PLAYLIST
Dominic Valvona/Matt Oliver/Brian ‘Bordello’ Shea’





By now we’ll probably all aware and getting jaded by the constant newsroll of Covid-19 horror stories, and the ominous stench of pandemic armageddon. To return to some sort of normality, the Monolith Cocktail promises to keep finding all the best new music for you to enjoy and mull over. No cheap epidemic cash-ins and no tenuous links to self-promotional lockdowns here. Just great music, which we hope you will all keep supporting during these anxious uncertain times.

For those of you that have only just joined us as new followers and readers, our former behemoth Quarterly Playlist Revue is now no more! With a massive increase in submissions month-on-month, we’ve decided to go monthly instead, in 2020. The March playlist carries on from where the popular quarterly left off; picking out the choice tracks that represent the Monolith Cocktail’s eclectic output – from all the most essential new Hip-Hop cuts to the most dynamic music from across the globe. New releases and the best of reissues have been chosen by me, Dominic Valvona, Brian ‘Bordello’ Shea and Matt Oliver.



THE TRACKS IN FULL ARE:

Lunar Bird  ‘A Walk’
TrueMendous  ‘Hmmm’
Awale Jant Band  ‘Just Be Free’
Mdou Moctar  ‘Ibitlan’
Collocutor  ‘The Angry One’
Superposition  ‘Antiplace’
The Stroppies  ‘Holes In Everything’
Pozi  ‘Whitewashing’
Loose Fit  ‘PULL THE LEVER’
The National Honor Society  ‘First Among The Last’
Jacqueline Tucci  ‘Fear’
Jaga Jazzist  ‘Spiral Era (EDit)’
Jennifer Touch  ‘Attic’
Bedd  ‘Auto Harp’
The Saxophones  ‘Flower Spirit’
Schizo Fun Addict  ‘Whiskey’
Ploom  ‘Swish’
Tamikrest  ‘Amidnin Tad Adouniya’
Hifiklub & Roddy Bottum  ‘David Says’
Rowland S Howard  ‘Pop Crimes’
The Hannah Barbeas  ‘No Majesty’
The Proper Ornaments  ‘Broken Insect’
Irreversible Entanglements  ‘No Mas’
Nduduzo Makhathini  ‘Indawu’
Masta Ace  ‘GMO’
Riz Ahmed  ‘Fast Lava’
Voodoo Black  ‘Fizzy’
dug & Hassan el HoBo  ‘Electric Sheep’
Harold Nano  ‘Menton Train Jump’
Slitty Wrists  ‘Su-Mi-Ma-Sen’
Shortwave Research Group  ‘Perpetual Midnight’
Cult Of The Damned (Lee Scott, Mikavelli, BeTheGun, Bill Shakes, Sly Moon & Saler)  ‘OFFIE’
Run The Jewels Ft. Greg Nice & DJ Premier  ‘Ooh LA LA’
Super Inuit  ‘Mothering Tongue’
Sebastian Reynolds  ‘The Universe Remembers’
Chouk Bwa & The Angstromers  ‘Move Ten’
Tom Caruana  ‘Dennis The Space Hopper’
Clear Soul Forces  ‘Chinese Funk’
Ghostwood Development Project Ft. Kool Keith  ‘Gulley’
Bishop Nehru  ‘Too Last’
Nomad, Chester P  ‘Athens In Mordor (Secondson Remix)’
Cut Beetlez. Nice Guys  ‘Cut Ya Ass Up’
Jehst  ‘Wild Herb’
Mr Key  ‘Kids Story 2’
Pwaz One, DJ Dister, Akrobatik  ‘No Contest’
Estee Nack, Superior ft. Daniel Son  ‘POPROCKCLASSICS’



And Now, A Word From Our Founder

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


REVIEWS
Brian ‘Bordello’ Shea





Brian ‘Bordello’ Shea joined the Monolith Cocktail team in January 2019. The cult leader of the infamous lo fi gods, The Bordellos, has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most releases include The Bordellos beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, and, under the guises of the Idiot Blur Fanboy moniker, a stripped down classic of resignation and Gallagher brothers’ polemics.

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.

With all live gigs and events more or less quashed for the foreseeable future, buying music (whether it’s physical or through digital platforms such as Bandcamp) has never been more important for the survival of the bands/artists/collectives that create it. We urge you all to keeping supporting; to keep listening.


Loose Fit   ‘Loose Fit EP’
(FatCat Records) EP/3rd April 2020

I do like a bit of bass heavy post punk and Loose Fit do it better than most. This reminds more than a than a bit of Bow Wow Wow and then all of a sudden on ‘Reflux’ the memories of the wonderful X Ray Spex come surging back, which is no bad thing: a lot worse could come surging back than memories of one of punk’s finest. There’s honking sax, which you do not hear often in bass heavy post punk unless you call the Coasters bass heavy post punk, whom of course you can’t unless you have never heard the Coasters – and then you can think anything. Isn’t imagination a wonderful thing.




Ploom ‘Ploom EP’
EP/6th March 2020




What we have here my dears is the debut EP from Denver Psych band Ploom, or that is how they describe themselves in the press release. And that will do for me, as they do have a slight psych feel about them. Going off at various tangents throughout their songs at times, they recall a sunny Mothers of Invention or psychedelic Strokes: in fact you could call them Sun Strokes! (Please no groaning at the back). No really this is a rather excellent listen; a band to listen to whilst riding in a open top car to on a summers day and can imagine them doing really well on the festival circuit: a band to wave giant inflatable too.






Occult Character   ‘Steve Albini’s Kundalini ‘
(Metal Postcard) LP/9th March 2020




A brand new LP from the wonderful Occult Character, and as ever, dark funny lyrical portraits of life in the USA today is the order of the day, but this time taking on a more musically commercial slant. Synth led beats smoother production, and if not for the many curse words, you could imagine gracing daytime radio. This could almost be a pop album it certainly deserves to reach a larger audience. Who else but Occult Character would write a song about a homophobic microwave and other such oddities? It is indeed a crazy world and maybe this is the album to soundtrack it.




Various   ‘Mark Barton’s Sunday Experience Album’
(Bearsuit Records)  LP/27th March 2020




This LP breaks my heart a little as it is a tribute to someone I considered a friend; somebody who I talked via the internet to for over 15 years, and had a great drunken night out with together watching my sons band Vukovar: the first of many nights, or so we thought. But sadly he discovered he had cancer not long after and through various reasons we never got to meet up again.

Mark was a lovely great man who also happened to be a great writer and a great supporter of underground music, and the underground community thought a great deal of Mark, as this CD proves. This could have easily been a 100-track box set, for all the artists giving up tracks to this fine tribute to a fine man. This CD shows what a wide and varied taste Mark had, and he had a beautiful poetic way of praising the music he loved with his writing: one I won’t even try to match.

The music on this album is as I have already said varied, but what it has in common is that it is all excellent, all unique in their own ways; from the dark sweeping guitar sounds of bigflower to the psych tinged rock n roll of the Moon Duo and Schizo Fun Addict, to the wayward lo-fi shambolic of my own Bordellos – a song we wrote a few years ago in tribute the great man and his fine blog.

There are washes with the experimental: the excellent Harold Nono and the Polypores, BBC 6Music faves The Lovely Eggs, and JD Meatyard, even the legendary noise gods Godflesh make an appearance. So many great reasons to purchase this CD.

Mark would be more than a little embarrassed but also deeply touched by this compilation; I just wish he was still around for to enjoy this fine tribute.

All money raised goes to the Macmillan Cancer Support charity.




Rita Braga ‘Tremble Like A Ghost’
Single/21st March 2020


Rita Berga - monolith cocktail

What the world needs now more than anything else is an electro Betty Boop. It really does. And that is what we have here. Three and a half minutes of pop fun. The kind of song that could make you breakout into sporadic leg and hand movements that resembles a meeting of the Charleston you know and love committee. Yes a quirky little pop gem, one for us oldsters and you youngsters and those in-between.




Schizo Fun Addict  ‘The Last Wave’
(Flicknife Records)  LP/Now


Schizo Fun Addict a band that should be cherished and held close to one’s heart. They are one of the many bands that deserve to be better known and raved about, so with this the new album I’m going to do just that and rave about the beauty and joy one can have by losing themselves in Schizos own and original sounding laid back beauty. Sixties psych merges with smooth American FM late night 70’s sounds and British 80’s pop, one of the only bands of today I can hear the influence of Prefab Sprout creep through as well as their obvious love of the Stone Roses and My Bloody Valentine.

The Schizos have so much going for them. Not just fine original musicians and great songwriters but they have one of the most beautiful female voices in modern pop with the candy covered angel whisper of Jayne Gabriel: a voice I could listen to all day and completely lose myself in.

So for anyone out there who hasn’t heard of the Schizo Fun Addict go and do yourselves a favour start with this album and then work your way back through the treasure of a back catalogue. And a treasure it surely is: a band to be treasured in fact.



The Hannah Barberas ‘Into The Wild’
LP/3rd April 2020




Ah C86 those were the days; when boys with floppy fringes wore their hearts on their sleeves, and their guitar songs of love gone wrong and love in waiting. And this enjoyable album by the Hannah Barberas takes us all back there. Over jangly guitars, occasional northern soul beats, and songs of love gone right and long, this LP almost had me wanting to put leather patches on the elbows of my Oxfam jackets and dig out a Davy Crockett hat and kneel and pray to an effigy of Saint Edwyn. This album is highly recommended for those who want to return to those fine days of the June Brides and Brilliant Corners.




REVIEWS
Brian ‘Bordello’ Shea





Brian ‘Bordello’ Shea joined the Monolith Cocktail team in January 2019. The cult leader of the infamous lo fi gods, The Bordellos, has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most releases include The Bordellos beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, and, under the guises of the Idiot Blur Fanboy moniker, a stripped down classic of resignation and Gallagher brothers’ polemics.

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.

Catholic Action  ‘Celebrated by Strangers’
(Modern Sky)  LP/27th March 2020






I like this album; it has a fine arrogant strut about it. It’s an LP that caresses a love of not just Wire, Gary Numan, XTC but Donna Summer as well: an album that bathes in the music of the past whilst casting a eye and ear to the present and future.

I also love the overly enthusiastic use of handclaps and the rebirth of the Thin Lizzy twin guitar sound on “Yr Old Dad”. Celebrated by Strangers is an album of well thought out and subtle homages to the obvious love of their musical influences. I can imagine the mighty Marc Bolan doing a fine version of the sultry semi ballad ‘And It Shows’, and ‘People Don’t Protest Enough’ is a song worthy of slipping off the pen of Difford and Tilbrook .

I can safely predict that come the Spring many of the tracks from this fine LP will become over familiar after BBC 6 MUSIC decide that it is the best thing since the last commercial hook laden, slightly alternative guitar LP was released. Shall we call it the Bandwagon-esqe for the year 2020? I think we shall.


Proper Ornaments  ‘Mission Bells’
(Tapete Records)  LP/28th February 2020




Guitar music really does not grow old does it? Not when it’s done right anyway; may it be by Buddy Holly or The Beatles, The Velvets, Big Star or The Smiths or Teenage Fanclub. I was going to say Oasis But they’re a leaden dull thud of a band and show how disposable and uninteresting guitar music can also be.

But the Proper Ornaments I’m pleased to say fall into the first category, a band that write songs with verve, soul and power, a band that make timeless guitar music that will stand the test of time, and this new LP, Mission Bells, takes off were last years Six Lenins left off, and is another example of how to write songs with lyrics and melodies that will pull at the heart stings and not just rehash old Slade riffs and sing of bowling balls [the last mention of Oasis I promise].

This is a fine and interesting album and should be played to all youngsters who want to take up the guitar as a example of how it should and can be done, and if I was giving it marks I would add extra, for once again it sounds like a album and not just a collection of songs. A very good album indeed.




Piney Gir  ‘Puppy Love’
Single/14th February 2020




Ah another song released on Valentine’s Day extolling the joys and virtues of love, and why not there is not nearly enough love in this world. This song is a fine power pop jangle that the The Fountains Of Wayne would be overjoyed to have written [little known fact the Fountains Of Wayne debut LP might be one of my most played LPs…now you weren’t expecting that were you] [and do you care, it will hardly come up as a question on the chase…or will it]. Anyway back to ‘Puppy Love’ [which I might add is not a cover of the Donny Osmond classic, classic being used in the loosest possible sense of the word] but a lovely way to spend two minutes 48 seconds of your life. Pop music is a wonderful thing, as this single proves.




bigflower  ‘My Love’
Single/15th February 2020




As the passing of Valentines Day slides away for another year the excellent bigflower release yet another free to download track of melodramatic dark sweeping beauty, soaked in a melting reverb, distorted to the extent of your own personal god grinding his teeth. Once again a track one should be hearing seeping from your radio, but as there is no justice in this world you will just have to check it out yourself via Bandcamp.





The Lounge Bar Orchestra  ‘Pilot Episode’
Album/30th March 2020




What we have here ladies and gentlemen is the coolest hip swing finger popping LP of the year; music that takes you from the dire depressing early months of 2020 to a time when the sun always shone, when there were only three TV channels and half the time they were showing a test card with some little girl [who actually looked a lot like my wife] playing noughts and crosses with some strange cuddly toy. And this LP could in fact be the music playing that you listened to as you lost yourself in that test card, staring waiting to see if the girl would blink passing the time as you waited for Bagpuss to start.

This ladies and gentlemen is the sound of a variety shows of the late sixties early seventies when you had to name that tune and that tune could well be something off this mighty fine album. This could be the music as Anthe twirled and Bruce felt something move in the trouser department. The music I would imagine Parker played as he drove Lady Penelope around the countryside in the pink six wheeled Fab 1. For god’s sake this LP is cool enough to be the soundtrack for “The Man In The Suitcase” and let’s be honest it does not get any cooler than that.




Harold Nono  ‘We’re Almost Home’
(Bearsuit Records)  LP/20th March 2020




What we have here the rattle tattle of experimental pop music, the sound of one’s mind losing itself in the magical world of sci-fi movies and 60s spy movie soundtracks; an LP to be played whilst reading Beat poetry. This could have been playing in the car when Dylan uttered the immortal line “give the anarchist a cigarette!” in “Don’t look Back”. It is a collision of Neu, John Barry, John Coltrane and My Bloody Valentine, which Joe Meek has collected up and put into one great melting pot. It’s genre non specific as all great experimental pop music should be and this album is great, it captures the many moods of life from the hip swinging happy to the crestfallen beauty of the sad.

Bearsuit Records have once again released an album of true original beauty and if there is any justice in the world should be finding themselves in the best LPs of the year lists come the end of the year, and be a constant fixture on BBC6’s saving grace the Freakzone radio show, in the coming months. Another gem.





Void Vortex  ‘Everything I Am (Is Built From You)’
(Wormhole World)  EP/28th February 2020




This EP is a thing of beautiful experimental wonder; the sound and beauty of the lone piano blissing out and getting down in technological escapades of noise, a instrumental soundtrack to a land of wilting dance beats and robotic poetry and available for all to download on a pay what you want basis, so no need to wait for payday.




Toxic Chicken  ‘Live at Scaledown’
Live Performance/29th February 2020




There is something quite stunningly beautiful in this 15-minute live performance from the Toxic Chicken, recorded at Scaledown – described as London’s finest hidden event. This is the sound of the experimental underground at its best; electronica psychedelia and subtle humor merge into a bewitching hypnotic instrumental mantra one can lose and then re-find oneself in. Part 1967 era Beatles, Syd’s Floyd and the Aphex Twin this is really gripping stuff. A joy to behold.





Related posts from the Archives:

Proper Ornaments ‘Six Lenins’

Toxic Chicken ‘Uncomfortable Music’

Lounge Bar Orchestra ‘Washing Line’

Idiot Blur Fanboy ‘Oasis Are The Enemy’


The Monolith Cocktail Is Now On Ko-Fi

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

 

 

LP REVIW
Dominic Valvona




Idiot Blur Fanboy   ‘Oasis Are The Enemy’
(Wormhole World)   LP/6th March 2020

There’s that 70s interview between goading miscreant music writer Lester Bangs and his idol Lou Reed, the one where Bangs baits his subject, hitting on a nerve in taking a pop at the former Velvet darling’s current foil and champion David Bowie, who’s star was of course in ascendance, a consequence of which was reviving Lou’s solo career. Bangs however accuses Bowie, Nosferatu style, of bloodsucking on Lou’s creative life force for his own ends; at one point he opines that Bowie wasn’t even a good songwriter, and that he hadn’t written anything even as good or lasting as Sam The Sham’s ‘Wooly Bully’. Tenuous, but in the same ballpark, cult leader of the stalwart lo fi Bordellos and a myriad of sporadic side-projects, Brian Shea recently posted a series of charity shop bin-fodder and kitsch albums (from the early 90s cast of Coronation Street to Bruce Forsyth) he, as scornfully goading as Bangs and hoping for a similar rise, stated were better than Oasis’s grand opus, Be Here Now. He had a point.

Under the guises of the Idiot Blur Fanboy, Brian’s latest dysfunctional and despondent Tascam rubber-band four-track triumph Oasis Are The Enemy pours a bucket of cold sick over not only the sorry excuse for a Ruttles tribute band but their mockney middleclass rivals Blur. But this isn’t just an obsessive ranting diatribe – even if the George Formby meets Mark E Smith twat-gait breezy ‘Liam Gallagher’ ditty is an excuse to take a pop: “Walks like he shat himself, sings like a spud” -; more a title and lyric that encapsulates the sorry state of the music industry and pockets of fandom still living in a recent past. But at least Noel Gallagher and Damon Albarn have moved on musically, as uninspiring as they might be. Liam, stuck still singing the Wonderwalls and Supernovas his brother wrote 25 years ago, has a solo career that he seems to think is somehow truer to the spirit of rock’n’roll; knocking and pestering, squabbling constantly with Noel who he denounces for apparently turning his back on that myopic vision of rock music. Truth is Liam’s music and cockiness is dull as dishwater. Apart from the already mentioned cheap but hilarious turd delivered Liam track, the titular tune is the only other sneering polemic relating to this theme; ‘Idiot Blur Fanboy’, which originally had an even less PC title, is a chugging thumbed lo fi Jilted John distortion, a brilliant raving Britpop antichrist tango.

 

The rest of Brian’s ruminations and idiosyncratic observed, musical inspirations littered, diy poetry concerns love-lost resignation, electric-soup connoisseurs of lethal strong lager, wistful remorse, regret and even a tinge of that nostalgia. ‘Cabbage Patch Doll Kiss’ is in the melancholic romantic vogue; a cantering malady with some of the album’s best lines (and there are many): “My hat was a garden, now it’s a rubbish tip. You were the captain of my favourite bath ship.” –Syd Barret eat your heart out. That bastard ‘Rick Astley’ was playing on the radio during another breakup (“I longed for the dark, so I could cry under the killing moon.”) yet is credited with saving Brian’s soul. ‘In My Bed’ pulls the malingering humour into sharp focus however, as one of the album’s saddest profound heartaches, Brian touching upon his own mental health and its effects on a partner. Just as seemingly sad, ‘Guitars And Dust’ finds the middle-aged St. Helens maverick as the lamentable surveyor of his bedroom music empire, yearning that “I’m not the man I thought I’d be.” With a sort of bastardised slow ‘Band On The Run’ feel, Brian touches upon his family band’s underground status, devoid after decades of success. Brian pulls himself together for the final scour, ‘Oh Morrissey’. To a discordant buzz and lone electric guitar Brian has a go at an icon over a perceived betrayal; Morrissey lurching in recent years to the ‘right’. Always a contrary fucker at the best of times, but no calls for boycotts or much in the way of criticism over his vulgarities and cuntiness when he was supporting left wing causes, Morrissey has shown support for Tommy Robinson, sported a Britain First badge on US TV, but also (how dare he) been sympathetic to those who voted for Brexit. He is, as Brian puts it, a “twat”. But lets see it for what it is, a fading star stirring the pot and looking for attention. Still a boycott seems petty and full of false indignity: Be weary of false idols.

 

The wisdom of a St. Helens Daniel Johnston or Dan Treacy on the dole, the stripped down Idiot Blur Fanboy LP is a triumph of lo fi integrity in an age in which all the counterculture and underground ‘mutherfuckers’ have disappeared into mediocrity or under the fleeting caviler relationship of streaming: a flakey epoch and market place unsympathetic to musicians and artists. Someone care though, and for that they deserve your support and pocket money. Let’s see what we can do to keep such mavericks afloat.





