PLAYLIST/Dominic Valvona





Welcome friends to another one of Dominic Valvona’s eclectic/generational spanning playlists; the Monolith Cocktail’s imaginary radio show. In practice this amounts to Dominic picking whatever he sees fit, including tributes to fallen idols and tracks from recent reissues. This month’s edition pays a small homage to the late Italian deity of soundtracks and composition, Ennio Morricone. Joining him in on this journey is Art Decade, VoilaaaKahvas Jute, Tono S.Pharoah Sanders, Electric Eels, Faris, VED, Abel Lima, The Staple Singers, Jerzy Milian and twenty-three other eclectic choice artists.

Listen how you choose, but each playlist is curated in a special order.

As usual, for those without Spotify (or boycotting it, pissed with it or whatever) you can find a smattering of videos from the set below the track list.



Track List:

Mike James Kirkland ‘What Have We Done’
Voilaaa   ‘Manu ecoute ca…’
Pharaoh Sanders ‘Farrell Tune (live In Paris 1975)’
Tono S. & DJ Metys ‘Recept Na Uspech’
Lord Finesse with Sadat X and Large Professor ‘Actual Fatcs’
Weldon Irvine ‘Love Your Brother’
Ted Hawkins ‘Sweet Baby’
Tripsichord ‘The New World’
Kahvas Jute ‘Shes So Hard To Shake’
Country Weather ‘Boy Without A Home’
Orangutan ‘Chocolate Piano’
Jessamine ‘Inevitably’
Electric Eels ‘Sewercide’
Indianizer ‘Mazel Tov II’
Hypnotuba ‘Hubbubuzz’
Art Decade ‘Delta’
Ndikho Xaba ‘In Praise Of Women’
VED ‘Sture External’
Faris ‘Oulhawen Win Tidit’
Velvett Fogg ‘New York Mining Disaster 1941’
Group 1850 ‘Hunger’
Pisces ‘Oh Lord’
Yanti Bersaudara ‘Pohon Kenari’
DakhaBrakha ‘Vynnaya Ya’
Abel Lima ‘Aonte’
Ennio Morricone ‘Arianna’
Marva Josie ‘He Does It Better’
Gryphon ‘Mother Nature’s Son’
Robert Lester Folsom ‘Ginger’
Quiet World ‘Star’
Minami Deutsch ‘Sunrise, Sunset’
Uniting Of Opposites ‘Ancient Lights’
Jerzy Milian ‘Hausdrache’
Ennio Morricone ‘The Chase’
The Staple Singers ‘Washington We’re Watching you’

VIDEOS:


 

 

 

 

 

 

 

 

 

 





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

Album Review/Dominic Valvona




Acid Mothers Temple & The Melting Paraiso U.F.O. Ft. Geoff Leigh   ‘Chosen Star Child’s Confession’    (Riot Season)   LP/15th May 2020


Krautrock replicates, bowing in reverence at the temple gates of their German inspirations, but also carrying on the lineage of their native country’s own experimental doyens (groups like Les Rallizes Dénudés and the Far East Family Band), the Acid Mothers Temple have carried the torch for acid-rock, the avant-garde and progressive when forbearers and contemporaries have faded or disbanded. Coming on like a Japanese distortion of Amon Duul II, the group has thrown themselves into the cosmology of moonage daydreams and vortex space rock for the past twenty-five years, through many lineup changes.

Continuing with the renewal incarnation of the legendary acid-rock psychedelic transcendental freak out that played on the 2018 Reverse Of Rebirth monolith, founding instigators of the Mothership, Kawabata Makoto and Higashi Hiroshi, are once more joined by worthy new disciples Jyonson Tso (vocals and ‘midnight whistler’), Satoshimi Nani (on drums) and the mysterious Wolf (on bass). Making this celestial troupe up to a sextet, English avant-garde jazziest and progressive rock doyen Geoff Leigh, of the highly influential Henry Cow icons, joins the ranks as fleeting collaborator; lending warped out, contorting and suffused atmospheric saxophone and flute to the dream weaving psychedelic acid test.

This inauguration of the infamous Japanese legends refreshed and transformed previous sonic stunners and rituals from the extensive Acid Mothers Temple & The Melting Paraiso U.F.O. back catalogue on the last LP; part of an on-going repackage of the iconic troupe’s music that has recently seen, for the first time, a cassette tape release of both the In C and La Novia opuses by Kamikaze Tapes. Broken in, as it were, Chosen Star Child’s Confession is the troupe’s debut album of new material.

