Black Wick ‘The Grim Denial’
Casper Ghostly & Uncommon Nasa ‘Floor Thirteen’
Lords Of The Underground ‘Psycho’
Fatboi Sharif, Driveby & Lungs ‘Basquiat Painted Transylvania’
itchy-O ‘Entangled|Unbinding – JG Thirlwell Remix’
The Northern Lighthouse Board ‘Ancient Sorceries’
Ruth White ‘The Litanies of Satan’
Nick Kuepfer ‘Vampyro’
Thomas Truax ‘The Cannibals Have Captured Our Nicole Kidman (Sebastian Reynolds Remix)’
The Eurosuite ‘Reflection Monster’
Kitchen Cynics ‘Phosphorus Tenement’
Lalo Schifrin ‘A Pact with Satan’
Pere Ubu ‘Satan’s Hamster’
Sonic Youth ‘Satan Is Boring’
30 Door Key ‘Cavern Of The Seasons Gone By’
Tetsuo ii ‘The Howling’
The Pretty Things ‘Death’
Mint Tattoo ‘Mark Of The Beast’
Librarians With Hickeys ‘Ghoul You Want’
The Legless Crabs ‘Sleep Sweet Satan’
Candice Gordon ‘Cannibal Love’
So Beast ‘Beastride’
Society of the Silver Cross ‘Mourning the Night’



A smattering of previous Halloween playlists and posts:

From 2012: Selection of Youtube videos and tunes.

Album Review By Dominic Valvona

Image courtesy of Todd Weaver

Tortoise ‘Touch’
(International Anthem X Nonesuch Records) 24th October 2025

The highly influential and many tentacled Tortoise collective have pretty much reached a pantheon status as innovators of a postmodernist fusion of influences and musical strands that includes jazz and all its many fecund offshoots, rock, the leftfield, the avant-garde and the electronic. This almost seamless if explorative and experimental embrace of “post-everything” ideas is unsurprising, for they were hot-housed in that much important cultural hub of Chicago, home to some of the most important and most influential developments and artists in the jazz, the blues, rock ‘n’ roll, dance music and hip-hop fields. Of course, there’s also that post-rock scene tag to consider, a label that has followed the group around since their inception in the early 1990s – although the story really begins back in the late 80s with founding members Douglas McCombs and drummer John Herndorn, both of which, despite some lineup changes, departures and new recruitments over the past thirty odd years, have stayed the course. 

Whether together under the Tortoise shell or apart, divided up into spin-offs and wholly sperate projects and entities (from the various versions of the Chicago Underground to Isotope 217 and Brokeback) their reach on the late 20th and early 21st centuries musical landscapes has been impressive. They’ve arguably created something that is there’s alone; a language and method (apparently anarchic yet egalitarian) that works for such a diverse range of musicians with experiences in an eclectic range of genres. But they’ve been apart as a group, so to speak, since the release of 2016’s The Catastrophist.

Committed however to unifying the vehicle that has proven so successful, stalwarts McCombs and Herndorn are joined by Dan Bitney, John McEntire and Jeff Parker for their eighth album, Touch. Their first album in nearly nine years is also the first album to be recorded across a tri-cities network. Previous records have been recorded more or less in the city that birthed them: Chicago. But now, members are spread across state lines, in Portland and L.A., and so there’s a new impetus and methodology of remote exchange and layering: The process has changed somewhat from the days of collectively living and creatively jamming together under one loft space roof.

They’re back, but then again, they never left, grouping as they have under various umbrellas and collaborations. For example, guitarist Parker has branched out in recent years under his own name with albums on International Anthem, one of the partners, alongside Nonesuch Records, in the co-operative label sharing enterprise behind the new Tortoise album. Just as renowned on record as they are live, fans and those who’ve yet to be drawn towards the group but who might find this latest album appealing, will be delighted to hear that there’s a whole bunch of both North American and European live dates to look forward to this year and next.

Preludes and tasters, videos and multimedia teasers have been dropped in the run up to the Touch album release – some involving recent International Anthem roster names. And so, the anticipation has been building for months. Those familiar with the treasured catalogue will find a group certainly keen to plough new sonic and musical furrows, and yet remain connected to such iconic albums as Millions Now Living Will Never Die and TNT.

With references to a demanding work by a love-sick and hurt Erik Satie, a submarine volcano in the Pacific and the heaviest element in the periodic table, there’s prompted doses of science, geography and the avant-garde made human with emotional pulls and swept gestures that could be called romantic. For this time around Tortoise, no matter how unique in practice, seem to be creating a certain drama and evocative sentiment on tracks like the estranged Parisian tango shimmy and classically strained ‘Promenade à deux’, and the twangy mirage Western, reframed by Sky Records, gravity defying cosmic soundtrack ‘Oganesson’ – named after the Armenian/Russian nuclear physicist and the element that has the most heavy protons and electrons on the Periodic table, atomic number 118: a synthetic element if anyone is asking, that doesn’t appear naturally on Earth and which is extremely difficult to process. The former of those two tracks features the guest strings pairing of violinist Marta Sofia Honer (readers may recall Honer’s The Closet Thing To Silence partnership last year for International Anthem with Ariel Kalma and Jeremiah Chiu, which went on to make our choice albums of 2024 list) and cellist Skip Vonkuske adding their own special something to the transmogrified Francophone vibes.

Expanding into all sorts of areas musically and sonically, the album matches The Cars with Pino Rucher and Holy Fuck on the tubular bristled, clapped and encouraged turn timpani rumbling and nicely rolled-off ‘Vexations’ – a reference to the incredibly tough one-page notation piece by Satie that calls for the pianist to repeat an instruction 840 times, and takes anywhere from 16 to 20 hours to perform; Cage, not one to put off by such trivialities of endurance and an audience’s attention, famously had a go at it -, and evokes a motorik driven sensibility of Rother and Electrelane with hints of Thomas Dinger on the electrically harped ‘Axial Seamount’ – named after the complex and still poorly understood, it’s said, Pacific Ocean submarine volcano that sits at the epicentre of the Cobb-Eickelberg Seamount chain; first discovered in the 1970s.

Many ideas are formed, all congruously converging to create something a bit different; the doorbell like chimes and lattice of tubular bells and scaffold coming together with jazz-rock and the kosmsiche, or the Techno beats of ‘Elka’ that follow on from the squirrelling 80s fusion of new wave jazz turn heavily laboured, weighted down ‘Works and Days’. ‘A Title Comes’ meanwhile, reminded me of Sven Wunder reimagining the Faust Tapes. This is what they do best, forming or transducing what could be a mess of influences, strands and experiences into something that gels and conjures up descriptions, emotions, scenes, events, science facts, chemicals, and states of the mind and the landscape. And with this latest album, the comeback that might or might not be, they continue to avoid definition. Flexing if anything and creating ever new pathways for sonic and musical exploration. This album however is filled with mood music: some that dances and is propulsive, and some that are far more lucid and sensitive. Touch is an album that I predict will grow on you and get better with each and every play. Only time will tell if it becomes one of their most endurable and lasting influential works.

For the last 15 years both me and the MC team have featured and supported music, musicians and labels we love across genres from around the world: ones 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 or interest in. 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 say thanks or show support, than you can now buy us a coffee or donate via https://ko-fi.com/monolithcocktail

Brian ‘Bordello’ Shea’s Reviews Roundup – Instant Reactions. All entries in alphabetical order.

Joel Cusumano ‘Waxworld’
Album (Dandyboy Records) 24th October 2025

I like this album. I was expecting the typical power pop tuneful bombast, which it does to a certain extent have, but with a slightly tattered heart that at times reminds me of what Blondie might have sounded like if they were fronted by Pete Perrett instead of the lovely Debbie – especially on “Through A Darkened Glass“. Waxworld is an entirely enjoyable listening experience, one I would recommend to all those power pop aficionados out there, as Joel Cusumano performs like he is Joel Cusumano and not a stars in the eyes Mathew Sweet.

John Howard ‘Kid In A Big World (The Prof Stone Remaster)’
Album (Think Like A Key Records) Released back in August 2025

Autumn is upon us and is the perfect season to discover or even rediscover this 50-year-old classic debut from one of Britain’s finest hidden treasures. Yes, John Howard‘s excellent debut has been remastered by Prof Stone, available from Think Like A Key Records Bandcamp as a download only.

Do I need to pontificate about the magic of this much written about debut. Probably not, but I will anyway. If Elton John was as good as people think he is, he would sound like this album. And John does not feel the need to sing in a phoney American accent or share Dame Edna’s stylist. Why he never made it as a chart regular and enlightened the screens of Saturday night tv in the seventies can only really be put down to the homophobia that existed in the 70’s especially in the upper offices of The BBC and as John never felt the need to hide the fact that he was gay (as Elton wisely career wise did). 

Kid In A Big World is a wonderful record and should a hold a place both in all music lovers record collections and hearts … and if I was Amazon or Spotify or Youtube I would say if you enjoyed this album you might enjoy Hunky Dory, or Goodbye Yellow Brick Road or Year Of The Cat. And it deserves mentioning in the same breath.

The Legendary Ten Seconds ‘Ricardian Churchward’
Album – Released 2nd October 2025

I love Musical British Eccentrics (it takes one to know, so they say), and here we have a wham doozy of a release by The Legendary Ten Seconds. Imagine if you will, that Julian Cope had not taken drugs and only read Horrible Histories books and was influenced by The Monochrome Set, then he could well have made this album.

This is the kind of album that could one day (if enough people get to hear this gem of a release) become a bit of a cult classic. For it is a fine collection of psych folk Medieval indie-pop (is there such a thing). The only bad thing I can say about this release is that it’s not available as a CD, as it is one that I would happily add to my collection. 

Legless Trials ‘American Russ Never Sleeps’
Single (Metal Postcard Records) Released 13th September 2025

More post punk glory from the Legless Trials. American Russ Never Sleeps pt 1 and pt2 is two tracks of Public Image Ltd styled smooth discord with an air of dubby splendour and chaotic lyricism that once again pokes holes into the flimsy facade of shittery that currently engulfs the world: like a bedtime story read to you by Michael Myers.

Picniclunch ‘snaxbandwitches’
Album – Released 13th October 2025

snaxbandwitches is an album of supreme post punk noisery, experimental fun and undoubtedly surprisingly tuneful. Think the Fall, early Pavement, Morphine (the band not the drug) and early Talking Heads but only if they had been in the pub since opening time and David Byrne had been replaced with someone less annoying.

This is the sound of the true alternative; the sound of a band who would not use a Rickenbaker guitar but an old Woolworths copy battered and played through a borrowed amp. Yes, this is the true spirit of the garage band; the true spirit of rock ‘n’ roll. This is a band who should join forces with The Legless Crabs and do a double headline tour of all the dives in America, and influence the current American underground. If I had a record label, I would sign them up.

Edward Rogers ‘Astor Place’
Album – Released 10th October 2025

I love warm sounding timeless, slightly unusual sounding pop albums and Astor Place is an unusual sounding pop album. Unusual in its joyful mash of psychedelia and rose tinged eloquent nostalgia, at times sounding like a true English gentleman narrating over a backdrop of a huge love-in from ‘67 and believe it or not, sadly it’s not ‘67 and that’s what is so unusual about this album that it would not sound out of place if it was, but not in a retro way just in its feeling and atmosphere, screaming guitars and cucumber sandwiches is it seems  a match made in heaven. Hippy heaven even.

If Noel Coward made a psych album, I believe this is what it may have sounded like. And me being a huge Noel Coward fan and a lover of the whole fairytale of the summer of ‘67 I love it. He also name checks Tommy Steele in the lyrics, which for me makes this album slightly more fabulous than it already is.

Smash Palace ‘87’
Album – Released 10th October 2025

87 was supposed to be the second album from Smash Palace in 1987, but their label Epic dropped them before they got around to recording it and releasing it. So, what we have here is a strange beast: 5 of the songs have been rerecorded by the original band and the other five songs are the original studio demos recorded in the 80s. The five freshly recorded songs are bright and chirpy covered with an old MTV sheen, with guitars that jangle and guitars that strut like they are going out on a date with Keith Richards; songs, at times, that remind me of The Hoodoo Gurus and the Smithereens and other bands from the 80s of that ilk – the kind of bands VJ’S with mullets would introduce wearing shiny leather jackets  and being all hip to go. 

The other five are the real deal from the 80s recordings, not as shiny and bright but have the advantage or disadvantage, depending on how you feel about 80s major label production values, of having the atmosphere of that strange decade. The five 80s tracks one can imagine not being out of place on the Pretty In Pink soundtrack or The Breakfast Club or The Lost Boys…yes indeed, an album to soundtrack Molly Ringwald looking gorgeous.

Striped Bananas ‘Eternity Forest’
Album – Released 3rd October 2025

I always imagine that the married couple that make up the Striped Bananas live in a thatched cottage just outside some enchanted forest in upper Connecticut and spend their time weaving magic. For their music has a fairytale cartoon quality to its Psychedelia; it’s as if Lou and Nico had discovered and became addicted to candyfloss instead of Heroin.

Eternity Forest is a joyful beatastic trip of wonder and delight, an album full of melody, invention and fun; an album where guitars, Hammond organs and Theremin weave together to make one heavenly cartoon album of pure adventure. It’s like going on a daytrip to the fairground with the Banana Splits while having a playlist made up of Buffalo Springfield, The June Brides, The Velvet Underground the Archies and Strawberry Alarm Clock playing in transit. As the Beach Boys once eloquently put it: “it’s Fun Fun Fun”.

Vexations ‘A Dream Unhealthy’
Album (Cruel Nature Records) 17th October 2025

Vexations could well be your new favourite band. “A Dream Unhealthy” is a rather impressive beast of an album, five tracks of pure post psychedelic rock n roll, off kilter as hell and probably as hot, with almost spoken screamed vocals surfing on an explosion of noise frenzy. This album is worth hearing for the drumming alone, which is not to say that everything else about the band is not as equally as wonderful. They produce such a cavalcade of cavernous hypnotic spine-tingling beat poetry.

Brian ‘Bordello’ Shea and the Shea family house band, the Bordellos, have a new single out on Metal Postcard Records this month called ‘The Village People In Disguise‘.

If you’ve enjoyed this selection, the writing, or been led down a rabbit hole into new musical terrains of aural pleasure, and if you can, then you can now show your appreciation by keeping the Monolith Cocktail afloat by donating via Ko-Fi.

For the last 15 years both me and the MC team have featured and supported music, musicians and labels we love across genres from around the world: ones 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 or interest in. 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 say thanks or show support, than you can now buy us a coffee or donate via https://ko-fi.com/monolithcocktail

The Monolith Cocktail Serialises Andrew C. Kidd’s Tennyson Imbued sci-fi Saga.

Dabbling over the last decade with showcasing exciting, sometimes improbable, intriguing work from new and aspiring writers, the Monolith Cocktail has played host to serialisations of stories by Rick Clarke (of Vukovar and The Tearless Life infamy) and Ayfer Simms (the Franco-Istanbul writer, and for a few years, an integral member of the MC team offering various reviews and conducting interviews).

Furnishing the site since Covid with review pieces and the odd feature, Glaswegian-based writer Andrew C. Kidd now adds his name to this list. Andrew shares his grand interstellar saga, Tennyson In Space, with the MC readers through an epic serialisation. Over the last five months or so we’ve published the Prologue, Part One and Part Two of The Violin, all four parts of the Hic Sunt Leones Et Corvi suite, the Pink Nepenthe and the first half of Appl. E. We now continue with the final chapters of the latter.

Part 3

With the conference having adjourned some hours ago, Alard stood pensively at the threshold of the generous living accommodation provided by the Domini. The dark walls seemed to be closing in on him. Each pipe had taken an apparently different route into and out of the stonework. Light-headedness sought to topple him. He squatted down in an attempt to shake off this strange sensation.

‘I fear your decision will lead to a trade disagreement… or worse’, □ motioned. ‘You haven’t the ethical approval or proprietary rights. I mean, for goodness sake, try to consider this objectively!’

Her monitor oscillated.

‘You have little regard for the inevitable consequences’, □ continued. ‘Hostility at this sensitive juncture is inconceivable.’

‘But you have just conceived it, have you not?’ Alard smirked. ‘In any case’, he quickly followed, ‘it was your algorithmic predictions that led us here. And it was your decision to take flight and open the first–’

‘I believe that we agreed never to disclose how we got here.’

□ was right. He had to stop these momentary lapses.

An apple, an apple, an apple! The Elusimicrobia had been yielded from an apple.

‘I must ask you to re-consider your choice. My predictive modelling of your decision has only one outcome: strife’, □ persisted.

Pacing up and down the room, Alard slapped his hands together, clasping them in a form of contorted prayer.

‘I have made my decision and that decision is final.’

‘If that is your final decision, our collaboration must end here’, □ replied.

How predictable, he thought to himself. Algorithmic sentience: the weighty burden of programmers!

‘Once you walk through those doors. We shall no longer know each other.’

‘Be quiet!’, Alard yelled. ‘Of course we will know each other.’ He mocked her nasal vocal output. ‘We created Appl. E. and we shall…’

Alard stopped talking.

The room imbued a strange silence. □’s screen was stock still.

*                      *                      *

He was holding his breath.

‘Right’, exhaling loudly, ‘apply the label now.’

Dr. El-hen looked at Alard, smiling warmly. The binding of the fluorophoric antibody to the antigenic epitope glowed neon green on their shared screen. The viridescent methylated cytosine groups were modifying histones. Mastery of the stem cell cycle was the prize for those who could determine all the histone states. It was proving to be an arduous journey. The destination was differentiation.

Alard and El-hen studied the screen. A symphony of cells and enzymes was playing. For now, it was harmonic. They would both have to wait for the triumphant climax.

With the immunolabelling complete, Alard and El-hen moved their shared attention to the cells as they aligned themselves in neat rows. Next, they would measure the density of the labels and match these to the cell cycle.

Human studies next, Alard had promised Professeur Meuse.

Their present research was proof-of-principle of their latest bioengineering success: the addition of methyl groups to the bases in the DNA sequence of the epidermal layer.

Lucidum: clarity. An accidental but poetic choice of the duo. Once identified, the process would be replicated on a micro-engineering level. Soon they would be able to print these signatures onto microfluidic chips.

‘I am so glad that you can join us tomorrow’, Dr. El-hen said.

Alard smiled as he removed the extrusion-printed specimen, placing the synthetic organ carefully in the biobath, An entire epidermal layer, clearer than he had ever imagined, was the result.

He placed it gently down on the counter to commence the stabilisation process. Appl. E. was added. Alard’s thoughts moved onto the next step: replication of cardiac tissue.

*                      *                      *

Professeur Meuse relaxed back into his chair in a demonstration of false certitude. Alard knew him to be a difficult man. They had both engaged in many arguments since the start of their collaborative venture.

‘But we are in the business of regenerating tissue, not harvesting it from people’, Alard affirmed.

He looked over at the Professeur. Lines creased his face. Fluorescent lighting had bleached his skin.

Meuse was old enough to have crossed the great celestial bridge that separated the old universe from the new. He had witnessed the Never War. Inter-planetary over-population. Decimation of cultural relativism through the autarchic hand of the Domini and his associates. All he had ever known was demographic turbulence. Perhaps years of anthropological study had worn him down? Could this explain his jaundiced opinion that farming human tissue was the solution to increasing the yield of primary cells?

It was hard to believe that the consummation of years of academic excellence had led this eminent figure to such a conclusion. Alard looked away from the Professeur who continued to stare out of the porthole.

The field of tissue regeneration had attracted all manner of interested parties. From Alard’s experience, those involved in this research could be broadly separated into two groups. The first sought to harness the technology for the sake of science. This was an advancement beyond any measure of what had been possible before.

There were also those who envisioned it as a commercial enterprise: a method of preservation, paid for by those had the financial firepower to fund their new hearts and lungs.

He could not place Meuse in either group. Beneath his clean-shaven façade, he knew that a darker character lurked. His entry into the regenerative sciences had occurred later in life. Why the move from population dynamics to tissue scaffolds? Alard considered that as the years advanced, perhaps the Professeur simply wished to live on.

‘How beautiful…’ El-Hen moved closer to the porthole. She had slackened her safety harness. Her face was being underlit in the soft light.

Outside the vessel, a water ice wreath levitated around the great head of Saturn. The soft gold imparted a subtle majesty. They had left the glacial Eris to visit one of their sponsors on base in a Saturnian moon cluster. A welcome party awaited their arrival.

Alard smiled absently. His thoughts remained with Meuse and his imagined flesh farms. The Professeur’s arguments had become more impassioned. He knew that with the right backing, he would seek to make his dangerous dream a dreadful reality.

As the vessel made its final approach, Alard turned to observe El-hen who continued to marvel at the glinting rings. Her hand was locked by Meuse. The tips of his fingers were strained white.

Alard’s desire for the docteur had not abated. It was evident from the time they had spent together that she felt similarly. A Bunsen flame burned deep inside them. It could only be a matter of time before its strength would cause the laboratories of Clan Dœmae to catch fire.

*                      *                      *

The issue is tissue.

Meuse’s mantra echoed silently in the mind of Alard.

Deep in the accommodation provided by their hosts on the Saturnian base, he replayed the last experiment in his somnolence.

The failure of the myocytic scaffold had not come as a surprise. New vessels had quickly outgrown the extracellular matrix which had quickly disintegrated before their eyes. Two-photon microscopy had yielded all the green nuclei they wished to see. Red vessels had started to proliferate on the dark background. Their thin lines were reassuring at first. Eventually, an all-consuming rubor reflected on their faces.

Rouge! Rouge! Rouge! Disintegrating muscle. We have become purveyors of necrosed tissue. Merchants of cellular death!

Please, Alard… El-hen leant forward on a polished plastic chair …I will speak to Ian–

A purposeless exercise. He is as desperate as we are. Tell him we have already replicated hundreds, probably thousands, of cell lines by now. Why the need for more?

Aes-the-tics. The scornful intermediary of Pallas sounded somewhere else in his subconscious. Her word bled out red onto the slide set.

Part 4

Meuse poured himself another drink. A gentle click noise sounded as the hatch of the door slid back into its closed position. El-hen had elected to retire to her quarters for the night. The Professeur and Alard were left alone.

‘I must say, you spoke with such authority that you almost convinced me that your theory is plausible’, Meuse opined with his back turned to Alard. The cling of the crystal glass connecting with the decanter rung passingly.

‘Life and death must co-join’, Alard pressed.

The Professeur returned to his seat and stared at Alard. His red-hair glowed in the soft light.

‘Lifeforms die and their cells die’, Meuse replied. ‘And once dead, there is no transference from the living to the extinguished state.’

He took a sip from his glass. Two slow shakes of his head followed in a subtle show of disdain.

‘I disagree wholeheartedly’, Alard retorted. ‘Take a body. Once death has consumed it, the cells do not die, but rather, serve to fertilise a world from which that body was bequeathed to. The body serves to–’

Alard paused. He had noticed Meuse holding his glass against the ceiling light to illuminate its amber contents. The Professeur eventually returned to Alard. A quick flick of his long hand beckoned him continue.

‘What I am proposing–’ Alard stretched his syllables irritably ‘–is that the ‘essence’ of the body, its being, élan vital, or however you wish to describe it, transitions. The body passes on what it once knew.’

‘So why I am unable to speak Inuinnaqtun or Natsilingmiutut? After all, I am a descendant of those who once communicated in these languages.’

A subtle shudder interrupted their conversation. The interstellar vessel continued on its return journey to Eris. Outside, the same black scene persisted, interrupted only by stars and the faint diagonal line of dust that ringed around a distant exoplanet.

‘If I may’, Meuse said. ‘Let us reshape our conversation, interesting as it has been, to talk shop for moment.’

‘Of course.’ Alard nodded. His vague form continued to flare out in holographic form.

‘It has come to my attention that your recent endeavours have been somewhat–’ Meuse considered his phrasing carefully ‘–less convincing.’

‘Less convincing?’, Alard echoed.

Meuse assented and opened a file onto the visual display. The read-outs of the failed myocytic scaffolding were quickly scanned by the duo.

‘Professeur’, Alard interjected. ‘I must insist that conversations of this nature involve Dr. El-hen. After all, she is one of the principal researchers involved in this work.’

‘Are you seeking to defer responsibility, Docteur Alard?’

‘Of course not. However, it is her intellectual property as much as mine. She should be given the opportunity to discuss these findings.’

‘Firstly, the IP is Dœmaen. Secondly, abject failure is not something to be “discussed”, Docteur.’

Meuse stared intently at Alard’s hologram. He continued:

‘What I wish to understand is how you plan to achieve success.’

‘You know as well as I do that this is science–’ Alard mirrored Meuse’s formality ‘–and that science is an iterative process. Accomplishments are met with disappointments, in equal measure.’

Meuse returned to the counter to recharge his glass. Alard considered the change in his superior’s tone. He was under no illusion that Meuse was a visionary. After all, it had been his decision with who to share his discovery with at the conference on Manitoud. He was also wary of the monopolism of his superior’s vision.

Rebus omnibus: Meuse’s motto.

Success above all else.

The bulbous base of the thick-cut glass orb covered the lower half of the Professeur’s face. Alard observed the unblinking eyes of Meuse – they had remained fixed upon him. He was being examined. The black pupils of the Professeur contracted latently. His irises were alive, drawing him in like a whirlpool. Why the scrutiny?

Alard sensed Meuse had a deeper awareness of something. An unpleasant sensation washed over him. Was it choler? Or jealousy? Shared failures had undoubtedly strengthened the bond between Alard and El-hen. He had been very careful in concealing his feelings towards her. Yet Alard was mindful that matters of the heart resided in strange metaphysical spaces. He was under no illusion that Meuse was a man of intuition.

Alors… tell me, Docteur Alard… how are we are going to convince our Patrons at Clan Dœmae that we will reach our goal?’, he pursued plainly.

‘We are already working at full capacity and at the limits of our ethical agreements–’

‘Why limit yourself when you know what can be achieved?’ The Professeur was rhetorical in his reply. He smiled drunkenly at Alard who shimmered silently. His oculi continued to spiral; the vision being imparted was a fanatical one.

‘Courage’, Meuse said before pausing.

‘Courage?’, Alard inflected.

‘Yes, courage!’, he hammered in reply, quickly sipping more of the amber liquid. The glass was placed down heavily on the table.

‘The word entered my mind as we are discussing your work on myocyte regeneration. Its etymology is fitting. Our ancestors would have pronounced it ‘corage’. Cor: after the heart.’

Meuse leant back in his chair. He toyed with the lip of his glass.

‘You see, dear Docteur. Only those who act courageously can affect true change. Imagine the possibility of endless regeneration. A new heart when atherosclerosis blocks the old one from beating. Neuronal cells reappearing in a disappearing brain. Organ failures consigned to the annals of antiquity.’

‘I am well aware of our intended destination, Professeur’, Alard broke in. ‘I also have my own imaginations of such a future.’

‘Then – don’t hold back! Do share these visions!’, Meuse demanded excitedly.

‘Okay, I have often wondered what will become of us after we have been replaced, or at least, once parts of us have been replaced. Who will be then? And what next, after our replaced organs fail. More implanted parts destined to malfunction.’

Alard saw that Meuse was transfixed upon his hologram.

‘Until now, all we have ever known is life as a two-dimensional line. One that has a beginning and an end. If we succeed in our research, we will not only lengthen that line but change how it is sewn.’

Alard hesitated. He had never spoken so openly about his sentiments on never-death.

‘What do you mean by “how it is sewn”?’, Meuse enquired.

‘We are more than carbonised shells’, Alard explained. ‘Death represents a severed line in our lives, but that line is never cleanly cut. It is left frayed, open to other thready remnants. Those tattered ends represent all the different physical and metaphysical aspects of our lives: hydrogen; oxygen; knowledge; id; ego; superego… our separate identities! It is from these remaining threads that the future material of our progeny are sewn.’

Alard paused for a moment.

‘Fibres are twisted into single strands that become woven into an embroidered patchwork’, he continued. ‘One that becomes more intricate with each passing generation. If we create the possibility of an endless cycle of forever-self, the fabric will never change. It is this fabric that binds us. Without it, we will simply stagnate.’

Meuse smiled thinly at Alard’s flickering holograph. The amber liquid had made him heady.

‘Is this a convoluted way to tell me that you are having reservations about our work?’, Meuse retorted glibly. ‘As I have already explained to you, I only seek to associate with those who have courage.’

Alard allowed the Professeur to continue unobstructed.

‘Let us move away from this allegorical posturing’, Meuse continued tersely. ‘Our Maîtres at the Clan have agreed in principle to my proposal. I believe El-hen may have mentioned this to you?’

Pupillary constriction. Choler, Alard affirmed. The Professeur was closing in on him. Alard shook his head.

‘Well, we need to press on with the next phase in cardiac muscle development.’ Meuse paused as he looked into the empty glass. His eyes then immediately met with Alard’s.

‘Organ harvesting–’

‘–is out of the question!’, Alard implanted angrily.

A loud thud sounded as the glass was thrown down onto the floor. The Professeur staggered as he stood up to walk over to the porthole. He stretched his back by winging out his arms. A sigh spread out into the room as Meuse brought his arms down.

‘If you wish to end our collaborative venture–’

 ‘End our…’, Alard exclaimed breathlessly.

‘If we cannot agree–’

‘Listen to me–’ Alard made a swift recovery, blocking Meuse ‘–you have the gall to lecture me on courage, yet it was I who took the bold step to isolate the Elusimicrobia at a time when the Eridians shirked their responsibilities. I approached the Domini who connected you to me. The rest lost out. You profited. But I must remind you that Appl. E. is my discovery. Where would be today had I not ventured out into the…’

‘Silence!’, Meuse bellowed angrily. ‘I must remind you that under the terms of our agreement on Manitoud, an agreement sanctioned by the Domini, you are not permitted to disclose the origins of your discovery on that Eridian hellhole!’

‘The truth alarms you’, Alard replied firmly.

‘Truths in this situation are unnecessary but they are not inconsequential’, the Professeur retorted.

Meuse sat down again after feeling light-headed. He was aware that drink was leading the conversation astray. Alard continued to talk but words evaporated around him. Meuse stood up again irritably. He walked over the porthole.

A showcase for the abyss! The Professeur observed the irregular arrangements of the stars that hung a thousand lifetimes away. His introspections progressed on an imagined line that connected these glittering dots. Thoughts of the Clan and the Domini interrupted its needling course so that it became knotted. Their requests had always been straightforward. Vita persavero. But what if his endeavours resulted in negative yields? Such an enterprise would no longer be theirs but his and his alone. He could not afford to fail.

Beads out sweat trickled at his hairline, reflecting indistinctly in the porthole. Beyond this, the interconnecting line had now balled itself into a malignant skein.

Meuse turned away to observe the interior of this room on the interstellar vessel. Here was reality. Anything else beyond this was simply plasma bound by an unknowable gravity. He thought positively, of Clan Dœmae and their recent procurement of Sobere on Eris, of the inevitable expansion, of life imperishable. His future could be a glorious one. The conquest to end all conquests.

He smiled reflexively at Alard the hologram, his thoughts simmering.

‘The agreed truth is that you yielded those cultures from an apple’, the Professeur affirmed bitterly.

‘An apple?’, Alard inflected brazenly. He started to laugh.

‘An apple’, Meuse re-echoed. He walked back over to the amber bottle.

El-hen, having been stirred by the steady crescendo of voices in the adjoining room, woke to listen to the warring researchers. She heard little other than the closing tone of the holographic software. Meuse had ended the transmission. The faint image of Alard faded from view. She listened to Meuse as he fumbled with the decanter.

*                      *                      *

After exiting the viewing room, Alard walked swiftly down the corridor to his quarters. His mind moved apace. He thought incoherently. His head had been made woolly by the argument with Meuse. The claustrophobia of the Saturnian moon module heightened his dissolution.

His assigned lodgings amounted to little more than a field camp. The straps on his somnolence stand were slack. When the modular engines cut to cease the simulated gravity in their overnight reset, he would be jostled uncomfortably in his sleep. He had already donned a survival suit as he doubted the ability of the oxygenators and heaters to sustain him.

Before his departure with El-hen, Meuse had explained to Alard that their sponsors were insistent that he was to be transferred to this rock. Apparently, this particular moon had garnered interest from planetary oceanographers.

Where there is ice, there is life.

Earlier, when Alard trundled over from the inter-lunar landing site, he had concluded that the existence of novel microbiota in this barren landscape was an impossibility. It was an absurd place. There was little evidence of any recent excavation. The skeleton crew that accompanied him were all automated. They simply compounded its lifelessness.

In his dormitory, Alard finally found some placidity in music. The positivity, the forward energy, the rhythmic simplicity – each note played soon settled the young researcher. He resolved that would wake afresh and card the wool that benumbed his mind to make peace with the Professeur and the Clan.

He was soon drifting between different dream sequences. The pool had returned. This time he had been immersed in it. It was murky in its depths. Bubbles frothed around him. A small shard of light wavered beside him. Alard followed it as a thin line, looking upwards to its source. Kicking, his body slowly ascended.

By the time he reached the surface, his lungs were bursting. He inhaled sharply at the breaching moment. Treading gently, he observed his thoughts of □ as oscillations that rippled outwards. Her memory blurred in and out of focus. Alard had not communicated with her since their disagreement on the future of their Elusimicrobia. The distance between them was more than any starship could travail. He had been informed that she had sought collaboration with those at Pallas.

Alard began to tire. His rate heart increased. Lactate acid was poisoning the muscles. He could no longer kick. Flailing, water splashed around him uncontrollably. His breathing had become chaotic. He gasped for air. Eventually, he started to sink. Still fighting, he turned one way then the next. The light source was no longer visible. His body started to cool. The pool darkened. Breath left him.

He awoke in a cold sweat. The plastic of his vertical berth felt glossy. Recycled air still entered his lungs. The straps were no tighter.

He called for one of the moon personnel. An automaton appeared at the threshold of his camp room.

‘I wish to send a communiqué.’ His slumbrous command was met with a pre-programmed pleasantry.

Alard was escorted the short distance from his quarters to the viewing room.

He thought little of Clan Dœmae and their decree that there was to be no communication with □. Even if Meuse and his associates were alerted to his present actions, his employment with the Clan had been effectively terminated. Despite his resolve to make amends, he knew the inner workings of the Clan too well. They would not take him back willingly. He would have to force their hand. By communicating with his rival, the Professeur, the Clan, everyone that he had worked for would be spooked.

His secret was their secret. Exposure risked everything.

The optical message lanced out of the base into the blackness. Alard had thrown down his astral gauntlet.

He returned to his stand and stared up at the low ceiling of the module. A neat latticework of bevelled lines intersected at regular intervals. Alard looked down and closed his eyes. He spun on an aslant axis. Music did very little to drown out his remembrances of his quarrel with Meuse. The cold dimensions of this moon closed in. Beneath him, invisible oceans of ice threatened to shatter. Eventually, a frozen hand carried him away into a bitter sleep.

Part 5

Some distance away, in the vacuum of space, between Alard’s moon and Eris, El-hen sobbed at her husband’s decision.

‘I am afraid–’ Meuse spoke firmly ‘–that the time has come to seek a newer collaborator. One with heart. One who will achieve more… desirable outcomes.’

She looked disconsolately at her husband as he continued:

‘Why are you so upset? We have lit a fire, my dear. We must take this opportunity to bathe in its light. We shall no longer operate in the shadows. Our advances will herald a new era in regenerative medicine. Our business is life!’, he exclaimed. ‘And the extension of it. It is important that we act decisively. Others are sure to follow. We cannot allow ourselves to be usurped.’

Meuse paused. He leant over towards El-hen who lay on the far side of their bed. Her body had turned away from him. She quickly withdrew her hand away from his.

The Professeur stood up and walked towards the door, feigning an absent stare. He stepped back to place his glass on the table beside their bed. The carefully co-ordinated sequence had meant that he had managed to catch his wife’s expression. She stared out blankly. A numb acceptance was etched on her face.

‘Your work with Dr. Alard – the incorporation of Appl. E. into the tissue scaffolds, the epidermal restoration, the replication in mucosal membranes – each of these steps have been important milestones…’

‘What will happen to Docteur Alard?’ Her red eyes, passionate and unyielding, had suddenly fixed upon his as he had relaxed to pour himself a drink.

‘He shall be relieved of his position’, Meuse replied curtly as he walked back towards the porthole with glass in hand.

El-hen stood up from the chair reflexively. She pivoted at the doorway, hand gripping its thick plastic frame, about to reply except that words were lost to her.

Meuse had returned to his study of the forever darkness that reached out at him beyond the porthole. He toyed with the already-emptied glass in his hand.

A smiling, elliptical shape materialised before him. It was the stiffened linen of a theatre mask mutating from one grotesque distortion to another. Its crooked mouth contorted into an incisor-exposing sneer. The grimace reflecting back at him was his own.

Earlier that evening, the Clan had intercepted Alard’s dispatch to □. Nothing contained within this message posed any immediate danger to the organisation. Nevertheless, the repercussive potential of a future exposition weighed heavily on his mind. Docteur Alard was under his direction. He bore responsibility for his team and their actions.

His thoughts moved to his wife. He felt a sense of embarrassment. Or was it fear? Regardless, she had burned both of them. Her tears were the salt-tears of a betrayer. Their salinity would cleanse the wound that she had inflicted upon their relationship.

He returned to the intercept.

Only if Alard hadn’t acted so rashly. That Square was with Pallas. He knows that. Dangerous Pallas. An unforgiving Clan.

The Professeur shuddered. More of the tranquillising liquid was required. He manoeuvred away from the vacuous void to fill his glass. Neptune came into view. She was cataract-white from this distance. A lifeless eye forever open in faceless space. Still, their craft was making good progress. Soon the pallid planet would orb blue-green before them. Eris beckoned.

Meuse paced towards the domed dormer which protruded out from the main body of the vessel like a blown-glass bleb. He sat cross-legged in the observation chair and took in the near-three-sixty-degree view of the stars. They were languid, always ambiguous, never revelatory. Their maddening stillness opposed his own self. He looked down at his glass and the golden liquid that was being made amber by the backlight from the lounge area. Its splendour bathed him in an artificial glow.

Earlier in the evening this liquid had imbued a sense of weightlessness, leaving him buoyant and drifting. As the contents of the glass had been emptied in successive measure, the weight of the fluid had been displaced inside him. He was plunging to depths unfathomable. Graceless thoughts surrounded him on his descent. A cruel disposition served as an anchor. His ego continued to sink until he was concealed by the plumes of sand and mud on the seabed of his mind. Subjectivity drowned him. He was left with an id-flooded ballast tank and a super-ego torpedoed.

Hours passed and the night drew on. A laser-message speared out of the interstellar vessel into the anonymity of space.

The restful stars continued to observe Meuse in his dormer. Their effect was disorientating. He stared into drained glass after drained glass. Nausea laddered up his gullet.

Retching, he slumped forward. His face was pressed uncomfortably against the thick pane. Meuse watched the endless black limbs of the cosmos extend towards him. It seized his body. He did not resist; rather, he simply closed his eyes and let the blanket blackness slowly smother him.

*                      *                      *

Shots continued to reverberate inside this cramped space. A kyphotic figure moved against the backdrop of the faint emergency light. His heart raced. A heavy head spun on many axes. The brightness dimmed as spasms tore through his body.

The pain was immense.

His shooter was smiling contortedly at his reflection in the corridor porthole. Blood slowly filled the gaps between his teeth. A fragmented tooth was lodged awkwardly in his top lip. The agent of Œmbelia had not been prepared for the recoil of the gun. After pulling the trigger, it kicked back into his face. A cold pain had already set in.

He walked back into the place where the bloodied body floated limply in a tangle of lax straps. Hyper-flexed knees were curled so that the figure took on a semi-circular shape. The gangly agent could not see his head. All he had heard was three dull thwumps.

The backfiring gun had filled the entirety of his visual field before it wrecked his face. But he was sure that was where his shots had entered.

Ideally, he would have liked a clean kill with the plasma cannon discharging between the eyes – had he had more bullets, he would have pulled the trigger once more for good measure. From his crude assessment of the scene, this did not appear to be necessary. His victims survival suit had been punctured beyond repair. There was no oxygen or accessory heat in this icy space.

He laughed at himself painfully as he vacated the camp.

*                      *                      *

A long clang echoed inside the arching hanger. The thermometer read two hundred below beyond the two-metre-thick blast doors. Inside, the temperature approximated minus fifteen Celsius.

The silhouetted outlines of three hooded figures were blurred by their warm breaths that cooled beyond the dew point. Each exhaled water droplet shrouded them in deeper obscurity.

After securing the newly-arrived craft, the attendants brushed down the ice that had encrusted the exterior of this vessel, eventually fastening the skybridge to one side of its fuselage.

Two figures alighted from the craft and were met by the Le Surveillant of this Eridian spaceport. He was a fastidious man, of middle age, donning a flat-crowned kofia, his spoken French was that of an islander. He gazed attentively as the matchstick outline of the flame-haired Meuse move quickly across the gangway. An extinguished El-hen trailed behind him.

‘Professeur’, Le Surveillant addressed Meuse as if the academic commanded a military garrison. ‘Professeur, we have received an emergency transmission from the Saturnian base.’

‘I shall take it in my quarters’, Meuse replied curtly, trying to feign indifference. A small bead of sweat rippled out from his temple. He brushed this away nervously. His head throbbed unbearably. The recollection of the previous night and his late-night instructions came flooding back to him.

‘Monsieur, it has been relayed to us on Fréquence Rouge. C’est une interception urgente.’

The Comorian stood firm.

‘In accordance with interstellar protocol, I must insist–’

Bien, bien.’

The Professeur followed Le Surveillant to the communication room, climbing the metal ladders to the gantry that dangled over the hanger.

‘Meuse here.’

El-hen observed her husband closely. He nodded infrequently. His verbalisation, silent to her through the thick glass of the tower, was made more difficult by his side-on stance. He mouthed something like ‘le transfert’ or ‘triompher’. She struggled to discern which it was. Meuse hailed from Québéc. His chantant often caught her out. Her intonation Maghrébine did likewise to him. Eventually, with his eyebrows raised sullenly, he turned to face her.

For whatever reason, she had been thinking of Alard and his decision to remain on the Saturnian base. It had been his way of demonstrating his determination. There he would stand his ground.

Alard the decisive! Principled Alard. She smiled as she thought of him.

Mon amour’, Meuse returned grievously. ‘Docteur Alard has been shot.’

Part 6

Alard awoke to the percussive sound of the ventilation unit. It spun cyclically. A deep thrum reverberated dully like a tabla. There was the glistening pitch of a triangle. He continued to imagine this scene as a strange symphonic dance.

His last memory had been lying bloodied in the rudimentary infirmary on that Saturnian hinterland. His transfer from their medical facilities to Ilion had been swift. Dr. El-hen had made the necessary arrangements. Her insistence that the novel Dœmaen tissue scaffold should trialled on Alard was met with congruent voices. He remained in a semi-conscious state. Oxygen tubes and intravenous lines filtered into him.

The soft tissue injuries to his hand and heel were minor. Dœmaen-derived neo-tissues were implanted to correct these.

His eye proved trickier. The bullet had pierced the cornea, rupturing his pupil and lens. Each had blown inwardly. The vitreous humour having escaped and long dried into his lower eyelid. His eye was deemed unsalvageable.

Meuse had insisted that Alard’s epigenetic signature needed altering. Full chromosomal supplanting was required, a technique that the researchers at the Clan had failed to master during their in vitro studies. Meuse sought the collective opinion of the resurrectional cognoscenti on his payroll. The first first-in-human trial of this experimental technique was sanctioned.

In a state of desperation, El-hen sough to convince the ailing Alard that this method was the only way that the Clan could save his sight. Whether it was the analgesia talking, or his own scientific intrigue, Alard agreed to this course of treatment.

‘Has □ replied?’, El-hen was asked. Alard had been met with silence. He knew that any trial of this magnitude was commercially sensitive. Pallas and her representatives could have no knowledge of it. A portcullis had sealed the Dœmaen research facility.

Alard had been born an Ilion, yet he was soon to abdicate his genetic line. Complete recombination of his DNA followed. He cared little for who or what he was or would become. He lay with his eyes bound. Appl. E. was infused. His memory was vague thereafter. Gene editing regressed him. The wheel of life came to a slow halt. He returned from adulthood to enter a pre-infant state.

Reversing foetal-further, the backpedalling gathered speed, until eventually, pluripotent cells spun out between the spokes in a dazzling array of nascency.

The wheel spun faster. His primogenitors proliferated, spiralling to disappear to reveal their procreators. The colours of carbon were the last he saw before he drifted off into an unconscious state.

Alard’s stay on Ilion was short-lived. In the days that followed, his new eye, a xenograph with his host immunity altered, had failed. Those in the hospital room ran through an exhaustive list of possible causes. Anti-microbial resistance, or potentially hyper-immunity from the recombinated signature? Maybe the bioink that was too thick? It could have been a simple infection.

The risk of rejection was supposed to have been removed by self-culturing and xenobotic-driven immunomodulation. Had it been the Appl. E.? The research team concluded that controlled studies were required. Plans were drawn up for future trials.

Those caring for Alard resolved to be unresolved. Alard’s bioengineered graft was being destroyed by his own cells. The cellular therapies he had received rendered him genotypically different. He had been changed irrecoverably. Once given, the ‘mark’ of the maker remains implanted within the nucleosomes and mitochondria.

What had been done could not be un-done. Alard was a Dœmaen now.

Meuse ordered the immediate discharge of his patient. Alard was sent to his homeland of Manitoud.

*                      *                      *

Blood seeped from his hand and his eye and his heel. The punctured Alard had been making the printed green grasses of the mountainside on his duvet blue. His hand grasped the leaf blades and tillers. He writhed in pain for the pain was still immense.

‘You come from the Reservoir of Xenos. You left as an Ilos.’

The voice of □ bored deep into his head.

‘Yet here you are, lying before me naked, ashamed, dying. Your tissue has been soiled following the failed experiments of the Clan.’

□ had changed since Alard last saw her. She was no longer an opaque screen. Her dream had always been to become embodied and she had achieved just that. Standing taller than any man or woman of the present age, her figure was slender and supple. Her black hair fell in thick waves. Bright green eyes bore into his very being.

‘I am an Ilos!’, Alard coughed uncomfortably. ‘It is my right–’

‘You resigned that right when you supplanted Ilion for Clan Dœmae. Your lymphocytic profile, your tissue signature, they are all stained with their mark. You cannot simply beg to be reverse-engineered to an Ilos again.’

