M – Z : Mazzi & SOUL Purpose to Msafiri Zawose.

Welcome to part two of our mega ‘choice albums/EPs of 2017’ feature. If you haven’t already checked it out, have a good perusal of part one, as the second part is a continuation, carrying on in an alphabetical order from where we last left off.

The decision making process: 

Continuing to shy away from fatuous rating systems and ‘best of lists’, the Monolith Cocktailendeavors to offer a more eclectic spread of worthy ‘choice’ picks, with no album dominating or holding any particular numbered position – unlike most of our contemporaries lists stuck with the ridiculous task, for example, of explaining why one album is more deserving of their fatuous number 32 spot than another.

Lined up in alphabetical order then, our favourite new and reissued albums and EPs from 2017 are of course considered to be the most interesting, vibrant and dynamic of the year’s releases. But the best? Granted, to make this list you have to have made some sort of impact, but we’d never suggest these entries were categorically the best albums of 2017, even if that might be true. Instead our list is an indicator of our amorphous tastes, rounding up a year in the life of the Monolith Cocktail, and we hope, introducing you to titles and artists/bands that may have dropped below the radar or got lost in the noise of more commercial better promoted releases.


Mazzi & SOUL Purpose  ‘The Building’  (SOUL Purpose)

“A towering B-boy document gives familiar samples new life and piles banks of bricks and mortar beats and rhymes you can always back to do the business”.  RnV, Feb 17

The Building by established New Jersey movement Mazzi & SOUL Purpose is built on two levels and ends up a skyscraper, to a specification of telepathy that works from close range or miles away. Mazzi as emcee rhymes his ass off for fifteen tracks without leaving you behind (“love what you’re doing and you’ll never have to work a day in your life”) and not without addressing the state of the world, relationship complexities and being prepared to fight (with the listener playing the twelfth man).

The SOUL Purpose movement begins with a mash-up of every essential hip-hop break known to man, going on to cover cavernous, fusionist swells of sound, B-Boy skippers, deep cover gangster business, and samples found in Boots adverts/Sugababes singles and on Madonna tours. That the album was also helping do its bit for good causes added an extra layer to the album’s complete package status. Matt Oliver

Nicole Mitchell  ‘Mandorla Awakening II: Emerging Worlds’  (FPE Records)

Taken from a 2015 live performance commissioned by the Chicago Museum of Contemporary Art, the erudite American jazz flautist, composer, bandleader, educator, scion of Afrofuturism, former president of Chicago’s Association for the Advancement of Creative Musicians and a founder of The Black Earth Ensemble, Nicole Mitchell’s outstanding Mandorla Awakening II: Emerging Worlds conceptual suite, straddles two evocatively imagined contrasting worlds: the tumult of a patriarchal world, called The World Union, in decay against the egalitarian desire of the advanced utopia called Mandorla, where technology and nature, freedom and tolerance are in ultimate synchronization.

Set in the year 2099 this multimedia project, which includes a short novella, blurs the line between philosophy, mysticism, modern art, science fiction and radical political critique on what is both a diaphanous and moody groundswell soundtrack of contorting confusion and beautiful flute accompanied polygenesis magic. To suggest this album of instrumental peregrinations and odysseys and poetically conscious soulful lectures and passionate, Last Poets meet Pharaoh Sanders, declarations – courtesy of Avery R Young – can be simply classed as a jazz is to ignore how amorphous the musicality of Mitchell and her reconfigured Black Earth Ensemble is in transcending the genre. With an expansive range of instruments and sounds, including Kojiro Umezaki on shakuhachi, Renée Baker on violin, Tomeka Reid on both cello and banjo, Alex Wing on electric guitar and oud, Tatsu Aoki playing bass, shamisen and taiko, and Jovia Armstrong handling percussion, the paradise versus dystopia exoticism of the ‘awakening’ simultaneously evokes orientalism, fantasy, nature, the classical and the atavistic.

At its heart, articulating the nervous but adventurous, pinning but diaphanously elevating characteristics of the narrative, Mitchell’s flute performances are stunning and spiritual throughout, even gracious. And the direction of travel is never quite certain, but always impressive and questioning.

As a frame for this conceptual suite, Mitchell asks: “What would a world look like that is truly egalitarian, with advanced technology that is in tune with nature?” We may never know, but the tumultuous journey towards it certainly sounds magnificently ominous and beautifully experimental. Dominic Valvona


Nolan the Ninja  ‘Yen’  (Left of Center)

“Aggressive, eyeballing rhymes to get you bouncing, and beats strategically picking their punches”.  RnV, Oct 17

In his bid “to retire before I’m 35” and “trying to see a million before I go to sleep”, Nolan the Ninja absolutely busts a gut to get his rhymes hurrying up his pension plan. Landing haymakers on dosed up vintage Queensbridge and clatters of muddy kicks and snares that can call up a posse from miles, the Detroit dragon slayer also knows that living by an all-or-nothing mindstate means every single syllable has to have the clarity to rightfully shatter ciphers.

Getting Royce 5’9” to guest on Calisthenics is a smart move in seeing whose chest is first to tighten, and Chess is the least civil checkmate recorded as everything threatens to spin of control. The album actually decelerates – or likelier, gives the music a chance to catch up – to show that the go-for-mine Nolan can manage the throttle when soulful drops start clearing the debris.   MO


Open Mike Eagle  ‘Brick Body Kids Still Daydream’  (Mello Music Group)

“Maintaining his rightful place in the line of ghetto superheroes”.  RnV, Aug 17

Two tracks define the multi-talented emcee’s latest intricacies and humour, cosmopolitan accessibility and underground elusiveness. Open Mike Eagle draws himself from his shell by completely rewriting the rules on what it means to be hard in hip-hop on No Selling. Despite the Dark Comedy compère being a nostalgic peacekeeper for a lot of Brick Body…, capable of bringing up an argument about which condiment is king of the kitchen to prove a greater point, the album’s political piece de resistance, My Auntie’s Building, fights for what he believes in with tangible rage, a housing project held close providing the album with an explosive conclusion that might have got lost further up the album sequence.

We disagree that “everything is better when you don’t know nothing” – everyone needs Eagle in their corner – but can certainly vouch for the confirmation of “I promise you, I will never fit in your descriptions”. MO


Hermeto Pascoal  ‘Viajando Com O Son (The Lost ’76 Vice-Versa Studio Session)’
(Far Out Recordings)

Thankfully surfacing forty odd years after the fabled ’76 sessions at Rogério Duprat’s São Paulo Vice Versa studio, the extemporized jazz performances of Hermeto Pascoal and his impressive Paulo troupe sound every bit as fresh and dynamic as the day they were recorded.

Held in high esteem, in the upper echelons of experimental traversing exotic jazz pantheon, anointed by a hyperbolic Miles Davis who called him “the most impressive musician in the world” after catching him play live, Pascoal’s transcendent voyages from Brazil have become the stuff of legends. Crate-diggers and jazz or indeed even world music aficionados have always salivated at the prospect of such material being found and released, and the missing Viajando Com O Son session is up there with the most desired.

Unburdened by such trivialities as time and composition, this four track suite shimmers with the celestial as it dreamily saunters through a tropical rainforest groove on the opening Dança do Pajé; quacks and quivers through a percussive bending bright organ peregrination on Mavumvavumpefoco and mysteriously and surreptitiously explores an exotic landscape, tip toeing and lovingly serenaded by magical flutes, on Natal. However, the main, twenty-six minutes long, expansive highlight, Casinha Pequenina, follows on from the previous tracks with similar leitmotifs played out and taken into ever more experimental directions: from Miles Davis to Guru Guru.

The Lost ’76 Vice-Versa Studio Session is a lush tropical jazz odyssey from the Brazilian maverick and genius that’s well worth every penny. DV

Piano Magic  ‘Closure’  (Second Language Music)

Calling time on a twenty-year career with one last swansong, the Anglo-French Baroque indie dreamers Piano Magic echo the sentiments and themes of their 2000 song No Closure on their final majestic and profound album, Closure.

Drawn to a despondent melancholy, a most diaphanous one at that, the sagacious founder member and songwriter Glen Johnson is aided in his last ever enterprise by Franck Alba (guitars), Jerome Tcherneyan (drums, percussion), Alasdair Steer (bass) and the band’s original drummer from their debut gig at the infamous Wag Club, Paul Tornbohm, now providing keyboards. Wounded and troubled as ever by the lingering traces and ghosts of past relationships and liaisons, Johnson’s resigned poetics attempt to meet head-on those feelings he just can’t seem to lay to rest: as Johnson calls it, the “mythical formal conclusion”, the need to “move on” from broken relationships is not so easy. And so he croons, “Let’s get this thing sewn up” on the Morricone meets Ry Cooder cinematic title track, knowing full well that “…you never get closure.” The supernatural echoes of a lost love, channeled through a dusty answering machine message séance, on Landline leave the singer’s voice paled and weakened; lamenting loss form the far side of the ether. Marooned as a passive onlooker to the goings-on in the backstreets of his southeast London neighbourhood, a voyeuristic, removed Johnson (in Talk Talk mode) vanishes almost completely before our very ears. The song’s sad lyrics it must be said are a most beautiful kind of misery.

Magnificent in their despair, the musicianship poised, purposeful and subtly stirring, Piano Magic’s last ever fling is one of the band’s most accomplished, and definitely one to savour. As near perfect as any Piano Magic suite can be, Closure proves that you can perhaps after all find a satisfactory ending. DV

Full review…


Reverse Engineer ‘Elusive Geometry’  (Floored Music)

Both in the moniker by which the Edinburgh-based ‘sonic experimentalist’ Dave House is known by, and deduced from the title of his latest album, Elusive Geometry, we can view the sound-artist’s music as a restructuring of sounds and mechanics.

House unravels, strips and inverts his apparatus of field recordings and sampled instruments to reconstruct new, often mysterious and at times foreboding soundscapes; some of which recall Jon Hassell’s Fourth World Musics explorations: a trace of the Javanese or Malay can be heard like a veil hanging over the uneasy densely packed traverse of cascading crystal droplets, marimba and tubular echoed Proto, and a similar, familiar yet obscured sense of place can be heard on the bamboo shuttling Insider, which also features the bobbing and dipped percussion and tablas of sound-designer and producer Pete Vilk.

A transformation of House’s themes of ‘transition, self (re)discovery and moving on’, the precise chemistry of his compositions and use of collaborators – the already mentioned Vilk is joined by the jazz vocalist Matty Eeles, harpist Esther Swift and BAFTA award-winning cellist Atzi Muramatsu – sends these explorations off into numerous nuanced, but untethered, atmospheres. Masked looming leviathans, honked saxophone like probes, coils and springs, stone and vegetation, the odd guitar strike drift over or interweave through sophisticated minimalist beats and breaks – the most abstract and discordant drum break of which features on the hallucinatory Decoherence -, with the mood fluctuating between both controlled uncertainty and more deconstructive chaos.

Elusive Geometry will tease out and reveal its textures and intricacies slowly, each listen drawing your attention to some other interesting interplay and sparse sound. House has in short created a brilliant album of thoughtful, moody transitions and discovery. DV

 Full review…


Miles Cooper Seaton  ‘Phases In Exile’   (Ascension Hall Recordings)

This music is a cinematic poetic recitation, an eloquent art object; sticking to the blurry lines of your shadow while you float through this existence, this street, this town-deserted-or this day, mundane. That dreamy music with the aura of a long lost ocean is the sound of the beyond: you will see, in a cloud, half stunt postures of people trying to deal with mourning. Their eyes wide open yet unsure of how to breathe. And while they exhale, the music pours as if descending from a kind heaven, nested in peace, cooing for drenched figures of the earth.

Miles Cooper Seaton is the ghost who reaches out, entrusting us with a sensation of hope and relief, tranquility, a loophole, mindfulness. Forgive and forget. In the morning dreamers try to get a hold of their visions, trying to catch a glimpse of that faint reality; Miles’ music is lingering too. It tinkles and echoes with a slowness. This is how the rhythm goes, lingering among a field of green, yellow barns, with an horizon of blue and grey shades, some drops sweep the face of a child who understands it all. The clamorous pearls are just from the fierce-y wind. Inside he is all right. The album is dense and tortured. Inside he is all right; the child has grown, and given us these notes. Ayfer Simms

Full review…

Sentidor  ‘Am-Par-Sis’  (Sounds And Colours)

A most congruous if challenging futuristic Rio de Janeiro psychogeography remix of sounds and ideas, built around the transformed cut-up samples and influence of one of Rio’s most famous sons, Tom Jobim, and his post-bossa nova peak leftfield experiment Passarim, fellow compatriot and burgeoning experimental music star João Carvalho creates one of the year’s most haunting and magnificent lush ambient suites, Am-Par-Sis.

Synonymous and celebrated for bringing bossa nova to the world, Jobim’s explorations outside the genre had gone largely unnoticed. Under his alter ego, Sentidor, Carvalho sheds new light on the legendary artist’s innovative experiments whilst also drawing on the drone, ambient, trance, funk carioca, classical and plunderphonics styles to create a uncertain multi-textured augur for future generations to ponder over.

On, what is the most traversing of ambient and collage concept albums, he poses a number of questions, such as: How would Jobim’s record be interpreted by a new generation whose connection with the past and the rest of the world has been cut? How would the record be used in creating new rituals? How can art be reorganized and rebuilt democratically? It also questions the very ideas of what constitutes as the public domain in the modern world and whether something sacred should be preserved or rather gather dust and slowly turn into something else.

Via the power of a seamless, amorphous soundtrack of ethereal pulchritude, cascading veiled piano, ether Panda Bear like voices and song, atmospheric manipulations, transmogrified melodies, whispery winds, Neu! boat trips, reversed samples and magic Carvalho sets out to mull over and articulate these questions. DV

See exclusive track feature…

Shadow  ‘Sweet Sweet Dreams’  (Analog Africa)

For the first time branching out towards the Caribbean Islands, Africa Analog turn their attention to one of Trinidad & Tobago’s most enigmatic music stars, Winston Bailey, better known as Shadow.

Previously marooned on a desert island of obscurity, panned by critics at the time and failing to sale, Bailey’s bouncing scintillating Soca-boogie and Calypso hybrid lovesick dance floor tracks were ahead of their time. Unlike anything coming out of the islands at the time, these often bright, swaying pop love spurned and springy ballads took the island’s sound into the cosmos.

Bailey started out in the mid 70s reinvigorating the Calypso genre, adding a slick production to the atavistic roots sound that made its way across the Atlantic via the slave trade, and giving it panache and a slinky radiating candour. Though originally used as a tool for social commentary, the synonymous rhythm of the Caribbean is channeled into a number of space age love songs. But despite the lamentable aspects, Bailey’s vocals are sunbaked with ripe swoon and lilting soul, fit for the dancefloor.

A missing masterpiece waiting to be (re) discovered, Sweet Sweet Dreams is simply a beautiful pop album. DV

John Sinclair & Youth  ‘Beatnik Youth Ambient’  (Ironman Records)

Synonymous for steering and kicking out the jams in his short role as manager of Detroit’s renowned rebel rousing motherfuckers The MC5, renegade poet, scholar, activist and establishment rattler John Sinclair is also remembered for his free radical zeal and dalliances with the law – leading to a short spell in the slammer. Keeping his hand in so to speak, but taking up residency in Amsterdam – a much safer bet -, the beatnik jazz sage continued, and as you can hear on this latest recording, continues, to record and perform in a host of setups with a multitude of contributors and backing bands.

The appropriately (in every sense) entitled Beatnik Youth Ambient mini LP is a foretaste, and as the title implies, ambient treatment version of material from a full-length album, released a couple of months later. The “Youth” of that title refers of course to the Killing Joke bassist turn in-demand producer Martin Glover. Arguably one of the most consistent producers over the last few decades in the UK, Glover, under his Youth alter ego, has taken on more or less most forms of music and worked on both commercial and underground experimental projects. He now provides Sinclair’s “literary synthesis” with a suitable “beatnik ambient” soundtrack: a serialism quartet of turmoil, turbulent jazz and dreamier trance.

Running through a vivid purview of postwar counterculture, bringing to life the energy and excitement that writers such as Kerouac (who gets referenced a lot) captured when seeing the Bebop jazz revolution and its great proponents perform, Sinclair delivers a magical enthusiastic experience on another track, evoking Thelonious Monk’s 1957 LP of the same name, Brilliant Corners. Titans of American beatnik and psychedelic literature lineup, Burroughs, Ginsberg and Neal Cassady (“…had the ability to park a car anywhere”, just one of his talents alongside his status as the “human bridge between the 50s and 60s.”), rubbing shoulders with jazz music’s new guard Lester Young, Byrd and Gillespie; immortalized by Sinclair to “head music” cosmos of jazzy lamenting woe, ghostly squawking and hooting saxophone and swirling mirages.

If anything, Beatnik Youth Ambient leaves the listener pining for a lost age; Sinclair’s evocative prose and delivery lifted (and cradled at times) by Youth’s congruous seething tensions and floaty dream-like production, which enthrall me to once again get stuck in to the “beat generation” and spin those Savoy label jazz totem recordings again. A prompt for the present times, the zeal of the postwar “baby boomers” (those with a soul anyway) counterculture not necessarily translating to generations X, Y and Z, even if it is needed; Sinclair’s language is nevertheless just as powerfully descriptive and energizing now as it was over forty years ago. DV

Full review…

Širom  ‘I Can Be A Clay Snapper’  (tak:til/Glitterbeat)

With an unspecified, but as the name suggests, emphasis on the “tactile”, Glitterbeat Records new imprint label gives a welcome platform to entrancing experimental tonal performances and sonic polygenesis traverses alike. In the latter camp is this Slovenian peregrination suite from the landlocked, Alps nestling country’s visceral sonic conjurors, Širom.

Evoking memories and feelings, both real and imagined, with a soundtrack thick with atavistic connections, the trio of punk and post-rockers turn experimental folk and acoustic instrumental cartographers convey a personal relationship to their homeland, on their second album together under the Širom banner.

Yet whatever the backgrounds, traces of North Africa, the Adriatic and the Middle East, the performances sail scenically through a dreamy otherworldly representation of Slovenia: Oriental, alien and Balkan visions permeate the plucked, malleted, chimed and purposefully played compositions, which subtly and rather cleverly build up complicated layers and various overlapping time signatures during the course of their journey.

Theremin like siren voices drift in and out, enacting the myth and seraph, whilst on the watermill turning Everything I Sow Is Fatal Sun Ra travels with John Cale and Pharaoh Sanders on a pilgrimage to Samarkand. The most recurring sounds however pay testament to the Balkans ghosts. The folkloric stirrings, lulls and yearning of Slovenia’s past bordering both a pan-Europa of migration and grief – stretching back a millennia – are transduced into often haunted vistas and metaphysical passages.

A most impressive and expansive inaugural Balkans travail; different from the previous two releases on this burgeoning new imprint, yet keeping to the tactile, accentuate and imaginative remit, whilst conjuring up mystical new soundscapes. DV

Full review…

Solo Collective  ‘Part One’  (Nonostar)

Gathered together in a congruous union under the Solo Collective umbrella, the Anglo-German partnership of virtuoso performers/composers Anne Müller, Seb Reynolds and Alex Stolze take turns in the spotlight and provide supporting roles with a cast of additional collaborators on the chamber pop meets traversing evocations suite Part One.

An interconnected triangle of familiar themes and musicality, with each musician also individually experimenting and creating their own solo pathway, in their respective field, all three artists have crossed paths and worked together previously on a variety of projects; some of which, in alternative neo-classical stripped versions, appear on this album. For instance, the original pizzicato acoustic-electronic Don’t Try To Be, from the violinist Stolze’s 2016 EP, Mankind Animal, now features Müller’s yearning emphatic cello, and is striped of its synthesizer electronics in favour of woodblock percussion and doleful low bass notes to create a more tragic and sad version.

A showcase for a particularly harmonious partnership of individuals with a pan-Europa vision of collaboration and crossing sublime musical boundaries, Part One – of what I hope will be a continuing venture – proves to be a stirring neo-classical ambient collection of solo and ensemble performances; each artists sharing and pooling their obvious talents to find a common interplay and a bond to create a challenging but mostly beautiful album. DV

Full review…

Sparks  ‘Hippopotamus’  (BMG)

Bombastically pitched as a “comeback” album, unseasonal followers and those not so familiar with the maverick siblings Sparks career may have been under the impression that the much-hyped Hippopotamus marked some kind of return from an imagined sabbatical, a retirement or an emergence from the wilderness. It was nothing of the sort of course, their last official Sparks albums may have been released in 2008 (Exotic Creatures Of The Deep) and 2009 (The Seduction Of Ingmar Bergman), yet they also went on to collaborate with Franz Ferdinand in 2015 for the mighty team-up FFS. Three albums in seven years isn’t bad, considering the rate most groups knock out records these days, and considering Ron Mael is in his early seventies and brother Russell is only a few years behind.

Maybe what the media meant was a return to form. Admittedly – apart from FFS, which made our albums of the year in 2015 – the music hasn’t quite matched the quality of their 70s output or indeed the 2002 triumph Lil’ Beethoven and the 2006 follow-up Hello Young Lovers. Hippopotamus I can thankfully say is very much Sparks at the top of their game.

The Gilbert And Sullivan of cerebral pop music takes the form to ever-new intelligent heights of absurdity and revelation. Daring to merge intellectual ideas and themes into an art form; yet never laborious, condescending or aloof, every song on this latest theatrical rock and pop suite features an infectious melody, satirical but heartfelt clever lyricism and the usual Noel Coward piano witticisms (updated for the modern age of course).

Communicating both the frankly bizarre and the almost insignificant of contemporary foibles (from the middle class anxiety of stylish furniture design, on the Kierkegaard ponders Scandinavian Design, to the difficult to usually rhyme with anything in any song, surreal assortment of metaphorical, or very real, items and figureheads tormenting Russell in his room on the title track), the Mael Brothers frame all their ditties within a melodramatic often plaintive setting of levity.

Minor concertos and pop triumphs abound, as Sparks use the usual assortment of figureheads, including Edith Piaf and an ambiguous French film director auteur, to articulate their feelings on an assortment of theatrical and operatic (the almost aria style domestic imaginings of The Macbeths on the Living With The Macbeths duet) anthems – though of course, Piaf “always said it better”.

Cleverly creating social and political satire and commentary without the rage, finger wagging and virtue signaling, Sparks remain one of the most consistent bands – or duos if you like – in music history; five decades on and still producing epic pop, the likes of which has seldom been equaled. DV

Strange U  ‘#LP4080’  (High Focus)

“#LP4080 has a deftness that allows it to be daft; a first class bizarre ride to and from the far side”. Our Daily Bread 234, Feb 17

It’s always fun and games when King Kashmere/The Iguana Man/Lord Rao starts spraying jocular, juvenile sci-fi syllables and delirious, crowd-pleasing hooks at will. When he hits hyperspace, he’s an unstoppable force of nature few can compare to – “you enjoy buying trainers, a person like me enjoys firing lasers” – though his intergalactic court jester act belies the wicked yarns he spins about our alien overlords and fantastical set-plays (environmental health, relationships, politics) that are closer than you think.

Helming a future primitive craft with Dr Zygote, mechanic to an 8-bit jalopy with head knocks and funky splutters aplenty, Strange U float through the cosmos as an entertainingly erratic two-man crew. Despite being recorded in a studio far, far away, LP#4080 has got its head screwed on with attention to the fundamentals – the MC-producer combination, prime beats and rhymes, a concept that works, and a spectacle promising multiple revisits. MO


Tamikrest  ‘Kidal’  (Glitterbeat Records)

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

Preserving an increasingly endangered ancestral culture and language, Tamikrest’s cause cannot be separated from their music. Yet, rather than protest with bombast or angry rhetoric, they articulate their woes with a poetic, lyrically sauntering cadence. Oasmane Ag Mosa’s earthy lead vocals resonate deeply, even if his timbre maintains a stoic dignified pitch. Backed by Aghaly Ag Mohamedine and Cheick Ag Tiglia on backing and duets, a lulling sweetness transcends, which on occasions adds a certain romanticism to the impassioned struggle. Swaying effortlessly between the meandering and up-tempo, the accentuated dynamics of Mosa and Paul Salvagnac’s entwined, untethered and contoured guitar work, Mohamedine’s “gatherer” Djembe rope-tuned goblet drumming, Nicolas Grupp’s askew backbeats and Tiglia’s smooth, free-roaming bass lines transport the listener to the mystical topography of the desert.

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

Full review…

Tanzania Albinism Collective  ‘White African Power’  (Six Degrees Records)

In so many respects a “spiritual follow-up” to the acclaimed producer Ian Brennan’s Grammy Award-nominated Zomba Prison Project and follow-on from the equally evocative and raw Hanoi Masters sessions, White African Power attentively and respectfully draws out the repressed voices of the Albino community in Tanzania. Brennan’s productions often serve as a kind of hands-off form of creative counseling and healing; helping people to overcome trauma, such as the survivors of Pol Pot’s genocide in Cambodia. He’s renowned for being the most inconspicuous of in the field and on location producers, letting the atmosphere and elements, the moment if you like, and even serendipity bleed into the performances he captures for posterity. And the production methodology used for this latest project, recording the songs of the Standing Voice Community of Ukerewe, is no different.

A safe haven, Ukerewe, where Ian travelled to in 2016 to document their plight, is the largest inland island in Africa, only reachable by a four-hour ferry ride. Its community is, hardly surprising, haunted by their experiences. Self-conscious, avoiding eye contact, it proved a difficult task for the producer to encourage his subjects to open up. But open up they did, and the results are often surprisingly melodious, poetic, and diaphanous if raw and emotional. Far from a harrowing catalogue of despair and pity, the 23 recordings on this collection prove illuminating.

Fitting no obvious style, these amorphous performances do however resonate both with the delta blues of Louisiana and the stark, stripped down and earthy blues of South East Asia. Touches of raw African dusty tradition do appear, ascending and descending alongside gospel and soulful voices, naturally echoed, sighed and open-heartedly sung with a pure vulnerability. They’re accompanied either by stark lo fi electric guitar performances, that range from scratchy, straggly proto-punk to slower scrabbly emotive twangs, or an acoustic backing of rubber-band and bottle shaking percussion. Standing out production wise though is the classical – imagine Brahms on harpsichord transferred to East Africa in the 80s – reverberating cradling deep soulful ballad, Never Forget The Killings.

Ian Brennan coaxes another startling, eye opening, set of recordings from the victims of trauma; one that proves every bit as impressive as it does plaintive and sad. The collective will astonish, if not surprise listeners, those suppressed voices, thankfully released and given an international platform, sound emotionally honest and revelatory. DV

Full review…

Terry  ‘Remember’  (Upset The Rhythm)

The disarming world-weary punk and quirky pop touting quartet of Melbourne scenesters, banding together under the ubiquitous Terry moniker, follow up a prolific run of 2016 EPs and their debut LP with another acerbic witted, snappy melodious release of profound disenchantment and wistful “wish fulfillment”.

Continuing with the shared girl/boy dynamic of lulling, placeable idiosyncratic vocals and flexible punk, country and new wave bubblegum backing, Terry look to expand their repertoire on Remember. The combined musical savvy and experiences of band members Amy Hill (of Constant Mongrel and School Of Radiant Living), Al Montfort (UV Race, Dick Diver, Total Control), Zephyr Pavey (Eastlink, Russell St Bombings and also Total Control) and Xanthe White (Mick Harvey, Primo) push the quartet into all kinds of nonchalant mischief. The gang embraces nonplussed French new wave chanteuse vibes on the brilliant breezy, mosey country lilting, Toy Love meets Serge Gainsbourg Take Me To The City (one of the tracks of the summer), and snappy, bouncy indie synth pop on Rio. At their most raucous, rough and ready to tumble, Terry softens the edges of The Damned on both their keystone kops rave-up Start The Tape and spiky frazzling Give Up The Crown.

Suggesting nothing more rebellious than a cheeky smoke behind the bike sheds, the group’s knockabout catchy hooks and charm cloak a personal profound response to the political and personal anxieties and dramas of the times. And they do this with a certain aloof coolness and adroit ear for a great tune, making this 2017’s most melodious and catchy album of knowing pop slanted punk. DV

Full review…

Vieux Farka Touré  ‘Samba’  (Six Degrees Records)


A studio recording with a difference, played out and developed live in front of just fifty lucky people in Saugerties, N.Y., Vieux Farka Touré’s latest album blurs the boundaries between performance and the processes of making an album.

Ever the consummate maestro and backed by an equally accomplished band of musicians, there was some initial apprehension on Touré’s part about allowing an audience into the studio. Though we have the finished product, free of any mistakes, restarts and disagreements, it seems this audience far from unnerving the band, egged it on, with the results sounding effortless and natural. There were overdubs of course and one of the songs was recorded back home in Mali – the calabash driven Ni Negarba. But far from cutting corners or relying on the back catalogue, Touré has fashioned an entirely new songbook of vocal and instrumental material for Samba. Some of which amorphously touches upon unfamiliar influences, including reggae on the unapologetically roots-y swaying Ouaga.

Touré is as the Songhai title of his new album Samba translates, the second son of the late Ali Farka Touré, a doyen of the Mali music scene himself who left an indelible mark. If we expand on the title’s meaning, “Samba” is a byword for “one who never breaks”, “who never runs from threats, who is not afraid”. It is even said that those adorned with the name are “blessed with good luck.” Inspired by his ancestry, imbued with three generations, Touré’s album is suffused with special tributes to his family. Outside the family sphere, Touré confronts both Mali’s recent Jihadist takeover – only stopped and defeated by the intervention of the country’s former colonial masters, France – on the radiantly rippling, chorus of voices, funky blues number Homafu Wawa, and environmental issues on the dexterously nimble-fingered bluesy rock, Nature.

The almost never-ending efflux, the constant lapping waves of textures that Touré plays, which offer a cyclonic bed on which to add the deftest licks, have never sounded so sagacious and free flowing. This ain’t no Saharan Hendrix at work, this is something else entirely, and better for it. This is the devotional, earthy soul of Mali, channeled through a six-string electric guitar. DV

Full review…


VVV   ‘Bozo Boyz’  (VVV)

“The trio take apart prowling club beats powered by the high beams of an 80s sportscar”. RnV, Nov 17

Preceded by Apocalypse Trent poking fun yet completely understanding modern hip-hop’s rules, the Nottingham trifecta of Vandal Savage, Cappo and Juga-Naut are a heavy rotation of individual voices.

Rhymes and word associations – pop culture, mind’s eye observations, opaque battle bars covered in enough 80s hairspray to tear the ozone layer a new one – jut out at free-flowing, at times unworkable angles, yet are held together by undeniable dope infused with a carried over drop of cheek.

Flicking VVVs at club beats, a slim line 80s synth chassis is rolled out to maximum effect (an evolutionary eye-opener for East Midlands rap fans – this won’t be their usual milk and two sugars). Both chilled and chilling, sonically Bozo Boyz lives an alternate life of soundtracking a slasher movie making a wrestler’s entrance to the ring. One of the more idiosyncratic hip-hop picks on this list, it’s VVV for victory. MO

Various   ‘Hidden Musics 4: Abatwa: Why Did We Stop Growing Tall?’
(Glitterbeat Records)

Ian Brennan, yet again, probing the furthest, most inhospitable and outright dangerous places in the world to record marginalized voices, journeys to the post genocide borderlands of Rwanda on the fourth volume of Glitterbeat Records illuminating Hidden Musics series.

Taking the unmarked, haphazard, road (less traveled) to the edges of Rwanda, avoiding the animosity and embers of vengeance that still burn and remain between the country’s minority Tutsis and majority Hutu communities, Brennan visited and recorded for posterity the Abatwa tribe’s seldom heard lament, anger and incredible soulful, if raw, blues.

The Abatwa name remains mostly unknown outside Africa, that’s because, due to their limited growth, we know them better as the ‘Pygmy’. A derogatory name loaded with infamy, yet preferred by the very people it derides, the tribe rather that put-down than (as Brennan puts it) “the official PC mouthful/post-genocidal replacement: The people who were left behind because of the facts of Rwandan history.”

