Reviews Special/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 recent releases include The Bordellos beautifully despondent pains-of-the-heart and mockery of clique “hipsters” ode to Liverpool, and the diatribe ‘Boris Johnson Massacre’. He has also released, under the Idiot Blur Fanboy moniker, a stripped down classic album 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.



Cosse ‘Nothing Belongs To Anything’
(À Tant Rêver du Roi/Grabuge Records) EP/12 June 2020



This EP has a certain moody dark grey charm about it: all Slint atmospherics and Jeff Buckley carefree smiles, a place where angst and beauty collide to make the soundtrack of a unmade 90’s road movie. Snarling feedback guitars and beautifully screamed whispers from both males and females slowly strips the layers of dust and heartache to leave the naked throbbing of the stripped down decaying heart of a future yesterday memory.






8 Floors Up ‘Roman Bones Make Good Glue’
Single/26th June 2020



Ah is this going to take us back to the wonderful summer of 89 when baggy ruled the airwaves. This is quite a magical groove that reminds one of the golden days of the Mondays and Roses a song I can see doing very well radio play wise in the months ahead. And for once, a song that will be worthy of such an honour; a track that is lying in the stars staring at the gutter.






Cathedral Bells ‘Undertow’
Single/29th May 2020



This is quite a lovely thing indeed, Johnny Marr ‘These Things Take Time’ guitar and the swooning like Cocteau Twins vocals merge into a blissful just under three minute pop rush of pure indie perfection: a song to be listened to on repeat with your favourite person by your side smiling along.






Inglourious Basterds ‘Something In the Air’
Single/3rd June 2020



A cover of the old Thunderclap Newman classic you’re asking yourselves? And the answer is yes. Covering a well known and overplayed radio fave is always a risky move unless you are willing to take the track and reinterpret it in a completely different way, making the song sound like your own; and to a certain extent The Inglourious Basterds succeed. The first part of the track just being drums and a fine vocal that brings out the beauty and meaning of the wonderful lyrics highlighting again the fine melody of the original and then it explodes into a Sonic Youth meets Dinosaur Jnr. guitar duel, where both parties are left beaten to a pulp by the tracks end and the winner being you the listener. It’s free to download from Bandcamp.






National Treasure ‘Come And Go’
(Keep Me In Your Heart) Single/19th June 2020



This track reminds me of a school project to make a pop single that’s to be sung by a saucy maths teacher. It has that slightly seedy feel which is a good thing. It also has a looseness and throwaway pop fluff feel to it too. The song is about faking an orgasm so maybe this sounding like a school project faking a pop single is what they were going for.






HighSchool ‘Frosting’
Video Single/8th June 2020



Joy Division keyboards, early Cure matching bass and guitar lines and sub Ian Curtis vocals: yes it’s another how much we loved indie in the 80s release. And this is a jolly enough affair. And if you like the indie sound you will like this as it is done very well, and is their debut release so good luck to them.







Aimee Steven ‘Darling’
(Jacaranda Records) Single/15th May 2020



I quite like how this sounds like Chicory Tip, not an influence you hear everyday it must be said but this is a catchy little ditty that goes around in a riff shaped circle, which for those who do not know what shape that is should listen to this lovely piece of guitar pop. I can imagine Mickie Most giving this a thumbs up on New Faces; and do you know what? The old chap would be right.





The Rubettes ‘Glamnezia’
Single/12th June 2020



I really wanted to love this, I really did. I loved The Rubettes in the 70s; them alongside Mud and Alvin Stardust and Gary Glitter sound tracked my infant and junior school days: I remember being sat in front of the TV every Thursday transfixed by the magic of Top Of The Pops. But sadly this song I listened to over and over again trying to decide as whether it was a joke or not, the lyrics really are so bad they are laughable, it has even to my mind surpassed Oasis’s song ‘Little James’ as the worst song written by a grown up. In fact I have to tip my hat to them for their guts to release it. “It does not get much easier in fact it gets much sleazier when you have amnesia”, even Jack Black would not succumb to such depths with his unfunny homages to hard rock; this track does in a cartoon overblown way, with the guitar turned up to eleven and the torturous vocals [yes torturous to listen to]. I bet the singer could eat three shredded wheat and I’m sure the producer must have had shredded wheat rammed down his ears to get through the recording session. But saying that, I’m looking forward to the album.



Guts Club ‘Song For Carm’
Single/29th May 2020



Since I’m the only person in this world who has never watched The Sopranos I have nothing to compare this to, as this is a cover of the theme song. Saying that, I like this; it sounds like a drunk mumbling down a well which is a lot better than a lot of the aural shit I have ploughed through this afternoon believe me.






Chris Cech ‘Sloth’
Album/8th May 2020



I know nothing of Chris Cech apart from the fact he recorded this wonderful album in his mother’s basement and it’s available to download from his Bandcamp site, which I advise you to do, as it recalls the manic pop thrills of the four great guitar ‘bs – Big Star, Beatles, Buzzcocks and Big Star again – without actually sounding like any of them. Actually it has more of a feel of the great Alex Chilton’s solo work and the early Go Betweens, but anyway it is brillant guitar music and has melodies aplenty and Chris has that rare pop nouse to make quite timeless gems sound like quite timeless gems, and this album is full of the little blighters. A very fine album indeedy.






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.


Murmur Tooth   ‘A Fault In The Machine’
(Self-Release)   LP/ Available Now


Murmur Tooth is Leah Hinton, a young lady from New Zealand who is now based in Berlin, and is the vocalist, multi-instrumentalist and producer writer of this very fine album. Hinton is also blessed with a lilting almost folky voice filled with the kind of emotion you really do not associate with doom laden synth pop.

A Fault In This Machine is a dark sedate sultry affair; a dive into the night time of someone else’s life a life, where you spend the day hoping for that certain person to appear who lifts the boredom of a life that is not exactly happening.

There is a realness and dreaminess to these lyrics that draw you into Murmur Tooth’s existence. It really is a beautiful sounding and beautifully written album, one of the highlights being the lovely ‘Rain Rain’, a stunning piano ballad that for some reason has my mind wandering back to my teenage years of the 80’s when dark synth based pop ruled the roost: a song I would recommend to any other old timers like myself who can recall the majestic Wonderful Life album by Black.

Leah is a real talent, one that should be embraced and celebrated for A Fault In The Machine is a warm, soulful, dark and real sounding synth album wrapped in a blanket of subtlety, and that is something one does not hear everyday.






Vukovar   ‘Exhumation: The First Death Of Vukovar (2014 – 2019)’
LP/Available Now




Vukovar have decided to release a ltd best of cassette; a band that could and should have been a lot bigger and better known than they currently are, but they do have the habit of shooting themselves in the foot, so much so I doubt any of the band have any toes left. And here is another prime example; instead of releasing on one of the many labels they have released their seven plus albums on they have self released it instead – an action akin to The Beatles releasing Sgt. Pepper as a boiled egg or Shakin’ Stevens appearing on Top Of The Pops and not thrusting his hips in a cartoonish sexual manner. But lack of business sous aside the tracks on this collection are essentially a best of, so are the most commercial and ear friendly to the general public and would make a fine introduction if not released in such a ltd hipster fashion.

The songs are all of the highest quality and show their many influences, from their debut single Wedding Present Monster era like ‘Nero’s Felines’ through to the should have been all over the radio ‘New World Order’. There early to mid 80s post punk synth sound is truly a wonderful thing, as demonstrated on ‘This Moment Severed’ and ‘Clockwork Dance’. The album is jammed full of greatness and it’s a bit of tragedy that not more people will get to hear it. Maybe they will release the next as a ltd edition self hum.






Randolph’s Leap   ‘Petrichor’
Single/Available Now




Has Power Pop I wonder replaced Irn-Bru as the drink of choice in the band land of Scotland? For what we have here is another Scottish band showing their love for Teenage Fanclub/Big Star, with this lovely nifty little piece of perfect McCartney-ish like strum along pop. This really is a lovely thing: The sun is in the sky there is nothing to do nowhere to go but you can lose yourself in this little subtle gem.






The Legless Crabs   ‘Irregular On The Cellular’
Single/Available Now




Have you ever wondered what Legless Crabs sound like? Well I will tell you: they sound like the true spirit of rock n roll; they are the aural equivalent of the apple of your eye slowly self peeling the beauty of The Shaggs covering Jesus And Mary Chain. It is a thing of great wonder and maybe my new favourite band. You heard it here first; the Legless crabs are the future of rock ‘n’ roll.