Related from the Archives:

The Bordellos ‘Debt Sounds: Track by Track’

The Bordellos ‘Will.I.Am, You’re Really Nothing’

Brian Bordello’s Reviews Roundup

PLAYLIST
Dominic Valvona/Brian Shea/Matt Oliver





The behemoth Quarterly Playlist Revue is now more! With a massive increase in submissions month-on-month, we’ve decided to go monthly in 2020. The February playlist carries on from where the popular quarterly left off; picking out the choice tracks that represent the Monolith Cocktail’s eclectic output. New releases and the best of reissues have been chosen by me, Dominic Valvona, Brian ‘Bordello’ Shea and Matt Oliver.



The full track list is as follows:

A Journey of Giraffes  ‘Into The Open Air’
Graham Costello’s Strata  ‘Cygnus (Edit)’
Calibro 35 ft. MEI  ‘Black Moon’
The Four Owls  ‘Honour Codes’
Juga-Naut  ‘Jackson Pollock’
Chassol  ‘Rollercoaster Pt.2’
Dream Parade  ‘Adderall’
U.S. Girls  ‘4 American Dollars’
Piney Gir  ‘Puppy Love’
November Bees  ‘Pot Called Pan’
Joss Cope  ‘Indefinite Particles’
Slift  ‘Hyperion’
Martin Mansson Sjostrand Trio  ‘Overkilghetsflykten’
Bob Destiny  ‘Wang Dang’
Dueling Experts  ‘Dark Ninjas’
TrueMendous  ‘That Don’t Mean’
Confucuis MC  ‘Look Deeper’
Lewps Hekla  ‘Rose Gold Ruger Pose’
Pulled By Magnets  ‘Gold Regime People Die’
The Dream Syndicate  ‘The Regulator (Single Edit)’
Mai Mai Mai ft. Maria Violenza  ‘Secondo Coro Delle Lavandaie’
Sad Man  ‘Door’
Pongo  ‘Quem Manda No Mic’
Ranil  ‘Cumbia Sin Nombre’
Nordine Staifi  ‘Zine Ezzinet’
Adebukonla Ajao And Her Group  ‘Aboyin Ile’
Mazzi & Tac  ‘Brackets’
Dillion & Batsauce  ‘Self Medicated’
Elaquent & Chester Watson  ‘Airwalk’
A Journey Of Giraffes  ‘Poet’s Muse’
Jimi Tenor  ‘Lassi Laggi’
Seu Jorge & Roge  ‘Sarava’
John Howard  ‘It’s Not All Over Yet’
Birgitta Alida  ‘Closely’
Anytime Cowboy  ‘Story Of Skin Island’
King Krule  ‘Comet Face’
Brian Bordello  ‘Liverpool Hipster Set’
Postcards  ‘Dead End’
Zinn  ‘Diogenes’
Mazeppa  ‘The Way In’
Vivienne Eastwood  ‘Hanging Gardens’
Village Of The Sun, Binker & Moses  ‘Village Of The Sun’
Simon McCorry  ‘The Nothing That Is’

REVIEWS
Brian ‘Bordello’ Shea





Brian ‘Bordello’ Shea joined the Monolith Cocktail team in January 2019. The cult leader of the infamous lo fi gods, The Bordellos, has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His newest release, a beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, is out today via Metal Postcard Records (here).

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.


Martin Månsson Sjöstrand Trio  ‘Universum Faller’
LP/ 15th January 2020




Martin Månsson Sjöstrand was the leader of the excellent Dog Paper Submarine who’s final LP I think is due for release on Small Bear Records in the coming years. This album by his new trio takes over from where the Dog Paper Submarine left off but this time concentrating on the joys of instrumental music. Space rock wrestles with surf rock in this fine melee of fretboard wizardry.

If Joe Meek had survived to see the 70s and prog rock this could be the kind of music he would be releasing; a succulent blend of ear enlightening Frisbee throwing joy: all out frugging joy.

Of interest from the Archives:

Martin Mânsson Sjöstrand  ‘Wonderland Wins’


Bruce Hendrickson And The Blue Giant Zeta Puppies  ‘New Jerusalem’
Album/24th January 2020




A few weeks ago those with memories not riddled with middleageness might remember that I reviewed the fine debut single from Bruce Hendrickson And The Blue Giant Zeta Puppies (how I wish they had a shorter name), calling it ‘quite magical’. Well here is their EP/mini album and again I will describe it as magical.

Kicking off with ‘After The Apocalypse’, a stunning space aged Bowie like Scary Monsters era rocker, all whirring synths and screaming guitars, a track that sets one thinking that maybe the apocalypse won’t be so bad after all. That is followed by the album version of their debut single. And without going over already covered ground, is quite beautiful and my fave track of the year so far: quite stunning in fact. Track three ‘Pale Horse’ once again has the dark but beautiful vibe that the wonderful and much missed Sparklehorse used to emit quite naturally. The final track is the title song ‘New Jerusalem’, which has one’s mind scurrying to the rare occasion when Mark E smith would leave his heart open for all to see, when he would bare his soul and give us a ballad ala ‘Bill Is Dead’. ‘New Jerusalem’ is a fine way to finish a fine album.




Of interest from the Archives:

Bruce Hendrickson and The Blue Giant Zeta Puppies  ‘Any Sunny Day’


The Saxophones  ‘Eternity Bay’
(Full Time Hobby) LP/6th March 2020




This is the sound of a romantic early evening stroll across a beach with the love of your life; a soft shuffle across a dance floor with one of those late 50s jazz tinged ballads soundtracking the innuendo dance of life. For this LP supplies a beautiful escape to the everyday hustle. At times reminding me of Lambchop at their seductive best, the subtle strum or pluck of jazz guitar and the soft soul ecstasy of the horns backing the tuneful crooning of Alexi Erenkov.

An ideal and relaxing way to soundtrack a evening-in, Eternity Bay is a fine and crafted album with beautifully written and performed songs whose subtle elegance washes over you.





C.S.E Art Project  ‘The Truths On The Telly’
(Metal Postcard Records)  Single/19th January 2020



Out of the ashes of the New Art School, a band that released a number of storm driven post punk singles last year, arises C.S.E. Art Project, a band that continues where New Art School left off with another three-minute blast of art beat poetry. An aural equivalent of reading an old copy of the Sniffing Glue fanzine C.S.E Art Project could well of stepped out the pages from that legendary old rag: Guitars that should make today’s youth throw away their smart phones and do something more revolutionary instead, like listen to this fine single and be inspired.




Of interest from the Archives:

The New Art School ‘Mod Kid’ Single Review


November Bees ‘Claw an’ Feather’
LP/17th January 2020




I will be honest, I wasn’t expecting to like this LP as they describe themselves as psychedelic and most bands nowadays think psychedelic is have-many-foot- peddles-will-travel (to as far as the closest psychfest normally). You know, those fests where bands have to check in their inner melodies at the door.

But I’m pleased to report that the November Bees are indeed a true psychedelic experience were song craft is crafted with humor, heart and invention, and melodies are things to be cherished not scoffed at. At times this fine album brings to mind the wonderful Edwyn Collins at his sardonic best whilst sharing the same drugs as The Coral and the Super Furries. This is the kind of album the wonderful Stolen Body Records release. In fact, Stolen Body Records why on earth have you not released this? Are you slipping? A fine album indeed.





Picniclunch ‘Yor Boy’
LP/Out Now




I like Picniclunch. I like The Fall. I like the way they both go around their post punk riffery. This is the kind of album John Peel would have adored and played constantly and the kind of album BBC 6 music ignores because of the strangeness and out of world joy that mid 80s post punk influence emits. It just is not bland and generic enough for them.

I am so glad and happy that bands like Picniclunch exist and still feel the need to share their outsider discordant take on their musical art and at times this album reminds me of the another American musical maverick, the fine Occult Character. Not in sound but in feel and ideals. I’d also recommend this album to anyone who loves the sound of early Pavement and the aforementioned Fall. Well worth investigating.





Anytime Cowboy ‘S/T’
(Third Coming Records) LP/28th February 2020




Anybody out there who knows me and my band of underground cults The Bordellos, will know of my love for the great Syd Barrett who’s music I adore. And so I’m ever so pleased to report that this, the Anytime Cowboy debut album, is filled with the joy and spirit of that great man. The Television Personalities may have known where Syd Barrett lives but Anytime Cowboy doesn’t just know the address but the colour of his walls and his inside leg measurement as well.

The songs do not just shilly but shally in equal measure. Wonderful discordant jangle guitars drip from the speakers with the all-consuming glory of the early Pastels. Underground guitar lines collide with the melodious offbeat beauty of a man in the know that pop music is the greatest and most moving of art forms. This debut LP is well worthy of any music lovers attention and I shall be investigating further the releases from Third Coming Records, the home of this excellent release.






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

REVIEWS
Words: Brian Bordello




Brian ‘Bordello’ Shea joined the Monolith Cocktail team in January 2019. The cult leader of the infamous lo fi gods, The Bordellos, has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most recent project, Roi (with John McCarthy and Dan Shea, of Beauty Stab and Vukovar infamy) debuted recently through Metal Postcard Records with the paean to local record shop single, ‘Dormouse Records’. They’ve also just released their seasonal dirge, ‘Christmas Morn‘.

Each week we send a mountain of new releases to the self-depreciating maverick to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.

The Membranes ‘Nocturnal’
EP/29th November 2019

Post punk originators [their description] The Membranes return with a angular piece of synth darkwave melodrama, the kind Soft Cell used to offer up in a damn fine fashion many years ago and the kind Vukovar piss out quite brilliantly nowadays. This strange EP for some reason has me picturing Scooby Doo dancing with ghosts at a high school prom: the soundtrack to a horror film nobody wants to watch.




New Art School ‘My Band’
(Metal Postcard Records)
Single/3rd December 2019




A song somewhat indebted to the ‘Clash City Rockers’ guitar riff, which is indeed a good thing; a track that struts and stutters in teenage delight; a song that delights in youth and self celebratory joy of being in a band; a song that takes me back to the days of cold rehearsal rooms and badly formed bar chords; yet another piece of single magic from the New Art School.




Prophecy Playground ‘Politely Polluting’
Single




A beautiful toe dip into the waters of melancholia; a Nick Drake foray unto the dying embers of the sun; the kind of track Ben & Jason use to thrive in making, all wonderfully arranged strings and a softly picked acoustic track. Should we call it early seventies psych folk? Yes we shall. And what a beautiful early seventies psych folk it is too.




Pink Chameleons ‘Songs’
(Soliti) EP/13th December 2019




Modern Garage band rock n roll, what’s not to like. It’s maybe not the most original of genres but anyone out there who enjoys The Brian Jonestown Massacre and BRMC and bands of their ilk will love this six track EP of storming rock n roll – well five, with a rather beautiful mid sixties stones like ballad lovingly placed in the middle and my favorite of the six, although the last track, a fine slightly weird Fuzztones like rocker, is also highly recommended.



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






Choice Albums of 2019 Part Three: Chris Quelle to Yugen Blakrok


Welcome to the final part of our ‘choice albums’ features of 2019. To reiterate once more in case you missed parts one and two, because we’ve never seen the point in arguing the toss over numerical orders, or even compiling a list of the best of albums of the year, the Monolith Cocktail’s lighter, less competitive and hierarchical ‘choice albums’ features have always listed all entrants in alphabetical order (since our inception, a decade ago). We also hate separating genres and so everybody in these features, regardless of genre, location, shares the same space.

Choice were made by Dominic Valvona, Matt Oliver, Brian ‘Bordello’ Shea and Gianluigi Marsibilio.


Previous parts:

One

Two

Q…………….

Quelle Chris ‘Guns’
(Mello Music Group)




“The definition of enterprising, Quelle Chris remains a singular underground voice, loading latest album ‘Guns’ with intelligent angles on a topic never far from the news” – RnV Apr 19





You’ve got guns, we’ve got guns, the serious ones…Quelle Chris leaps to your attention at the best of times, now notwithstanding an album called Guns and his head engulfed in firearms on the sleeve – he could well have parodied the world’s accessory of choice such is the way he owns his own lane (the next album will guaranteed to be off on a completely different tangent). Instead of simply just pointing and shooting, his firing range is well-rounded opinion and scenario without turning Guns into documentary, his chuntering under his breath potent enough to never have to repeat himself, and knitted tightly enough to get you going back over and over. He holds back some of his stock off-kilterness – “I was never a weirdo, they just had to acclimate” – for production that can go from slight and soulful to screwface to thick and sludgily underground. That said, we can’t pass by the fact that on ‘Straight Shot’, he builds into a solemn contemplation somehow featuring comedian James Acaster as an apparitional, free-roaming sensei. (Matt Oliver)


R………………

Raf And O ‘The Space Between Nothing And Desire’
(Telephone Records)







Imbued by both the musicality and spirit of David Bowie, Scott Walker, David Sylvian (both as a solo artist and with the fey romantics Japan), Kate Bush and in their most avant-garde mode, Bjork, the South London based duo of Raf (Raf Montelli) and O (Richard Smith) occupy the perimeters of alternative art-rock and experimental electronica as the true inheritors of those cerebral inspirations.

Sublime in execution, subtle but with a real depth and levity, TSBNAD is an astonishing piece of new romantic, avant-theater pop and electronica that dares to unlock the mind and fathom emotion. I’m not sure if they’ve found or articulated that space they seek, between nothing and desire, but the duo have certainly created a master class of pulchritude magnificence. Lurking leviathans, strange cosmic spells and trips into the unknown beckon on this, perhaps their most accomplished and best album yet; an example of tactile machinations and a most pure voice in synergy.

The influences might be old and well used, but Raf And O, as quasi-torchbearers, show the way forward. They deserve far more exposure and acclaim, and so here’s hoping that TSBNAD finally gains this brilliant duo their true worth. (Dominic Valvona)

Full review…


Rafiki Jazz ‘Saraba Sufiyana’
(Konimusic)





It’s no idle boast to suggest that the North of England based Rafiki Jazz could be one of the most diverse groups on the world stage. Testament of this can be heard on the troupe’s previous trio of polygenesis albums: an untethered sound that simultaneously evokes Arabia, the Indian Subcontinent, Northern African, the Caribbean, South America and Balkans.

The troupe’s latest visionary songbook is a filmic panoramic beauty, no less worldly and stirring. The opening diaphanous spun ‘Su Jamfata’ encapsulates that perfectly; mirroring the group’s musical freedom and spiritual connection; lilting between a myriad of regions with stunning vocals that evoke both Eastern Europe and the Middle East. Saraba Sufiyana translates as “mystic utopia”, a title that epitomizes the group’s curiosity and respect for other cultures as they build a brave new sonic world of possibility. One that takes in all the dramas and woes of the current international crisis and the lamenting poetry of venerable hardship – the final quartet cycle of prayer and spiritual yearning, ‘My Heart My Home’, beautifully conveys a multitude of gospel and traditional religious plaint, ending on the stirring Hebrew field song ‘Shedemati’. Devotional music at its most captivating and entrancing. (DV)

Full review…


Rapsody ‘Eve’
(Jamla)




“An unflinching belief system sees off the ill-equipped not so much striking a chord as demolishing it with style” – RnV Sep 19



Certainly not short on confidence or ambition – second track ‘Cleo’ goes for self over Phil Collins’ most famous ode to lifeguards – this is good and sassy throughout from an emcee going from strength to strength. ‘Eve’ = education, verbs, entertainment, dovetailing with the knowledge and understanding of Sa-Roc and the fearlessness of Rah Digga. “To be more than a woman now comes with some ties” – but digging in and challenging the status quo is all Rapsody knows, not by just saying that women on the mic aren’t going quietly, but you should know that they’ve always been putting in work. Every track is named after an influential female figure (‘Oprah’, ‘Serena’), and 9th Wonder’s lion’s share of production is a direct reflection of the orator – wise, feisty, a savant of pure hip-hop’s nuts and bolts, playful, and able to take on anyone on away turf. A safe pair of hands for the artform’s future that’s celebratory, but adamantly not cutting corners. (MO)


Ras Kass ‘Soul on Ice 2’
(Mello Music Group)




“In the mood for a high score body count, maximising velocity on every single word as if it’s his last” – RnV Sep 19





If you’re fake, wack or simply don’t measure up to his standards, eternal underdog Ras Kass will call you on it, the ‘sequel’ to 1995’s Soul On Ice roaring out the traps with two opening cuts that should soundtrack summits and state of emergency think tanks. In a way the phony stasis of hip-hop should keep up its shoddy work – it’s all ammunition for the West Coaster to dismantle and hopefully reroute some career paths. More than just a battler to the death doling out deliciously vindictive punchlines, the world in its entirety is made to wobble on its axis once Ras has got stuck into society as well: again, thank God life is hurtling towards hell in a handbasket, so Ras can take its photo like an end of rollercoaster insta-snap. His knowledge of album flow and addition of prestige guests, plus production that 1) makes Ras flip his lid and 2) makes him even more potent when reducing the heat…how many more warnings do you need? Go get. (MO)


Royal Trux ‘White Stuff’
(Fat Possum Records)







Royal Trux has returned without great proclamations and arrogance, to put themselves to the test with a music scene completely revolutionized since the early 90s. The duo have maintained the avant-garde drive and the desire to be something else, completely different from whatever the word Rock means today, because even if important projects such as The War On Drugs, The National or others are easily indicated in one vein, the Royal Trux remain other, but not only in terms of sound, their choice is an aptitude that deeply distances the duo from any other band.

Twin Infinities (1990) could be a good problem, such a monumental work of historical impact can lead to comparisons, further comparisons, but in the end an album like White Stuff also touches important peaks in songs like ‘Sic Em Slow’ or ‘Under Ice’. The psychedelic progression is preponderant in tracks like ‘Purple Audacity #2’, and the dreamlike wandering that lasted about 20 years offers a solid and iconic cue. Hagerty and Herrema show that they can complete themselves extensively, but above all they can make up for each other at the limits of the other, hiding personal and non personal smears and imperfections: it’s clear that the tumultuous journey that ended in 2001 is an example of what it means to complete, wander and start again. (GM)

Full review…


S………………

Sad Man ‘Untitled Album’ ‘Indigenous & Indigenous 2’







Haphazardly prolific, Andrew Spackman, under the plaint alter ego of the Sad Man, improves with every release he puts out. Included yet again in the choice features, a trio of releases from 2019 cement a growing reputation for pushing the electronic music envelope. Still on the peripheral, Spackman has been working like a boffin from his shed, building the homemade musical contraptions that form the base of his loony and radical deconstructions for years.

Perhaps coming near to his most perfect album yet, Untitled is a full spread of cosmic techno imbued and ridiculous pottering’s, debris, flotsam and more celestial dancefloor goers. The Indigenous moiety of releases however further muddies the waters, as Spackman’s improvised mixes of his own tracks go into jazzier, tribal and skittish realms of unpredictability. All three are worthy of your attention.  (DV)


Sampa the Great ‘The Return’
(Ninja Tune)




“A debut to have critics clamouring” – RnV Aug 19





Brought to the fore by the fantastic front foot funk of Final Form, The Return is an event calling the shots as to which top 10s it’ll occupy in the year’s retrospectives. Culturally rich, musically articulate and ambitious, and with a rhymer fighting for every movement and inch of space with a heavy side of attitude blowing bubblegum bombs, The Great one carves out a singular mic presence. The album’s extended length turns the Aussie-based sovereign’s debut into act-by-act theatre, full of moving parts and motifs in shifting through global soul and jazz, always evolving and with twists, turns and exclamation points to jolt you from you wind down and settle you back down from a vicious dancefloor circle. These variations mean that even if your powers of endurance aren’t up to much, you can still make two or three separate playlists from the styles she assimilates and owns, including the crowns previously held by Hill and Badu. (MO)


SAULT ‘5’ and ‘7’
(Forever Living Originals)








Knowing next to nothing about this limbered band of no wave funk ravers, I completely came across this release by chance. SAULT has released two albums of similar sassy ESG meets Liquid Liquid buffalo girls hopscotch this year; the sound of New York, an 1980s one I admit, but they have given it a touch of the contemporary to make it once more dynamically and soundly relevant and alive.

There’s nothing in it really, both albums are equally class in merging political funk with post punk, Annie, R&B, early Hip-Hop and neo-soul to infectious heights of both smooth and elasticated contorting. Buy both. (DV)


Seba Kaapstad ‘Thina’
(Mello Music Group)







Soulfully churning a cornucopia of intricate but organic kinetics and beatific yearnings, the polygenesis Seba Kaapstad create a beautiful cosmology on the sumptuous Thina. Capturing the moment and mood with the most meandrous and softened of diaphanous deliveries, they merge R&B with jazz, hip-hop with neo-soul to forge a seamless celestial and spiritual imbued traverse. Joyful and lamentable in equal measures, Seba Kaapstad lushly reaches dizzying heights on this magically sophisticated bowed, arching, liquid soundtrack. (DV)


Silver Sound Explosion ‘Pop Dithyramp’







Hooray the Silver Sound Explosion is back together after splitting about six or seven years ago. They were and are a wonderful band from the Manchester area. They recorded many demos that make up this their debut LP. And after much encouragement and prompting by myself, they have finally released it.

They’re led by Ben Fuzz, one of those songwriters who has soaked up the spirit and history of Rock N roll and releases the spirit in finely written pop songs that take in 60s pop, garage rock, late seventies power pop and the post punk 80s indie, and mesh it all together to make the most perfect pop imaginable.

You will be hard pressed to find a better debut LP this year; an LP that deserves much more than a small scale release on the bands band camp: creeping out without any fanfare. And it is a pay what you want to download release at that. So what you waiting for?! Fill your winklepickers. A true undiscovered gem that needs discovering. (Brain ‘Bordello’ Shea)


Širom ‘A Universe That Roasts Blossoms For A Horse’
(tak:til/Glitterbeat)







Channeling the varied topography of their respective parts of the Slovenian landscape via a kitchen table of both recognizable instrumentation and found assemblage (everything including the kitchen sink and water tank), the Širom trio of Iztok Koren, Ana Kravanja and Samo Kutin create another vivid album of dream realism with their second LP, A Universe That Roasts Blossoms For A Horse. Inspired by this environment yet ambiguous, they float across the borders to evoke a certain mystery and yearn to create something new. In so doing, they’ve coined the term ‘imaginary folk’ to describe their amorphous blending of geographical evocations and echoed fables.

From the Mongolian Steppes to sorrows of East Europe and the hints of the Appalachians and Sumatra, Širom draw inspiration – whether intentional or not – from a fecund of sources; the Slovenian backdrop melting into a polygenesis mirage. With this spiritual, ritual, dreamy longing for a kaleidoscope of real and imaginary cultures the trio’s second album for the Glitterbeat label’s instrumental imprint tak:til is as poetically wondrous as it is (sometimes) supernatural and otherworldly. An alternative folk fantasy imbued in part by the hard won geography, Širom once more wander unafraid across an ever-ambiguous musical cartography that (almost) fulfills their wish to produce something unique: A soundtrack of infinite possibilities. (DV)

Full review…


Snapped Ankles ‘Stunning Luxury’







The whirring and exciting sounds of post punk circa 2019 coming at you like a extravagant wholemeal piece of chiffon scarred alternative disco meat; the sound of Devo fucking the brains and beats out of the B52s whilst the horny ghost of Mark E Smith watches on making cutting asides whilst stomping on the hopes and dreams of the not yet born love child of David Byrne and Lena Lovich.

Stunning Luxury is dirty, it is funky, it is experimental, it is blistering rock ‘n’ roll. (BBS)

Full review…


Stereo Total ‘Ah! Que! Cinema’







This LP is bloody genius. Any LP that kicks off with a track that sounds like The Prodigy but played on a Bontempi organ is not going to go very wrong, and then carries on with the pure blissfulness of French lo-fi garage pop.

This LP is so good it has pissed me off a little. I thought I’d made the album of the year with the Bordello and Clark Atlantic Crossing LP, but this has knocked it into a cocked hat. But I don’t mind, especially when there are bands capable of making records of such beauty; when bands can come on like Stereolab one minute and a French Velvet Underground the next – ‘Brazil Says’ is a track worthy of the Velvets at their finest: pure pop heaven.

I think the playing of Ah! Quel Cinema may become a daily event this year; an LP to lose yourself in the pure beauty of perfect lo fi pop. (BBS)

Full review…


SUO ‘Dancing Spots And Dungeons’
(Stolen Body Records)





Stolen Body Records have released some wonderful albums this year, and here is yet another one. This is a fine pop album, all power punk chords and girl group kisses. Part Blondie part Suzi Quatro, it really has a late 70s feel to it; the kind of record you can imagine blasting from your old tiny transistor on a summer night. An LP with a lovely warm sound (maybe one of the best sounding records I’ve have heard all year) it embraces all that is magical about pop music; it is sexy, laid back, moving and fun all at the same time, an album of extremely well written and crafted guitar pop songs with a 70s new wave twist. Dancing Spots And Dungeons is a really lovely sounding record. (BBS)

Full review…


T………………

The Telescopes ‘Exploding Head Syndrome’







There is no place like drone, well not at least if you are a member of The Telescopes: Just over thirty minutes of top class dronery, not something I normally spend my Friday evenings listening to but as they say a change is as good as a rest.

If this LP were a debut album by some young new psychsters they would be being raved about and hailed to the rafters as the second coming, the next new big thing. I hope the same platitudes are heaved onto this wonderful LP by this wonderful band, as it really has taken me by surprise how much I love it and I feel guilty in not expecting to like it. For that The Telescopes I offer my humble apologies you have indeed blown my head. (BBS)

 Full review…


Thirty Pounds Of Bone and Philip Reeder ‘Still Every Year They Went’
(Armellodie Records)







This is a bewitching LP of old sea shanties recorded on a working fishing boat at sea; a wonderful idea and quite stunningly performed. There is a beauty in the loftiness which captures the dark magic romance of the sea and also keeps alive some quite genius beautiful old folk songs.

Acoustic guitars blend beautifully with the sound of crashing waves and sea birds weaving a spellbinding web of sound. In this day and age of here-today- thrown-away-tomorrow it makes more than a refreshing change to hear a album that you will keep and play and be a mainstay in your music collection for the rest of your days: a truly beautiful collection. (BBS)

Full review…


Toxic Chicken ‘Uncomfortable Music’







This LP has everything that I love about the magic and joy of music. It has humour and a madness that at times reminds me of the great Syd Barrett and the wonderful White Noise Electric Storm LP. It is eccentric pushed to the extreme. Songs with the subject matter of eating politicians and love songs for cats and for Mother Nature and what is bad about England, but that track only being under two minutes long does not quite manage to list everything.

Uncomfortable Music is certainly an enjoyable and rewarding listening experience, and at times, the subject matter does live up to its title. But this album is a pay-what-you-want to download, so is well worth a listen. Another great album from a great artist: And I mean artist. And the track ‘Little Snail’ is the best dance track I have heard all year. (BBS)

Full review…


Owen Tromans ‘Between Stones’
(Sacred Geometry)







In the spirit of maverick adventure, Hampshire-based singer-songwriter Owen Tromans walks a similar path to the arch druid of counterculture and psychogeography traversing, Julian Cope. The co-founder of the most informative sonic accompanied rambling fanzine guide, Weird Walks, Tromans (and his co-authors) circumnavigates the hidden British landscape of run-down flat roof pubs whilst waxing lyrical about the fantasy role-play meets Black Metal flowering of the Dungeon synth scene, and the more well-known traipsed chalk pits and megalith landmarks.

The soundtrack is important, both as an enriching experience and communicative tool. And on Between Stones the soundtrack could be said to be a surprising one. Ambling certainly; wandering this sceptered Isle imbued typography with all the ancient lore it entails, yet far from held-down to the British sound, Tromans actually channels a English pen pal version of R.E.M. and the great expansive outdoor epic trudge of Simon Bonney on the album’s hard-won stirring opus ‘Grimcross’: Imagine an 80s American college radio John Barleycorn. There’s even a touch of a mellower Pixies and early Dinosaur Jnr. on the grunge-y ‘Vague Summer’, and hints of Mick Harvey throughout the rest of the album.

Beautifully conveyed throughout with subtle Baroque-psych chamber strings and a country falsetto, Tromans follows the desire lines, hill forts and undulating well-travail(ed) pathways on a most ruminating magical songbook; a thoughtful and poetic accompaniment that goes hand-in-hand with those “weird” and wonderful walks. (DV)

Full review…


Trupa Trupa ‘Of The Sun’
(Glitterbeat Records)







Freshly signing over to the German-based label Glitterbeat, the multi-limbed quartet play off gnarling propulsive post-punk menace and tumult with echo-y falsetto despondent vocals and hymnal rock on their fifth album, Of The Sun. Feeding into the history of their regularly fought-over home city, Gdansk, Trupa Trupa create a monster of an album steeped in psychodrama, dream revelation and hypnotic industrialism.

A sinewy, pendulous embodiment of their Polish city environment and metaphysical philosophy, Trupa Trupa write “songs about extremes”, but use an often ambiguous lyrical message when doing it: usually a repeated like poetic mantra rather than charged protest. On one of those framed “extremes”, the wrangling guitar-heavy post-punk-meets-80s-Aussie-new-wave ‘Remainder’ sounds like Swans covering The Church, as the group repeat the refrain, “Well, it did not take place.”

 The PR spill that accompanies this nihilistic-with-a-heart LP is right to state, “Of The Sun is an unbroken string of hits.” There are no fillers, no let-up in the quality and restless friction, each track could exist as a separate showcase for the group’s dynamism: a single. East European, Baltic facing, lean post-punk mixes it up in the Gdansk backstreets and harbor with spasmodic-jazz, baggy, math-rock, psych, doom and choir practice as this coiled quartet deliver an angst-ridden damnation of humanity in 2019. (DV)

Full review…


U……………….

Uncommon Nasa & Kount Fif ‘City as School’
(Man Bites Dog)




“Blockbuster burners laid end to end as outlaws of the corridors, “trust the process, avoid the nonsense” at all costs” – RnV Nov 19





If Uncommon Nasa and Kount Fif were headmasters, the pep rally would be a Deftones meltdown and the Ofsted inspection would get ‘Funcrusher Plus’, ‘The Cold Vein’, ‘The Multi Platinum Debut Album’ etc straight on the syllabus. Blocky, rocking beats, rhymes that hang with a critical pause and judder across the page for greatest impact, b-boys and backpackers and headbangers all in the same corner…City as School gives hope as to what the underground can still be. By mining the last great boundary and perspective shift from the mid to late 90s, its drum machines and steel rain synth sweeps also sound like a comic book metropolis to sink yourself in, and its New York influence replicates there being so much to take in amidst a battery of dazzling lights, but with something always rumbling in the sewers. “History don’t repeat, it rhymes” is Nasa & Fif’s ‘O Captain My Captain’ call to arms – class not to be dismissed. (MO)


The Untied Knot ‘Falling Off The Evolutionary Ladder’
(Sonic Imperfections)







Imbued with a sense of scientific methodology and monocular dissection, the experimental United Knot duo of Nigel Bryant and Matt Donovan attempt once more to sonically convey the wonders and enormity and chaos of the universe on Falling Off The Evolutionary Ladder.

With both band members serving a variation of roles in the improvisational and electronic music fields, Bryant and Donovan have all the experience and skills needed to create something that is refreshingly dynamic as it is ponderous. Playing hard and loose with a myriad of influences, Donovan’s constantly progressive drum rolls, tribal patters, cymbal burnishes and more skipping jazzy fills recall Faust’s Weiner ‘Zappi’ Diermaier and Guru Guru’s Mani Neumeier, whilst surprisingly, on the late 60s West Coast rock experiment ‘Rhythm From Three Intervals’ a touch of Mick Fleetwood. Meanwhile, Bryant, on both bass and atonal guitar duties (both also share the synth), channels Ax Genrich, Jah Wobble and Youth.

On what could be the duo’s, in this incarnation, last furore together, the Untied Knot sound far from weary and burnt-out: going out on a high. They stretch their influences with improvised skill and depth, a buzz saw, scrawling caustic but investigative soundtrack for the times. (DV)

Full review…


V………………….

Vampire Weekend ‘Father of The Bride’
(Columbia Records)





Vampire Weekend sings on Father of The Bride, of a humanity that lives on a suffering planet. The album is, however, an opportunity to subvert a catastrophic narrative and, in fact, throughout the work, it raises, through a series of pop melodies perfectly designed by Ezra Koenig and his companions, an aura of incredible positivity. Vampire Weekend give their best in songs like ‘Married In a Gold Rush’ or ‘Jerusalem, New York, Berlin’, which through a dialogue between various piano chords draws a line that links stories, eras and ideas, not only in music but also in politics. The key to the album is the story of a humanity that, on the brink of a catastrophe, finds the right coordinates to find itself, to be reborn.

The Vampire Weekend in each of the 18 tracks try to deconstruct, both conceptually and semantically, the idea of an end in itself chaos applied to the world. The essence of the poetic and tragic paradox of life itself is sung in ‘Harmony Hall’: “I don’t wanna live like this, but I don’t wanna die”.

Vampire’s songs always show an ethereal shine, this characteristic has always been fundamental for their clear and absolutely unique songwriting. The culture in which Ezra & co are immersed is a melting pot functional to the construction of a strong identity, and that in a few years has also established itself in the live dimension of the band. The album plays with the tragic and stimulating oppositions of contemporary society, confronts itself with the cultural and technological change that pushes all of us to a deeper analysis, which also touches on issues such as faith and the mystery of humanity.

Ezra Koenig is a pop-priest, but he doesn’t need to draw moral conclusions, he simply points to a new way to tell us the tales of the world.

Exactly in this set of meanings and themes moves this band that, in recent years, has shown to be a multifaceted reality but perfect.

The strength is all in the centered ability to develop a story, an idea and a vision of the world that is transformed into storytelling that speaks and is combined with the present. (GM)


Verb T & Pitch 92 ‘A Question of Time’
(High Focus)




“Grown man hip-hop in the business of casual downtime – will see off those that can’t handle ‘Time’ on their hands” – RnV Sep 19





One of the UK’s great unflinching voices – get all up in his grill and he won’t bat an eyelid, just deconstruct you with a slight shrug – teams with a producer becoming a fixture on the phones of homegrown hip-hop’s best and brightest. A muscular sound full of fluid funk melodies, dimming the lights before snapping out of it with Mobb Deep levels of hectic on ‘Frostbitten’, is glided over by modern life manifestos with the usual one-take snap that could go back to chatting at the bar at any moment. This is the 14th+ album Verb T has put his name to in a remarkably consistent run, but there’s much more to simply knowing what you’re gonna get. He won’t be starting anything stupid, but has formed yet another partnership of strong potential when in cahoots with someone who sounds like he’s tracked his partner’s every move for the whole of the noughties (also see Pitch 92’s ‘3rd Culture’ collaboration from this year). Beats and rhymes not to be questioned. (MO)


Vukovar ‘Cremator’
(Other Voices Records)







In a constant state of erratic flux, you never know which particular inception of Vukovar will show up when the time comes to laying down their brand of hermetic imbued visions for posterity, the only constant being de facto avatar, whether anyone agreed or not to this appointment, Rick Antonsson.

Suffused with disillusion, as they row across a veiled River Styx (or in this case, as alluded to in the yearning slow junk ride over the lapping black waves of tortured cries of ‘The River Of Three Crossings’, the Japanese Buddhist version of that mythological destination), Vukovar and converts add more fuel to a bonfire of vanities to an overall sound that reimagines Bernard Summer as the frontman of a Arthur Baker produced Jesus And Mary Chain.

Though always wearing their influences on their sleeves, there’s also this time around a trio of cover versions, both obvious and more obscure. These include a despondent if scuzzed growling bass with radiant synth live version of the Go-Betweens ‘Dive For Your Memory’, a cooed ethereal voiced dreamy, with phaser-effects set to stun, diaphanous vision of Psychic TV’s ‘The Orchids’, and, most poignant, a gauze-y heaven-bound ghostly homage (complete with Hebrew vocals) to the late Tel Aviv cowboy Charlie Megira, on the hymnal ‘Tomorrow’s Gone’.

Cremator is a death knell; the end of one era and setting in motion of a new chapter: whatever that ends up looking or sounding like. It just happens that they’ve bowed out in style with, perhaps, the original lineup (of a sort) most brooding masterpiece yet. Long may they continue, in one form or another. (DV)

 Full review…


W…………………..

White Fence ‘I Have To Feed Larry’s Hawk’







The unassuming maverick artist Tim Presley paints outside the lines; his idiosyncratic applied coloring-in like a double vision of kaleidoscopic floating blurriness. Deeply felt yet softened and often languid in practice, Presley’s off-kilter musings blend lo fi psychedelia with quirky troubadour sadness, jilting punk, library music, and early analogue synthesized music, and on this latest album of sweetened, hazy malady, the Kosmische to create the most dreamy of soft bulletins.

Amorphously wafting between the bucolic and tragic psychedelic whimsy of England, the Warm Jets era of Eno, the fragility lament of Nilsson and the cerebral lurch of The Swell Maps, Richard Hell and David Byrne, Presley’s bendy vulnerabilities sound understated and lo fi but dream big. The title-track, with postmodernist élan, embodies this spirit perfectly, merging the magical if unsure twinkle of Willy Wonka with Pete Dello, Syd Barrett and a slacker Ray Davis. Suffused venerable organs, monastery-like intonations, and the lightest of washes all sit well with the gangly disjointed lolloping guitars and the woozy drug-induced new wave rock’n’roll longing of such tragic mavericks as Johnny Thunders, who Presley dreamt appeared before him, from beyond the grave, with a message of encouragement: “To be honest and simple”.

Tethering a multitude of ideas and influences to something more concrete and solid can’t have been easy, but I Have To Feed Larry’s Hawk captures those blurred reimaging’s within the amorphous boundaries of a successful off-kilter album of dreamy magnificence and wonky indulgences. (DV)

Full review…


Y……………………

Your Old Droog ‘Transportation’
(Mongoloid Banks)





“The smoothest source of scornful, so-what couplets and eyewitness accounts” – RnV May 19




An end of year round up in itself given that Droog release two more stellar albums within months of one another, Transportation edges out the prior It Wasn’t Even Close (though just buy both and be done with it) on account of its vaguely attached vehicular theme (see the ad campaign-in-waiting ‘Taxi’). Otherwise it’s Droog groundhog day: punchlines to pull faces to, and that ever pleasingly natural delivery that for all its cheek-pinching aggression is like a serene countryside commute, while a batch of funk, soul and psych rock rifles gambol and prance (YOD doesn’t seem to have a natural habitat beats-wise, everything’s fair game to get taken). Also housing a bunch of sampled misfits, the kind of which you’d only meet on the night train or on the highway with their thumbs out, ‘My Plane’, including the most straightforwardly effective dis on everyone, and ‘Train Love’ smooth it out with a knowing nod, still creating an expressive world as easy on the eye as the ear. (MO)


Yugen Blakrok ‘Anima Mysterium’
(IOT)




“Prophecies and riddles raining down like an RPG sherpa, where you best take the right path or else” – RnV Jan 19





Hip-hop has a long, varied and invariably inaccurate relationship with the scientific and forces of another nature. On Anima Mysterium, South Africa’s Yugen Blakrok pulls back the curtain to her own vision of Alice in Wonderland, a grimly relentless world of full moon theoreticals, secret handshakes and rune-patterned combination locks to burial ground gates. Karma is looking bad, and believable, with this one. With her expressive doom-mongering, Kanif the Jhatmaster’s 50 shades of black production is as big a trigger for imaginations running wild, leaving you fearful as to what’s not being revealed, intimation and presence of blank gaps as powerful as revealing truths by torch light. Which brings up another premise – Yugen, delivering parables like she herself is being subjected to some sort of mind control. You’ll be hard pressed to find an album from the last 12 months that sounds like anything like this one: umpteen rewinds later and you’ll still only be half way towards the truth. (MO)




Choice Albums of 2019 Part Two: Haq to Pozi


For those that might have missed Part One of this three-parter, I will reiterate:

Because we’ve never seen the point in arguing the toss over numerical orders, or even compiling a list of the best of albums of the year, the Monolith Cocktail’s lighter, less competitive and hierarchical ‘choice albums’ features have always listed all entrants in alphabetical order (since our inception, a decade ago). We also hate separating genres and so everybody in these features, regardless of genre, location, shares the same space.

All the albums in part two were chosen by Dominic Valvona, Matt Oliver, Brian ‘Bordello’ Shea and Ginaluigi Marsibilio.

Part One can be found here…

H……..

Haq ‘Evaporator’
(Bearsuit Records)







The new release from the fine Bearsuit Records finds us tumbling down to the spiraling sounds of Haq; 60s spy theme sexiness merges with the avant-garde dreampop of a bewitched Stereolab playing hopscotch with Delia Derbyshire whilst sucking on the feedback of a JAMC lollipop.

The obvious love and understanding of pop music in its many genres and changes throughout the decades are lovingly brought together to make a wash of beautiful tunes. Angel like vocals float over gentle beats, soulful guitars and well constructed rhythms, delicately plucking at the heartstrings. This album really is a beautiful work of aural magic that can and will take you AWAY from the drudgery of everyday life and makes for quite a moving experience: maybe there is a god after all. (Brian ‘Bordello’ Shea)

Full review…


Homeboy Sandman ‘Dusty’
(Mello Music Group)





“Pure skills unfazed by tempo, turning fleeting thoughts into elaborate dissections. Long may the cult of the Sandman continue” – RnV Nov 19




Something that will never be lost to the dusts of time is Homeboy Sandman and that flow that still sounds just past a cipher amongst friends. Mono En Stereo tease out his kooks with production springy in step and managing a melting pot and the bare bones. Actually the continued kooky associations do Homeboy a disservice, as Dusty is Sandman doing what he does best in all his multifaceted greatness, able to pull off sincere and sombre on a sixpence before pulling the rug through sleight of verb (“anybody asks, I was never here/in the lunchroom sitting alone my whole career/wear my pants so you can’t see my underwear”), aiming for personal bests as if the aforementioned cipher is strictly for him. An undisputed battler and hip-hop student, and whose streams of consciousness you won’t find anywhere else (including moulding the mundane into something profound), Homeboy is a good egg who just happens to have the ability to destroy whoever. (Matt Oliver)


Chrissie Hynde & The Valve Bone Orchestra ‘Valve Bone Woe’
(BMG)





I’m probably in a minority, but I feel Chrissie Hynde has been in the past restricted by her proto-rock icon status. Never sounding better, and not entirely a shock, Hynde, linking up with The Valve Bone Orchestra, transduces a collection of standards from stage, film, 60s pop and jazz on, probably, her most mature work yet, Valve Bone Woe.

As showy as it is experimental, this orchestrated album is both romantically brooding and brazen. Dotting brooding and dreamy versions of classics with more spiritual jazz and retro-space age fantasy, Hynde delivers an offbeat jazz snozzled slinky salacious version of Nancy Wilson’s ‘So Glad I Am’, and sends Brian Wilson’s ‘Caroline, No’ drifting off towards the stars, whilst relegating herself to lulling coos on the Charlie Mingus ‘Meditation On A Pair Of Wire Cutters’ – a workout in as much for the ensemble to flex their spirit of peregrination.

Bond like theme visions of Frank Sinatra’s ‘I’m A Fool To Want You’, sit well next to a strung out rendition of ‘Wild Is The Wind’ (made famous by many, but namely Nina Simone and Bowie) on an album that, though beautiful and magical, pushes Hynde to ever dizzying heights of sophistication and experiment. (Dominic Valvona)


Hifiklub & Mike Cooper  ‘Aran Stories’
(Ruptured)





Bringing the ever-evolving Toulon eclectic collective Hifiklub and English polygenesis journeyman Mike Cooper together, the harsh unforgiving coastal terrain and psychogeography of the Isle Of Aran provides a perfect bleak backdrop for an unholy union of conceptual plaint and experimental strung-out visions. Primal, harrowing, steel, waning, craning, expanding and untethered this visceral collaboration hews out an evocative off-kilter post-punk and abstract electronica soundtrack that winds and beats-out of shape tales and traces of the island’s history. The album’s opening lyrics let you know straight away where this is heading: “This year I see a darker side of life”.

The source material for this exploration and therapy is Robert J. Flaherty’s Man Of Aran documentary – his third such documentary feature film after the famous groundbreaking 1922 Nanook of the North and South Seas set Moana – and John Millington Synge’s 1907 The Aran Islands text, which Cooper takes on a more harsh version of Robert Wyatt-like meandering intense wonder.

Dark and ominous, conveying a hardy way of life and travails, this album is a tough but mesmerizing and hauntingly beautiful work of art. (DV)


I………

Ifriqiyya Electrique ‘Laylet el Booree’
(Glitterbeat Records)







Just as electrifying, exotic and barracking as the previous ritualistic post-punk tumult of Rûwâhîne, Ifriqiyya Electrique’s second album, Laylet el Booree, (which translates as the “night of the madness”) features another invigorating surged vortex of rustic percussion, strange computer-generated sounds, static, sparks and two-speed rhythms.

Mirroring the stamping, emotive and sometimes confusing hallowed intensity of the adorcist ritual from the Banga followers of Tozeur that this album’s title references, the collaborative Tunisian-Italian troupe work themselves up into a fervor as they communion with the spirit world. The Electrique integrate different rhythmic changes and timings; seeming to experiment even more this time around; pushing the envelope further without losing that original tumultuous barrage of bombarding drums/percussion and edgy growling grinding industrial guitar sounds. If anything they’ve unleashed the spirits to roam the amorphous sphere of exploration to draw on even more diverse musical inspirations, creating a highly unique invigorating sensory experience in the process. Industrial post-punk ritual leaves the furnace once more to cause an explosive cacophony. (DV)

Full Review


Invisible System ‘Dance To The Full Moon’
(ARC Music)





Taken from the same recording sessions as Dan Harper’s previous album, Bamako Sessions, his latest transportive exploration under the nom de plume of Invisible System once more lends an electrified and synthesized pulse to the spiritual soul of Malian music. Originally put together in a more languorous fashion with a variety of musicians coming and going, jamming in a mattress proofed room in a rented house in the capital, Dance To The Full Moon was created and shaped at the end of a tumultuous and violent period in Mali’s history. That tumult, along with a passion for his adopted country, has been energized as Dan transforms the music of a myriad of Mali’s great and good (a lineup of players that includes Kalifa Koné, Sidi Touré and Sambou Kouyaté) into an attuned and dynamic remix of the Mali soundscape. (DV)

Full review…


J……….

Juga-Naut & Giallo Point ‘Back to the Grill Again’
(Tuff Kong)





“Running through crews like a hot knife through butter, from now only order these cordon bleu beats and rhymes, a gangster gourmet with an all important UK garnish” – RnV Aug 19




Someone who definitely needs to enter the conversation when it comes to naming the UK’s top tier of rhymers, Juga-Naut stays up by showing that show-n-prove and aspirational, ostentatious folly do pay. Given that this follows relatively hot on the heels of 2018’s Bon Vivant, Jugs has officially got both designs for days and commitment to quality control – list toppers others find hard to fathom. Giallo Point, the money man when it comes to Little Italy dramas on the boards, fills his beats with a hydration he usually leaves out on purpose, chaperoning the Nottingham emcee who may shuffle realities – a kind of surrealism that takes logical steps – but fundamentally has the presence to shut down backchatters with granite-set rhymes that calibrates a kind of one inch punch that hasn’t got time for any dramatics. Heavy, no heartburn. (MO)


John Johanna ‘Seven Metal Mountains’
(Faith & Industry)







With afflatus fervor Norfolk-based artist John Johanna transduces the mountain allegories and metaphors as laid down by Noah’s grandfather in the vision-dream-revelatory Book Of Enoch into a gospel-raga-blues and Radio Clash prescient Biblical cosmology. Interrupted from Enoch’s visits to the heavenly realms – where, as Johanna’s Strummer fronts Wah! Heat, Gothic redemption goer ‘Standing At The Gates Of Love’ takes its title from, you will find a no-nonsense angel guarding the Pearly Gates with a flaming sword in hand – the Seven Metal Mountains metallurgy passage is as much an augur as observed proclamation. Used here as a frame for Johanna’s second visionary album of spiritual nutrition in a Godless age for the always brilliant Faith & Industry label, the dour liturgy of Judaic tradition and law inspires a message of forewarning and yearns for less materialistic avarice.

Seven Metal Mountains translates Biblical prophecy marvelously into a vivid eclectic songbook of protestation post-punk, indie, folk, psych and lilting Krautrock. (DV)

Full review…


Junkboy ‘Trains, Trees, Topophilia’







Disarmingly chilled yet full of wistful rumination and contemplation, Junkboy’s Brighton-Seaford-Southend traverse wonders what it would sound like if Brian Wilson was born and bred on the English Riviera instead of Hawthorne, California: The beachcomber vibes of Pet Sounds permeate this quint lush English affair. You can safely add vague notions of Britpop era Octopus, a touch of the Super Furry Animals more folksy psych instrumentals, some early Beta Band, echoes of 90s Chicago post-rock, and on the dreamboat bluegrass lilted-and-silted ‘Sweetheart Of The Estuary’ more than a nod to Roger McGuinn and pals.

The Brothers Hanscomb long awaited new instrumental opus, Trains, Trees, Topophilia is a peaceable musical landscape littered with the ghostly reverb of railways station interchanges, mew-dewed laced green hillsides, tidal ebbs and flows and Cluniac Abbeys. Call it pastoral musical care for the soul; a beautifully conveyed canvas of the imagined and idyllic and a subtle ode to the Southeast cartography and painters, poets, writers that captured it so perfectly. (DV)

Full review…


K………..

Kel Assouf ‘Black Tenere’
(Glitterbeat Records)







Mirroring the borderless Nomadic freewheeling of the Berber ancestral Tuareg people, a loosely atavistic-connected confederacy (to put it into any kind of meaningful context) of diverse tribes that have traditionally roamed Sub-Saharan Africa since time immemorial, Kel Assouf channel a wealth of musical influences both historically and geographically into an electrified reworking of (as vague and over-used a term as it is) desert rock. Headed by charismatic Gibson Flying V slinger front man Anana Ag Haroun, who’s own lineage takes in both the landlocked behemoth Niger and bordering Nigeria, the highly propulsive, cyclonic spiraling trio propel that heritage into the 21st century; thanks in many ways to the futuristic cosmic electronic and bass frequency production of the band’s rising innovative keyboardist/producer Sofyann Ben Youssef.

A stunning rock odyssey that draws its multiple sources together in both defiance and in the spirit of communication – the Kel Tamashek plight, as guardian-custodians of the desert, translated via the poetic heartfelt earthy soulful lyrics of Haroun – Black Tenere stretches the roots of nomadic rock and blues to reflect ever-expanding musical horizons as the global community grows ever-smaller and music becomes more fluid and spreads with ease. Kel Assouf is on another plane entirely, propelling rock music into the future. (DV)

Full review…


Bassekou Kouyate & Ngoni ba ‘Miri’
(Outhere Records)







The courtly sound of the Mali Empire from the 13th century, accompanying the griot tradition of storytelling for an age, the (usually) dried-animal skin wrapped, canoe-shaped ngoni lute has been electrifyingly revitalized in recent years thanks in part to the virtuoso dexterity and energy of one of its leading practitioners, Malian legend, Bassekou Kouyate.

Following up the more electrified 2015 LP, Ba Power (which made our albums of the year feature), with a fifth album of innovative paeans, hymns, protestations and calls for peace, Bassekou takes a more reflective pause for thought on Miri; gazing out across his crisis-ridden homeland, contemplating on how the fragmented landscape and people can be brought back together for the common good. Backed as always by the family band that features his wife, the soulful and beautifully voiced ‘nightingale of the north’, Amy Secko, and his son, Madou Kouyate, on bass ngoni, but also now including his niece Kankou (making a special guest appearance on vocals), the Bamana entitled encapsulation of ‘dream’, or ‘contemplation’, Miri record touches base with Bassekou’s roots.

A visceral picture of a land in crisis, yet one that has hope for a united Mali, Miri is a sublime connective and rallying collection of compelling and thrilling performances and songs (Sacko especially on fine form delivering the most tender and rich vocals throughout); another essential album from the ngoni master. (DV)

Full review…


L…………

Labelle ‘Orchestre Univers’
(Infiné)







Jérémy Labelle is clearly a very talented musician, composer and producer. He casts his net of influence wide to draw upon many musical styles. His synthesis of modal harmonies and tribal rhythms is very reminiscent of the ‘Fourth World’ created by the venerable Jon Hassell. His latest album, Orchestre Univers, was performed by the Orchestre Regional of Réunion Island; conducted by Laurent Goossaert. The ten pieces from the album (three previously published and seven original works) were recorded live over four concerts that took place on the island.

I have read numerous interviews with Labelle who cites identity and anthropology as themes that have inspired him to write music. Orchestre Univers feels more like a celebration, a coming together of musicians and audiences to rejoice at the unique music that has emerged from the island of Réunion. The electronics and compositional complexities offered by Labelle are merely 21st century adaptations to what is an age-old sound. They should not be dismissed. His concept of “Maloya electronics” is truly global and will ensure that the next generation of Réunionese continue to declare, “Nous Maloya lé mondial!” (Andrew C. Kidd)

Full review…


Little Brother ‘May the Lord Watch’
(Foreign Exchange Music)





“Effortless and erudite, LB still have the remedy for when your last nerve has been worked over” – RnV Sep 19



The return of Gang Starr claimed a glut of headlines in 2019, but the reconvening of Little Brother’s Phonte and Big Pooh was no undercard announcement, their first album in nine years instantly restoring goodwill to flagging hip-hop naysayers. Supremely funky, soulful, still getting the maximum mileage out of a running joke-made-critical, cultural commentary, and with the likes of Khrysis, Nottz, Focus and Black Milk upholding 9th Wonder’s gold-fingered role on the boards, all is well with the world once this blooms from speakers. The ease of the pair’s back and forth is no less marvelous as we approach the twenties – masterful, as if they’re just hanging somewhere nondescript, and just ready to go and express themselves – there’s still a lot to be said for their all-seeing chemistry, keeping of the faith and words to the wise, even this deep in the game. May there be mercy upon your soul if you’re not already excited for 2028. (MO)


M…………..

Mazouni ‘Un Dandy En Exil/Algérie-France/1969-1983’
(Born Bad Records)







Our review copy must have been lost in the post or missed the inbox, but this compilation of hits and rarities from the exiled dandy of “Francarabe” (a unique blend of French and Arabic lyrics) Mohamed Mazouni was one of the year’s most enchanting discoveries. Swooning and crooning poignant touching and lamenting songs about exile, love and the travails of being a first-generation Algerian immigrant in France, Mazouni sashays, shakes, belly dances and saunters to the sounds of the Orient on the first ever compilation dedicated in his honour. (DV)


Meursault ‘Crow Hill’
(Common Grounds)







An ambitious literary-enriched album with a loose story and range of perspectives that will unfold further in comic book form and through live performance, Neil Scott Pennycook’s Crow Hill diorama delivers a whirlwind of dark emotions; many of which feel like a punch to the heart.

Announced as a new chapter for Pennycook’s alter ego Meursault, released as the launch album for the new independent Common Grounds label, Crow Hill marks a move into fiction for the Edinburgh artist. An “urban horror” of vignettes, each song on this album represents twelve chapters of plaintive and lamentable grief and broken promises from the imagined town’s inhabitants, set to a constantly beautifully aching soundtrack that either builds and builds towards anthemic crescendo or despairingly gallops towards the flames: in the case of the brutal punishing ‘Jennifer’, a discordant scream of anguish, on what could be a crime of domestic abuse.

An outstanding album full of both heartache and brilliance, this is a vivid, richly and descriptively revealing minor-opus; the first chapter or part of a much grander multimedia universe that crosses songwriting with veiled fiction, illustration and performance. As first stabs go, Pennycook has shown an encouraging erudite skill for writing, which translates well when put to music. (DV)

Full review…


Mr Muthaf*ckin’ eXquire ‘Mr Muthaf*ckin’ eXquire’
(Soulspazm)





“Satisfying your ignorant itch and also reducing dancefloors to bloody smithereens, it’s a surprisingly, satisfyingly well-rounded album where the bite backs up the bark” – RnV May 19




In a sea of clones, drone and cookie cutters, eXquire remains the genuine, genuinely outrageous article, putting up without shutting up and attacking this album with bloodlust right from the off. Leaving clubs to check their insurance policies, Mr MFX is the valve that releases the pressure when people are getting in your way, saturating front rows before levelling out with kerbside rollers, showing that with shock value comes some degree of responsibility. Maybe the real cliché is when you come for the outrage (the outright base ‘I Love Hoes’) and end up staying for him having something to say (admittedly, it’s usually to a deafening, disorientating backdrop). ‘Rumblefish’ expertly get emotions tangled, and the prophetic novella ‘Nothing’s What It Seems’: Short Film’ grows artistically ahead of a closing monologue of self-discovery. Whatever his angle, he’s always on and leaves everything in the booth. (MO)


O……………

Occult Character ‘Chittering Noises’
(Small Bear Records)







Here we have the brand new Occult Character LP. Yes another one. This time an all acoustic guitar affair that once again proves my previous claim correct that Occult is the most important songwriter in the USA today: 13 songs in 15 minutes, strumming through short songs dealing with the subjects of abortion, having the shits, being nice to people, among many others all written and sang in Occults inimitable style.

What I love about Occult Character is the point on accuracy of his lyrics and his talent for finding the bizarreness of everyday living – especially him contemplating and commentating on life in a Trump led America – with a verve and shambolic dark humour all of his own. This album and the sister piece LP to this, The Cult Of Ignorance, released on Metal Postcard Records earlier in the year should be downloaded by all American Schools and stored away and in ten years time played to the students as part of their American History lessons. This is another must have album of 2019 and may come to be seen as one of the most important and influential and considered a cult classic in the years to come. (BBS)


Abdallah Ag Oumbadougou ‘Anou Malane’
(Sahel Sounds)







More a ‘choice album’ of 1995 of course, lifted and reset from the original cassette for the first time, this new reissue of the Tuareg legend and doyen of the desert guitar, Abdallah Ag Oumbadougou, is a worthy addition to any right-minded eclectic music lovers collection.

Addressing the troops as a front-runner in the armed Tuareg rebellion of the 1990s – another phase in the long-running campaign for the desert peoples of Northern Mali and bordering regions to set up an autonomous state of their own -, Oumbadougou’s reputation grew from humble, isolated beginnings; his protestations and balladry spread through a network of cassette tape dubbers.

In exile for his troubles, the desert blues minstrel traveled to Benin to record an official release with the West African producer Nel Oliver – known for his work on a number of seminal boogie and afro-funk records of the period. Oliver lends a sauntering boogie and discotheque production to the earthy soulful magic of Oumbadougou’s signature influence on one of the first ever records to capture the Tuareg guitar style. A seminal and essential bridge between styles, Anou Malane is one of the best records to come out of the troubles and period. Own it now! (DV)


P……………

Park Jiha ‘Philos’
(tak:til)







Following her universally applauded debut album, Communion, Park Jiha has chosen Philos – from Greek, plural: loving, fond of, tending to – as the title for her latest release on Glitterbeat‘s sub-label, tak:til.

It has been described as an “evocation of her love for time, space and sound”. This is certainly evidenced in the multi-instrumental and baleful opener, ‘Arrival’, which consists of simple, metronomic strums and reedy high notes that lace around each other in ominous prismaticism. The piri, a double-reed bamboo flute played by Park, features heavily in this piece, as it does later during the album’s title track.

The album departs from the instrumental during the track, ‘Easy’, which features the breezy and philosophical (or, rather, extrajudicial) spoken word of the Lebanese poet, Dima El Sayed. The upper notes intensify and push the vocals to a dizzying and distorting conclusion.

There is an eloquent passage in the album notes which describes Philos as “[looking] to the future whilst continuing to converse with a rich instrumental language from the past”. This admixture of traditional Korean and Western instrumentation, coupled with compositions that lean towards the ambient and neoclassical, transmute Park’s experiences of a world awash with changing tides, transitory weather and ever-expanding cities into something that is indefinably atemporal. (ACK)

Full review…


Per W/Pawlowski ‘Outsider/Insider’
(Jezus Factory/Starman Records)







Thirteen years after their first collaboration together, two stalwarts of the alternative Belgian music scene once more reunite to produce, what they call, their very own unique White Album curiosity. The intergenerational musical partnership of one-time dEUS guitar-slinger for hire Mauro Pawlowski and maverick legend Kloot Per W proves an experimental – if odd – success in mining both artist’s influences and providence; the results of which, transformed into a playful, often knowing and pastiche, misadventure, are performed with conviction. Behind the often-masked mayhem and classic rock poses lurk serious, sometimes cathartic wise observations.

With the deep sagacious and world-weary voice of Per W leading, Outsider/Insider merges the mixed fortunes of both artists; whether it’s the jangly Traveling Wilburys like power rock pastiche ‘KPW On 45’ and its commentary on the cultural overbearing of America (“American rock star live in my European food!”) or, the iron fire-escape tapping, industrial funk gyrating, seductive if awkward ‘Room!’, Per W adds just enough off-center lyricism and ambivalence to make even the most obvious-sounding straight-A tune take a turn into weirdville.

Off-white to The Beatles stark magnolia gloss, Outsider/Insider is hardly a classic – dysfunctional or otherwise –, but is an amusing, sometimes absurd, and well-crafted alternative art-rock record of some ambition and style. (DV)

Full review…


Pozi ‘PZ1’
(PRAH Recordings)







Jabbed finger punk with a cushioned impact of bowed melodic and even dashes of doomed romanticism, the London band Pozi produce a kind of disarming malcontent anger. Like the results of a merger between Stiff Records and Sub Pop, this nervy troupe prod and waltz to spiky punkish drums, brooding bass, and fractious and waning strings as they cast a resigned eye over the current political climate. If the Sleaford Mods had more grace and ideas, they could have sounded like this. Quite simply: bloody brilliant. (DV)


PART ONE


album of 2019 part one - monolith cocktail