What you get from this community is battery powered electronics and rusty, ramshackle dusty instruments coming together in hybrids that evoke ritual, the ceremonial but equally the blues, soul and hip-hop; all played with an undeniably emotional Rwandan verve and lilt. Make no mistake; this is performance in its most deconstructive raw form. Devoid of embellishments and overbearing production, recorded in situ with only the rudimentary elements and atmosphere for company, and it sounds great. It is nothing short of revelatory; field recordings of hope and recovery created in the face of despair. DV

Full review…

Various  ‘Pop Makossa: The Invasive Dance Beat Of Cameroon 1976-1984’
(Analog Africa)

The latest in a tenure adventure of excavating lost treasures from the African continent; Analog Africa’s main man Samy Ben Redjeb once more digs deep, sifting through a daunting mountain-size pile of records and recordings as he draws the spotlight on Cameroon’s Makossa scene of the 70s and 80s.

Originally the traditional rhythm and funeral dance of Cameroon’s Sawa and Essewé peoples, later transformed in the country’s cities as it collided with everything from merengue and rumba to Highlife and disco, Makossa, which means, “to dance” in the Cameroon Douala language, is a highly loose and adaptable style: as you will hear on this twelve-track collection of hits and rarities from the golden era of pop makossa.

Honing in on the period when makossa rubbed-up against funk and disco, this balmy dance beat compilation’s pulse is luminous and fluid and most importantly, funky. This is in major part down to some of the most smooth, bouncing, slick and relaxed but constantly busy of bass lines – Cameroon’s bass players rightly revered as among the best throughout the world – and the constantly shuffling hi-hats, tom rolls and splashing drums.

Every bit as “invasive”(and infectious) as the extended album title suggests, the classy pop massoka sound – once considered the unofficial national sound of Cameroon – is waiting to be rediscovered and let loose once again. In what seems like a recent shift in direction at the Analog Africa label, with the emphasis on the late 70s and 80s – from last year’s Space Echo collection from Cape Verde to reissues of Trinidad & Tobago star Shadow’s Sweet Sweet Dreams and the Benin solo singer Vincent Ahehehinnou’s Best Woman – this latest survey continues to unearth musical treats from the same era, albeit in different geographical settings, yet sharing many of the same production and trends traits. In short, another classy sun-basking exposé of the most sauntering, scintillating African pop from one of the top labels in the field. DV

Full review…

Vukovar  ‘Puritan’  (The Brutalist House)

Following in the tradition of their three-syllable sloganist album titles, Vukovar’s fourth LP drums home the Puritan mantra and analogies; a cleansing if you will of the status quo, a year zero, and perhaps also a return to the roots and communal deliverance of protest in music – not, I hope, the ‘puritanical’ steeple hat and buckle shoe wearing bible bashing of zealots, burning heretics at the stake, nor the bloody zeal of so many badly turned-out revolutions that end up creating just as terrible a reign of tyranny. The only fires here are the metaphorical kind; a funeral pyre of mediocrity, a bonfire of vanities, the-bland-leading-the-bland towards a conversion of raw intensity, dangerous, shamanistic performed anarchistic rock’n’roll: well I think that’s the idea.

As the band’s previous album, Fornication showed, Vukovar have at least listened to many of the right bands; released at the start of the year, this amorphous, transmogrified covers style collection featured reconfigured homages to a host of iconic luminaries including David Sylvian, Coil, The Monks, The Birthday Party and Neu!. Cultish in a manner, the band’s influences and manifesto statements of propaganda intent, plus allusions to cultural regicidal and ability to shrink from publicity – even self-sabotage any signs of success or promotion – suggests a band that takes itself very seriously. Yet even with countless references to history’s outsiders, philosophers, discontent mavericks, revolutionaries and demons throughout their previous trio of albums, and the elegiac resignation that shadows them, they waltz sublimely (for a majority of the time), rather than rage in romanticized contempt, as Olympus slowly grumbles.

Between the Gothic skulking and crystalline rays of shared 80s synth new romanticism Vukovar wander transfixed in a nightmare state of both despair and indolent antagonism; with stark lyrics more descriptively visceral than forced down the listener’s throat. Donning the vestiges of the Puritan, the front man, an amalgamation vocally of both Ian Curtis and Bernard Sumner, sets the scene (“I am a sinful man, yet an honest man”) to a backing track of slung low growled bass, Jesus and Mary Chain’s bastardize Spector drum death knells and the miasma threat of Nick Cave’s Bad Seeds on the opening inflicted and gradually ascendant Nietzsche propound Übermensch.

The most complete and best produced encapsulation of Vukovar’s sound and venom yet, balancing both their experimental raw and ritualistic live performances with melancholic post-punk, and even brooding new romanticism pop, Puritan offers a travail through the dirge and gloom of our (end) times with all its sinful and cleansing, often biblical, connotations and language. Though it also often sounds like some kind of personal tortured Nick Cave love requiem, unfolding in the midst of chaos, looking over the edge into the abyss, the heretics taking over the asylum. DV

Full review…


Your Old Droog   ‘Packs’  (Fat Beats)

“Working a number of hustles and stakes-high dice games, with a penchant for humour and words to the wise on a varied album with no time to waste”.  RnV, Mar 17

Your Old Droog’s crowning glory pays the utmost attention to album constructs. Packs is 11 tracks all vying to be the jump-off, featuring skits that help rather than hinder, and guests like Danny Brown and Edan giving the action a hot cameo.

In running his own Grand Theft Auto route through New York (if there’s ever a Baby Driver sequel, or Marvel need a new street hero, surely Droog’s your man), storylines find time to dispense worldly wisdom that you’d be foolish to leave unheeded, and punchlines show that firing from that borderline meh mouth of his, is always smarter than letting off a few from the trigger finger. A 30 minute car chase always in complete control, cool with wrenching the steering wheel off-road before resuming its day-to-day cruising, and whose crucially compact composition makes it a red letter day for the rewind button. The Nas comparisons are now ancient history. MO


Msafiri Zawose  ‘Uhamiaji’  (Soundway Records)

Handing on the baton, so to speak, to another generation, the late great Gogo Tanzanian musician Hukwe Zawose’s equally talented son Msafiri takes up the reigns on his latest album for Soundway Records, Uhamiaji.

From the heartlands of Tanzania, Msafiri in collaboration with the much-respected Santuri platform – enablers and promoters for a much neglected East African music scene – and SoundThread’s Sam Jones has created a vibrant and sauntering, drifting adventure in dub and Afrofuturism jazz from the gogo traditions. Building to a degree on his father’s own 2002 experimental collaboration with ambient electronica producer Michael Brook, on the album Assembly, Msafiri takes his heritage into new and expansive sonic territories whilst intrinsically sounding African.

Buzzy, bright, hypnotic and at times trickling like watery vibes, this amorphous album is an odyssey of the lilting, danceable, meditative and peaceable. A peregrination of mystery, a journey across acoustic and electric frontiers musically and vocally, Uhamiaji is both a most beautiful and imaginative album. DV




A somewhat shorter selection but just as much quality and eclecticism, my final roundup of the year includes the cinematic pop and harrowing void explorations of Alpine Those Myriads; the latest compilations from Edinburgh label of alternative and post rock mavericks and sonic explorers, Bearsuit RecordsThe Invisible & Divided Sea, and the altruistic, charity driven Submarine Broadcasting Company’s latest sprawling collection, Post:Soc; the fourth edition of Knitting Factory’s curated Fela Kuti box sets, with albums chosen by that rebel soul songstress and polymath Erykah Badu; and for the first time ever the entire – admittedly small – 1970s recorded oeuvre of one of Cameroon’s leading Gandjal rhythm providers, Hamad Kalkaba and his Golden Sounds band.

Alpine Those Myriads   ‘Visions & Disorders’
See Hear Feel Smell,  out now.


Set adrift out into the void, though as the motivational prompt, ‘climb the mountain and jump off it!’ that was taped to the artist’s working desk during the process of making this harrowing beauty of a minor opus suggests, Alpine Those Myriads’ Marius Bastiansen is, if throwing himself into a chasm of uncertainty and pushing limits, still tethered to earthly realms.

Now deduced to a solo project, cut loose from previous incarnations of the Norwegian group that originally got together back in 2001, the one-man band ATM is highly ambitious musically and conceptually. Inspired by the evanescent memories of watching both the dreamy visionary cinema of Russian auteur Tarkovsky (in particular, by the sounds of and echoes of retro-futuristic signals that are suffused throughout this album, the late filmmakers celebrated science fiction magnum opus Solaris) and the existential, love/hate figure, Lars Von Trier – depending on who you listen to either a madman, risqué agent of controversy or genius.

Aching with a Nordic poetic romanticism, often frail but cutting through the sonic maelstrom and haunted panoramas, Bastiansen merges the gloom and ominous miasma of Scott Walker with The Parenthetical Girls, Fever Ray and Oh No Ono on this cosmological kaleidoscopic concatenate set of traverses, Visions & Disorders. The latter of that title and constant shift towards the discordant is handled with a certain élan; churning, lumbering, bleating, caustic, sending out paranormal broadcasts and on the daemonic reprise version of the album’s opener, Nocturnal Hysteria, featuring the presence of some sort of Lovecraftian Clutha submerged in the subterranean dankness, the horror and uncertainty never quite reaches Walker’s sublime distress, always returning as it does to an uncomfortable but still melodious beauty.

Challenging but balanced, an implosion of tight progressive electronic beats and pained bedraggled saxophone is pitched against the theatrical on the Pale Fountains remixed by Haxan Cloak opener, Radiohead swirl in a charged techno hinterland on Mail Order Doom (WHWGH), Sparks relocate to the Forbidden Planet on the synthesizer pop melodrama Milk The Peacock, and the finale, An Archetype veers into Baroque Kosmische and switched-on Wendy Carlos transduced harpsichord.

Hallowed organs and Moss Garden evocations are layered against ice-y synths, off-kilter lurching loops and warping effects as the ether joins the cosmic in what is a highly impressive cinematic rich album of sonic pop exploration: imagine a more intense Tomat’s 01-06 June with Simon Bookish vocals.

Various   ‘The Invisible And Divided Sea’
Bearsuit Records,  1st December 2017


Supplying me during the year with a never-ending variety of disjointed alternative lo fi post-rock and maverick electronic music releases, Edinburgh’s inimitable Bearsuit Records has kept up their impressive momentum by sending me this latest compilation of the kooky, odd and curious: to be fair, some of the artists on this compilation are actually more conventionally brilliant, especially the opening undulated Vangelis voyager style waltz into the cosmos, Fulfilling Eclipse, a serene with moments of trepidation electronic strings traverse by the Brussels composer/producer Alexander Stordiau and one of the album’s most outstanding contributions.

Featuring both present and the odd upcoming track from the label’s expanding roster of international artists, this latest collection congruously moves between the Holger Czukay like chanteuse jazz meets chaotic shouting hysteria of Tous Les Rochers by the mysterious Yponomeutaneko, and the spooky shoegaze ephemeral Julee Cruise-esque swooned Le Sablier, by the Boston electronic composer Petridisch – both of which get to submit two tracks, and both of which have a certain penchant for the French language.

Though every contribution has its merits, some are more dysfunctional than others, some interesting and pushing boundaries. Just out and out weird however, the wax cylinder sounding oomph band on the trail of the lonesome pine, comically voiced missive from some scratchy old western movie, World Travel Of The Piano Tuner, and concertinaed, bellowed, childish Wednesday (January 1992), both by the Japanese folky pop artist Shinnosuke Sugata, are utterly dotty and bewildering, if quaint. Joining them in the almost impossible to categorize ‘out there’ stakes is the avant-garde cut-up workshop The Ha-Happy App derangements of the Scottish and Japanese duo Kirameki.

Social worker by day, channeling his Talking heads eaten up and spat out in tetchy, scratchy spitball of cuckoo Clanger sounds and post-rock by Deerhoof, the Hamburg musician Martin Pozdrowicz, under his PoProPo alter ego, adds rhythm to his strange inventive Freakshow-Dance 2. Elsewhere label stalwarts The Moth Poets see who comes off worse in their musical battle between Jeff Mills and St.Vincent on the crushed indie curio The Shabby Gentlemen, the Edinburgh duo Ageing Children stalk and limber through hip-hop, and PiL style post-punk on the broody industrial beat shuffling Sick Puppy – a teaser/taster track from their, as yet untitled, upcoming new release, due in 2018 -, and Evan O’Malley, donning the Martian Subculture moniker, languidly broadcasts a tripsy soft bulletin from the lunar surface on his yearned space psych ode Chewing Gum.

Bringing a certain calm, float-y and softly played final breath of serenity to the collection, Glasgow based musician Chas ‘Annie’ Kinnis contributes a sort of twinkled lullaby, his peaceable Annie & The Station Orchestra Song For The Invalid Drivers represented by a most dreamy tranquil Ullapul remix. It is a befitting end to a compilation of such extremes: the psychedelic to trip-hop, ambient to orchestral, from the avant-garde to cosmic. Bearsuit continue to surprise; attracting some of the most strange and experimental of music makers, and confounding (in a good way) with every release.

Various   ‘Post:Soc’
Compiled and distributed by the Submarine Broadcasting Co,  out now


A convenient segue way exists between this compilation and Bearsuit Records; this latest altruistic (all proceeds going to the DePaul International Group for homeless charities) project from the Submarine Broadcasting Company features a number of artists from the Edinburgh label, including Bunny And The Invalid Singers and Kirameki. It is a congruous partner to The Invisible & Divided Sea on many levels, sharing with it a similar sense of experiment with a roster of equally obscure, mysterious and lo fi composers and artists.

Responsible for the Syrian Relief compilation One-String Inspiration, the enabler curators behind the Post:Soc behemoth (30 tracks with a second overspill type volume moiety, Post:Script also available) have once again made the call for submissions, asking for sonic interpretations and evocations of a post-everything society: post-Trump, post-truth, post-factual, post-Brexit, post-postmodern, post-isms even, you name it someone’s been inspired or enraged by it. The only perimeter that were set, and which are breached countless times, is that each track should try to not overrun a six-minute set duration. Other than that it seems a free-for-all.

As you’d expect, the hysterical age in which we live is hardly the stuff of uplifting, happy-go-lucky paeans and celebrations – unless you did vote for Brexit, May, Trump or Catalonian Independence, in which case your views won’t be articulated here – for most artists on the left. And so this collection seethes with either self-pitying contempt (Bridget Wishart & Everling’s dystopian augur Yesterday’s Future) or less obvious ominous and haunting ambient peregrinations (at least a third of the contributions fall into this bracket, from the paranormal organ of Mean Flow’s Post-Necropsy Society to the trance-y Mogwai barren post-rock of Martin Neubold’s Music For A Post-Intolerant Society – ouch with the title!).

As the defining decision of recent times in Britain, Brexit cops its fair share of plaintive dower melancholy and protest. It even gets its own atmospherically ice-y-vaporous Post-Ambient suite, courtesy of Playman 54.

Elsewhere the caps locked SOLILOQUA dredges back up those fatuous images of the David Cameron #piggate affair, with the moody techno Lipstick On The Pig; Anata Wa Sukkari & Tsukarete Shimai offer up a shoegazing and glitchy fuzzy eulogy, Post-Mortem; the Crayon Angels sing a quaint disarming folksy lullaby about a metaphorical Insect Bite (the sort of veiled tsetse fly poison that encourages ignorance); and Ian Haygreen posing the understated We Live In Interesting Times surmise, merges Revolution 9 with Scott Walker and trip-hop.

Mostly instrumental, and with that ambient, Post:Soc offers a full gamut of moods and explorations, evocations and sad meditations on the present state of affairs. It promises both the peaceful and doom inducing, and goes some way to offering a musical soundtrack to what may yet be the end times!

Fela Kuti   ‘Vinyl Box Set #4: Curated By Erykah Badu’
Knitting Factory,  15th December 2017


Despite it being a good few years since Knitting Factory and a host of other labels and ventures began a schedule of Fela Kuti evangelism, Fela fever is still alive going strong. There’s already been a celebratory run of events, from theatre production to cover albums, festivals and of course the remaster repackaging of every album Nigeria’s favourite son recorded, but going forward into 2018, there will also be a number of events commemorating what would have been Kuti’s 80th birthday.