The fruits of a session with Leigh, laid down at a recording studio in London in July 2018 (with further work completed back in Japan in 2019), the Chosen Star Child’s Confession opus ticks all the right boxes in the sphere of cosmic acid indulgence. Oozing from an Egyptology of jazzy spiritual occultism, the opening totem of ‘Nightmarish Heavenly Labyrinth’ features a languid vocal drifting over wisps of flute, rapid noodling bass nuzzles, flaying guitar and cymbal swishes that evoke hints of ADII Dance Of The Lemmings and Yeti, and Embryo. Softer, laidback stirrings appear on the Stereolab acid-jazzy ‘Diamond Eyes Are Hurt’; a sort of staccato shutter echo and mild honked and spirally distant saxophone punctuated vortex of Rite Time Can, Vitamin C period Damo Suzuki, Andy Haas and, when it gets going a bit later on, West Coast acid rock. The rest of the album tunnels and bursts into action across a background of flyby comet wizzes and frizzles, high-pitched frequencies, Hawkwind mad dashes, shimmers, wild guitar, Tibetan and Afghan evocations and contorting saxophone.

If you happen to purchase the CD version, the bonus cosmic mess of eastern brassy resonance and heavy tripping experimentalism ‘Santa Maria Enfance’ is a transmogrified vision of part of Hector Berlioz’s biblical opus: the flight of the holy family from Egypt. Original performances of this suite in the mid 19th century were less than well-received, provoking hostility for its bizarreness and discordance. No wonder it proves fertile material for the Mothers.

Chosen Star Child’s Confession is a celestial rites of passage for the new intake of converts on yet another essential Mothers odyssey.






In these unprecedented times the Monolith Cocktail has never needed your support more:

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

Album Review/Dominic Valvona




Acid Mothers Temple & The Melting Paraiso U.F.O. ‘Reverse Of Rebirth In Universe’  (Riot Season) 30th November 2018



As the title alludes, this is a rebirth; a new incarnation and phase in fact of the legendary acid-rock psychedelic transcendental freak out that is now in its 23rd year of cosmic operations. Founding instigators Kawabata Makoto and Higashi Hiroshi have in recent years welcomed a new intake of worthy disciples; adding vocalist and ‘midnight whistler’ Jyonson Tso, drummer from ‘another dimension’ Satoshimi Nani and the bassist, known only as, Wolf to its ranks. Their first task it seems is refreshing and transforming previous sonic stunners and rituals from the extensive Acid Mothers Temple & The Melting Paraiso U.F.O. back catalogue; part of an on-going repackage of the iconic troupe’s music that has recently seen, for the first time, a cassette tape release of both the In C and La Novia opuses by Kamikaze Tapes. Coinciding with a recent European tour, the Osaka outfits sprawling Reverse Of Rebirth In Universe album essentially breaks-in a new generation of collaborators.

Krautrock replicates, bowing in reverence at the temple gates of their German inspirations, but also carrying on the lineage of their native country’s own experimental doyens (groups like Les Rallizes Dénudés and the Far East Family Band), the Acid Mothers have carried the torch for acid-rock, the avant-garde and progressive when forbearers and contemporaries have faded or disbanded. Relighting the flame and going even more ‘cosmic’ (if that was even possible) the new recruits breath life once more into a trio (quartet if you have the bonus track version, which I’m reviewing) of moonage daydreams, Tibetan new age fantasies and wild psychedelic improvisations.

Transducing the entire Yeti and Wolf City Nepal esotericism and hippie magic of Amon Düül II into one monumentous caravan procession, the album’s opening epic anthem, ‘Dark Star Blues’, showcases the Acid Mothers signature occult cosmology. All at once hypnotizing, doom-y, melodious, trudging and noodling this far-out blues trip free falls into a wrestling guitar manic jazz jam after ten minutes of Byzantium universe soul-searching to reach a certain nirvana state of enlightenment. By contrast, though still untethered to earthy realms, ‘Blue Velvet Blues’ (about as far away from the blues genre that you can get) mixes tremolo Western echoes with the pining aching and waning guitar work of Ash Ra Temple and what sounds like Grace Slick yearning over a drowsy drum beat. Talking of vocals, the motorik driving ‘Black Summer Song’, sounds like a holy union of Nico and Damo Suzuki; ethereal and hauntingly wooing over a Future Days period Can meets Klaus Dinger’s Japandorf project backing.

The bonus, ‘Flying Teapot’, if you haven’t had the aural pleasure yet, leans more towards Embryo and Agitation Free; a progressive, acid-jazzy warp factor ten freeform trip of stargazing and druggy indulgence: A perfect finish in my book.

In a sprawling swirl of grooves and flailing, wilding display of guitar experimentation and oscillations, the Acid Mothers, boosted by the ‘next generation’, reinforce their reputation as one of the most out-there, influential and dynamic forces in cosmic rock. With a back catalogue that constantly keeps evolving they manage to push further and beyond the band’s past triumphs and freak-outs to deliver something energetically and dynamically refreshing. Here’s to the next phase in the Acid Mothers legacy; one that seems to show a promising glowing future of possibility.




%d bloggers like this: