PLAYLIST SPECIAL 
COMPILED: Dominic Valvona, Matt Oliver, Brian ‘Bordello’ Shea and Gianluigi Marsibilio
ARTWORK: Gianluigi Marsibilio 




From an abundance of sources, via a myriad of social media platforms and messaging services, even accosted when buying a coffee from a barristo-musician, the Quarterly Revue is expanding constantly to accommodate a reasonable spread that best represents the Monolith Cocktail’s raison d’etre.

As you will hear for yourselves, new releases and the best of reissues plucked from the team – that’s me, Dominic Valvona, and Matt Oliver, Brian ‘Bordello’ Shea, Andrew C. Kidd and Gianluigi Marsibilio (who also put together the playlist artwork) – rub shoulders in a continuous musical journey.

The final playlist of 2019 is no less eclectic and frantic, with electrifried peregrinations from Mali next to the best new hip-hop cuts and a wealth of post-punk, souk rock, jazz, noise, indie and the avant-garde.


That tracklist in full:

Automatic  ‘Too Much Money’
Dead Rituals  ‘Closer’
Comet Gain  ‘The Girl With The Melted Mind And Her Fear Of The Open Door’
BRONCHO  ‘Boys Got To Go’
SUO  ‘Honey I’m Down’
Pocket Knife  ‘Manger Constructeur’
Prince Rama  ‘F.A.T.E (Bought Us Together)’
Cate Le Bon & Bradford Cox  ‘Fireman’
Elizabeth Joan Kelly  ‘Baleen Executioner’
Bear With Me  ‘Cry’
Max Andrzejewski’s HUTTE  ‘Little Red Robin Hood Hits The Road’
Tapan Meets Generation Taragalte ‘Yogi Yamahssar’
Junis Paul  ‘Baker’s Dozen’
Invisible System  ‘Diarabi’
Homeboy Sandman  ‘Yes Iyah’
Guilty Simpson & Phat Kat  ‘Sharking’
Iftin Band  ‘Il Ooy Aniga’
Kalbata ft. TIGRIS  ‘Tamera’
The Budos Band  ‘Old Engine Oil’
Aziza Brahim  ‘Hada Jil’
Atomic Forest  ‘Life Is Anew’
Klashnekoff ft. K9 & Ricko Capito  ‘The Road Is Long’
Chris Orrick & The Lasso  ‘No Place Is Safe’
Blockhead  ‘Spicy Peppercorn’
Willie Scott & The Birmingham Spirituals  ‘Keep Your Faith To The Sky’
Jehst & Confucius MC  ‘Autumn Nights’
Xenia Rubinos  ‘DIOSA’
Genesis Elijah  ‘Haunted Trap House’
Rico James & Santos  ‘New York Cut’
Hiach Ber Na  ‘Another Human Brain’
Mike Patton & Jean-Claude Vannier  ‘Cold Sun Warm Beer’
TELGATE  ‘Cherrytight’
Land Of OOO  ‘Waiting For The Whales (Radio Edit)’
Big Thief  ‘Not’
Gary Davenport ‘True Freedom’
Northwest  ‘The Day’
The Cold Spells  ‘I Hate It When You’re Sad’
Mick Harvey & Christopher Richard Barker  ‘A Secret Hidden Message’
Boa Morte  ‘Sleep/Before The Landslide’
Vola Tila  ‘All Alone’
Owen Tromans  ‘Burying The Moon King’
The Good Ones  ‘My Wife Is As Beautiful As A Sunset’
Dub Chieftain  ‘Enter The Chieftain’
Provincials  ‘Cat’s Cradle’
Right Hand Left Hand  ‘White Sands’
Ringfinger  ‘Burning’
Giant Swan  ‘YFPHNT’
Rafiki Jazz  ‘My Heart My Home Home (Shallow Brown/Light of Guidance/The Settlers Wife/Shedemati)’


PREVIOUS QUARTERLIES




Review
Gianluigi Marsibilio 



Big Thief ‘Two Hands’
LP/ 11th October 2019


U.F.O.F. introduced the Big Thief to a cosmic, celestial dimension, in which everything was quiet and melancholy static: it was like being in Lars Von Trier’s Melancholia. But with Two Hands, Big Thief instead return to a more earthly and frank dimension that, within a year, reaffirms the Brooklyn band and elevates the poetic universe of Adrianne Lenker.

Also, in this case, the voice of Big Thief is based on the delicate atmospheres that have the ability to transcend space and time. The delicacy of songs like ‘Wolf’ or ‘Forgotten Eyes’ is an important key to understanding an album that is the best proof of the band.

With Two Hands there is less DIY, a less crude construction, the search for sound starts first of all from a poetic dimension, from the need to narrate a story. The goal achieved is in the construction of a sound zone where Big Thief have become, not merely recognizable, but unique. The structure of the songs play on balances of sensitivity: the slight inputs of the xylophone, the melodic intersections, the rhythms that settle down and come to life between the words of the songs, are a very precise poetics of the band that now has a well-defined sound. The semantic field of the record is very clear and works with the themes of U.F.O.F., making them earthly, tangible. The idea that Two Hands is an earthly twin of the previous work is interesting and in focus. The sounds of Lenker’s guitar and voice build a rough anatomy of perceptions; everything can be touched and becomes extremely corporeal. The most abstract forms become clear when meeting Adrianne’s voice, a line like “The wolf is howling for me” actually becomes a symbol of this textual and poetic research.

Two Hands has the corporeity of a performance by Marina Abramovic, but also the noble crypticity of a live performance by Bon Iver. The lyrics are a bridge that crosses very wide poetic universes, Adrianne Lenker is like Walt Whitman in his Passage to India; there is a dimension of renewal, construction and humanity that unfolds throughout the work.

Two Hands is a gateway to a universe, which represents us and makes us feel good.