One of the many Kuti evaluations, the Knitting Factory’s ‘curated series’ of box sets has reached its fourth edition. Previous editions have featured Questlove, Ginger Baker and Brian Eno choosing personal favourites from Kuti’s extensive back catalogue of 50 plus albums. Lavishly packaged with both original artwork, essays from the curators and experts alike – including Afrobeat historian Chris May – unseen photos, lyrics and of course remastered/restored versions of the original tracks, these deluxe box sets offer, what surely must be by now, the final word: the ultimate collection as it were.

Lending her sagacious ear and fiery ‘no-shit’ defiant attitude to this latest edition, rebel, actress, activist, Grammy Award winning polymath Erykah Badu picks albums from Kuti’s most elegiac, despondently enraged and also clarion calls for a united Africa periods.

A fierce critic, martyr at times, of Nigeria’s successive corruptible governments and elites – from the decade-long military rule that followed the country’s Biafra Civil War in 1969, to the miscreants that took office in the aftermath – politics defined Kuti’s music: the two were inseparable. Even though the music remained sizzling, funky and bright after years, nee decades of fighting the system – with relatives bearing the brunt of establishment attacks – Kuti’s protestations remained fierce if softened in part by the scintillating, sauntering Afrobeat rhythm and effortless candour of the musicianship.

Coffin For Head Of State, one of the seven albums chosen by Badu, was perhaps his saddest statement. Released at the beginning of a new decade of hope, the two-part remembrance service condemns those involved in the fateful events that led to the death of his mother, Funmilayo. A raid on Kuti’s infamous compound, the Kalakuta Republic, in 1977 saw soldiers threw Funmilayo out of a second floor window. And though she wouldn’t die until later, the injuries sustained at the time of this assault contributed to medical complications and her death. In a bold act of defiance, Kuti, family and followers carried her coffin to the army barracks entrance, petitioning for Funmilayo to assume the position of President of Nigeria. Despite the somber mood the music that it inspired, though of course noticeably pinning with elegiac mantras, is understated, sweet and also infectiously funky.

‘The Black President’, a name synonymous with Kuti’s stature and unofficial role as the alternative, countercultural candidate of choice for presidency might have happened if he’d run for office. The denouncement, vilification platform of V.I.P. (or Vagabonds In Power) could be read as a quasi-opening to a political campaign, this live album recorded at the Berlin Jazz Festival in 1978 featured the man-who-could-be-president addressing a European audience, delivering a scathing attack on Nigeria’s ruling classes whilst calling for a better understanding of African culture to a customary shuffling Afrobeat and jazz accompaniment. Rumours abound that the proceeds from the show would go towards his presidential campaign. This didn’t exactly go down well with his beleaguered band. The increasingly disgruntled legendary Afrika ‘70 fell out with their bandleader over money and split; V.I.P. being the last album they recorded together.

In a chronological order, the golden Kuti period of the 70s – though he’d of course carry on making records into the 1990s, and only stopped a few years before his death in 1997 – is represented on this box set of Badu choices by the preaching condemnation, gospel dabs electric organ, female chorus, saw wailing jazzy funk of Yellow Fever – a reference to the dubious, dangerous skin-bleaching chemicals used to whiten complexions, though it gave off a more jaundiced, ill skin tone, hence the album title -; the Lester Bowie – of the jazz godfathers of avant-garde, the Art Ensemble Of Chicago – starring trumpet trills and spiraling, simmering soul rich No Agreement; and the ‘Live at the Kalakuta Republic’ recorded sumptuous, hand drum rattling Johnny Just Drop.

With a new incarnation of his backing group, Afrika ’80, denoting a new decade, Kuti’s relaxed entrancing but bright Army Arrangement protestation featured a soulful Kuti sticking it once again to the powers that be – by now, and even with a large oil wealth at their disposal and the end of military rule Nigeria was every bit as corrupt, stifling and quick to denounce, eradicate descent; Kuti was himself trumped up on dubious charges and thrown in prison during Muhammadu Buhari’s short reign as head of state in the mid 80s. Even later into the 90s, with Kuti being accused of taking part in a murder and facing ill health, the final album in this survey, Underground System, keeps up the antagonism, repeating accusations of ‘thievery’ to a busy tight, piano spotting groove on part one, and aping (literally) the derogatory language of the racist colonial masters (“give me banana”, “jump like a monkey”) on the probing, horn lingering breakbeat second installment. If anything this ’92 album was every bit as good as his more popular 70s material.

Keeping it Afrocentric, even when abroad, Kuti’s most repeated mantras of unity, pride and a return to the roots and atavistic values of pre-colonial African continent are echoed in Badu’s own work. But as Badu explains, it’s the “effortless” candour she so loves: “IT’S SO GOOD that there is NO way he gave it any thought. With Fela, it seems to just have spilled right out of him.”

Badu goes on to pontificate with passion that she was also attracted to the connectivity and the “pure honesty” that Kuti delivered in abundance. Her final words recommend setting up the right listening experience atmosphere: “listen to these tracks, preferably with a nice blunt…with a nice slow burn.”

Whether you take up that preferred choice or recreational enjoyment or not, Badu’s selection is not the most powerful Afrobeat frenzy of ‘deluxe box sets’, but possibly the most leisurely, meditative and rich one.

Hamad Kalkaba And The Golden Sounds  ‘1974 – 1975’
Analog Africa,  8th December 2017


Purveyors of Africa’s finest and explosive forgotten treasures, Analog Africa can always be relied upon to dig up some fascinating musical discoveries. Continuing to shed light on Cameroon’s rich history of mostly obscure and passed-over marvels, the German-based label follows up this summer’s eye-opening Pop Makossa ‘invasive dance beat’ compilation with the collected singles of Gandjal sauntering maverick Hamad Kalkaba and his Golden Sounds backing group.

Hamad’s entire recorded oeuvre stretched to just three, hard to source, singles; all released over a twelve-month period in the mid 70s – hence the title. So this is quite an obscure compendium, and as Analog Africa’s Samy Ben Redjeb reminisces in the compilation’s liner notes, chanced upon by complete accident. The initial 7-inch that kick started this project was found in a record store in the Cameroonian capital of Yaounde; a transfixed Samy, by now the expert crate digger, sniffed out the goods, playing what would turn out to be Hamad’s Gandjal Kessoum/Toufle single on repeat. A chain of events led to him eventually tracking down the fabled original second and third singles – one of which took six years to find –, copies of which (and here’s a result) had lain dormant unplayed and untouched.

Part of the attraction of these finds were the picture covers that housed them: vividly scared down both sides of his face by tribal markings, Hamad’s gaze is as serious looking as it is cool. Born into the Musgum culture and heritage of northern Cameroon, squeezed between Chad to the east and Nigeria to the west, Hamad scored into his face the tribe’s vertical marks as a young boy. Promoting those traditions and the homegrown Gandjal rhythm in what would turn out to be a brief musical career, Hamad put out a trio of scintillating, shuffling singles, all backed by The Golden Sounds.

Following one of the other Musgum legacies, he would pretty much turn his back on that most fleeting of musical careers to join the army and to thrive as an athlete: when Samy tracked him down he found Hamad was not only a retired colonel but the current President of The Confederation Of African Athletics. Though enthusiastic about the idea of this collection, he was initially dismissive of his youthful dalliances as a singer. Yet the sentiment and drive were commendable, and the music, as you will hear, was both entrancing and relaxingly swinging.

The A-sides and B-sides have been separated and mixed up on this six track compilation, so the slinky, snake charming, bendy opener Astadjam Dada Sare, originally found on the third single release called Nord Cameroon Rhythms, is followed by one side of the initial single that set this collection in motion, the sweetly laced, swaddling horns and languid saxophone dappled Toufle. Hamad’s vocals are either relaxed in a sort of veneration – no doubt emphasized by the equally religious toned organ – style of prayer (Fouh Sei Allah) or more dynamically charged, on the cusp of a Stax showman, shouty and lively (Lamido).

Cooking up a funk and soulful stew, at times sending the needles into the red and distorting, Hamad and his troupe don’t so much blast or hurtle towards the thrills, lifts and breaks as amble: A band in no hurry to arrive at their destination.


It’s a shame Hamad didn’t stick it out, as these few but illuminating, sauntering Gandjal heavy tracks and dancefloor shufflers prove he had plenty of potential and talent. Released in the run-up to Christmas, this little collection will warm up the winter freeze and transport you to far sunnier climates. Analog Africa end the years as they started it with another essential showcase from Africa’s mostly ignored and forgotten musical past.


Featuring: Colours Of Raga, Der Plan, Esmark, Ippu Mitsui, Pop Makossa, Roedelius, Chaplin & Heath and Revbjelde.


Welcome to the 50th! Yes 50th edition of my most eclectic of new music review roundups. This latest collection is no different in selecting the most interesting, dynamic and obscure of releases from across the world, with the invasive dance beat billed compilation of Cameroon “pop Makossa” from the Analog Africa label, a curated collection of raga recordings and a rare film from the archives of the late Indian music ethnomusicologist Deben Bhattacharya, a phantasmagoria of folk, psych, prog, jazz and beats vision of an esoteric troubled England by Revbjelde, plus electronic suites both diaphanously ambient and equally menacing from Esmark and the triumvirate Roedelius, Chaplin & Heath, and vibrant quirky electro from Ippu Mitsui, and the return, after a 25 year absence of Germany’s highly influential cerebral electronic pop acolytes Der Plan.

Various  ‘Pop Makossa – The Invasive Dance Beat Of Cameroon 1976-1984’
Analog Africa,  16th June 2017


Pop goes Makossa! Makossa being, originally, the traditional rhythm and funeral dance of Cameroon’s Sawa and Essewé peoples, later transformed in the country’s cities as it collided with everything from merengue and rumba to Highlife and disco. Urban meets folk, Cameroon’s traditions given a transfusion of electromagnetism and fire, inevitably went “pop” in the latter half of the 1970s. Makossa, which means, “to dance” in the Cameroon Douala language, is a highly loose and adaptable style: as you will hear on this twelve-track collection of hits and rarities from the golden era of pop makossa.

The latest in a tenure adventure of excavating lost treasures from the African continent; Analog Africa’s main man Samy Ben Redjeb once more digs deep, sifting through a daunting mountain-size pile of records and recordings. As with many of these projects, Samy’s expeditions turn into lengthy travails: this compilation being no exception, the label originally putting out feelers and surveying the country’s music scene in 2009, and only now finalized and ready for release. And as with these projects he’s helped by equally passionate experts, in this case DJ/producer Déni Shain who travelled to Cameroon to tie-up the loose ends, license tracks, interview the artists, and rustle through the archives to find the best photographs for a highly informative accompanying booklet.

Honing in on the period when makossa rubbed-up against funk and disco, this balmy dance beat compilation’s pulse is luminous and fluid and most importantly, funky. This is in major part down to some of the most smooth, bouncing, slick and relaxed but constantly busy of bass lines – Cameroon’s bass players rightly revered as among the best throughout the world – and the constantly shuffling hi-hats, tom rolls and splashing drums.

Imitating their western counterparts but going full on in embracing the technology, especially production wise, of the times, in their own inimitable way, Cameroon’s great and good weren’t shy in using the synthesizer. The Mystic Djim & The Spirits use it for instance to glide along on their girl-group chorus beachside disco Yaoundé Girls track, whereas Pasteur Lappé uses it to create a bubbly, aquatic space effect on his 80s tropical disco vibe Sanaga Calypso. Everyone is at it more or less, using wobbly and laser-shot synth waves and gargles that were, very much, in vogue during the later 70s and early 80s. That or the Philly soul sound – check the tender electric guitar accents and sweet prangs together with smooth romantic saxophone on Nkodo Si-Tony’s jolly Miniga Meyong Mese hit – and odyssey style funk. Devoid of this slicker production and de rigueur electronic drum pads and cosmic burbles, the opening blast of pop makossa, an “invasion” in fact, by the Dream Stars is a much more lively and raw recording; closer in sound and performance to the J.B.’s than anything else. The most obscure and rare record in this collection – a real gritty shaker of Afro-soul – the Dream Stars turn makes its official debut, having never been released officially until now.

Every bit as “invasive”(and infectious) as the extended album title suggests, the classy pop massoka sound – once considered the unofficial national sound of Cameroon – is waiting to be rediscovered and let loose once again. In what seems like a recent shift in direction at the Analog Africa label, with the emphasis on the late 70s and 80s – from last year’s Space Echo collection from Cape Verde to reissues of Trinidad & Tobago star Shadow’s Sweet Sweet Dreams and the Benin solo singer Vincent Ahehehinnou’s Best Woman – this latest survey continues to unearth musical treats from the same era, albeit in different geographical settings, yet sharing many of the same production and trends traits. As classy as they come, this sun-basked music scene exposé arrives just in time for the summer.

Der Plan  ‘Unkapitulierbar’
Bureau B,  23rd June 2017


Though the heralded return (after a 25 year wait) of the cerebral German trio was prompted by a special reunion performance for Andreas Dorau’s 50th birthday, the momentous changes triggered by Brexit and the election of Trump must have had some effect in galvanizing Der Plan back into action. That recent party gig did however remind the trio of Moritz Reichelt, Kurt Dahlke and Frank Fenstermacher that making music together was fun at least. And so with encouragement they coalesced all the various scrapes, fragments and sketches that had been left dormant in the intervening years and shaped them into a dry-witted soundtrack for the times in which we now find ourselves: in Europe at least.

Of course, they hadn’t all been encased motionless in stasis of hibernation during that quarter century absence. Reichelt, know by his trademarked moniker Moritz R, designed covers and visuals, and alongside his comrades co-founded the influential indie label Ata Tak: releasing albums of varying success by DAF, Andreas Dorau and Element Of Crime. Dahlke meanwhile, no stranger to the Monolith Cocktail, has and continues to programme and produce electronica and techno music under the Pyrolator title; in recent years finishing or “re-constructing” archival material ideas from the vaults of the late kosmische progenitor Conrad Schnitzler. Fenstermacher has also been busy releasing solo material but is also recognized for his contributions to the Düsseldorf band Fehlfarben’s iconic Monarchie & Alltag LP.

Back together again; assembled under the hijacked Delacroix painting of Liberty Leading The People, defending the EU barricades as the American flag lays in tatters underfoot, in an iconic role reversal of the revolutionary spirit, Der Plan’s shtick is obvious in defense, and deference, of the EU constitution. Unkapitulierbar itself is a defiant battle cry, translated as “Uncapitulable” it denotes the group’s will of “continuity” and “unbrokeness” in the face of crisis.

One star poorer on the flag with further uncertainty (possibly my most overused but befitting word of the year) ahead for the EU, Der Plan consolidate and sow the seeds of worry on their first album together in 25 years. To show their scope of musical ideas and sounds, but also continue a link with there past as one of Germany’s most iconic and important electronic pop bands there’s reverberations of Kraftwerk’s Europe Endless synthesized symphony on the bouncy, elasticated sophisticated pop tracks Wie Der Wind Weht (As The Wind Blows) and Lass Die Katze Stehn! (Let The Cat Stand!); a hybrid of electric blue tango and reggae on the philosophical weary Man Leidet Herrlich (One Suffers Splendidly); and a mind-melding of The Beach Boys and Depeche Mode on the cooing expedition into space Die Hände Des Astronauten (The Hands Of The Astronaut).

The tone and vocals are however for the most part dour and dry even when tripping into the dream world flight of fantasy, which features an alluring but sinister female duet, Come Fly With Me (the only track title and song to be sung in English), and the near schmoozing, sentimental ballad Flohmarkt Der Gerfühle (Fleamarket Of Emotions).

Unkapitulierbar reflects both the band’s continued curiosity and development in song writing; their original process of improvising first and adding lyrics later is replaced with one in which ideas and lyrics act as a foundation for the music that follows. And with a wizened pastiche Der Plan prove that 25 years later the trio can at least be relied upon to produce the goods in these increasing volatile times.

Esmark  ‘Mãra I/ Mãra II’
Bureau B,  30th June 2017


The latest soundscape union between experimental artist Alsen Rau and sound architect Nikolai von Sallwitz, Esmark, is a disturbing moiety of minimalistic analog hardware manipulations and generated pulses spread over two volumes.

Rau, half of another duo the German partnership On+Brr, has released numerous recordings and is both a co-founder of and curator at the Hamburg based club Kraniche: covering exhibitions, performances and readings. Sallwitz meanwhile, as a vocalist and producer uses the appellation Taprikk Sweezee, and has composed music and sound design for film, theatre and a range of art and pop projects; collaborating at various times with the artists Chris Hoffmann, Andreas Nicolas Fischer and Robert Seidel, who as it happens has made a real time performed video piece for one of Esmark’s tracks.

Pitching up in the isolation of a Scandinavian cartography, where the impressive Spitzbergan glacier that not only lends its name to the duo’s name but also acts as a looming subject study, the Mãra recordings oscillate, hover and vibrate between the menacing presence of that cold landscape and the unworldly mystery of unknown signals from space and the ether. Moving at an often glacial pace, a build-up of strange forces penetrate the humming and drones that act as an often worrying bed of bleakness or ominousness. Subtly putting their analog kit of synth boxes and drum computers through changing chains of various effects and filters, feeding the results they’ve captured on tape back into the compositions, the duo evoke early Cluster, Phaedra-era Tangerine Dream, and on the Geiger counter rhythmic Krav, Can.

Acting as a prompt and reflection of the places and times they were recorded, each track title offers a vague reference point. Volume I seemly alludes to more earthly realms, naming peaks and points of interest, from what I can gather, though the atmosphere modulates and probes the spiked and flared communications of distant worlds and hovers like an apparition between dimensions. Volume II however, offers coded and scientific-fangled titles such as Objekt P62410 – which actually sounds like the warping debris from a UFO at times – and Tæller 3.981. The scariest of many such haunted trepidations on this volume, the supernatural dark material vibrations and hum of Lianen sounds like a portal opening up in the latest series of the Twin Peaks universe.

Something resembling a percussive rhythm and even a beat does occasionally form and take shape, prompting speedier and more intense movement. But whether it’s nature or the imagination being traversed and given sound, the pace is mostly creeping.

The Esmark collaboration transduces the earth-bound landscape and its omnipresent glacier into an unsettling sci-fi score and sound-art exploration that treads threateningly on the precipice of the unknown.

Ippu Mitsui  ‘L+R’
Bearsuit Records,  24th June 2017


Continuing to showcase relatively obscure (and bonkers occasionally) electronic and alternative music from both Scotland and Japan, the Edinburgh-based label Bearsuit Records has once again caught my attention. This time with the joystick-guided experimental dance music of the Tokyo artist/producer/musician Ippu Mitsui.

Since a self-produced debut in 2012 Mitsui has gone on to release a variety of records for different labels, before signing to Bearsuit in 2016. Flying solo again after sharing an EP with label comrades The Moth Poets last year, Mitsui now follows up his most recent E Noise EP with a full-on album of heavy, sharp reversal percussive layering and quirky electro and techno.

The colourful and vibrant L+R spins at different velocities of that quirkiness; from the flighty bubbly house style Tropicana in space Bug’s Wings, to the 32-bit, dial-up tone and laser-shooting skittish collage version of the Art Of Noise Random Memory.

Programmed to both entertain as much as jolt, Mitsui’s beats flow but also routinely shudder and trip into fits and phases of crazy discord or increasingly stretch their looping parameters until loosening into ever-widening complex cycles of percussion. Orbiting the influential spheres of Ed Banger – the transmogrified engine-revving accelerator Small Rider could easily be a lost track from one of the French label’s samplers – the Leaf label, the Yellow Magic Orchestra, 80s Chicago house, and the Nimzo-Indian, L+R is full of experimental ideas and sounds from whatever floats Mitsui’s boat. Some that work better than others it must be said, and some, which stem from drum breaks or synth waves that perhaps fail to go anywhere more interesting.

If you already know the Bearsuit label then Mitsui’s new-found base of operations proves a congruous choice to mount his dance music attacks from; fitting in well with their electronic music roster of the weird, avant-garde, humorous even, but always challenging.

‘Musical Explorers: Colours Of Raga’  Recordings by Deben Bhattacharya curated by Simon Broughton
ARC Music,  23rd June 2017


The inaugural release in a new series devoted to ethnomusicologists and the, often obscure, musicians they’ve recorded, Musical Explorers is the latest project from one of the busiest of “world music” labels, ARC. Championing the often haphazard art of field recording and capturing, what are in many examples, improvised one-off performances from all corners of the globe, ARC have chosen to kick start this new collection with music from the archives of the late renowned filmmaker Deben Bhattacharya.

Highly unusual for the times, the Indian born Bhattacharya was not only self-taught but one of the only ethnomusicologist to come from outside Europe or America. Moving to Britain in the late 1940s, he simultaneously worked for the post office and, as a porter, for John Lewis, whilst making radio programmes on Indian music for the BBC. He went on to produce over twenty such films and over a hundred plus albums of music, not just from the Indian subcontinent but also Europe and the Middle East.

Invited to “curate” and choose just six recordings from this extensive catalogue, Songlines editor-in-chief, author of the handy reference “rough guides” to world music series, and filmmaker, Simon Broughton hones in on the signature sound of India’s raga tradition; picking a concomitant suite of performances from Bhattacharya’s birthplace of Benara. Recorded in 1954, with the exception of Amiya Gopal Bhattacharya’s traversing and reflectively plucked and attentively gestured composition Todi, which was recorded much later in ’68, these tracks are sublime windows into a complex musical heritage.

Part of the western music scene for well over fifty years, embraced, appropriated, by Harrison and Jones most famously during the conscious shift from teenage melodrama of the early 60s to the psychedelic drug and musical quest for revelation and enlightenment in the mid to later part of that decade, the beautifully resonating harmonics and serenity of the sitar and the dipping palm and calm to galloping open handed tapping of the tabla have become part of the British musical landscape. Still representing the path to spiritualism and meaning, though also used still in the most uninspiring of ways as a shortcut to the exotic, the Indian sound and most notably ragas, continue to fascinate, yet are far from being fully understood.

Here then is a worthy instruction in the rudimentary: For example, framed as the most characteristic forms of Indian classical music, the raga derives its name and meaning from the Sanskrit word “ranji”, which means “to colour” (hence the collection’s title). Ragas also come in many moods (tenderness, serenity, contemplation) and themes, and must be played at particular times of the day in particular settings: ideally. To be played in the open air and after 7pm, the courtly Kedara not only sets a one of meditative optimism but introduces the listener to the lilting double-reed sound of the North Indian woodwind instrument, the “shenai”; played in an ascending/descending floating cycle of brilliance, alongside the Indian kettle drum, the “duggi”, by Kanhalyo Lall and his group – most probably on a prominent platform above the temple gate as tradition dictates.

Elsewhere Jyotish Chandra Chowdury eloquently, almost coquettish, radiates playing the more familiar sitar. He’s accompanied by the quickened rhythm and knocking tabla on the curtseying majestic Khamma – to be played between the very precise hours of 9-10pm. Swapping over to the zither-like “rudravina” Chowdury articulates the onset of the rain season, as the very first droplets hit the parched ground, on Miyan Ki Malhas.

Despite the hours and moods, which include a Hindi love song that goes on and on, these compositions are all very relaxing; submerging the listener if he wishes, into an, unsurprising, reflective but tranquil state.

Accompanying this audio collection is one of Bhattacharya’s introductory films on Indian music. Simply entitled Raga. Unfortunately most of his footage, originally commissioned by, of all people, Richard Attenborough, has been lost. And so this 1969 film remains one of the earliest examples left from the archives. Very representative of the times it was made, fronted by the stiff-collared Yehudi Menuhin, it serves a purpose as an historical document. Menuhin had it must be said. Little knowledge of the subject matter yet still wrote a script, which was replaced by Bhattacharya’s own to create a hybrid of the two, the focus being shifted away where possible from travelogue to technique and an endorsement of Indian music. The footage however introduces the viewer to a number of exceptional musicians, including a rare performance from the revered sitar player – one of the famous triumvirates of sitar gods alongside Vilayet Khan and Ravi ShankarHalim Jaffer Khan. It is an interesting companion piece to the main recordings, enhancing the whole experience with a visual record that captures a particular time in the development of Indian raga.

An illuminating, transcendental start to the series, Colours Of Raga acts as both a reference guide and gateway to exploring the enchanting beauty of the Indian raga further.

Roedelius, Chaplin & Heath  ‘Triptych In Blue’
Disco Gecko,  7th July 2017


Twenty years after first partnering with kosmische and neo-classicists most prolific composer Hans-Joachim Roedelius, ambient producer/musician Andrew Heath asked the legendary octogenarian to appear alongside him and the equally experimental composer Christopher Chaplin for a live performance in 2016. Part of a Heath curated concert at The Brunel Goods Shed in Stroud, this trio’s performances as the title makes obvious has a leitmotif, a fixation on the number three: three carefully chosen artists whose individual processes compliment and trigger each other so well produce three peregrinations of serialism to represent, or play with, three different shades of blue. It may also be a reference to the famous Triptych Bleu I, II, III paintings by the Spanish genius Joan Miró; a set of similar blue dominated works summarizing the abstract painters themes and techniques to that point in 1961, blue being for him a symbol of a world of cosmic dreams, an unconscious state where his mind flowed clearly and without any sort of order.

Heath’s previous collaboration of experimental ambience with Roedelius, Meeting The Magus, was recorded under the Aqueuous moniker with his duo partner Felix Joy in 1997. This proved to be the perfect grounding and experience for musical synergy, even if it took another two decades to follow up, as Heath picks up from where he left off on Triptych In Blue. Chaplin for his part has performed with the Qluster/Cluster/Kluster steward before. But as with most Roedelius featured projects, and he’s been part of a great many in his time, each performance is approached with fresh ears.

Self-taught with a far from conventional background in music, Roedelius has nevertheless helped to create new forms based on classism and the avant-garde. The piano has returned to the forefront, especially on recent Qluster releases. And it appears here with signature diaphanous touches and succinct, attentive cascades floating, drifting and sometimes piercing the multilayered textures of aleatory samples and generated atmospherics.

Tonally similar but nuanced and changeable each shade of blue title has its own subtle articulations. The meteorite-crystallized source of Azurite is represented by a starry-echoed piano notes, the hovering presence of some leviathan force and the synthetic created tweeting of alien wildlife. A sonorous de-tuning bell chimes through a gauzy melody of sadly bowed strings, distant voices in a market, and a moody low throbbing bass on Ultramarine, whilst Cobalt is described in gracefully stirring classical waves, searing drones, scrapped and bottle top opening percussion, and chilled winds.

Subtly done, each track is however taken into some ominous glooms and mysterious expanses of uncertainty by the trio, who guide those neo-classical and kosmische genres into some unfamiliar melodic and tonal ambient spaces. And all three in their own way are quite melodious and sometimes beautiful.

Not to take anything away from his companions on this performance, but the musical equivalent of a safety kitemark, Roedelius’ name guarantees quality. And Triptych In Blue is no different, a worthy collaboration and “lower case” study success for both Heath and Chaplin. Hopefully this trinity will continue to work together on future projects.

Revbjelde  ‘S/T’
Buried Treasure, available now


Flagged up as a potential review subject for the Monolith Cocktail by Pete Brookes, one part of the Here Are The Young Men & Uncle Peanut outfit, whose 2015 Gimmie! Gimmie! Gimmie! Peanut Punk diatribe made our choice albums of that year; the Berkshire-based Revbjelde’s self-titled debut for the Buried Treasure imprint is billed as an industrial-jazz-psych-motorik-folk phantasmagoria (that last word is mine not theirs).

Soundtracking a somber, spooky dystopian vision of England, the group and their guest contributors create a suitably Fortean supernatural soundscape. One that is inhabited by the ghosts of the past, present and future, and the nationalistic (whether in jingoistic poetic pride or as an auger against such lyrical bombast) verse and poetry of some of “Albion’s” finest visionaries. Relics and crumbling edifices of religion and folklore for instance, such as Reading Abbey and the non-specific Cloister, feature either stern haunted Blake-esque narrations, courtesy of the brilliantly descriptive Dolly Dolly – Lycan and cuckoo metaphors, blooded stone steps and the decaying stench of an inevitable declining empire conjure up a vivid enough set of images – or the spindle-weaved clandestine instrumental atmospherics of a place that’s borne witness to something macabre.

Bewitched pastoral folk from a less than “merry olde England” morphs into daemonic didgeridoo lumbering gait jazz from an unworldly outback; Medieval psychogeography bleeds into bestial esoteric blues; and on the lunar-bounding strange instrumental Out Of The Unknown, reverberations of 80s Miles Davis, UNKLE and trip-hop amorphously settle in as congruous bedfellows on a trip into a mindfuck of an unholy cosmos.

Communing with false spirits, as with the infamous 17th century poltergeist tale nonsense of the “Tidworth drummer”, and losing themselves under the spell of The Weeping Tree, Revbjelde traverse a diorama of old wives tales, myth and all too real tragedy. Retreating one minute into the atavistic subterranean, hurtling along to Teutonic motoring techno the next as ethereal sirens coo a lulling and spine-tingling chorus, time is breached and fashioned to the band’s own ends. An alternative England, more befitting of writers such as Alan Moore, dissipates before the listener’s ears, evoking the BBC Radiophonic Workshop, Sproatly Smith, The Incredible String Band, Aphrodite’s Child, mystical Byzantine hypnotics and a myriad of 60s to 70s British horror soundtracks. “Supernatural perhaps; Baloney, perhaps not!” As Bela Lugosi once retorted on film to his skeptic acquaintance’s dismissive gambit. After all there is a far deeper and serious theme to this album, one that touches upon the very tumultuous and horror of our present uncertain times.

Melt  Yourself  Down  to  Sam  Zircon

Monolith Cocktail - Cabo Verde

Welcome to part two of our eclectic ‘choice albums of 2016’ feature, which starts with Melt Yourself Down‘s seething trans-Egypt-Nubia-London jazz funk and post-punk fusion Last Evenings On Earth and ends on Sam Zircons psychosis-induced Anxiety Skits hip-hop peregrinations. 

Lined up in alphabetical order then, our favourite new and reissued albums from 2016 are of course considered to be the most interesting, vibrant and dynamic of the year’s releases. But the best? Granted, to make this list you have to make some sort of impact, but we’d never suggest these entries were categorically the best albums of 2016, even if that might be true. Instead our list is an indicator of our amorphous tastes, rounding up a year in the life of the Monolith Cocktail, and we hope, introducing you to titles and artists/bands that may have dropped below the radar.

Choice picks from Dominic Valvona, Matt Oliver and Ayfer Simms.

Melt Yourself Down  ‘Last Evenings On Earth’   (Leaf Label) 

Monolith Cocktail - Melt Yourself Down

Unbelievable that we never had room to review this withering polygenesis explosion of jazz, funk, no wave, dub, electro and post-punk on its release; it is after all what the Monolith Cocktail was started for. A trans-North African travail of sounds and mysticism channeled via the Blurt/Konk/ESG scene of 80s melting pot New York and PiL hangout London of the late 70s Last Evenings On Earth is a seething tension and prowling doomsday soundtrack for our times. Pulled together from a cornucopia of Afrobeat, spiritual and conscious jazz bands – including Sons Of Kemet, The Heliocentrics, Mulatu Astatke, Zun Zun Egui and Transglobal Underground – and headed by former Acoustic Ladyland saxophonist Pete Wareham, Melt Yourself Down straddle esoteric Egyptian funk, Roman galley paursarius drumming, a coherent James Chance and the clarion calling horns of Jericho. It’s nothing short of exhilarating.

Mongrels  ‘Attack the Monolith’  (Invisible Spies)

Monolith Cocktail - Mongrels

“A couldn’t-give-a-monkeys classic…their focus on the basics is undiluted, making the mundane darkly humorous”.  MO

Resurrected by Sheffield hip-hop superheroes Benjamin Hatton and Kid Acne (remember, don’t fuck with Eddy Fresh), the Mongrels respawn was a very British affair cataloguing mind boggling artefacts like a mad scientist emptying an Argos book and TV Times from a time capsule, but was never found minding its Ps and Qs. The arid wit and on-point delivery billowing from a beaten up mic, went glove-like with old skool boom bap frayed around the edges and pushing the reds. New Kingdom’s Sebash revelled in his role as honorary third member – a collaboration whose relevance wasn’t lost on the lyricism – by rabidly spoiling any remaining British primness. Topped off by being released as a painstakingly put together vinyl package, and you have a labour of love that bangs from South Yorks to New York.