Crumpsall Riddle  ‘Looking After The Duck’
(Wormhole World)  Album/Available Now




It’s a strange old time so the ideal opportunity to lose yourself in the strange world of Crumpsall Riddle: Old synths, old keyboards, the occasional guitar and jazz bass and flat caps and folk music and ranting and singing sweetly acapella style – I could be making up the flat caps bit, but who knows. These are songs improvised over three sessions, so have a lovely made up at the moment feel, which I enjoy as it is like having a permanent record of madness, the unveiling of inspiration hitting and the fading as quickly as it arrived and then moving onto something else like speed reading somebody else’s book collection whilst listening to the Bagpuss soundtrack as whistling Jack Smith rifles through your girlfriend’s knickers drawer just out of view. Anything could happen or be happening in the strange world of Crumpsall Riddle.






Harry Cloud   ‘The Pig And The Machine’
(Whiteworm Records)  LP/Available Now




What we have here is a blaze of magic mushroom stoner bubblegum stoner psychedelia, a lo-fi inventive curse of tomorrow and yesterday when morrow meets tomorrow in a slaphappy kind of way. Imagine if your radio was wired to play the soundtrack to your most out there sordid wish, this could well be playing as it jumps from the semi classical to the music that the not quite best looking member of a 70’s edition of Top Of The Pops audience would wiggle her arse to: not sexy but getting away with it.

This album is inventive, dirty, funny, dark and moving in so many ways. Like all great rock n roll should be it is a album that at times sounds like it is arguing with itself; sometimes being far too clever for its own good, but you love it all the same. How could you not when there is song as beautiful as ‘Haunted Hayride’, or, as weirdly rocking as ‘Browser’ – the sound of the Mothers Of Invention covering The Pixies. An album that could easily get on your tits, or, an LP you could love and fall in love with – and I have not quite made up my mind yet -, and for that he gets a big thumbs up from me.






Euan Hartley And Friends   ‘Ten Years At The Bottom’
LP/Available Now




Euan Hartley is singer with the band the Pit Ponies, and this is a LP four years in the making in which he worked with various musician friends. And what I like about the album is that it seems to mean a lot to him, which trust me, is not always the way. It has a lot of heart and a lot of pain seeping through the songs. Euan has quite an impressive voice like he has been gargling from the same glass as the godlike Robert Wyatt, and the music is pure [in the best way]; DIY indie style, not the generic, ‘I have a beard and Fender Jag way and am looking forward to playing the local music festival’ kind. The songs are way to quirky and heartfelt for that especially the Casio embraced beauty ‘Beatrice’ and the wonderfully weird chopped up Flaming Lips like ‘Selfies’.

Ten Years At The Bottom is a album filled with songs of purity soul and heartache and despite being made over a long period of time with various friends and his peers the album sounds like a album and not just a collection of songs lumped together: and what a fine collection of songs it is. Also, it is available as a pay what you want to download from bandcamp, so I honestly don’t know what your waiting for, get downloading.






Meat Whiplash   ‘Don’t Slip Up’
(Optic Nerve)   Single/15th May 2020




I normally do not bother reviewing old music as I don’t write for Mojo, and there are so many new records and songs released daily that deserve attention that sadly do not get the attention they deserve, and its so easy for a label to reissue some old song than putting the time in finding and promoting a new and up and coming band; for nostalgia is all well and good but in thirty years what will there be to be nostalgic about if the new is not embraced and loved? So I will say that this is a reissue of the one and only Meat Whiplash single released on Creation Records many years ago, and very good it is too; all Mary Chain fuzz guitars and early Psychedelic Furs vocals. They of course morphed into Motorcycle Boy who I saw live a few times back in the day -see I am getting nostalgic now. Why damn you Optic Nerve records and your excellent Optic Sevens reissue series…you cunts.


Sunbourne Rd  ‘Teenage Lyrics’
LP/Available Now




Yes it’s that time again, when I start to review catchy guitar pop. Dare I call it power pop without being arrested by the power pop police for wrongly diagnosing the LP?! No I’ll risk it: it’s power pop. It has power and is pop, and for once although obviously influenced by Paul McCartney, it is more Wings Paul than Beatle Paul: which I like as such subtleties make a difference.

What we have here is a compilation of eight singles released between 2014 and 2017 by Sunbourne Rd who hail from Northern Italy. And they obviously release fine catchy guitar pop with nods to all the usual power pop icons like McCartney, Rockpile, Mott The Hoople and their ilk. Nothing truly original or different just eight finally written songs bathed in melody – which is what we want in our power pop. And just how many times have I used the words power pop in this review? Recommended for all those who like their pop with power.




Chinofeldy   ‘Stay Home’
Single/Available Now




Another band from Scotland and another catchy 60s influenced pop song: it really shows just how wonderful the Beatles were, that 50 years since they split up they are still a huge influence on bands today. I suppose you may as well learn and borrow from the best. What we have here is a benefit song for the NHS; a worthy cause we all, I am sure, agree on. So you may as well download this lovingly produced slice of 60s influenced pop and do yourself and the much-underfunded NHS a favour. You know it makes sense.





REVIEWS/Brian ‘Shea’ 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 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.

Chris Church  ‘Backwards Compatible’
Album/Now


Power pop is an art form that not many critics takes seriously; quite often frowned upon and belittled. Why is it such a bad thing for songs to have catchy melodies and harmonies and a feel good factor. Is it wrong to be influenced by McCartney led Beatles and Big Star; to love the crunchy guitars of Cheap Trick; to have melodies so sharp that they could shave off your eyebrows if you got too close. Of course not all critics are arseholes who eat what they are fed, who will accept anything as long as it’s wrapped in the latest hip design [me using the phrase hip design proves I’m no critic and certainly not a fashion led one]. I’m a music lover. I love pop music. I love harmonies. I love songs with a feel good factor, and yes McCartney is my favourite Beatle.

If you are like myself a pop music lover this LP is certainly for you as it has all the above mentioned and more. If you love Matthew Sweet and Brendan Benson, or even quite like them, you really need to hear this LP. If you’ve never heard of either I would advise you do, but first give this fine album a blast. I’m pretty sure it will not get the attention or the radio play it deserves and that is a bit of a sin as this album was born to be played on the radio.



Yakima  ‘Go Virtually’
EP/20th March 2020




Scottish bands like Big Star and Bad Finger it seems. That’s what we have here: another band soaking up the melodies of the past and releasing them forth to hopefully inspire more bands to like Big Star, which in itself is a worthy cause, because you cannot really have too many bands releasing warm catchy pop music, and this EP’s six tracks of warm catchy guitar pop is just that. It’s like the aural equivalent of your cat nesting in your favorite old jumper, in a cardboard box; no matter how many times you see it, it still makes you smile and warm inside.



So Beast  ‘Super Black’
EP/27th April 2020




If I remember correctly (Editor: yes you did) I reviewed an EP (Fit Unformal) by So Beast last year and was very impressed. Well nothing has changed, as this is equally as impressive.

Once again bringing a dark sultry post punk sound that reminds me of a semi electro Bow Wow Wow; chanted, whispered talked vocals backed by backward drum machines, the bleeps and chimes of the electronic kind twanging guitars and a warm dark hush of their art causing expectant ripples in the part of your mind where you fold away stars and memories of unkempt kisses and elicit sexual acts you performed, or, wished you had. An EP of sultry dark wonders.




Geese   ‘Bottle’
Single/Available Now




Geese are a band or a group [as I’m old fashioned] or, a flock even, from New York and this is their second single to date [I think it is anyway; I could be wrong, and not for the first time]. And what we have here is a fine slice of indie rock; chiming, almost a prog like guitar matched with dark melodic harmonies that bathe in the nostalgia that has me spinning back to the days when people with guitars mattered. Well worth lending your ears to.



Tangled Headphones  ‘Death By Misadventure’
Single/1st April 2020




I really love this. Tangled Headphones describe themselves as anti pop, which I have to disagree with, as this is a fine pop single. It’s certainly lo-fi, which you should know by now is something I adore. It also has a great psych eastern feeling to it – again something I love. Imagine if you will, a Psych Beat Happening; maybe one of my personal favorite tracks of the year so far. Great stuff indeed.




Aimée Steven ‘Hell Is A Teenage Girl’
(Jacaranda Records)  Single/6th March 2020




I think I may just stop reading press releases because on the whole they make me not want to actually listen to the song, as it nearly did with this delight of a pop single by Aimée Steven. And I’m glad I overlooked the bad hype “ripping up rule books ” and such nonsense, because what we have here is a fine PJ Harvey like song injected with the pop fun of The Monkees: guitars that jangle and fizz and a melody that would easily pass the old grey whistle test. One to watch yet again.