Blood congealed through the gaps of Alard’s fingers as he pressed his palm tighter over the wound on his broken skull. The whites of his eye had become blood-filled. Arching his head back, he manoeuvred his body, coughing to clear his chest to ready himself to reply.

‘No! Before you ask again, the answer is no. It is not possible. I cannot regenerate you’, the scornful □ said pre-emptively.

‘You cannot, or you will not?’, Alard spluttered. The damaged muscles of his uncovered eye spasmed causing him to cry out in pain. He pressed his palm down harder.

He remained in this room, sleeping beneath the floral designs. His body moved in the sheets at frequent intervals to change the dimensions of the bright mountainside. The phosphorescence of the yellow light made his headache and nausea worse.

His euphoria soon abated. A calmer demeanour predominated in this stricken man. Occasional bursts of rabbling protest followed. Eventually, the room attained a strange silence, interspersed only by rapid rushes of deep breathing that would decrescendo to shallower sounds. His thoughts became confused, time-pressed, until – they faded to nothing.

Alard lay dead in the efflorescence of this room. His body rested amongst the violet colours of the sheeted flowers. A gentle wind had moved insouciantly through the narrow-tufted leaves of the white asphodels. A door opened. His body was transferred swiftly down the corridor towards the ejector.

His death had probably been preventable. □’s decision had been a conscious one, yet her passivity had been feigned to the fallen scientist. Power, or rather, the wielding of the broadsword of power, had always felt light in her algorithmic hands. But after Alard had been struck down, □ reflected how something as sharp as this could feel so blunt.

Years had passed since their bitter parting. She had not been prepared for Alard’s return. Despite all her strength and computational prowess, □ was left feeling something altogether different. She had never encountered the death of a patient before.

Although she had developed life-saving techniques with Pallas, she had elected not to deploy these to save Alard. Had this been out of spite? Or had she simply yielded to her algorithmic processes that assessed the probabilities to conclude that her decision was the correct one?

His body lay before her as he approached the anteroom of the ejector. Whatever the reason for her decision, it was inconsequential now. Death had consumed Alard. Even in this advanced age, anti-clockwise turning of the inscrutable hands of time was impossible.

In the days that proceeded his death, □ had learned that the bullet removed from Alard by the Dœmaen pathologist was that of an Œmbelian weapon. The fired shots had been far from clinical, yet they had proven fatal.

She wondered why those working at the Clan had transferred him to Manitoud. They must have known that he was dying. His tissues had obviously necrosed even before his arrival to this mountainous place. It was highly probable that there was not enough viable tissue to proceed with any meaningful reconstructive efforts. Had they data that she did not?

She had been led to believe that their techniques were at an early stage. Perhaps they had developed a method more novel than hers? She even considered the possibility that this had been an unsuccessful attempt by the Dœmaens to seek collaboration with her superiors at Pallas.

In reality, □ existed in a universe that was more complex than her algorithmic processes could quantify. Alard was sent to her to die. The Clan’s data were at a pre-clinical stage. Commercial interests preceded all else. Collaboration would never be acceptable in this cosmic game.

The Dœmaens had played a devious card. They considered □ to be their greatest threat. Conscience, morality, superego – they were well aware that personality, no matter how artificial the algorithm, was desired by the likes of □. The Clan harnessed the power of sorrow and torment. □ remained in a state of emotional infancy. By weaponising her creator, the Clan had launched a silent assault on all these aspects of her developing persona.

Alard had been deployed on his final mission to impart grief on an algorithm unexposed to the harsh realities of consciousness. Through this, □ would eventually be extinguished.

*                      *                      *

The long walls of Ilion disappeared from view. Feet-facing forward, Alard lay prone as he hurtled through space. A pulsed coil had launched his funeral pod into the lifeless vacuum.

Within the confines of his rectangular box, a screen flashed intermittently above his head. Alard’s upbringing, his training, all his marvellous discoveries – all these moments of his life played on repeat.

□ wondered whether she and Alard would not only progress through space, but time itself. The Thanatologist in the anteroom of the ejector had told her that some even make it to the event horizon of a black hole.

She had elected to share this cramped space with Alard as he progressed away from this life, perhaps unto a next one. □ had been uploaded to the confines of the circuity of the ten-by-ten-inch monitor above his waxen features.

Their journey would turn out to be a short one. The cosmic coffin unceremoniously careened off other coffins that littered the surrounding atmosphere of Manitoud, clustering together as flotsam.

□ persisted in personification. She possessed an ovoid face. It was featureless. She spoke to Alard. He was death-mask-calm. His skull one-eyed. Her laugh was made coarse and guttural by the poor-quality audio output.

Over time, the power waned inside their coffin. She recalled the times that Alard had guided her here. The pretences she had programmed into the Eridian systems had always been false. Detours from their scheduled trips to Dysnomia, the small moon that hung languidly above the base on Eris. Their small craft would pass through these very funeral fields on their way there.

Alard would dangle weightlessly to attach hooks to these matt-black containers, winching each one in turn towards their craft. It was a soundless task in these vacuous reaches. Inside the cargo hold, the crude hammering and scraping to crack open the coffins was cacophonous.

Alard cast each cracked coffin-shell to begin on the next one. The cut garments of those he exhumed were retained in a separate bag to the tissue samples. These he would eventually weave into in small patchworks.

The fabric that binds us.

Upon completion of this heinous work, he and □ would continue on their journey to Dysnomia to deliver their Eridian-agreed payload. They would deposit the surplus evidence of those they had exhumed in orbit. The thrusters of their craft would turn them away from the dark face of Dysnomia, to return to the Eridian laboratories.

She laughed at Appl. E. and its ridiculous nomenclature.

Alard the unashamed. Alard the wistful. Alard the visionary!

It had been in these very same cadaveric fields that they now found themselves in, amongst those they had sampled as they slept eternally. □ and Alard had agreed to waken these poor souls.

The harvesting of your flora will bring life to others, she had reassured them.

□ hoped that their coffin would be spilt open in the same way, releasing them into the openness of space. She imagined the steely glint of someone else’s scalpel cutting into Alard’s abdomen, spilling out the contents haphazardly. His gut-decayed microbiota, the Elusimicrobia, would be corralled into specimen pots and transported to blindingly bright rooms for centrifuging and incubation. Bacterial cells, cultured exponentially, would be added to polymers and hydrogels, serving to halt tissue rejection.

A perfect Promethean process. Tissues growing to die to be replaced to grow and die and be replaced again. Life persisting indefinitely. The light inside their coffin flickered as the power source began to dwindle. □ in her new state of consciousness wondered if those staring skywards on Eris would continue to perceive them as a coruscating star. Her primary sequencing returned with a more objective outcome, concluding that stars, like their observers, are only born so they can die.

A world of sonic/musical discoveries reviewed by Dominic Valvona. All entries in alphabetical order.

Peter Evans’ Being & Becoming ‘Ars Ludicra’
(More Is More Records) 17th October 2025

Without doubt one of the most exciting, dynamic and explorative trumpet players and band leaders on the avant-garde, psych, hard bop and beyond jazz scenes during the last decade, the New York-based musician and noted improviser Peter Evans once more lends his hallucinogenic, mirage squeezes and spiral climbs and his higher octave pitched, piccolo shrills and freefalls to another inception of the Being & Becoming ensemble: his primary band since its creation back in 2017.

Marking another “chapter”, encapsulating the small evolving group’s extensive touring schedule during the period of 2023 to 2024, the Latinized Ars Ludicra (which I’m sure translates as “sport arts”) captures a quartet (extended to a quintet when including the highly regarded and acclaimed soprano and flutist Alice Teyssier on the album’s finale, ‘Images’) fully trained up on an intensive live regime of flexing, dynamism and experiment. It’s said too that the group have widened their scope and extended their range of instrumentation to embrace sounds previously missing from the last two albums. This is a band, it’s pointed out in the accompanying literature, that has moved on much since their last outing in 2022, under the ‘Ars Memoria’ banner. At least a different energy anyway. But despite splish-splashing with constant resonating and crashing cymbals and the tight rolls and roll offs of Nigerian-American drummer  Michael Shekwoaga Ode on the opening oasis promise of ‘Malibu’, there’s a balance struck between moods and action, with some passages and compositions breaching the twilight zone, the astra, a mirage that has more in common with Miles Davis and Wayne Shorter’s more untethered cosmic drifts, and their more abstract feels of transcendence and floating in a psychedelic nothingness on the outer reaches of space.    

With the glassy bulb-like play, busy twinkled starry rings and doorbell ding dongs, cascades and translucent vibraphone spells of the Chicago-born but NYC based Blue Note artist Joel Ross these spacy and out-of-body elements recall both a magic and a slipping off into transcendent zones of Bitches Brew and the like. Although Ross could at any one time evoke glimpses of Roy Ayers, Gary Burton and contemporary peer Yuhan Su. There’s the melodious lightness of the Modern Jazz Quartet played against more post-bop and freeform experimentation that often lifts, but also casts out into the near surreal manifestations of dreams. Often it’s played against what I would call anti-music that’s more in keeping with the sound of the Soft Machine and the free-form, and at other times with the jazz-fusion of Weather Report, especially Joe Zawinul (an electronic apparatus and number of synths standing in for organs, electric piano and the like): I’m hearing this on the group’s extended Miles-esque blues-psych-trip and expressively agitated and riled-up cover of the late fateful Siberian poet and punk-folk icon Yanka Dyagilera’s ‘My Sorrow is Luminous’ – a sad tale really, born into the USSR, a fated progenitor of the underground punk scene, Dyagilera sadly died at the age of twenty-four just as the Berlin Wall came crumbling down and the transition from paranoid Cold War empire to free market chaos and oligarch mayhem. Running with the original sentiment, the original lament, and underscored with the historical context, the group nevertheless take it into uncharted territory – like a missing link between Third and Bitches Brew, but with the addition of Toshinori Kondo taking turns with Miles at lead.

The rest of the album features the neutron star electromagnetic radiation beam emitting inspired ‘Pulsar’, ‘Hank’s’ astral trip and the semi-symphonic classical bluesy meta contemplation of ‘Images’. On the latter, as mentioned earlier, guest flute-swapping virtuoso Teyssier provides flutters, flits and the sense of a mysterious woodland universe. ‘Pulsar’ has bounded and stick like Afro-Cubism drums, a hint of Jef Gilson, almost a touch of Chet Baker and vortex hallucinations of the atomised and of science. Evans trumpet all the while is curving and spiralling into infinity or drifting over amorphous borders when not shortened and high pitched, squeezed and tight.

I’d like to just mention the final member of this ensemble, Nick Jozwiak on bass, who moves about quite independently of his foils. Hardly conventional, that bass is flexes but offers little drive or rhythm but bobs up and gives a semblance of direction and timing. The multi-instrumentalist and avant-garde “hired gun” is also credited with synth duties, much like the majority of his colleagues, blending the two instruments together throughout an album that feels cosmic but not so much technological and futuristic, nor electronic.

Evans made our choice albums list last year with his trio (flanked by Koma Saxo and Post Koma instigator and bassist Petter Eldh and New York downtown experimental rock and jazz drummer pioneer Jim Black)and their Extra album. And I got to say, this third album from the Being & Becoming troupe is set to make this year’s list too. Evans is on a roll so to speak, with an album of quality performances and unified dynamics. They’ve managed to capture the live spirit whilst offering plenty of passages of thought, reflection and the cerebral, and to progress ever forward. It says so much about the quality of the group and their latest album, that it was recorded at the rightly venerated Van Gelder studios in New Jersey, with its 60 years plus history and status as a national treasure in the jazz world, home to recordings for Blue Note, Prestige, Impulse! And Verve. A stamp of real excellence, the spirits and vibes of that iconic studio seem to have materialised on the recording: A real recommendation if ever there was one.

Will Glaser ‘Music of The Terrazoku, Ethnographic Recordings From An Imagined Future’ (Not Applicable) 24th October 2025

Opening the door to possible worlds and to possible musics (in the sense of Hassell and his peers’ Fourth World experiments), prompted by climatic disaster/change, Will Glaser’s sprawling ambitious work of eclectic and amorphous, porous and developing peregrinations imagine societal changes through the merging of cultural sonic threads and archeology.

The London-based drummer, electronics manipulator, in-demand foil, and instigator of a multitude or projects has dreamt up an epic double-album format of environments, places and scenes from a world in which all continents seem to have conversed into one super soundscape of influences. Glaser has surmised a backstory, a springboard for his latest project. From a transitional stage in the wake of ecological collapse emerges a new “Earth tribe” network of surviving communities called the “Terrazouku”, resolute on living in harmony with nature whilst resisting the destructive urge to dominate. This vision unfolds over a generous offering of near uninterrupted soundtracks, traverses, expressions and rhythmic workouts.

For the first solo operation – that’s composed and produced entirely by Glaser – in a career that’s filled with collaborations, Glaser has reached out to an enviable who’s who of the current experimental scene in London. Names familiar to Monolith Cocktail readers, such as the composer, bassist and experimental vocalist Ruth Goller, the in-demand reeds player James Allsopp, vocalist Ed Dudley, and reeds experimentalist Alex Bonny, join the French violinist Agathe Max, improvising guitarist, composer Tara Cunningham, extremely busy drummer/percussionist Jem Doulton, Irish vocalist, composer Lauren Kinsella and cellist Kirke Gross. There are crossovers with the revolving lineups of both Sly & The Family Drone and Scarla O’ Horror, but also more than enough connections to each and every artist and musician involved across the album’s sixteen tracks. Some make a fleeting appearance, whilst others linger on for a few tracks. But they all increase the spheres of influence, the scope of the project to take in a near inexhaustible range of musical strands and ideas congruous to the evolution of this story.

Imagined as ethnographic artifacts, it seems that Glaser’s dreamt-up world returns to a primitive-like state of the electro-acoustic for a majority of the album’s length. An amalgamation of tribal naturism, the hermetic, esoteric, mystical and primordial, the album’s four, more or less seamless, sections suggest a real depth and quality.

At the outset we are transplanted and submerged into an environment both recognisable and mysterious. The ‘Then It Wasn’t’ opener manages to evoke gamelan, the go-go rhythms of David Ornette Cherry, the early work of the Aphex Twin, percussive fourth world ideas of Ganesh Anaadan’s Self Made LP with Hans Reichel, Test Dept., Wendy Carlos, the near anti-music drumming splish-splashing of free from jazz, and a taste of Sunburned Hand of Man. The first few tracks are what you might called long form, or at least over seven minutes in length, but tracks constantly vary. And so, all these influences develop in their own time. By the second track (‘Sunshower’), which carries over the ending from the last, the mood changes again with a sci-fi evocation of Komsische music and the Blade Runner score. The disembodied aahing and wooing voice of Ruth Goller can be heard alongside Agathe Max’s searing and stirring violin on a track both otherworldly and yet anchored softly and hauntingly towards classical ambient music. ‘Illusions of Abundance’ meanwhile, takes us into a twittery strange vegetation environment of shuttered and serialism style percussion, before developing into a lumbering Beefheart, Faust and Staraya Derevyna like bluegrass-psych trip through Raymond Boni’s jungle. By the way, the wild languid and out-of-shape guitar is courtesy of Tara Cunningham.

Side B, as it is mapped out, passes through vague suggestions of metal bowls and tubular bell like struck and shimmered Java and Tibet, and blown winds, before the dreamy, drifted and effected bass clarinet of James Allsopp circulates and waddles – duck like – in a style reminiscent of cosmic jazz, John Laurie, Constia Miereanu and Hans Koch on the trio of ‘Howl’, ‘Only The Wind’ and ‘Wrath’ tracks. This phase ends on the pleasantly entitled ‘When The Clouds Pass’; a track that seems to broadcast via the use of transduced bird tweets across an Alejandro Jodorowsky soundscape of mysticism.

The rhythmic phase if you like, Side C starts with a sort of shakers and shackled Afro-Thai type of bounding and bouncing percussive apparatus beat (that’s Jem Doulton’s introduction to this album). Alex Bonney’s flittered, almost digeridoo-like recorder flutters and chuffs over the top, and at times evokes the pan pipes of South America. The following track, ‘Bees’, however, is an entirely different proposition. This is where the electronics really kick in, with a hive mind activity of bees turned into a digital buzz and Germanic techno shutter beat. There’s more of this on ‘Pylons’, which matches lunar birds with dub and the pummelled sound of Room of Wires. I was also picking up hints of Front 242 and the Storm Bugs on this echoey electrified magnetic off-grid fourth world experiment.

Change is in the air and wind again on the final side of this double album spread. Richard H. Kirk like shouts, hysterics reverberate and are funnelled through a static charge and magnetic bombardment of friction and the electrically charged on ‘There’s Shit In The River’. Ed Dudley rages, swears and screams in fits to a distorted crushing of Cabaret Voltaire and Nitzer Ebb industrial primitivism, whilst the waters constantly run by. Copters above the brooding, underscored with menaced tides, continue a wash of the ominous and uncertain over a quartet of tracks steeped in strange jungle vegetation and alien outland mystique. Reimagining tribal gatherings, the convergence of polygenesis communitas unifying on a ravaged Earth that’s been reclaimed by an untamed nature, there’s some very strange and yet recognisable goings on. The near forlorn and sorrowful finale, ‘Dedicated To All Living Beings Who Suffer’, features Lauren Kinsella’s stark and yet grieving and felt reading of a poem by the Chinese poet and activist Yang Licai; played out to the Simon McCorry and Alison Cotton-esque avant-theatre-classical deeply grooved, soulful and wept cello of Kirke Gross. Both beautiful and poignantly full of a harrowed, sacrificial and political language, in the end it all comes down to the life-giving force of “water”. It’s an emotional end to a remarkable and ambitious album, which succeeds in holding the listener’s attention to the end.

Recordings from a Cassandra purported world, the warnings unheeded but with no real knowing grasp on reality, Glaser has built a possible future soundscape and cyber tribal rhythmic primitivism on the sonic fuel and carbon of the world as it is now to great effect and depth. From Mike Cooper to Glove of Bones, Fernando Grillo, John Bergamo, Paul Burwall, Tonto’s Expanding Head Band, Bush Of Ghosts era Eno, Jon Hassell and Jon Appleton’s work with Don Cherry, there’s a vast scope of rich influences on display and environments to absorb. An incredible project with untold possibilities that really does feel like a retrieved artifact from a future yet unmade.    

GRABENFUSSS ‘The Horror’
Released 5th September 2025

I’m going blind on this recent submission from the obfuscated Glasgow magi behind this amalgamation, chemistry and incantation of hauntology, hermetic, sci-fi, tech, and righteous horror. Fans of the blog (always a good start with any request for a review) for a while, and materialising in my adopted city home of the last decade, this shrouded invocation deserves its anonymity, its mystique.

Their latest initiated rites drama is very, very good. And despite describing their own sound as lo fi sorcery, there’s nothing that lo fi about this ambitious, grand gestured astral and tormented projection and esoteric vexed minor opus. For there is a scale here that seems large and almost cinematic. From the increasingly agitated and riled language of the shriven and the post-punk acolyte of cryptic Gothic ceremony and spells, there’s both an alien and all too harrowed conjunction of worlds; of our trails and oppression under the spectre of technology, the unkindest of political systems, the threat of austerity, war and violence. At times the vocals, part Cabaret Voltaire, part Pop Group, but all Scottish indignation, summon up the arcane. There’s symbolism, the cryptic, the sacrificial, the moon child and the witchery at play, all with a 21st century twist.

Dealing with death in its many manifestations, there’s a serious theme at the heart of this work as it opens on a seemingly lighter bit of play and the sample/recording of a young kid’s take on the subject: When you die, your head falls off, and, and, your body goes into the attic, and, and, and your head goes off into space.” The accompanying incipient drones, charging of motors and generators give it a sort of Lynchian and creepy edge, however. This is ‘Company Robot’, a track of data, electronic rhythms, persistent horns, up beats, the cursed and brooding, the disconsolate and highly atmospheric. It crosses field recordings, magik and the machine to sound like a communal disturbance of the already mentioned Cabaret Voltaire, Coil, Ramleh and early Luce Mawdsley.     

The soundtrack – as it would make a bloody good one – changes between Gothic industrialism to Kosmische, bounced techno and the chaos of a rolling cascade and pummel of real drums, and the echoed, resonated strokes and picks of a recognisable electric guitar. ‘Light Years Away’ is in the twisted techno camp, bobbing almost to a transformed recall of the Sabres of Paradise and Renegade Soundwave casting down fire and brimstone before a cathedral of lit rays takes over from a clash of drums and the growing noise of transmitted interference. ‘Broken Kingdoms’ starts off with a farty, flutter and sonorous drones, and yet is what I’d call ambient. There’s arching bends and the pierced sounds of hidden alarm, a shake of wind chime blown by esoteric winds, and the near munching of ariels. There could be a UFO present, oscillating overhead, its magnetic fields vibrating. But all of this is interrupted by the roll and smash collider of punk-Kraut-psych-rock drums and an unhinged vocal that repeats in a deranged mantra on “dignified death”. ‘Space Death’ is switch-manipulated percolation of the Pop Group in chthonian mood: Death haunts this doomed orbital convulsion of tongues, utterances and pain as tentacles thrash. Suddenly there’s a broadcast snippet from the news; a riot, police called as the audience at a musical behave with vulgar selfishness: the growing problem of decorous behaviour, chatting away and singing louder than the actors. This being Glasgow reimagined as a portal to unknown dimensions, there’s even a mention of the city’s football legacy with a Celtic Vs Rangers match. 

In amongst the more extended tracks, there’s a number of vignette duration recordings coded and numbered under the ***PLSVHF*** headings. Of these, ‘No. 19’ features electronic arpeggiator, visitation transmissions and the odd snatch of a broadcast (something that repeated throughout the album) and a sort of quasi concrete manipulation of the orchestral, whilst ‘No. 31’ has more of a lunar rippled belch and guttural cosmic feel to it – this is where that guitar I mentioned appears.

Overall, imagine a horror show combination of Conrad Schnitzler, Locrian, Hunting Lodge, Yellow Swans and Escupemetralla evocations. Oh, and by the way, GRABENFUSSS is German for “Trench Foot”: make what you will of that; a harbinger of discomfort and agony. A thoroughly curious and tormented work of cosmic-harrowed wrath.  

Amira Kheir ‘Black Diamonds’
(Sterns Music/Contro Culture Music) 10th October 2025

An offering of love, respect and homage to her roots, Amira Kheir re-energizes, makes anew and personalises traditional songs from a number of admired songwriters and crafts new magical mirage-style material on her incredible new studio album Black Diamonds. The fourth such self-production, released under her own Contro Culture label in union with the specialist UK label Sterns Music (responsible for introducing the music of such luminaries as Salif Keite, Youssou N’Dour and Franco & OK Jazz to these shores), offers up a dreamy and atmospheric songbook that seamlessly flows between musical styles and across the porous borders of Eastern and Western Africa and the Middle East. All to the benefit of Kheir’s ancestral homeland of Sudan, which positively shines like both the material and proverbial diamonds of the title.

Projecting connections to an afflatus and poetically envisioned land, Kheir beckons the listener into a world of positive vibes, of sweetness, of the lilted, and yet no less yearned, hungered and passionate. And so, the music and scene-setting lyricism of Fadl Almula, Abdel-Gadir Talodi, Abdel-Rahman Alrayyah and Isa Barwi are woven into fresh perspectives on the country and its surrounding neighbours, cultures. Paeans of a kind to the loved sit side-by-side with lyrical magical descriptions of Sudan’s topography and its fauna (the comforting recollected mentions of the neem and palm trees on the longing, dry rattled and spiritual Afro-jazz, with classical strains, ‘Ard Alafrah’, which translates as “land of happiness”), and such important city links as Umdurman, which sits on the western banks of the replenishing Nile (the often spelt or referred to as Omdurman, a major city in the Sudan located within the famous state of Khartoum, is mentioned on the rustically spindled, Tuareg-like and quasi-reggae riffed ‘Sundani’, “my Sudan”). I must add at this point, the piano that appears across these songs reminded me in part more of the South African jazz pianists Nduduzo Makhathini and Abdullah Ibrahim.

Vitally important to the Sudanese-Italian singer-songwriter, is language, with songs sang in Arabic, English and Italian; the links to cultures African, Arabian and European, and the blending of all three, setting her music and vocals apart. Winning a heap of plaudits for that unique eclectic voice, Kheir merges the influences of desert song with jazz, neo-soul, R&B, funk, desert-rock (you can feel the sand itself beneath your feet on the drifted ‘Zenuba’, which sounded in part like the brilliant harmonious dune-shifting mirages of Tinariwen), the Persian and the more traditional styles birthed in the Sudan. Ranging between the earthy and ethereal, the soulful and encapsulating, each song shows a variation of tone, performance and charged emotion: relaxed and beckoning, floating and encapsulating.

The depth is hardly pushed or forced, and yet there is a well of passion and stirring endorsement for a country she obviously loves and beautifies. There are some songs that pass the eight-minute mark, allowed to unfurl gently, soul searching and weaving a dream blanket of atmospheres that are magical and almost hypnotising. Perhaps more than ever, a celebration of such idyllic climes is needed, especially when faced with the devastating humanitarian crisis in the country right now.

But by lifting spirits, revitalising the beauty, grandeur, the magic and the atavistic, Kheir lightens up her vision of an enduring, fascinating, homely, nurturing and enchanting Sudan on a magnificent album of diaphanous and yearning beauty. There’s every chance this will make the end of year lists as one 2025’s most special and captivating albums. This is real soul, reimagined and once more connected to its original roots.  

Elsio Mancuso & Berto Pisano ‘Nude Per L’Assassino’
(Four Flies Records) 17th October 2025

I’m sure many fans of the pulp Italian Giallo phenomenon will disagree, but as with most examples of this shock and gore, salacious and voyeuristic exploitation genre, it’s usually the soundtrack that has the quality and not the cinematography and storylines: as influential as they both are, a bridge to the slasher cult in both the US and UK. If wrapped up in some pseudo-European style, and in a foreign language, with film directors, screenwriters and actors alike pulled from more discerning productions, many of the films that were produced during the “golden age” (we’re talking the 60s and 70s) of Giallo were pretty crummy, exploitative and titillating.

There was of course the odd example of female revenge, or a female led cast that didn’t just lose their clothes, or graphically meet the most creatively lurid death. And many leading directors to this day pontificate about its iconic cinematography, its style and its influence. In the former camp, the latest Italian cult favourite to be lifted up by its far superior score, under the facilitation of the Four Flies Records label, Nude Per L’Assassino is one such revenge style flick (spoiler alert), with its racing leathers and motorcycle crash helmet wearing murderer exacting bloody vengeance on both the doctor responsible for the bodged abortion of a fellow model, and all those that either aided, abetted or showed callous  disregard for the victim: this included a number of male photographers from the film’s Albatross Modelling Agency and some of its models too. To be fair, most of the victims are incredulous perverts, rapists, and vacuous individuals out to climb the slippery pole.

If researching this title, buried deep within the psyche of cult film buffs, you will find a repeated criticism: that by the date of this film, originally released in cinemas on the August 26th 1975, the genre had become stale, and that this movie was more or less an exercise in Giallo bingo card checklist ticking, with the style now “codified” (as someone else put it) and chiselled in crypt stone. The label describes the film as “the most sexist, sleaziest, and most unhinged Giallo film of the decade.” That reads like an endorsement if anything; a real temptation if ever I heard one.

But worry not, for the soundtrack carries more weight, and features connections and threads that link back to some of Italy’s top pioneering composing talent.

Believed lost but recently found and dusted off by the specialist Italian label, remastered from the original tapes, packaged too in a new “lavish” vinyl edition, Nude Per L’Assassino (or as it’s more well-known in the English-speaking world, stripped of its romantic Italian language, reduced to the blunter and creepier Strip Naked For Your Killer) is now being released just in time for its 50th anniversary. Why should we be excited? Well, probably because it’s pretty cool, and that this occult, hallucinogenic, romantic even, and funky surreal soundtrack is a rarefied find from some of Italy’s most notable composers and musicians of the period. Well, one of the names that adorns the title, Berto Pisano is at least in the running for that status. Pretty much carrying the credit, the only name acknowledged on the film itself, whilst erstwhile partner Elsio Mancuso’s name only previously appeared on the Italian Public Performance Rights Organization (PRO) registered paperwork. There’s very little about Mancusco however online; mostly references to collaborations with other notable composers working in the fields of suspense and that most Italian of Italian genres, the Western – namely the very un-Italian but synonymous with its cinema during the 60s and 70s, composer Vasco Vassil Kujucharov. Pisano, however, has a very well documented CV and history. The Sardinian born composer, conductor, arranger and musician started out as a double bass player on the burgeoning post-war jazz scene, playing with such movers as the Quartetto Astor (later the Asternovas), but also appearing in fellow Italian luminary Peiro Umiliani’s famous octet. He’d also cross creative paths with another of the revered Italian composer’s Armando Trovajoli. Outside jazz, and mostly famously perhaps, Pisano began a successful collaboration with the popular three-octave stretching soprano singing sensation Mina (Mina Anna Mazzini). His most highly prolific career move was in the realms of TV and film, composing around 50 scores and soundtracks across two decades: a mere sampler of titles being A Game Of Crime, Django Kills Softly, Kill! Kill! Kill! Kill! and Naughty Nun.

Making an appearance on both smooched, lilted jazzy serenading and cupped trumpet is the Italian flugelhornist and trumpeter Oscar Valdambrini. Bringing some much-needed class, Valdambrini’s resume includes stints with Rex Stewart, Gianni Basso and Freddie Hubbard (who’s influence I believe can be heard suffused amongst the reeds on this score), and arrangements with the already mentioned Trovajoli. It’s claimed the Turin-born maestro was a pivotal figure in the birth of modern jazz in his home country. His wafted pines, tender declarations, cornet-like swaddles, early Miles-esque passages and more Euro-Latino Herb Alpert spells add a certain jazz tinge to the supernatural suspense and spine-tingled dramatics.

And yet, this soundtrack’s opener kicks off proceedings with the bass and hi-hat of a Temptations or Curtis Mayfield record. Near Orleans and NYC back dropped Bondian with funk and soul influences, plus a hint of Lalo Schifrin thrown in on the horns, the film’s title track features scaling strings and tight breaks more in keeping with Motown than Italian slasher vogue. And yet, the second track, ‘Fotomodelle’ (the not so difficult to translate “photo model”) is almost reminiscent of Bacharach: albeit in a dippy Euro kitsch of lush romantic serenades and wooing female voices and skin flick signatures. For the record, so to speak, this package includes a number of variations on each of the main themes and pieces of incidental music, including the ‘Studio Fotografico’ bracketed version of the former, which has a little more sass and sexiness, a Hammond organ and lilt of Alpert trumpet, and the ‘Lounge’ version, which is just that, a jazzy and Bossa-like lounge smoochy take of bub-a-bub female vocals and deliciousness. 

In the surrealist forbode category, and nightmarish zone, ‘Follia Omicida’ (“homicidal madness”) rolls in the timpani and tumultuous warnings, and ‘Occhi Senza Sguardo (Voce e Organo)’ (“eyes without gaze: voice and organ”) sets an elegiac funeral scene with its slumber church organ creeps. There are shivers on the psychologically dark prompted ‘Scivolando Nel Buio #2’ (“slipping into the dark”), and something bordering on sci-fi hypnotising terror on the female gasped earlier version of that same track. You can also pick up the use of Hitchcockian blade striking strings and other scares along the way. But for much of the soundtrack, it’s an uneasy entwined harmony of dreamy, even druggy, death and beautified satin thriller.

There’s a melancholy, a sadness, and yet friction of that Giallo signature creeping and stalking menace. But the quality is pretty good, the sound surprising in places. Each track is played with professional skill and respect and the art of description. And rather handily, it’s being released in time for Halloween. Four Flies have saved a classic from the snatches of obscurity whilst showcasing a killer soundtrack.    

Sebastián Rojas ‘En La Orilla’
(Buh Records) 17th October 2025

Under crimson skies on the metaphorical, allegorical shoreline, bathed in a synthesized production of synth-wave, cold-wave, new wave pop and at least the spirit of Bolero, of South American experimental and roots pop, the Mexico City scene composer, musician and singer-songwriter Sebastián Rojas plots a solo journey from emotional maelstrom to stability on his debut album. Having previously played guitar in a number of bands from the homeland, straddling the downtown rock, post-punk and art-punk scenes, and collaborated with various artists, Rojas has decided to go it alone. Well, to a point, as he’s asked a few friends to play on that burgeoning venture.

Bringing along his The Americojones Experience foil Américo Hollander on bass, the Demencia Infantil’s Emiliano Tinajero on saxophone, the polymath Nicolás Fernández on synths (he also co-wrote the album track ‘Míranos’, which translates as “look at us”) and key Mexico indie scene figure Hugo Quezada (of Exploded View note) to produce, Rojas is backed by a congruous ensemble of sensitive, attuned and explorative musicians whilst navigating the choppy waters and emotionally blue tide that both beckons and backs away in languorous retreat. In addition to that lineup, there’s such a breadth of subtle instrumentation at use throughout the new album; from machines to the more organic use of acoustic guitar, percussion and the vibraphone (well, it could be a marimba too, but it sounds like the glassy bulb notes of Japanese environmental music meets The Thompson Twins and Cage on the magnetic ‘Marea’ (“tide”).

Informed by a run of bad luck, and a low point in his life, En La Orilla (“on the shore”) was born from a chain of events that began when Covid hit in 2020. Rojas was at the time on tour with his former band, just as they were about to take off, but for obvious reasons as the pandemic’s lockdowns curtailed international travel, was left high and dry, forced to return home broke from Berlin. To add to all the uncertainty, the career limbo, his mother fell gravely ill. And yet, Rojas, we are told, found love and the impetus to rebuild from the setbacks of the Covid crisis. The results of which are unfurled, wrapped in the enigmatic, and more obviously emotionally charged, spread across an album of atmospherics, balladry and the synthesized. 

References in the PR literature point out the influences (in spirit) of different Bolero forms, and such icons of the genre as Pedro Infante and Los Panchos, plus the music of Benny Moré, an idol from the Cuban homeland of Rojas’ father. It’s not like you can easily detect it in what is a more contemporary embrace of the 80s, but the saxophone often, in its brassier form, often recalls its use in Central and Southern American music – at other times, it’s a mix of both new wave, Hansa studio and the mirage evoking. There are of course lyrically and most probably insider references to Mexico City and its surroundings, and the continents at large. The finale for instance, borrows a line, phrase from the late award-winning Chilean novelist, short story writer, poet and essayist Roberto Bolaño Ávalos. “Pulmón del trópico”, or “lung of the tropics”, finishes the album with breathing, living and airy abstract feelings played out to mysterious shadowy synths, plastic tubular bass and the psychedelic. 

From vague echoes of Memory Tapes to China Crisis, Central Unit, Tiempo 55, Chromatics, Robert Wyatt, Japanese environmental music, imaginary 80s Miami and UK Fairlight synth wave pop and Factory pop, there’s a philosophical but also sentimental ease that permeates both the more stripped back and more atmospheric built songs. Bathed in rays and vapours, or dreamily sailing close to disconsolate abandon, Rojas and his fine ensemble of friends’ drift and lurk between the shadows and the light on an album of both nostalgic leaning and yet contemporary inventive pop music with a depth, sophistication and swimmingly bluesy feel. The Mexico City scene is rewired, re-articulated and made anew.  

Cosimo Querci ‘Rimane’
(Quindi Records) Released 4th October 2025

Whilst the name may suggest connotations of the Renaissance, and the ancient valley of Casentino – its rich oval shaped landscape dotted with Medieval villages – location in which this debut solo album was made reinforces ideals of that period from Italy’s history, Cosimo Querci seems to send his idyllic surroundings into a swimming reverberated circulation of post-punk-dub, Krautrock, neo-psych, the baggy, new age and the possible music peregrination territory of both Jon Hassell and Finis Africae.

Certainly, attuned to his Italian roots and a particular period of more experimental, countercultural and leftfield music from the 70s and 80s, the psychedelic troubadour of looping flange and various echoed, dreamy filters and effects takes a core songbook of ideas and marries them to something subtly surprising and fresh, with evocations of the tropics, the Caribbean and the Fourth World. Ebbing in a constant reverberated cycle, with as much groove and rhythm as flights and passages of more atmospheric or light projected neo-spiritualist and cosmic feels, Rimane (“remains”) features five kaleidoscopic and light bathed tracks of differing length journeys. All of which could be said to have a hypnotic and wavy vibrated quality about them, soaked in reverb, resonance and soft spectrums of trippy gauze.

Almost entirely created by Querci (who not only sings but plays the electric 12-string guitar and the bass, an electric organ and flute) with his drumming and percussive foil Walter Bellini, the album progresses through the dreamy evocations of soundsystem culture and hints of Arthur Russell, Careless Hands, Phantom Band and Wild Havana before ending up in a light bringing union between Susumu Yokata and Sergius Golowin on the opening ‘Telepatica Pretesa’ (which I think translates as “telepathic claim”).

‘Rimanemai’ (“never stayed”) carries on the vibe, but this time with a dreamy trippy wash of Panda Bear, Sam Flex and CAN via the Stone Roses – here’s the baggy sound I mentioned earlier. There’s also a slight step change of the Latin on the beat.

Nina Ferale’ (“wild Nina”) inhabits the “possible musics” projects of Hassell and likeminded artists of that fourth world exploration; a touch of Malaysia perhaps, something off world too. But once the drums come in, we are in the territory of the Secret Machines and Neu! (using, if stumbling to catch a different timing, the famous motoik beat) and Stereolab.

‘Caotico Drammatico’ (“chaotic dramatic”) starts off very differently, to a sort of preset-like bossa Der Plan electronic shimmy: a little also like Kriedler. The light fills in from both sides as that synchronised rhythm carries through to an airy heavenly haze of indie and new age techno ala Banca de Gaia.  

The finale, ‘Manina Nera’ has a very psychedelic, cavernous start with its echoey ricochet like shots off a circus snare and what sounds like a sustained melodica hanging in the ether. Sort of shoegaze, baggy and shuttering.

As debuts go, Rimane is a winner with cult status written all over it; the artist leaving us wanting more of this musical world that he’s created in the ancient valley region of Casentino. Those Italian roots have been taken to far off and imaginative places; a psychedelic world of possibilities.

If you’ve enjoyed this selection, the writing, or been led down a rabbit hole into new musical terrains of aural pleasure, and if you can, then you can now show your appreciation by keeping the Monolith Cocktail afloat by donating via Ko-Fi.

For the last 15 years both me and the MC team have featured and supported music, musicians and labels we love across genres from around the world: ones 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 or interest in. 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 say thanks or show support, than you can now buy us a coffee or donate via https://ko-fi.com/monolithcocktail

Our Monthly Playlist selection of choice music and Choice Releases list from the last month.

We decided at the start of the year to change things a little with a reminder of not only our favourite tracks from the last month but also a list of choice albums too. This list includes both those releases we managed to feature and review on the site and those we just didn’t get the room for – time restraints and the sheer volume of submissions each month mean there are always those records that miss out on receiving a full review, and so we have added a number of these to both our playlist and releases list.

All entries in the Choice Releases list are displayed alphabetically. Meanwhile, our Monthly Playlist continues as normal with all the choice tracks from July taken either from reviews and pieces written by me – that’s Dominic Valvona – and Brian ‘Bordello’ Shea. Our resident Hip-Hop expert Matt Oliver has also put forward a smattering of crucial and highlighted tracks from the rap arena.

CHOICE RELEASES FROM THE LAST MONTH OR SO:

Alien Eyelid ‘Vinegar Hill’
(Tall Texan) Review

Darko The Super ‘Then I Turned Into A Perfect Smile’

Eamon The Destroyer ‘The Maker’s Quilt’
(Bearsuit Records)
Review

Ike Goldman ‘Kiki Goldman In How I Learned To Sing For Statler And Waldorf’

The Good Ones ‘Rwanda Sings With Strings’
(Glitterbeat Records) 
Review

Headless Kross/Poundland ‘Split Album’
(Cruel Nature Records) Review

John Johanna ‘New Moon Pangs’
(Faith & Industry) Review

The Last Of The Lovely Days ‘No Public House Talk’
(Gare du Nord) Review

Lt. Headtrip & Steel Tipped Dove ‘Hostile Engineering’
(Fused Arrow Records) Review

Pharoah Sanders ‘Love Is Here – The Complete Paris 1975 ORTF Recordings’
(Transcendence Sounds)

SCHØØL ‘I Think My Life Has Been OK’
(GEOGRAPHIE)
Review

Tom Skinner ‘Kaleidoscopic Visions’
(Brownswood/International Anthem) Review

Theravada ‘The Years We Have’

Ujif_notfound ‘Postulate’
(I Shall Sing Until My Country Is Free) Review

Visible Light ‘Songs For Eventide’
(Permaculture Media) Review

THE PLAYLIST::

Star Feminine Band ‘Mom’lo Siwaju’
A-F-R-O, Napoleon Da Legend, PULSE REACTION ‘Mr Fantastic’
Pharoah Sanders ‘Love Is Here (Part 1) (Live)’
Tom Skinner ‘Margaret Anne’
Holly Palmer & Jeff Parker ‘Metamorphosis (Capes Up!)’
Matt Bachmann ‘TIAGDTD’
Darko the Super, Andrew ‘The Bounce Back (Heaven Bound)’
Verb T, Vic Grimes ‘Anti-Stress’
Cymarshall Law, Ramson Badbonez ‘Emerald Tablet’
Datkid, Mylo Stone, BVA, Frenic ‘Poundland’
Verbz, Mr Slipz ‘What You Reckon?’
Theravada ‘Doobie’
The Expert, Buck 65 ‘What It Looks Like’
Lt Headtrip, Steel Tipped Dove ‘0 Days Since Last Accident’
Ujif Notfound ‘Postril’
Lael Neale ‘Some Bright Morning’
Alien Eyelid ‘Flys’
John Johanna ‘Justine’
Ike Goldman ‘Land Of Tomorrow’
Ananya Ashok ‘Little Voice’
Rezo ‘Nothing Else’
Howling Bells ‘Unbroken’
The Good Ones ‘Kirisitiyana Runs Around’
Jacqueline Tucci ‘Burning Out’
Dyr Faser ‘Control Of Us’
The Last Of The Lovely Days ‘Runaway’
Frog ‘SPANISH ARMANDA VAR. XV’
The Bordellos ‘The Village People In Disguise’
The Jack Rubies ‘Are We Being Recorded?’
The Beths ‘Ark Of The Covenant’
SCHOOL ‘N.S.M.L.Y.D’
Neon Kittens ‘Own Supply High’
ASSASSUN ‘The Sons Of The United Plague’
Pelts ‘Don’t Have To Look’
Visible Light ‘Purple Light’
Wayku ‘Suchiche’

Here’s the message bit we hate, but crucially need:

If you’ve enjoyed this selection, the writing, or been led down a rabbit hole into new musical terrains of aural pleasure, and if you able, then you can now show your appreciation by keeping the Monolith Cocktail afloat through the Ko-Fi donation site.

For the last 15 years both me and the MC team have featured and supported music, musicians and labels we love across genres from around the world: ones 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 or interest in. 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 say thanks or show support, than you can now buy us a coffee or donate via https://ko-fi.com/monolithcocktail 

The monthly Digest includes a clutch of accumulated new music reviews; the social inter-generational/eclectic and anniversary albums celebrating playlist; and choice timely pieces from the archives.  

Tom Skinner photograph courtesy of Jason Evans.

___THE NEW___

Group Modular ‘The Tunnel/Lonely Pylon’
Reissue Special Released 19th September

The first transmission (or rather a retransmission if you like) from the Group Modular duo of Mule Driver and Marky Funk in three years, marks the inaugural chapter in a new series of special 7” releases “powered” by the duo’s alter ego Confused Machine and Delights labels. Those lucky enough to have grabbed original copies (sold in separate splits editions, both sold out almost immediately) of ‘The Tunnel’ and ‘Lonely Pylon’ will know that the former was part of Norman Records’ 2021 25th Anniversary split release by Polytechnic Youth, and that the latter was recorded exclusively for the third instalment in Russian Library’s L series of split 7” EPs back in 2022.

Back on the radar, with the chance to own these hauntological sci-fi suites and dramatization soundtracks, the self-described “Outer space sounds from Jerusalem-Tel Aviv route” library music makers reacquaint us all with their brand of analogue period cult space age influences and their taste for atmospheres and theme tunes that emit something that’s near supernatural. ‘The Tunnel’ is a curious Pietro Grossi like rocket ship steam and gas fusion of soft timpani, Roy Budd and Greg Foat-esque barque sci-fi harpsichord, and d ‘n’ b like dub beats. And the electric field throbbed ‘Lonely Pylon’ is a Library music imbued psychogeography of paranormal nature and unnerving children’s sci-fi TV of the 70s and early 80s – imagine Brian Hodgson, Sapphire and Steel and bygone public broadcasted information warnings resurrected by The Advisory Group or My Autumn Empire.

Hopefully this latest 7” series will prove a catalyst for more new recordings from the duo, who haven’t released anything together since Per Aspera Ad Astra in 2022. You’d better be quick, as I have a feeling it will sell out pretty sharpish.

Lt. Headtrip & Steel Tipped Dove ‘Hostile Engineering’
(Fused Arrow Records) 23rd September 2025

The gristle, outpoured thoughts, observations, protestations and glue between the oppressive urban structures of our dysfunctional, unworkable society both poetically and rhythmically twist and flow over a counterculture haunted psychedelic-prog, Krautrock and jazz-soul production on this debut project collaboration.

From the experimental, leftfield platform of Fused Arrow Records and its stalwart producer, engineer, beat maker and artist in his own right, Steel Tipped Dove, a new partnership with rapper, producer and instigator Lt. Headtrip.

Dove’s production and various studio skills can be heard on releases from such notable talent as Fatboi Sharif & Roper Williams, billy woods & Messiah Musik, Darko The Super, MC Paul Barman and Zilla Rocca. He’s also collaborated with the most dope and pioneering Dose One. The Lieutenant’s CV is no less impressive, setting up the ‘we are the karma kids’ label, organizing projects and events in the Brooklyn, Manhattan and Queens areas, and either collaborating or sharing stages with Armand Hammer, Open Mike Eagle, Quelle Chris, Beans, Backwoods Studioz, Reservoir Sound and Uncommon Records.

A magic combination of old hands from the underground scene then, the Hostile Engineering environment that engulfs them is twisted, churned, inhaled and transformed into a sometimes gothic, sometimes industrial, and sometimes more soulfully halo-lit arena for the spoken and rapped lyrics; the cadence of which reminded me at any one time of the Antipop Consortium, Rob Sonic, dalek, and when humorously and from a self-aware but confident in their own skin way, addresses the issues of sexuality, sex and the tired old tropes of rap machismo on the smoochy drifted saxophone and crunched drum beats produced ‘We Got The Sugar’, comes across a little like Homeboy Sandman: a sample of the lyrics being, “last week I was helpin’ his girl find her panties. This week I’m his bro’s new daddy. Just cause I can rap along to Liquid Swords don’t mean my dick’s boring.”  

There’s more than enough clever ideas here, with samples I’ve yet to recognize, and an atmosphere that seems to channel all kinds of musical influences; from zappy Kraftwerkian synth and drum pads electro to the Floydian, Roy Ayers, Soul cuts, cult soundtracks (of suspense, horror and sci-fi futurism), heavy rock and prog – I think I’m overthinking it, but alongside what could be a sample from Sabbath or their ilk, it sounds like a short miraged shiver of cymbal resonance and slow drums from Neu!’s ‘Weissensee’ on the automation for the people, insurance servitude and dead-end careers themed polemic ‘0 Days Since Last Accident’.

Bot factories, the nightmarish promises of constant bodily cosmetic regeneration and the self-absorbed legacies that go with hanging on to the bullshit zenith of eternity, high anxiety, and on the repurposed halcyon soul Kayne-Jay-Z-Biggie fantasy “money, money, money” ‘Fund Don’t Stop’, a backslap to rampart consumerism and unsignifying spectacles of Black Friday (“We been shoppin’ since we bought that serpent’s product in the garden.”) – a lifetime of spending, from the womb to the tomb.

At thirty minutes long, there’s no fat on the bones, and yet plenty of tempo, musical changes, and a fresh rap style that neither preaches nor sits back in a nonchalant pose. A really successful pitch, bringing both talents together to fuse and articulate the present depressing miasma of the times in which we all live; glued to this rock, with no anchor, no compass, attached to the screen and validation culture of social media and its puppet masters. One of the freshest hip-hop releases of 2025.

Tom Skinner ‘Kaleidoscopic Visions’
(Brownswood/International Anthem) 26th September 2025

Reaching the midlife point, the UK drummer and composer Tom Skinner finds time to reflect and take stock with a mature kaleidoscope of culminated visions pulled and drawn from a highly prolific career and enviable CV of performances, collaborations and recordings (from Sons of Kemet to The Smile, David Byrne Floating Points…. the notable list goes on).

Arriving a few years after Voices Of Bishara (an album inspired by the American jazz and classical cellist Abdul Wadud and his seminal privately pressed cult masterpiece ‘By Myself’), the follow up weaves the former into a rich, often cinematic, psychedelic and floated meditation and dialogue of jazz, neo soul, cult soundtracks and the contemporary classical. At 45 years of age, the time felt right for such an undertaking. A culmination of experiences, of influences now coming together; a bond that embraces not only Skinner’s vaguely Middle Eastern entitled Bishara live band but a number of congruous international collaborating foils: neo-soul doyen, and right acclaimed, award-wining polymath (but you can list the main qualifications as singer-songwriter, poet and bassist) Meshell Ndegeocello; the self-described multifaceted Charleston musician, score composer, film and radio programmer and vocalist Khari Lucas, otherwise known as Contour; London born and raised but now Berlin-based keyboardist and vocalist Jonathan Geyevu, aka Yaffra; and on electric guitar for a couple of tracks, Adrian Utley of trip-hop luminaries Portishead.

That group of friends is split between two sides of a traditional vinyl format: a moiety of instrumental material and vocalist starring peregrinations, with side A featuring the electric-chamber-jazz Bishara quartet of bassist Tom Herbert, cellist Kareem Dayer, and woodwind and reeds players Robert Stillman and Chelsea Carmichael, and Side B, a cosmic mirage of sung and spoken discourse, soliloquy and healing. Described as “distinct sonic landscapes”, both parts are harmoniously conjoined, with leitmotifs, recurring sounds and an overall feel that draws upon a cosmology of Afro, spiritual, conscious, spacey, psychedelic and experimental jazz.

It begins with the promise of comfort; a putting of the mind at ease so to speak. ‘There’s Nothing To Be Scared Of’ begins with an incipient jingle-jangle and stirring drones of woodwind and the cello before hitting a peak of what can only be descried as Lalo Schifrin meets Bobby Hutcherson and Lonnie Liston Smith and the Cosmic Echoes on a 1960s filmset. From then on out, this jazz-chamber match the flighty, craned and fantastical with amorphous hints of Nicole Mitchell, Village Of The Sun, Kibrom Birhane, the Ancient Infinity Orchestra, Coltrane, Matana Roberts and Sven Wunder. You could call it a cross-generational sound, with the first half of the album feeling itself out across an evocative landscape and more abstract metaphysical space full of reflections on emotional states and those people held either dear or inspirational. That includes the late New Jersey born and raised novelist, writer, memoirist, poet and filmmaker Paul Astor (author of the loose New York Trilogy, Moon Palace and The Music Of Chance), and Skinner’s mother, the former classical concert pianist and victim of the arts misogyny, Anne Shasby.

There are some beautiful moments captured amongst the often-slow momentum, and the gander and bird-like flexes; a sense of the mellow and unfurled: the soulful too. And yet there’s a certain drama to be found, and even mystery to this section of instrumental description, of roots and spiritual emotions.

The second section features the vocal talents and essences of Skinner’s collaborative foils; starting with the soul, funk, jazz, hip-hop, reggae and rock spanning polymath Meshell Ndegeocello, who soulfully and dreamily oozes and woos a sense of both the ancestral therapy and a mirage feeling of homely comfort. Ndegeocello’s voice emerges from a hallucinatory wilderness, floating across a nine-minute cosmic-soul and R&B jazz suite of horn snozzles and soft burbles, glassy bulb vibraphone notes, and gentle plucks.

Taking a sadder, more pained discourse-like tone, Contour’s R&B neo-soul voice aches and yearns on the bluesy chamber-jazz piece ‘Logue’. The language is one of rise and fall, trauma and endurance, survival and striving in a ruthless landscape. And yet, again, there is a kind of near diaphanous beauty about some of the music, the flutier parts and delicate bulb-like notes that seem to float around in a slow ponderous rhythm. It’s the feeling of being drained, and the attempts to break free of the malaise.

The finale, ‘See How They Run’, features the soulful poetic spoken tones of Yaffra both responding to a secondary voice and speaking out loud his thoughts, enquires to the promise of eternal enlightenment, in an almost winding, untethered fashion. It reminded me in part of Andy Hay, Diggs Duke and even Tricky, playing out over another neo-soul leaning dreaminess.

Informed and prompted by middle age (a youthful middle age of experience rather than depressing aging pains), Skinner offers a retrospective pause whilst looking towards a creative future. Cross-generational concerns, references, influences converge in a mature work of feelers, reflections and freedom. Consolation in an age of accelerated isolating atomisation and introspective anxiety.

Water Damage ‘Live At Le Guess Who?’
(Cardinal Fuzz in Europe/12XU in N. America) Released 5th September 2025

In the venerated surroundings of the Medieval city of Utrecht, the religious epicentre of the Netherlands (or so it is said), as part of the Le Guess Who? Festival lineup, the Water Damage ensemble preached their own unique fire and brimstone of monotonous locked-in drones, the wailed and frayed, the squalled and resonant.

Whilst following no recognisable domination on this plane, the Austin collective of like-minded acolytes to all things underground, invoked some kind of near religious sonic experience as they went to work on the opening track, ‘Reel 28’, from their most recent album, Instruments (released back in May of this year). Without a break or let-up, they relentlessly, but slowly, created a mesmerising lumber of the avant-garde, of Motor City, Jap, Kraut and Doom rock. Enslaved to the rhythm you could say, for a full 45 minutes both the group and their audience are caught in the hypnotic flay and sway of the scuzzed and intense bowed needling and sawing momentum that is created. 

Absorbed into the core for that performance, guests Ajay Saggar (a serial offender, featured untold times on this site over the years under various collaborative and solo guises: Bhajan Bhoy, Deutsche Ashram, King Champion Sound and University Challenged) and fellow astral traveller Patrick Shiroishi (the Japanese-American multi-instrumentalist and composer, based in L.A., last appeared on this site playing foil on saxophone to Dave Harrington and Max Jaffe on the Speak, Moment collaborative album) take up the mantle on guitar and “free-reeds”. Their contributions are equally as mystical, magical, intense and droning; with Shiroishi especially summoning both a Mogadon Hawkwind and Sam Rivers simultaneously.

With the “Maximal Repetition, Minimum Deviation” motto and mantra, they conure up a monster; a ceremonial rite; even, as the accompanying press release describes it, an exorcism. And yet it is quite melodic. Reference points, for me, would be Tony Conrad and Faust’s seminal Outside The Dream Factory, but also Tony’s Transit Of Venus collab with Hangedup, Glenn Branca, La Monte Young (these last two actually referenced by in the press release), Earth, Boris, Swans, Hala Strana, France, Smote, Pharoah Overlord and Amon Düüls I and II, and The Black Angels. But like the old city that played host to the festival and the Water Damage performance, there’s an almost otherworldly summoning of the Medieval: a sort of mythologised or transmogrified evocation of an abstract atmosphere from that period; it sounds at times almost like a hurdy-gurdy is being wound up like some kind of ancient transmitter; plugged in to a mystical and harrowing age.

I must add, for once, the sound is really good. You can hear every part, every contribution, and even the bass line (you wouldn’t believe how few recordings ever get the bass right, or let you hear anything more than just a mumble of bass; live recordings are often even worse, almost bass free). The bass here is integral to keeping up that never ending rhythmic sway; and despite its repetition, is such a great little riff that is never grows tired. Compliments to the sound engineer, and who ever mastered this performance, then, for instead of a block intensity of lost instruments you get a clear production, with every cog, every drone and note audible.

I’d say an improvement on the album track, and a really intensive yet hypnotic hermetic experience that feels untethered to any particular time, age or period.      

___/The Monolith Cocktail Social Playlist Vol. 101___

For the 101st time, the Social Playlist is an accumulation of music I love and want to share, with tracks from my various DJ sets and residencies over the years and both selected cuts from those artists and luminaries we’ve lost on the way and from those albums celebrating anniversaries each month.

Last month we celebrated the 100th edition of this series, which originally began over 12 years ago. The sole purpose being to select an eclectic and generational spanning playlist come radio show, devoid of podcast-esque indulgences and inane chatter. In later years, I’ve added a selection of timely anniversary celebrating albums to that track list, and paid homage to some of those artists lost on the way. In the former camp this month, and to tie in with the Archive spots on Bowie and CAN, there’s a 30th anniversary nod to 1. Outside – a tour I actually witnessed, I kid thee not: Wembley Arena if you must know – and 50th nod to Landed. Joining this celebration there’s also tracks from Kate Bush’s Hounds Of Love (40 this year), The Fall’s This Nation’s Saving Grace (also 40), Blur’s The Great Escape (30), Dexter Gordon’s One Flight Up (60), Wolf Parade’s Apologies to the Queen Mary (20) and Mew’s And The Glass Handed Kites (also 20).

Each month I also like to add a number of newish/recentish tunes (more or less anything from the last year): those that either missed out on the regular Monthly Playlist of brand-new music releases, or only just come to my attention. We have Monde UFO, Lukid, the El Maryacho team up with Nowaah The Flood, Penza Penza, the Tone Of Voice Orchestra, Elkotsch (thanks to blog friend and supporter Andy Haas for recommending this one) and the triumvirate collaboration of Phew, Erika Kobayashi and Moebius. Oh, and something not so much new but surfaced from Dylan this week.

The rest of the playlist is an anything goes selection of stuff I’ve accumulated, loved, treasured, wanted to own or played out during my sets over the decades. In that category there’s music from the Walker Brothers, the Jazzpoetry Ensemble, Mother Lion, Garybaldi, A Tent, The Barrino Brothers, Departmentstore Santas, Gene Martin, and Akofa Akoussah.

Track List:::::

Wolf Parade ‘Shine A Light’
Butterglory ‘She Clicks The Sticks’
Blur ‘Entertain Me’
Mew ‘The Zookeeper’s Boy’
David Bowie ‘We Prick You’
Kate Bush ‘The Big Sky’
Garybaldi ‘Maya desnuda’
The Fall ‘I Am Damo Suzuki’
CAN ‘Vernal Equinox’
The Jazzpoetry Ensemble ‘Motherless (Live)’
Dexter Gordon ‘Darn That Dream’
Polyrhythm Addicts ‘Big Phat Boom’
Akofa Akoussah ‘Sumga Ma Bacci’
El Maryacho & Nowaah The Flood ‘SOAPS’
The Barrino Brothers ‘Born On The Wild’
Tone of Voice Orchestra ‘Tourist at God’s Mercy’
Penza Penza ‘Dusty’
Los Darlings De Huanuco ‘Lobos Al Escape’
Elkotsh ‘Da’a Adeema’
Monde UFO ‘Sunset Entertainment 3’
Phew, Erkia Kobayashi & Moebius ‘Katherine’
The Detroit Escalator Co. ‘Manuel Transmission’
A Tent ‘Seven Years – part 2 (Abundance)’
Lukid ‘The Secret of Bell Making’
Bob Dylan ‘Rocks And Gravel (Solid Road)’
Mother Lion ‘Simple House’
The Walker Brothers ‘Walkin’ in The Sun’
Departmentstore Santas ‘Play in the Sun’
Gene Martin ‘We Shall Be Like Him’
The Hitchhikers ‘Feel A Whole Lot Better’

___/Archives___

From the exhaustive Archives each month, a piece that’s either worth re-sharing in my estimates, or a piece that is current or tied into one of our anniversary-celebrating albums.

This month there’s my previous pieces on CAN’s Landed (50 this year) and Bowie’s 1. Outside (30 years old this month).

David Bowie 1.Outside (Arista/BMG) 1995

With ‘five years’ remaining until the new millennium, Bowie, tapping into the anxiety and quest for spiritual relief, returned to his first passion: contemporary art.

Back with his most innovative collaborator, Brian Eno, he dredged the bottomless pit of morose and despair. Dreaming up a morbid tale of future sacrificial performance art gone wild and taboo breaking cybernetics he narrated a woeful diegesis through a series of ‘verbasier programmed’ characters.

Disturbing to say the least, our ‘cracked actor’ pitches an avant-garde ‘whodunnit?’, set in a parallel bleak world where the self-mutilated gestures of Günter Brus (the patriarchal figurehead of body art) and ‘the orgiastic mystery theatre’ of Hermann Nitsch have been taken to new, hyper, extremes of bloodletting.

Led by the investigative diary of art crime detective Nathan Adler, a cryptic cut-up of Burroughs/Burgess language is used to not just explain the circumstances that befell the poor victim Baby Grace, but also delve into the collective psyche.

Out on a limb musically, Bowie’s home life may have been content, yet something suddenly propelled him to bravely create a depressive requiem. Easily the best, if not most original, material since Scary Monsters1.Outside was entirely written in the studio as the band extemporized: motivated by Eno’s synonymous oblique strategy cards.

Scott Walker lost in cyberspace; the industrial melancholy is at its most anguished on ‘A Small Plot Of Land’ (a version was used on the, Bowie as Warhol starring, tragic biopic of Basquiat directed by Julian Schnabel), yet a more revved-up, pummelling bombastic variant is used on ‘Hallo Spaceboy’ and ‘The Heart’s Filthy Lesson’ (perfectly playing out David Fincher’s Seven).

Leaving many fans bemused (as I myself witnessed on the Outside tour, the baying audience pleading for the greatest hits package), the philosophical snuff opus seemed puzzling to those familiar with the pop-lite Bowie. Thankfully Bowie cut loose the shackles of commerciality for a contemporary blast of shock and dread.

CAN ‘Landed’ (Virgin) 1975

Richard Branson’s pastoral record label Virgin hooked our Cologne ‘seven-day sonic avant-garde evangelists’ in early 1975, tempting them away from the clutches of their former masters United Artists, whose relationship with the band had been tenuous at best. They now joined the hippie-idealistically run, free thinking label of choice – at least that’s how it appeared to the onlooker-, sharing the stable with both fellow countrymen Faust, Tangerine Dream and Slapp Happy, the psychedelic progressive band Gong, and the million zillion selling Mike Oldfield, Virgin’s biggest selling artist by miles – whose Tubular Bells behemoth had reined in a load of money and success, paving and paying the way for most of the roster.

Branson may have looked like he’d stepped off the cover of a Jethro Tull album, but he turned out to be a shrewd businessman. After all, he managed to propel Faust into the album charts with their Faust Tapes mesh-mash classic: albeit that the said album was put on sale for a paltry 49p and probably didn’t actually net the group much money, but hell, it sold over 100,000 copies, so they became a household name in the head community for a while at least.

Business wise, sister label Harvest – equally rich in allusions to the Woodstock ethos – would distribute CAN’s records in their homeland, whilst EMI, who owned both labels, would just count the cash it hoped would now roll in. One of the stipulations in the Virgin contract was that the band would have to use superior recording equipment for their next album. A multi-tracking desk was delivered to their own sacred Inner Space studio HQ, which they were still allowed to use though the records would now be mixed elsewhere. Unfortunately, a deep sense of forlorn began to creep in, mixed with paranoia, the arrival of the new technology now making it possible for the band to record their parts separately if they so wished. Until this point Holger Czukay had masterminded all the recording and editing on just a two-track recorder. He had also always encouraged the group to play together in the spirit of improvisation. But now, the band could successfully overdub and add parts at a higher quality then had previously been possible before, taking a more insular approach to recording.

In scenes not too far removed from the Beatles fractured shenanigans on the White Album, the group began to play some of their own parts in secrecy, the thought of being scrutinized and criticized by their fellow band members filling them with dread.

Again, like The Beatles, they invited an outside musician into the studio to lift the tension and scrutiny. This fortunate man was Olaf Kubler, who had served as producer on both Amon Duul and Amon Duul II albums, although he dramatically fell out with one of AD II’s bandleaders John Weinzierl, who made his feelings towards him pretty clear in recent interviews. Kubler was called in for his saxophone prowess, being asked to lay down some cool sultry cuts on the track ‘Red Hot Indians’ for what would be the Landed LP.

Sessions for what would be the band’s Landed album began in the first few months of 1975, in-between tour commitments, which included a couple of gigs with the troubled American folk troubadour Tim Hardin, who it’s rumoured was asked to join the band full time.

Hardin didn’t really front CAN in these gigs, instead, he would merely leap on stage to perform one of his own tunes, usually something like ‘The Lady Came From Baltimore’, and maybe front a couple of the groups own tracks before exiting stage right. Whether he ever considered seriously joining the band, Hardin’s deadly heroin habit put a damp squib on things, finally getting the better of him in 1980 with one overdose too many.

Anyhow, Karoli had so far done a good job of semi-fronting the band, going on to lead all the vocals on this album; delivering some softly inspired dream like performances throughout.

Landed in some ways directly follows on from their previous effort Soon Over Babaluma, especially in the sound collage experiments of this album’s ‘Vernal Equinox’ centre piece and ‘Unfinished’, both of which re-work similar themes and threads found on ‘Chain Reaction’ and ‘Quantum Physics’. The rest of the LP consists of far rockier progressive tones, with allusions to their contemporaries, particularly Pink Floyd. To a point there is also an attempt towards the glam-rock of both Roxy MusicBowie and Mott The Hopple – all influences CAN’s peers, Amon Duul II, also breathed-in on the 1974 album Hijack, though to a less successful degree.

‘Full Moon On The Highway’ and ‘Hunters And Collectors’ relish in the glow of these new influences, though remain slightly more conventional compared to CAN’s usual free roaming exploratory material. Most of the seven tracks now run in at under six minutes and sound much more formulated, the exceptions being the already mentioned two saga driven soundscape pieces, which combined, make up three quarters of the overall albums running time.

The lyrics themselves seem to be full of references to mysterious alluring women, clad in leathers, who turn up at ungodly hours on celestial described highways. Analogies run riot, the open road acting as a metaphor for following certain paths, Karoli constantly encouraging the listener to cut loose and float away. Journalist and friend to the band, Peter Gilmour, co-wrote both ‘Full Moon On The Highway’ and the lazy sedate ‘Half Past One’. Peter would also go on to write CAN’s biggest hit, the disco chugger ‘I Want More’.

Many critics have panned Landed, seeing it as the beginning of the end for the group. It does seem a slight exaggeration. Certainly, the dynamics were slowly ebbed away, the production becoming much more polished, though it suffers from some very messy trebly moments at times.

Footage of them performing ‘Vernal Equinox’ on the Old Grey Whistle Test at the time sees Irmin Schmidt wearing a fetching bondage inspired chain mail waistcoat whilst theatrically commits Hari Kari on his keyboards, whilst Czukay, all ten-yard stare, sports white gloves and a sheriffs’ badge. A mid-life crisis beckoned with all this new pomp and strange fashions, turning off many fans, including the disdain of Julian Cope who states that this act of regalia wearing extravagance ended his relationship with the band. So, in a way CAN did seem to be heading over the precipice, the best days behind them, but this album is viewed way too harshly.

Landed for what it’s worth is a decent album, with enough ideas and demonstrations of superb musicianship, Karoli alone performing some of his most sublime guitar work yet.

The albums artwork, by the curiously alluding Christine, displays a collection of passport photo sized images of the band. Each individual photo is covered in graffiti or scribbled on, lending silly moustaches, cartoon glasses and an array of comical hats and hairstyles to the now light-hearted looking band. Peering out from under the heavy de-faced images they pose in a manner that lets us know they still have much to give- also, am I imagining perhaps a Carlos the Jackal type reference here, the many disguises and such.

CAN shifted back towards the Afro-beat and World music styles on their next couple of releases and also brought in ex-Traffic members Rosko Gee on percussion and Reebop Kwaku Baah on the bass to great effect. Czukay moved away from his bass guitar duties so that he could explore radio short wave editing and cutting up techniques in greater detail. He would of course go on to leave the band in 1977, leaving Liebeziet, Schmdit and Karoli to carry on for a while before everyone split for good to pursue their own solo projects, a reunion in 1989 included Malcolm Mooney and resulted in a new album titled Rite Time.

The year is 1975 and CAN have laid down their 7th album, after being together for nearly eight years. To get this far they have travelled an etymological musical odyssey, that has taken in the dark esoteric voila seeped mood of The Velvet Underground, the psychedelic spiritual enlightenment of America’s west coast, the African dance style rhythms of Nigeria and Ghana, the dreamy hypnotic Turkish flavored folk music, the otherworld tour of the nebula emitted from Hendrix and the lessons learnt from Stockhausen and Von Biel. CAN had surpassed all their peers and become possibly one the greatest assembled bands of musicians that the west has ever seen – seriously these guys could out play anyone, though they never had time to wallow in ego and always looked towards experimentation rather than dwelling on their skills.

There now follows a run-through of the album:

Dropping in with an up-tuned arching guitar fuzz and treble heavy hi-hat, ‘Full Moon On The Highway’ leaps straight into action. Jaki Liebezeit sets down an incessant workman like beat, hammering away on the bass drum as Michael Karoli casually begins his salacious vocals –

‘I made it hard today,

For I had to do it to me.

And if it’s only to hold her,

She’s gonna get it today’

A certain sense of portend fear hangs in the air, Karoli in his full Germanic romantic disdain rattles off omnivorous statements about taking to the highway, where star crossed lovers may unlock some inner meaning and truth.

Rock hard screaming lead guitar hooks run rampant, exercising no sign of restraint and sprinting ahead as though in a 100-meter sprint. Piano flourishes and honky tonk bravado light up the mood as those bawling guitars and Alpha 77 effects wail away like banshees. Czukay takes his bass on free roaming tour of run downs, slides and felicitous infused funk workouts, never staying put in one place for too long, always running his fingers all over his instrument. An intense burst of exuberant searing drums, keyboards and clashing turmoil all culminate into a finale furore, that threatens to end in a mess but is saved by the rallying cry of Karoli riding in on his gleamed-up guitar. He transposes glam via Pink Floyd to produce something unheard, a riff from the other side.

Taking a more serene path, ‘Half Past One’ begins with some archaic ethnographically seductive Spanish guitar and heavy tub tapping drums. A dozy laid-back vocal pronounces –

Over the beach,

Into the sun,

Wake again by half past one,

Alright’

The last word being some kind of reassurance amid the strangely relaxed drug induced soirée, that peers at some snapshot of the protagonists’ relationships, a casual affair on the beach in this case.

Schmidt interjects with some delightful mandolin sounding oscillations and yowling alarmed synths, whilst Czukay adds some chuggering engine bass lines, sliding around the neck as though revving it up.

The general breathless ambiance begins to wash ashore, like a lapping tide, meandering its way towards some welcoming gypsy encampment. Quacking wah-wah and folk tale violins add to the general malaise, building towards a newfound intensity as the song picks up momentum: The final 30 seconds bathing in the now pressured final crescendo.

Now steps forward the ambiguous and genre dodging ‘Hunters And Collectors’, with its almost glam postulations and Afro- funk grooves, this four minute Floyd gesturing dose of mayhem ducks any formal categorisation.

A doom-laden piano emphasis each intro chord, like an operatic indulgence. Karoli in magi pose announces the chorus –

‘Hunters and collectors, all come out at night.

Hunters and collectors, never see the light’

The song now kicks in with some sky rocketing theatrics. Dense melodies of climbing synth lines and evocative sexed up Teutonic choral backing adding to the melodrama. Czukay and Liebezeit cook up a fine jumped-up funky backing, with double shimmering hi-hat action and posing bass guitar. They all soon break down into a more stretched out segue way, taking in the early years of Parliament and some Afro highlife.

Karoli now dabbles with the vocals, as they take on some added menace; he conjures up images of leather clad biker gangs, savage sexual degradation and drugs –

Thirty leather kids, on the gang ban trail,

Get your big brown man with the snakes in bed.

Dirty bother me now, it soaks into a cup,

She says “if you don’t start at all, you never have to stop”.

Other worldly radio signals and snippets of conversation from the ether add to the esoteric atmosphere that is entrenched in seedy tales of chemical indulgences.

The opera swoops back in before what sounds like the set-piece breakdown brings the curtain down, as strange broken cogs, ratchets and springs all produce a comical ending, just before the swept in majestic intro of ‘Vernal Equinox’ is brought in.

As the ambivalent last track on side one, ‘Vernal Equinox’ continues the dynamism and piano melody from the previous track, but runs rough shot and fancy free, producing an eight-minute omnivorous jam or epic narrative.

It all begins with a search light introduction of space age doodling, with a chorus of sonar equipment and lasers shooting off in all directions, all played out over a heavy laden piano, hurtling towards a cacophony of destruction.

Rabid lead guitar rips into the track, Karoli literally plays for his life in a fit of feverish exhaustion, running through the full collection of riffs and chord rushes that he’s picked up over the years.

Flailing drums explode like a barrage of mortars, as UFO’s crash land all around, Czukay finds some cover and rattles off his defensive bass.

That Alpha 77, the exulted secret box of tricks, spits out havoc. Crazed wrecking layers of multiplying textures take the drama back to the cosmos soul searching of Soon Over Babaluma, but with a now more invigorated pumped-up stance. The raging narrative falls into one of those accustomed breakdowns. Liebezeit and his meteoric rhythm accompany arpeggiator sonic waveforms and metallic sounding drips during this break in the pace. The full swing returns in style, turning the jamboree into a jazz funk quest, as what sounds like Robert Fripp battling it out with an alien horde from the planet of Sun Ra, delivers a belting finale of elation.

Side two opens with the bongo tribal reggae of ‘Red Hot Indians’, a jaunty slice of infectious pigeon-toed dance rhythms and cool wistful chant like grooves. Karoli goes all faux-Caribbean with his laid-back vocals, he casually lays down some lines in an almost staccato fashion –

‘It’s the DNA song, DNA song, it’s the DNA song.

Strike mess, hole mess, shadow mess’.

Kubler Olaf blurts out an effortlessly uber cool prompting saxophone melody, liberally peppering the track, whist Liebezeit just reclines back on his sun lounger, knocking off some tom rolls and sipping a pina colada.

Mixing in some more African highlife and even-tempered down Roxy Music, this track flows along in its own serenity. The second wind of extra rhythms start to sway in an hypnotic motion, like some kind of mantra as Karoli mumbles recollection of some cryptic halcyon memories –

‘Then you took me back, steam machine.

Dreamt my way into a daydream.

Let me vanish into yesterday,

And my night drops fade away’.

As though to ratify the shambling theme, the song naturally fades out on its own breezy demeanour.

We now come to the soundscape behemoth of ‘Unfinished’, which by its title remains to be determined by the listener as to whether or not this maybe the case.

A set piece of sound cutting and masking that harks back to Future Days, with its reverential cinema scope builds and gliding synths this track could just yet be one of CAN’s finest moments.

Opening with what sounds like an orchestra tuning up, we hear a noisy interlude of violins, strings, brass and unfamiliar instruments all preparing themselves for the performance. That looming ever-present box of tricks, the Alpha 77, fires up and screeches over the top of our orchestra pit, launching bolts of lightning along with the odd spark of lush melodic wonder.

Breathing in the same aroma found on their soundtrack piece ‘Gomorrha’ and the melodic beauty of ‘Bel Air’, our macabre galactic Schmidt now unleashes some welcoming felicitous doses of extreme perturbation, underpinned by some humbling broody but magisterial bass.

All of a sudden, a series of gory effects and sounds enters the stage, as the demonic bound trip to the nebula goes all pants messing chaotic. Squealing guitars, that evoke the sounds of distressed souls pleading, cut through the heightened tense mire.

Factory steam powered machinery like the sort found on the Forbidden Planet, is ratcheted up, bashing away and powering up some monstrous life form. Some tumbling toms are given a swift kicking, the occasional crash of a cymbal unsettling the air as Liebeziet desperately tries to carry on playing whilst his space craft flies into the sun: holding on for dear life he is soon saved by his comrades who now work towards an uplifting final stretch.

Whistling sounds fly overhead, and gongs gently shimmer in the background, Schmidt throws in everything even the studios sink, as a build towards some sort of journey to the upper echelons of the solar system begins.

Escapist melodies and angelic ethereal guitars all scale the dizzying heights, like the dark side of the moon played by Stockhausen and backed by Ornette Coleman. A dream- like vaporous empyrean utopia opens out as our Cologne astronauts now proceed to save the best till last. Pulchritude swathes of divine beauty flow with delight as a lavishly rich melody of heavenly choral opulence raises us to some higher plain. The final few minutes being amongst the most sublime that CAN ever laid down, a spiritual guiding stairway to the universe.

Here’s the message bit we hate, but crucially need:

If you’ve enjoyed this selection, the writing, or been led down a rabbit hole into new musical terrains of aural pleasure, and if you able, then you can now show your appreciation by keeping the Monolith Cocktail afloat through the Ko-Fi donation site.

For the last 15 years both me and the MC team have featured and supported music, musicians and labels we love across genres from around the world: ones 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 or interest in. 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 say thanks or show support, than you can now buy us a coffee or donate via https://ko-fi.com/monolithcocktail