Read original review here…

Melody Parker  ‘Archipelago’ 

Monolith Cocktail - Melody Parker

‘The musicians behind Melody Parker form an orchestra unique for each track; kindling the day with its bright and dense aura. The early morning sun burns the dusty tarmac; the city, the village, the town, the burg wakes up in style. Festivity and pleasure exude from the album.’  Ayfer Simms

Bounding between imaginary locations and timeframes, from WWII boogie-woogie to Otterman tango, the idiosyncratic Melody Parker sings her magical songs from the belfry and the minaret. A chamber pop version of the Dirty Projectors and Bjork, dreamily fluttering and fluctuating all the way, Parker embraces the atavistic romance of the accordion one minute and liltingly sways to the echoes of the Hawaiian slide guitar the next.

Read the full review here…

L’Orange & Mr Lif  ‘The Life & Death of Scenery’  (Mello Music Group)

Monolith Cocktail - L'Orange and Mr Lif

“Classily, caustically executed…as the national anthem bangs drums of death, it’s worth sneaking a listen to come blackout.”  MO

Just pipping Mr Lif’s other release this year by a hair’s breadth – Don’t Look Down, a very fine album that walked a thin line between introspection, life coaching and role playing – The Life and Death of Scenery showed that the concept album isn’t dead, that skits can still work if they’re done correctly, that sometimes truth is stranger than fiction, and that such opuses don’t have to be 80 minute-plus rambles. With producer L’Orange quietly but quickly assembling a top drawer back catalogue of collaborative LPs (Jeremiah Jae, Kool Keith), his artistry paired with the Boston emcee’s distinctive flow hitting a nimble apex explored a “light-hearted dystopia” – words deserving of instant exploring while igniting a minor fear factor. Pure theatre that doesn’t hang around in taking you to strange new places, without resorting to cliché.

Read the original review here…

Edward Penfold   ‘Caulkhead’  (Stolen Body Records)

Monolith Cocktail - Edward Penfold


‘Gargling with the electric kool aid, swimming in a soft gauze of vaguely familiar Syd Barrett, Kevin Ayers, Pete Dello and Idle Race-isms, Penfold joins the best of England’s bygone eccentric songwriters. Like some profound demos recorded for posterity, dusted off for future generations, his heavily compressed single-track tape machine obscurities sound simultaneously nostalgic and modern; evocating both the louche shimmer of The Beatles LSD experiments in swaddled hallucinogenic sounds and the lo fi enervated personifications of Greg Boring and Ty Segall.’  DV

Isle of Wight émigré in Bristol Edward Penfold wistfully hones his native homeland’s outsider spirit of maverick, if languid, poetics and hazy, blurry psychedelia on his debut solo effort Caulkhead – the nickname given to anyone who wasn’t born there. Capturing perfectly the sense of isolation, strung-out and detached from reality, the despondent themes tune into the literary and musical psychedelic mavericks that made the Island home during the last couple of hundred years and of course the orginal festival legacy, Ed weaves a unique lo fi typestry of the bucolic and Victorinia. Almost soporific in parts, untethered and close to slowly drifting away off into the ether, Ed manages to convey the mood effortlessly.

Read the full review here…

Raf And O  ‘Portal’

Monolith Cocktail - Raf and O Portal

‘Sucked through a Portal into a parallel musical universe, the idiosyncratic London duo of Raf Mantelli and Richard Smith submerge the listener once again into their beguiling futuristic panorama. Re-imagining a world in which a Memory of a Free Festival arts lab and Gemini Spacecraft Bowie enmeshed with Portishead, Raf and O’s gothic and magical references are twisted to conjure up ominous visions, to a backing track of free-spirited avant-jazz drumming, trip-hop and contorted machine music.’  DV

And so whilst a multitude of bewailing and lamentable artists outpoured their grieve over Bowie’s death this year, and ignored just why the creative force was so lauded in the first place, at least the amorphous London duo of Raf And O could be depended upon to pay homage by continuing to orbit around the pheripherials of the avant garde. With the most strung-out and tactile cosmic lulled space age version of the crooning soul incarnated Bowie’s ‘Win’ ever recorded, the maverick double act blessed his passing. However, what their most impressive release to date showcased best was the duo’s challenging cybernetic baroque and progressive trip-hop sound, of which no one else on the radar can come close. Through the imaginary interdimensional Portal we go!

Read the full review here…

RAM   ‘6: Manman M Se Ginen’

Monolith Cocktail

‘Constantly moving, transforming often-complex interplay with transcontinental imbued high energy and the local carnival spirit, RAM combine their activism and messages of hope and struggle with a strong evocative and infectious groove. Manman M Se Ginen is a beguiling and infectious album, full of tradition but electrified for a contemporary audience.’  DV

Although still playing their residency gigs at the Hotel Oloffson, jamming with the likes of Arcade Fire, in Port-au-Prince and playing live throughout the world, Richard A. Morse‘s mizik-rasin (a style that combines traditional Haitian Vodou with folkloric and rock and roll music) powerhouse ensemble RAM have remained absent from the recording studio for the past decade. Until now. Returning to take up the peoples struggle on wax with a record whose feverish and yearning rhythms fall congruously into two spheres of influence; both the Haitian and African rich fusion of the atavistic and modern have never sounded better together. The group hurl themselves headfirst into the tumultuous chaos with a frenzy of blurting saxophone punctuated stonks and barricade storming freefalling Ethno-jazz and Ska frenzies; reflecting the recent tumultuous upheavals and trauma of both the political and natural disasters that have rocked the Island. Elsewhere the album is stripped off its ferocity, replaced by gentler island breezes and ambling sweet West African highlife. ‘Koulou Koulou’ is a perfect example of this; the hymn like soothing Kreyol vocals of Lunise wafting over a sauntering highlife backing. Or on the disarming plaintive ballad ‘Ogou Oh’, which begins with a Popol Vuh like soothing but venerable piano and later breaks out into a tribal drumming ritual. Magical and rambunctious in equal measure.

Read the full review here…

Xenia Rubinos   ‘Black Terry Cat’  (ANTI-)

Monolith Cocktail - Xenia Rubinos ‘Black Terry Cat’

Xenia Rubinos wants to bite, deep. She sings like an intimidating snake in the outback, her venom appears thick and long, like a spitted chewing gum from the mouth of another, yet she is like candy. She must understand the coarse skin of the enemy, perhaps teach a few lessons, she must not fear but simply face it, sing with it, groove with it, with tunes that make our tendons tremble. Disguised in an urban daredevil, there’s no real grudge here, style and subjects are up to date, the banter is mutual, the succeeding embrace even stronger. Her battle of the raised fist is to boost consciousness, for the better and worse but really for the better.’  AS

With far more roots, soul, jazz and sazz than anything her more celebrated counterparts could ever produce, Xenia Rubinos flamboyant rage is delivered with a salacious wit and sensibility sadly lacking elsewhere in the mainstream. Whilst plaudits are given to Beyonce and her camarilla of uber-protesters – which failed spectacularly in the face of “Trumpism” -, Rubinos subtle but no less enraged cornucopia of influences (from R&B to rock) are the true voice of authenticity. And what a voice! Once heard never forgotten, a distinctive mix that both soothes and jolts but always remains soulful and warm. And the somewhat controversial ‘Mexican Chef’ is one of the year’s best tracks by far. This is just a great album by a great talent: simple as.

Read the full review here…

Noura Mint Seymali   ‘Arbina’   (Glitterbeat Records)

Monolith Cocktail - Noura Mint Seymali

‘Continuing to in-trance, constantly moving in a rotating spell, Noura’s follow-up Arbina, we’re told, ‘delves deeper into the wellspring’ of her Moorish roots. And with recent tumultuous events, not only in West Africa but also throughout an increasingly insecure world, Noura reaches for the divine: the album title of Arbina being an appellation for God.’  DV

Emerging from the shifting sand-dune landscape of Mauritania in 2014 with one of the year’s most captivating, and at times almost uniquely otherworldly, albums, Tzenni, the griot chanteuse Noura Mint Seymali returned with an equally heady intoxicating embodiment of the ‘trans-Saharan’ culture and spiritual sounds of worship. With a familiar signature of drowsy slinking low-end bass lines, propulsive swirling breakbeat drums and tremolo quivering spindly alien guitar (provided by Noura’s husband, the adroit masterful Jeiche Ould Chighaly), there’s a certain confidence and refinement on this, the second of Noura’s international releases. Closer in momentum and candour to the previous album’s ‘El Barm’ and ‘El Mougelmen’  tracks, Arbina widens its scope; stretching the desert blues and psych funk template to accommodate twangs and inspirations from further afield. Always at one with the textures and contours of her homeland, the time signatures also continue to breezily, almost surreptitiously, change at will, with many of the songs on this album changing from one rhythm to the next halfway through. Meanwhile Noura’s amplified vocals resonate strongly, lingering loudly; the poetic and lyrical storytelling griot tradition thrust into a new century with renewed energy and musicality. Passionate throughout yet attentive and controlled, that melodious voice is even richer and soulful than before. Working in a circular movement, Noura’s vocals are both celestial and earthly, as the songs of veneration and guidance flow in waves or, repeat in an impressive breathless mantra. It is another magical peregrination from the Mauritanian soulstress.

Read the full review here…

Sidestepper   ‘Supernatural Love’   (Real World Records)

Monolith Cocktail

Supernatural Love is a bright, flowing encapsulation of the current Colombian music scene, with sonic feelers reaching out across the continent and towards Africa. Unrushed and organic, with exceptional musicianship throughout the collective return with one of their best albums yet, merging gospel, soul, cumbia, salsa, Afro-Colombian, folk, psych and dub seamlessly together to produce something infectiously fresh.’  DV

Sharing a couple of commonalities and passions with another choice album and group, RAM and and their Manman M Se Ginen album, the electro-cumbia doyans Sidestepper have also made a comeback after a recording sabbatical, returning with sauntering diaphanous embodiment of their Bogota barrio, La Candelaria, on Supernatural Love. Joyous, an evocation of that city and the Colombian music scene both atavistic and contemporary, they weave the most free-spirited and soulful becalming soundtrack; repeating leitmotifs and letting the energy and music just carry itself to where it needs to go. Co-founded in 1996 by former Real World Records studio engineer and producer/DJ Richard Blair, who originally travelled to Colombia in the mid 90s to work with Afro-Colombian folk star Toto La Momposina, but decided he loved the culture and music so much he’d stay for good, and local singer/songwriter/producer Iván Benavides, Sidestepper were renowned instigators of the electro-cumbia fusion that swept its way across the clubs of Medellin, London and New York. However, bored with hearing the same old “kick, snare and hi-hat”, Blair and a reinvigorated Sidestepper line up that features virtuoso percussionist Juan Carlos ‘Chongo’ Puello and “soulboy/vocalist” Edgardo ‘Guajiro’ Garcés joining the band’s lead singer Erika ‘Eka’ Muñoz and guitarist Ernesto ‘Teto’ Ocampo, has changed direction with this adventurous and ‘supernatural love’ for Colombian music’s roots.

Read the full review here…


Si-Phili  ‘The 11th Hour’  (Phoenix Recordings)

Monolith Cocktail - Si-Phili


“Simply unstoppable. A mic crusher with a touch of class, the heart of a lion and machine gun lungs”.  MO

Go hard or go home. All or nothing. Never give less than 100%. Ready to battle, whatever the time of day. Show-n-prove, call-n-response, leading to crowd surfs. Introspection to give the hurricane an angle of humanity, without dousing the flames. Stacking up punchlines that are then sent cartwheeling over non believers like giant Jenga bricks. A kickstart to your day, and a gee up to get you out of a fix. The right way to do things, both in UK hip-hop and life in general. All over a premium selection of boom bap and soulful stoking of the fire, provided by Richy Spitz, Urban Click, Leaf Dog and Pete Cannon. The sheer focus, belief and single-minded consistency of Si Phili, a standard bred from his Phi-Life Cypher days, is a rampage that can only be admired. ‘The 11th Hour’ has the mic veteran approaching national institution status.

Read the full review here…

Soundsci  ‘Walk the Earth’ (World Expo)

Monolith Cocktail - Soundsci

“Big funk, no front; ‘Walk the Earth’ is up there with hip-hop’s best for the year.”  MO

So good in fact that we forgot to review first time round. Amateurs. Anyway, enriched funky beats and liquid mic swaps from the Soundsci crew, who proved their reliability with ‘Walk the Earth’ maximising the performance bests of Solesides and Jurassic 5. Giving a knowing look to show promoters everywhere, in no small part due to the involvement of the Herbaliser‘s Ollie Teeba, the crew’s third album has a precision at its core liable to explode into the front rows of the crowd. And while not bragging about how versatile they most definitely are, there’s a lot here for everyone to grab a piece and go home happy with.

Teksti-TV 666   ‘1,2,3’   (SVART Records)

Monolith Cocktail - Teksti-TV 666

‘Probably as influential as it’s ever been, one of the most over-used, misunderstood and clichéd influences, Krautrock – a missive if ever there was one – occasionally acts as a springboard to more interesting and unique places. Teksti-TV 666 takes it towards a gothic CBGBs, as motorik goes “hey, ho”.’  DV

Despite the USP boast of featuring six guitarists in their lineup, Finland’s Teksti-TV 666 manage to quell the egos and rein-in the resulting maelstrom with a driven but attentive light and shade style Krautrock/Punk fusion. More a showcase than an album proper, SVART have pieced together the group’s previous three EPs for an attack on the senses.

Though a million others have tried to bend and hone Krautrock to deliver something fresh, Teksti-TV have injected a speedball cocktail into the motorik pulse of Neu!, merging it with spiky monotone fun of The Ramones and the gothic shoegaze and drones of umpteen 80s bands. Every song is an epic in itself, building up gradually with finesse; running through the full gamut of emotions before a final release. Edgy and moody enough to suggest the ominous and despondent, and hard enough to shake the rafters, the miasma that threatens to engulf is always eased up on for something calmer and celestial. Finland’s multi-limbed guitar cacophony is quite unique; transforming their influences with as much humour as fury.

Read the full review here…

Various Artists  ‘Khmer Rouge Survivors – They Will Kill You, If You Cry’  (Glitterbeat Records)

Monolith Cocktail


Growing in stature and reputation Glitterbeat Records continue to release many of the best, most influential contemporary albums and collections from around the world. Expanding on their original West African remit under the adroit stewardship of musician/producer Chris Eckman, they have also brought us various evocative and profound records from some of the least represented locations including South East Asia. Sending Grammy-award winning producer and celebrated author Ian Brennan to capture the dying art and memories of Vietnam veterans for the startling Hanoi Masters testament last year, they’ve followed up in 2016 with an equally vivid and harrowing account from Cambodia’s Khmer Rouge survivors.

Proving that the roots and primal howl of the blues is every bit as entrenched in the Cambodian delta as the African and the Americas, those who suffered at the hands of Pol Pot’s genocide recall and lament on their own experiences: both as a therapy and to remind a new generation brought up in a completely different age, almost ignorant of the country’s recent past, of the trauma and turmoils that for many still run deep. As raw and captivating as you’d imagine, Brennan’s hands-off, in-the-moment, approach to production allows these battle-scarred victims an ad-hoc platform to share their sad but diaphanous songs globally.

Read the Ian Brennan interview here…

Various Artists   ‘Hidden Musics Vol 2.  Every Song Has Its End:  Sonic Dispatches From Traditional Mali’  (Glitterbeat Records)

Monolith Cocktail - Every Song Has Its End - Sonic Dispatches from Traditional Mali (2400)

‘Though no less an achievement, the second volume in Glitterbeat Records “Hidden Musics” series offers the full gamut not just musically but visually too, and is a far more ambitious documentation of a troubled country’s lost tradition than last years Hanoi Masters survey. Expanding to include 11 concatenate videos, Every Song Has Its End is the most complete purview of Mali’s musical roots yet. This is due to the project’s mastermind Paul Chandler, who has documented Mali’s music scene for more than a decade. With an enviable archive of recordings and interviews, Chandler has at last found the perfect testament to Mali’s past.’ DV

Glitterbeat Records once again feature heavily in our ‘choice albums features’ with a quartet of releases making the grade this year, including Paul Chandler‘s compilation and accompanying film panoply, Sonic Dispatches From Traditional Mali. Recording, before it disappears forever, the fragile Mali atavistic roots, which prove far more polygenesis than you’d ever imagine, a diverse range of cultures have left their indelible mark upon the landscape and population. Forgotten in some extreme cases, ignored or considered as Mali’s past by new generations, maestros of the 6-string Danh, such as Boukader Coulibaly, and the Balafon, Kassoun Bagayoko, are celebrated and interviewed for this collection. Whether it’s traversing the Gao region in the northwest to record the earthy desert pants of the female vocal ensemble, Group Ekanzam, or capturing a Sokou and N’goni love paean performance by Bina Koumaré & Madou Diabate in the heart of the country, this chronicle of the pains, virtues, trauma and spirit of the country’s musical heritage is an extraordinary love letter and testament to Mali.

Read the full review here…

Various  Artists   ‘Space Echo –  The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed’   (Analog Africa)

Monolith Cocktail - Cabo Verde

‘Selected for our enjoyment by the Celeste/Mariposa crew, a sound system based in Lisbon, Mexico-based producer Deni Shain, and Analog Africa’s founder Samy Ben Redjeb, this compilation offers an undeniably infectious dance soundtrack for the summer.’ DV

350 miles adrift of the West African coast Cape Verde lies almost isolated out in the Atlantic Ocean. But this former overseas ‘department’ of Portugal fatefully, so the local legend goes, happened to be stuck in the exact right place when a shipment of the latest Rhodes, Moog, Farfisa, Hammond and Korg synthesizers and keyboards bound for the Exposição Mundial Do Son Eletrônico Exhibition in Rio De Janeiro ended up marooned on one of the archipelago’s ten volcanic islands in 1968. The real story grows ever more mysterious, as the cargo, destined to reach a promising market in South America, disappeared off the radar on a calm morning the same day it set sail from Baltimore and ended up 8km away from the Cape Verde coastline in a field near the village of Cachaço. And so a new era in the Island’s musical development was borne as the melting pot of Mornas, Coladeras, carnival and previously prohibited – deemed far too risqué and sensual by the Portuguese overseers- Funaná styles of music were given a new lease of life and modern twist by the booty of futuristic sounding synthesizers. However, despite the emphasis on the strange space like emulations and modulations of the keyboard technology and its impact on the Cape Verde music scene, this compilation is really about a former suppressed colony finding its own independence; revitalising once banned traditions and giving them, for the time, a unique twist.

Read the full review here…

Verbal Kent & !llmind  ‘Weight of Your World’ (Mello Music Group)

Monolith Cocktail - Verbal Kent & !llmind

“Sarcastic punchlines wired to a big-assed boom-bap plunger…dominant, imposing music to lay warpaths by”.  MO

Mello Music Group reeled off killer album after killer album in 2016, boasting a roster of underground burners plentiful in their potent variety. Within something of an internal Venn diagram, Apollo Brown gave soul a kickstart/kick up the jacksie so that Ugly Heroes comrades Red Pill and Verbal Kent (‘Everything in Between’) and Skyzoo ‘(‘The Easy Truth’) could demonstrate parallels in muscular grace, heaviness done with heart. Verbal Kent and !llmind’s ‘Weight of Your World’ warned that “beggars who are choosers are heading for bruises”, and while all three are worthy picks, we’ll plump for the latter. With the added advantage of being absolutely free, it’s cocksure enough to seemingly look at clubs with disdain before slyly leading with its elbows, laying down battle humour with the jib of vintage Canibus and Jadakiss that would reduce ciphers to smithereens, and packing a mean strut at all times. All hail the power of being pissed off.

Read the original here…

Wovenhand   ‘Star Treatment’  (Sargent House/Glitterhouse Records)

Monolith Cocktail - WovenHand

‘Inspired in a wondrous and metaphysical sense by humanities navigational dependence, worship and cultural fascination with the stars, David Eugene Edwards sets out on another esoteric Americana adventure on his latest opus, Star Treatment. The former 16 Horsepower front man saddles up and unfurls the Wovenhand banner, traversing the great western plains of historical reality and literature to produce a gothic Bury My Heart At Wounded Knee meets the Egyptian Book Of The Dead.’  DV

Spiritual interdimensional peregrinations abound on David Eugene EdwardsWovenhand epic. Linking parallels between atavistic tropes of loss, wisdom, a sense of wonder and nature with the original holy lands and the new world promised land of America’s west. Working on many levels with this star-guided concept, Edwards meta panorama may look towards the night skies yet it also digs beneath sacred ground to conjure up the ancestral; mixing America’s indigenous culture, ritual and ceremony with those of the most ancient mariners and travellers from the ‘fertile crescent’. This is an ambitious piece of work, taking as it does Americana to another more ambitious and afflatus level, as expansive and full of gravitas as the landscapes he searches.

Read the full review here…

Sam Zircon  ‘Anxiety Skits’  (Blah)

Monolith Cocktail - Sam Zircon

“The ultimate instrumental downer on eggshells…an excellent, tantalisingly poised headswim against the tide.”  MO

On the impressively individual Blah Records, another UK imprint to have a blinder of a year with releases from Morriarchi, Bisk, Blak Josh and Sleazy F Baby, typically it was one of the labels silent assassins who wore a ruling crown of thorns for the last 12 months. In a year when instrumental sets were pleasingly still doing a brisk trade, Sam Zircon forwent the usual rub downs of funk and soul loops and picked off opposition by pricking goosebumps with a harrowing virus. Anxiety Skits plays like the recovered footage of an explorer long lost to the wilderness, but whose demise you can only assume was grisly and/or involving hypothermia. Catching some of the implied psychoses of Company Flow’s ‘Little Johnny from the Hospitul’, you know Zircon is doing his job when disorientating frostbite starts developing around your headphones.

Read the original here…

Aesop Rock to Bob Lind.

Monolith Cocktail: ‘Highlife-Jazz And Afro-Soul (1963 – 1969)’

Continuing to shy away from fatuous rating systems and ‘best of lists’, the Monolith Cocktail endeavours to offer a more eclectic spread of worthy ‘choice’ picks, with no album dominating or holding any particular numbered position – unlike most of our contemporaries lists; stuck with the ridiculous task, for example, of explaining why one album doesn’t deserve the number 32 spot and has been placed at number 33 instead.

Lined up in alphabetical order then, our favourite new and reissued albums from 2016 are of course considered to be the most interesting, vibrant and dynamic of the year’s releases. But the best? Granted, to make this list you have to make some sort of impact, but we’d never suggest these entries were categorically the best albums of 2016, even if that might be true. Instead our list is an indicator of our amorphous tastes, rounding up a year in the life of the Monolith Cocktail, and we hope, introducing you to titles and artists/bands that may have dropped below the radar.

Split into two parts, the first installment begins with Aesop Rock’s‘s hip-hop masterpiece The Impossible Kid and ends with the latest adroit songbook from the legendary troubadour Bob Lind. In between those two sagacious bookends are albums from David Bowie, David Broughton, Danny Brown, Cluster, Eleanor Friedberger and John Howard (plus many others).

Aesop Rock   ‘The Impossible Kid’  (Rhymesayers)

Monolith Cocktail - Aesop Rock

“The waterfall of words, snide quips and intricate stories recalled from both close to home and far away worlds, are as good as he’s ever done”.  Matt Oliver 

Seeming to get better rather than older (and don’t you dare mention the ageing process as per ‘Lotta Years’), the original ‘Bazooka Tooth’ is still ablaze out of somewhere to the left, but now giving lesser mortals more of a chance of accessing him than ever before. Entirely self-produced and applying funkiness to the bulkiness of alien-scanned beats he’s always rocked his way, AR’s extra superpower as the self-deprecating hero of syllaballistics (“the impossible kid , everything that he touch turns probably to shit”), is to humanise the fantastical and still make the everyday sound like a comic book lead, even when soul is bared for all to analyse. Rock also added more great cover art, and the visuals for ‘Rings’ and ‘Kirby’ are bound to feature in hip-hop video of the year lists.

Read original review here

Afro-Haitian Experimental Orchestra   ‘A.H.E.O’  (Glitterbeat Records)

Monolith Cocktail - A.H.E.O.


‘Elevating beyond the borders it was created behind, the Afro-Haitian Experimental Orchestra’s root foundations shuffle and shake free of their stereotypes to move freely in an increasingly amorphous musical landscape. You’re just as likely to hear vibrations and traces of Dub, native Indian plaintive ghostly echoes, Sun Ra’s otherworldly jazz and funk as to hear the indigenous Haiti sounds and Afrobeat pulse. Tony Allen is once more at the heart of another bustling, dynamic explosion in rhythm.’  Dominic Valvona


Progenitor and embodiment of the Afrobeat drum sound, still in high demand four decades after his explosive partnership with Fela Kuti, the much-venerated Tony Allen once more extends his infectious percussion style beyond the African homeland. Sharing an obvious entwined history with Africa, the shared Hispaniola Island of Haiti proves both an esoterically mysterious and congruous collaborative foil to Allen’s distinct drumming patois.

Invited to perform in 2014 by the French Institute Of Haiti’s director Corinne Micaelli, Allen’s visit would end with a public broadcasted concert in the main square of the capital, Port-au-Prince. Collaborating with Allen would be a cross-section of local percussionists and singers recruited by vocalist, dancer, ‘voodoo priest’ and director of the Haitian National Bureau Of Ethnology, Erol Josué; Josué would himself lend his sweet yearning and reflective tones to two of the tracks on this album.

The call went out and the great and good of the Haitian music scene came. Racine Mapou de Azor, the Yizra’El Band, Lakou Mizik and, featured on the Monolith Cocktail at the start of the year and one of the choice albums of 2016 with their highly-rated Manman M Se Ginen LP, RAM. Another Monolith regular and one-time Port-au-Prince resident, Mark Mulholland was drafted in as the experimental orchestra’s guitarist, and as it would turn out, eventual legacy overseer. Swelling the ranks still further were Olaf Hund, recruited on keyboards and ‘electronics’, and an old friend of Allen’s, the bassist Philippe Dary, who became the de facto musical director. With only five days of studio rehearsal time to gel and work out their performance, the sessions proved both, as Mulholland observed, ‘chaotic’ and overwhelming’. Based upon various sparks of inspiration and rhythmic workouts the eventual structured compositions took shape from organically flowing jams. At the heart of each, Allen’s signature Afrobeat drums and Dary’s liquid, and often funky sumptuous basslines.

Read the full review here…

Bitori  ‘Legend  of  Funaná –  The  Forbidden  Music  Of  The  Cape  Verde  Islands’

(Analog  Africa)

Monolith Cocktail - Legend of Funaná – The Forbidden Music Of The Cape Verde Islands

‘Following the summertime thrills aplenty Space Echo – The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed compilation, with the emphasis on the Funaná; Analog Africa continues to pay homage to the previously suppressed music genre with a reissue of, what many consider, the best Funaná album ever recorded, Bitori Nha Bibinha.’   DV

Helping to ignite a full-on Funaná revival, the quintessential and legendary anthem of Cape Verde’s once banned – considered too salacious and unruly by the Portuguese authorities who ran this archipelago of islands until the mid 1970s – infectious music style was given a reprise by Analog Africa this year. A master class from the inter-generational duo of singer Chando Graciosa and renowned gaïta maestro Victor Tavares (better known as Bitori), who’d both grown up with the blazing and often raucous Funaná, Bitori Nha Bibinha captures the passion and spirit of the people and the times it survived.

Read the full review here…

The Bordellos  ‘How To Lose Friends And Influence No-One’
(Small Bear Records)

Monolith Cocktail

‘Despite the caustic bravado and world-weary bitterness channeled into the antagonistic song titles on this new album, The Bordellos lo fi edicts are always surprisingly melodic. Think of them as a tuneful The Fall; resigned and swiping at society but hopeful enough to challenge it despite banging their collective heads on the doors of the music industry for years.’

Gaining this coveted spot (sic) in our ‘choice albums’ feature for perseverance in the face of despair, the St. Helens trio once more man the barricades with another despondent protest. Feeling, like many of us (I know we do), out of synch with the digital epoch, they rally against the Internet’s most depressing byproducts, and the loss of real ‘motherfuckers’ from the music world – who they duly list on a song of the same name; a cry for a new leader or at least more individuals and rebels. Wearily antagonistic, righting slights and a lifetime of rejection, The Bordellos go for broke on How To Lose Friends And Influence No-One with titles such as ‘Did The Bastards At The BBC Kill John Peel?’, ‘Gary Glitter’ and ‘Piss On Spotify’. Uneasy truths to a lo fi backing of The Velvet Underground, Julian Cope and The Fall abound, yet this could be the group’s best and most complete songbook to date.

Read the full review here…

David Bowie  ‘Blackstar’   (ISO/RCA)

Blackstar cover art - Monolith Cocktail

‘…this could be the most pure, at least concerned, version of Bowie yet. Resurrected free of his characterisations, the gilded “Blackstar” is just as uneasy and scared at the anxieties, stresses and daunting prospects of the future as the rest of us. Fame, celebratory is mere smoke after all and offers little in the way of comfort and safety in the face of the impending end times. Yet despite being easily his best album since Earthling, Blackstar is still underwhelming and falls short of being a classic.’  DV


The swansong of an irreplaceable polymath proved to be one of the year’s most sad moments, as the man who fell to Earth, Aladdin Sane, the Young American, the thin white duke, the absolute beginner, whichever version you fell in love with, departed for the ether. We lost a great many unique and inimitable artists in 2016 but though ever death is tragic none left quite the pit of despair that David Bowie‘s did. Don’t even try to crown a successor; he was a force unto himself, the “Blackstar”, the supernova of pop. Reams have been written – a great many by myself – yet no one will ever truly reflect his importance and legacy.

Though released just before his death the augur that is ★ was a curtain call. Just as oblivious to Bowie’s fatal cancer as everyone else, I did remark at the time that this album seemed to be a poignant goodbye, an elegy even. Returning to a first love, jazz, Bowie who proved an eager saxophonist in the burgeoning years of his career worked with a N.Y. West Village jazz troupe to produce one of his best albums in decades. Old faces, including a decomposing Major Tom, themes and sounds returned, with traces of Diamond Dogs, Scary Monsters, Black Tie White Noise and Outside. Despite the often cryptic and veiled words, this was an anxious, weary and reflective Bowie; looking back before a rebirth. A pity time ran out for him.

Read the full review here…

David Thomas Broughton  ‘Crippling Lack Vol. 1 – 3’  (Song, By Toad Records)

Monolith Cocktail - David Thomas Broughton

‘An ambitious undertaking, David Thomas Broughton’s sprawling opus Crippling Lack is both musically and geographically expansive. Recorded trans-continental style with a host of collaborators over the last few years, Broughton, who’s based himself more recently in the capitals of, unbelievably, North and South Korea, has laid down various parts and vocals in France, the UK and the US. Logistically impressive, Crippling Lack is a testament to the DIY ethic and remote collaborative experimentation.’ DV

A magnificent and masterful undertaking by Broughton, the Crippling Lack trio of recordings is demarcated into three parts, the entire song collection, if you decide to experience in one sitting, stretching to 1 hour 40 minutes. It features twelve songs in all of varying meticulously and slowly unfurled beauty, with some, epics in their own right. The press release separates the album out into a musical journey, beginning with what it calls ‘deceptively approachable pop songs’, moving through a more testing ‘unraveling and disintegrating and barely-stretched fragments’ segment, before ending with a final section that ‘slowly weaves’ all the loose and previous sections together.

It is nothing short of a magnum opus; cohesive and flowing along to a sophisticated backing, sonorous with the artist’s venerable travailed voice, and his acerbic foils wit. The album’s scope is immense even though it meanders to a, mostly, folk signature and gentle accompaniment. It is outstanding even by Broughton’s standards.