Pabst   ‘Skyline’
(Ketchup Tracks / The Orchard)   Single/Now




I was, once again, not expecting to like this as I always look on the bright side, as you know. But I actually did! I like the post grunge with a touch of old fashioned Glam rock feel to it: imagine Suede with beards and holes in their jeans. It’s once again a well written song with decent lyrics a fine melody and with a head-banging inducing chorus, which those with youth on their side I would advise, as it is good exercise [I am led to believe].



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.

 

 

Interview: Joss Cope

February 7, 2020

Interview Special
Words: Brian ‘Bordello’ Shea





Sibling to arch druid polymath of the ‘head’ community, Julian, brother Joss Cope shares an equally colourful CV; serving and rubbing shoulders during his formative years with a number of famous and cult figures from the Liverpool music scene, including Echo & The Bunnymen’s Les Pattinson, Wah! Heat’s Peter Wylie and Spiritualized’s Mike Mooney. Not before fleetingly spearheading Bam Caruso label favorites Freight Train – releasing the modestly pivotal album Man’s Laughter in 1985 – before splitting and joining ‘rivals’ the Mighty Lemon Drops, Joss left Liverpool to be absorbed into the Creation Records mayhem of London. During his spell in the capital he played with Crash, The Weather Reports and Rose McDowell before carving out a solo career, releasing two albums under the Something Pretty Beautiful banner.

Inevitably Joss would at some point cross paths with his elder brother, contributing famously to the Fried and St. Julian solo albums; co-writing with both Julian and his former Freight Train band mate Donald Ross Skinner the album tracks ‘Pulsar’ and ‘Christmas Morning’.

Joss would go on to form and play with many more bands during the 90s and noughties – The United States of Mind, Dexter Bentley and Sergeant Buzfuz among them -, balancing music with a careers as a video director for MTV, narrator for a children’s BBC animation series and as an online producer/activist for Greenpeace.

The most recent chapter in a checkered backstory of affiliations sprung from Joss’ regular sleepovers in Finland, home to his current partner, the cartoonist Virpi Oinonen. In 2016 he began collaborating with the guitarist Veli- Pekka Oinonen, bassist Esa Lehporturo and percussionist Ville Raasakka trio of Helsinki talent, and the (what must be the most Irish of Irish sounding names in history) keyboardist O’Reilly O’Rourke on what would become the Unrequited Lullabies album; his first release for Ian Button’s estuary romantics label Gare du Nord.

Ahead of his upcoming album of soft bulletin psych for the same label, Indefinite Particles (released on the 28th February 2020), our very own one-man cult Brian ‘Bordello’ Shea puts forward some questions.



Brian Shea: What was the first record you ever bought? 

Joss Cope: ‘Ride A White Swan’ by T Rex after seeing Bolan on telly. He definitely had something.

 

When did you realise that you wanted to be in a band, or did you just fall into it and it just happened?

I’ve been in bands in some form since I was 14, but long before we could play instruments my brother and I would spend hours making up imaginary bands, complete with all their members and song titles. Eventually we graduated to writing and later recording the stuff we made up – it was generally on the surreal/absurdist side.

I tend to think of ‘the band’ as a default human unit – and not just for music. A small group of people with disparate but overlapping skill sets who come together enthusiastically to focus on making something which each individually could not achieve. When it works, the whole is greater than the sum of the parts. Once I figured that out I always wanted to be in a band – who wouldn’t?

 

You have been in and around the alternative underground indie (whatever you want to call it) music scene and music business for quite a long time now, and I feel it is currently struggling due to a lack of a figure head – be that John Peel – or there being no music weeklies. Do you agree? And can you see a way of it once again rising into prominence, or will it shift still further underground becoming a minority art? 

Someone with the (eventual) cultural clout of John Peel was only possible because media options were so limited in the 70s and 80s. Everyone was listening to the same shows and there was more of a shared conversation.

That has been fragmented by new online media, and at the same time the digital revolution has given access to almost anyone to record and prove themselves online. This is a very positive development in terms of the sheer numbers of people fulfilling themselves through their own music, but the explosion of production means in practice an ever more fractured audience for genuinely indie music.

Genuine indie music has always been a minority art, but the best examples will always have an appeal precisely because it’s ultimately more human and personal than anything the mainstream hit factory commercial complex is capable of producing, Outsider art is unfettered commentary with no bottom line considerations to temper its visions. The power lies in people telling their own truths in their own ways, always has done.

 

Your debut solo LP, 2017’s Unrequited Lullabies, was a sparkling psych tinged pop LP (one of my faves that year). Is your latest album more of the same?

 Yes I hope so. There’s definitely a continuity of sound, the backing tacks were recorded live in the same way with same musicians (Veli-Peka Oinonen on guitar, Esa Lehtopuro on bass and Ville Raasaka on drums). I was very pleased with the process the last time around and happy to repeat it. And hopefully there’s more mixing of the sublime with the ridiculous, at least that’s the intention.

 

I understand that you will be touring with the lovely but crazy [in the best possible way] Rose McDowall this year. Will you be performing any of your songs or will it be as part of her band?

Rose recently asked my to play guitar with her for a few gigs, but there are no plans to play any of my tracks at this stage. She and I were in a sort of proto-band together back in Creation days; Alan McGee put us together. But then she got loads of solo work in Japan which she couldn’t really turn down, so nothing came of it. But I’ve always thought she had a great voice, and coincidentally my old mate Dave Morgan is drumming for her, so it’s been a lot of fun for me.

 

And to finish, what was the last record you bought?

Happy Endings by Crayola Lectern. Pastoral British psychedelia of the highest order, for my money. Well worthy of a listen! (MC: We agree Joss, as you can see from our review, here…)





Further Reading From The Archives:

Unrequited Lullabies LP Review From 2017


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.

PLAYLIST
Dominic Valvona & Brian ‘Bordello’ Shea





The behemoth Quarterly Playlist Revue is now more! With a massive increase in submissions month-on-month, we’ve decided to go monthly. The inaugural 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, and Brian ‘Bordello’ Shea.



JANUARY’S TRACKS ARE:

Les Amazones d’Afrique  ‘Love’
Hailu Mergia  ‘Abichu Nega Nega’
Dijf Sanders  ‘Santoshi Mata’
Penya Na Msafiri Zawose  ‘Heyyeh (Guedra Guedra Remix)’
Tony Allen & Hugh Masekela  ‘We’ve Landed’
Ani Glass  ‘Mirores’
Brainstory  ‘Beautyful Beauti’
Syd Nukukluk ft. Monika  ‘Plasticene’
Lee Scott ft. Dream McClean, DJ Frost & Sumgii  ‘Sainthood’
Leaf Dog ft. Smellington Piff  ‘Under The Spell’
Verses Bang  ‘The Eagle Has Landed’
O.G. Natal & Kool Keith  ‘Crime Don’t Pay’
The Van Allen Belt  ‘Let It Goddam Be’
Extradition Order  ‘Manhattan’
The Epstein  ‘Lay Me Down’
Hallelujah!  ‘Your Duck’
Deutsche Ashram  ‘Slackjaw’
Sunflowers  ‘Oscillations’
Shadow Show  ‘Charades’
Black Lips  ‘Odelia’
Pintandwefall  ‘Ah-Ah-Ah’
Floodlights  ‘Backyard’
Seattle Stomp  ‘January’
Colin Stetson  ‘West Of Arkham’
Lina_Raul Refree  ‘Destino’
Brona McVittie  ‘The Green Man’
Jonah Parzen-Johnson  ‘Stand Still’
Ippu Mitsui  ‘Recovery’


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 recent project, Roi (with John McCarthy and Dan Shea, of Beauty Stab and Vukovar infamy) debuted at the end of 2019 through Metal Postcard Records with the paean to local record shop single, ‘Dormouse Records’. They’ve also 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.


bigflower   ‘Sound Of Silence’
Single/1st January 2020

How apt that my first review of the year is a cover of the Simon And Garfunkel classic ‘The Sound Of Silence’; a song associated with the mid sixties when the world was full of hope and revolution of peace and love; a beautifully written and recorded folk rock classic. This version by the brilliant bigflower is quite the opposite. This is a dark piece of nihilism a psychotic and slightly psychedelic sleazy lounge lizard rendition, a version that soundtracks the lack of hope we have for the future new decade as we exist under the cloud of hate poverty and despair.

As ever, this shows the world just what it is not getting to hear as it’s force fed smart phone pop (or should that be pap on radio and TV). In these times of unease we should be hearing the call of revolution of high art; we should be letting the kids enjoy the feeling and exhilaration their parents and grandparents felt when they turned on the radio. There are bands artists out there who are just as capable and talented as the bands of yore. Just that they are not being given the chance to shine. Come the revolution – and believe me it is only a matter of time – bigflower will be leading the way.




Pintandwefall  ‘Your Stories Baby’
(Soliti Music) LP/17th January 2020

 

Ah rock n roll I gave you the best years of my wife. The not so subtle sounds of garage punk and well-written pop, of which I have grown very fond of in my 53 years on this planet. This is a little gem of an album; nothing outstandingly different to many other indie garage punk pop albums, but this has enough quirkiness and more importantly it has a soul and immaturity that many other bands can only wish for. A band that has been touched by the hand of pop suss; a band that sounds like it has been force fed 60s girl group records followed by post punk hits for their afters: twangy guitars, one fingered keyboard riffs, “na na na” choruses and synths that whiiirrl. Perfect imperfect pop: and what is more perfect than that.




Sunflowers  ‘Endless Voyage’
(Stolen Body Records) LP/14th February 2020

 

This is a concept LP I’m led to believe, and on the whole I’m not a great fan of them as they normally play out as a way to release an album with shit lyrics, and try and con the listener that it’s more important than it actually is. Normally it is a cabbage like thing dressed up as full salad with relish and everything. It’s a sign of a band that is getting bored with itself and is running out of ideas and have forgotten how to write good songs, but not in this case. On the whole Endless Voyage is a very enjoyable album with screeching guitars, twonking synths, and is mostly instrumental: hence the lack of shit lyrics. The instrumentals are the better tracks on the LP; the tracks with vocals are the least interesting – reminding me of Blur when they where going through their American art rock phase but without Blur’s pop suss. If the Sunflowers had made it a wholly instrumental album I feel it could have been something pretty special instead of the just pretty good album we have here.




Shadow Show  ‘Silhouettes’
(Stolen Body Records) LP/14th February 2020

 

Any LP that kicks off with a wonderful blast of The Beatles’ ‘Taxman’ riffery (‘Charades’) is fine with me. Sparkling sixties jangle tangle with melodies not heard since the last band decided that The Beatles are not such a bad thing, and if you are going to be influenced by anyone why not the greatest band ever.

Silhouettes as I have already mentioned in a few reviews of other new releases already this year, isn’t the most original of albums but it is a damn fine listen, filled as it is with great catchy guitar pop tunes. And Shadow Show is better than most at plundering the wonderful musical sounds the decade of the 60s produced. When it comes to the end if 2020 I wouldn’t be surprised to find this LP being one of my most played and loved of the year.




Bruce Hendrickson and The Blue Giant Zeta Puppies  ‘Any Sunny Day’
Single/24th December 2019

 

‘Any Sunny Day’ is poetic stroll of Sparklehorse like beauty, softly strummed guitars and eerie synths that takes you on a journey to the psych of a perfect day; a soundtrack to a long lost black and white photo of happier times. The b-side or second track if you like, ‘Roll End Credits’, is what the Velvet Underground might of sounded like if they were obsessed by Hank and his Shadows and produced by the great Joe Meek. Please tell me that there is going to be a album, as this is magical.




Stovepipe  ‘Born to Jive/Never Surrender’
(Jezus Factory) Single/21st February 2020

 

Is Garage Rock the new garage rock? Is it making a bit of a comeback or has it never gone away, as I’m certainly being sent loads of it to review. This single/EP is a five track (three of which are bonus tracks) treat for lovers of loud guitars and garage rock organ sounds. Once again nothing ground breaking but it is garage rock. It’s what it says on the tin or the label in this case, and lovers of 60s tinged frenzy and pre-punk pub rock – even occasionally slipping into post punk psych as on ‘I Wanna Be Your Favourite Pair Of Pajamas’ – will no doubt enjoy it and will want in their record collection.




Floodlights  ‘Backyard’
(Spunk Records) EP/21st February 2020

 

What I like about this EP is how Australian it sounds – a bit like the Hoodoo Gurus meet the Triffids -; four songs that recall traveling across the wilds of Australia. Not that I’ve ever been there, but I imagine Backyard would make a wonderful soundtrack if I were ever lucky enough to. It also reminds me of early 80s Kinks around their time of the ‘Come Dancing’ hit, which again can only be a good thing as Ray Davies is certainly no slouch at the old song writing lark. So all in all a very impressive EP.


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)