Read the full review here…

Danny Brown  ‘Atrocity Exhibition’  (Warp)

Monolith Cocktail - Danny Brown

“Juggling the mic like a grenade missing a pin…one of 2016’s most individual threats.”  MO

‘Atrocity Exhibition’ throws up so many positive talking points. #1 – the transatlantic odd couple of Danny Brown and Paul White, a relationship rooted in 2011’s ‘Rapping With Paul White’ album, fears nothing and no-one. #2 – Brown continues to show he has one of the maniacal mic grips in the game that you can’t ignore, here with added malleability. #3 – White’s reputation has really hit its stride on an upward curve; though other producers contribute (Black Milk, Alchemist and Evian Christ are not to be sniffed at), it’s essentially the Englishman’s show on the boards. #4 – a show stopping hook from Kendrick Lamar on ‘Really Doe’ doesn’t hurt one bit. #5 – despite Brown’s mile-a-minute persona shearing safety bars off rollercoasters, and White and co by default becoming the straight man sidekick, you really have no idea what’s around the next corner, from soaring superhero soundtracks to proper hip-hop dope to something suspiciously shuffling through the undergrowth. “This is not regular rap”, Brown offers. Amen.

Read the original review here

Cappo  ‘Dramatic Change of Fortune’  (YNR)

Monolith Cocktail - Cappo

“When autumn becomes winter, here’s your listening.” MO

You should always bet on the flow of Nottingham’s finest that has evolved into a complex work of art. On past albums and years gone by Cappo would’ve destroyed opposition with crosshairs locked and ammo loaded; here his own brand of introspection, still packing uniquely orbital rhyme schemes but now more than ever full of coded messages and open ended verses awaiting interpretation, kills the noise and heighten the mysteries surrounding the emcee’s inner thoughts and circles. It packs two absolutely heaters of singles as well – ‘OOB’ and ‘Ether’ are both unassuming phantoms of the opera, but white hot in a pretty slimline session – another contributing factor to the building of the suspenseful and mournful, chilling on a razor’s edge. YNR took the weight off their plates in 2016, but this was easily the jewel in their calendar year crown.

Read original review here

CHUCK  ‘My Band Is A Computer’  (Old Money Records)

Monolith Cocktail (Dominic Valvona) - CHUCK review

CHUCK’s kooky collage-rock and lo fi wonky electronic pop, which congruously flows between The Magnetic Fields, Mercury Rev, Weezer, Apples In Stereo and even The Pixies, absorbs its influences to create a gorgeous, quietly optimistic, kind of melancholy and pathos.’ DV

From the inimitable label of hopeless optimism and resigned despair another lo fi songbook of obscure modern idiosyncratic pathos. Released via Audio Antihero’s new imprint Old Money Records this marvelous kooky collection from Massachusetts’s songwriter and multi- instrumentalist CHUCK is a congruous bedfellow of the label’s previous releases from Benjamin Shaw, Frog and Cloud.

Bringing an upstate, more pastoral, lilt to the New York metropolis where he now resides, CHUCK’s quasi-Tropicana Casio preset bed of quirky wounded observations are both funny and profoundly sad; lo fi but ambitious. An outsider in some sense; an observer of the foibles and peculiarities of the Brooklyn boroughs, the maverick artist paints a reflective, wry and often ironic picture of our modern times.

Far too good to be hidden away his collection of songs, penned over the last decade, have thankfully been given the platform to reach a wider audience.

Read the full review here…

Clipping  ‘Splendor & Misery’  (Sub Pop)

Monolith Cocktail - Clipping

“Provocative electronics and sermons from the LA leftfielders will clamp you to the edge of your seat.”  MO

For the record, ‘Splendor & Misery’ is a 20/80 split in favour of the latter. Comprehensively proving that the end of the days is still compelling material when done as well as this, particularly in this year of all years, Clipping were another to give themselves a veneer of accessibility with their zero gravity screams. Futility set adrift to a perfectly captured fear found frozen behind the visor, had rhymes dealing with the pending shitstorm with West Coast fearlessness usually reserved for low-rider rollin’. Interspersed with choral episodes praying for the album’s lead, the intelligent stage management demands your full attention; that’s to say, it’s a struggle to dip in and out or pick a favourite track by itself – do so and you’ll risk detracting from the whole performance pushing hip-hop’s outersphere. What odysseys are made of and reputations are built on.

Read the original review here

Cluster  ‘1971 – 1981’  (Bureau B)

Monolith Cocktail - Cluster 1971 - 1981

‘Patriarchs of the German music scene, Cluster, are quite rightly celebrated for their contribution to the last forty-odd years of experimental electronic and ambient music with this latest grandiose gesture of adulation. Though attempts have been sporadic, past collections have gathered together, more or less, all the standard Cluster recordings, leaving out live and more obscure albums, until now. German label Bureau B, concentrating on the group’s output from 1971 to 1981, chronologically compile a full discography from that decade, which for the first time ever includes the previously unreleased Konzerte 1972/1977 album.’ DV

All attentively remastered, rather impressively I might add, by Willem Makkee, the nine-album box set offers the die-hards another excuse to own the back catalogue, with the added bonus of requiring that former live LP that got away, Konzerte, and for those not familiar or with a passing fancy, the best complete picture and evolution yet of the much revered group. 1971- 1981 will serve as a worthy testament and reawakening of the Cluster back catalogue and legacy: now sounding better than ever, the remastering for once very much welcomed.

Read the full review here…

Ian William Craig  ‘Centres’  

Monolith Cocktail - Ian William Craig

Passing us by on release Ian William Craig‘s unassuming but nevertheless epic sweeping ambient opus Centres arrived without much fanfare on its release. However, these cerebral peregrinations, songs of hope, soulful expansive hymns and sonic journeys into space were given rave reviews by those who did pay attention. And so initially missing coverage on the Monolith Cocktail, we’ve made up for it since by featuring tracks from the album in our ‘quarterly playlists’ and now, in our ‘choice albums of 2016’ feature. It is one of the year’s most beautiful, inspiring and often just meditative concatenate suites; offering glimmers of awe.  DV

Dillon & Paton Locke  ‘Food Chain’ (Full Plate)

Monolith Cocktail - Rapture & Verse Hip Hop selection

“Gourmet underground platters rooted in the South but giving you seven courses of funk and back.”  MO

It might only be found as small print on some menus, but who are we to ignore prime indie cuts encouraging you to “pour a bucket of gravy over yourself and just feel that”. When they’re not rewriting the rules of the Ice Bucket Challenge, Dillon & Paton Locke are always gnawing on something, rhyming as they chew it. Funky, crate-rifling beats are laced with an overzealous streak, cogently able to stop the album dead from 60 to 0 and then re-energise it the other way, and a press-record-and-just-go appetite never misses a trick on the mic, with a hint of political soap-boxing and getting down to some grown man, take a look around biz. Their guest chef specials aren’t too salty either – R&V favourites Homeboy Sandman and J-Live, Dres from Black Sheep and people’s president Lobsterdamus, help flavour a certified belly-buster for 2016.

Read the original review here

Ed Scissor & Lamplighter   ‘Tell Them It’s Winter’ (High Focus)

Monolith Cocktail - Ed Scissors & Lamplighter

“An intriguingly created world of wisdom, paranoia, numbness and finding peace in its own mind”.  MO

High Focus have had the mother of all years, the consistency of everything they’ve dropped dominating the last 12 months of homegrown hip-hop. Ocean Wisdom (‘Chaos 93’) boasted youthfully infinite ammunition. Dabbla (‘Year of the Monkey’) got up to a whole load of japery reaching across the bar. Fliptrix (‘Patterns of Escapism’) executed label ideals to the fullest. Yet in the spirit of thinking differently, Ed Scissor and Lamplighter, the absolute antithesis of those mentioned, take the honours by a short head. Blair Witch hip-hop with its nose to the wall, barely keeping its head above water while barely raising an eyebrow, pulls off the Houdini-like stunt of subverting hip-hop norms while sticking close to them like a second skin. A slow and deliberate bittersweet bloom of triumph, creating the ultimate flip script of offering easy solace and comfort when all looks lost.

Read the original review here

Elzhi  ‘Lead Poison’ (Glow365)

Monolith Cocktail - Elzhi


“Ear-catching narratives covering the everyday grind…not far off being a complete LP”.  MO

Coming out the other side of mental health issues has Elzhi using ‘Lead Poison’ as catharsis, resulting in some of the year’s most vividly delivered rhymes and storytelling in the process. Done so in near enough bite sized chapters, proves that if the story’s interesting enough, it’s long enough. Never buckling under pressure, even when the likes of ‘Cloud’ feel like everything is conspiring against him (not to mention the potential of his health showing overall weakness), heart is worn on sleeve and self-examinations are set to a forceful soul soundtrack pushing its protagonist. With softer neo-soul going back to Elzhi’s Slum Village heritage, there’s also room for a little light heartedness, with ‘She Sucks’ doing forbidden love by garlic and wooden stakes, and ‘MisRight’ bending the thesaurus. An album that goes from strength to strength, listen on listen.

Read the full review here

Eleanor Friedberger ‘New Views’ (Frenchkiss Records)

Monolith Cocktail - Eleanor Friedberger New View

Another album we missed on its release, Eleanor Friedberger‘s third solo spot New View is another impressive songbook of idiosyncratic pop. Streamlining the signature intelligent reference-heavy prose of her sibling act The Fiery Furnaces, Eleanor continues the clever turns of phrase but in a more attentive, breezier and lightened but less cluttered manner. With elan she sets out on a dry-witted but emotionally philosophical picnic through the East Village with Patti Smith and Harry Nilsson in tow.

Paul Hawkins and the Awkward Silences  ‘Outsider Pop’  (Blang Records)

Paul Hawkins & The Awkward Silences - Monolith Cocktail

‘Lethargically executed and quintessentially an antifolk statement of protest, Outsider Pop is a highly infectious album of pop parodies that penetrate the bland veneer of the contemporary irksome vacuum known as the mainstream. Shambling discontent at its finest.’  DV

The disgruntled savant of disco funk pop and antifolk Paul Hawkins completely in the dark, oblivious to the dreadful proclamation of David Bowie’s impending death paid an augur homage to his white-suited and booted pop incarnation of the 1980s by transmogrifying ‘China Girl’ into an Outsider Pop anthem. Produced by that nutflake nostalgist, and one of the busiest men in the industry right now Ian Button (of the mighty Papernut Cambridge, Gare du Nord label and umpteen other projects), Hawkins’ third album also finds foibles of inspiration from REM, The Fall, Toto and The Art Of Noise; reflecting a much broader sound than before. The no wave, white funk, pop melodies act as a Trojan Horse, the themes far from advocating a hedonistic lust for life or suggesting the listener suppress the doldrums of modern life, are filled with malcontent at the state of the world.

Read the full review here…

John Howard  ‘Across The Door Sill’  (Occultation Recordings)

Monolith Cocktail - John Howard


‘Not so adrift and experimental as to have cut all ties to his signature profound sincerity and sad romanticism, John Howard’s Across The Door Sill dares to go further with an even more immersive experience. Expanding his poetic lyricism and piano performances, stark and stripped-back, his vocals multiplied to fill the space and build the atmosphere; Howard has room and time to create some stirring music. It is a most sagacious reflection from the artist, still finding the inspiration to develop and take risks. In doing so he’s reached what could be one of the creative pinnacles of his career.’  DV

Imbued with the 13th century poet Rumis ‘Quatrains’ poem, which encourages us to broaden our horizons and to not just accept what we’ve done in the past, the adroit songwriter and pianist John Howard experiments with a stripped back sound of multilayered vocals and the melodious gravitas on his latest songbook Across The Door Sill. Attentive and epic the album’s sagacious stream of consciousness is a deeply reflective observance on where we are now. In no hurry to get to a hook or chorus, his source material, a collection of unhindered, unhurried and floating poems, was developed overtime, set to music in an organic fashion. Hence why three of the five songs on this LP are nine-minutes long. On a successful run of collaborations and solo projects Howard is enjoying his most productive period yet in a career that’s spanned five decades.

Read the full review here…

Illogic  ‘A Man Who Thinks With His Own Mind’  (Weightless)

Monolith Cocktail - Illogic

“Streams of quotable IQ create a fever dream. Snooze, you lose.”  MO

Ohio rhyme scientist Illogic provided his own version of a hip-hop out of body experience, a canon of verbosity when bedding down for the night and setting free streams of consciousness while looking through a telescope. This in itself created its own contradiction of being an album expressly trained to set you afloat (The Sound Cultivator’s star-shaped soul powered by plasma rays > strictly no cloud rap), which still kept you wide awake with naturally intricate rhymes, both book and street smart, about life, the universe and everything else. Anyone who starts an album with the observation that “the tofu was not as firm as I’m used to” deserves nothing but praise and respect. The modern equivalent of becoming engrossed in a good book that tells your imagination to run.

Read the original review here

J-Zone   ‘Fish n Grits’  (Old Maid Entertainment)

Monolith Cocktail - J-Zone

“Dripping in home truths from his funk soapbox, disillusionment with hip-hop and its cultural hangers-on has never been more entertaining”.  MO

Better placed than most to justify a love-hate relationship with hip-hop, J-Zone proclaimed “there’s only two types of music – good and bad. Make good music, or shut the fuck up.” Paired with helium alter-ego/juvenile imaginary friend Chief Chinchilla as hilarious equal opportunity offender, and showing the strain of ‘Peter Pan Syndrome’ remains strong, ‘Fish n Grits’ goes in with scathingly relatable accuracy about the state of the game, misty-eyed nostalgia replaced by a nose-bloodying team of goons busting a whole load of myths. Additionally, whereas Zone’s production used to pop off all over the place in a skilfully spring-loaded criss-cross, he’s honed his own funk skills into a true mastery to compliment his industry disses. Hallelujah that he can’t leave the game alone.

Read the full review here

Fela Ransome-Kuti And His Koola Lobitos  ‘Highlife-Jazz And Afro-Soul 1963-1969’  (Knitting Factory Records)

Monolith Cocktail - Fela Kuti

‘Hot stepping and sure footing through Savoy label like jazz and Stax/Volt revue soul, Fela and his first ever professional band Koola Lobitos were the missing link on the eventual road to the Afrobeat phenomenon. An evolving Fela, only a few shuffles short of cultivating his signature, already shows a raw energy on this compilation’s studio and live recordings.’  DV


In the midst of another celebration and anniversary appraisal the Afrobeat pioneer and political protagonist Fela Kuti has seen the back catalogue legacy re-released and repackaged countless times. There’s been a stage production of his life, and a documentary film in the last couple of years alone. But one of the most revealing and raw tributes is this burgeoning showman showcase; a labour of love that collates together a number of previously scattered, thought lost, rare early recordings – both in the studio and on stage – from the stax/funk/soul years. A “labour of love”, stemming from Toshiya Endo’s African Music Home Page website, launched in the late 90s, the Fela Kuti and His Koola Lobitos material were collected from around the world, from the collections of various fans. By day a professor of Chemistry at Ngoya University, Endo’s passion and hobby of cataloguing West African music attracted the author of the Fela: The Life & Times Of An African Musical Icon bio Michael E. Veal. Lucky for us the dynamic duo produced this lavish and arduous compilation of explosive early Fela beauties; one of the best and revelatory introductions to the great polymaths work yet.

Read the full review here…

Bob Lind  ‘Magellan Was Wrong’  (Ace Records)

Monolith Cocktail - Bob Lind

Another masterclass from the sagacious Bob Lind, his latest album is a majestical and often jazzy lilting lesson in songwriting. With decades of elan and adroit performance behind him Lind isn’t ready just yet to rest on past melodic triumphs and spoils, showing himself ready to adopt and try out new ideas on Magellan Was Wrong – a reference to the Portuguese explorer who first circumnavigated the world, proving it was of course a globe and not flat, though Lind’s song of the same name and homage metaphor questions that wisdom in the face of despondency and disappointment. The characteristic voice and style is of course signature Lind, the songs and themes timeless. With a host of producers, including progressive jazz pianist and composer Greg Foat, on board this strongly nautical feel and reference strong songbook, both the entertainer and troubadour are lent a new lease of life.

%d bloggers like this: