album of 2019 part one - monolith cocktail


Choice Albums of 2019 Part One: A Journey Of Giraffes to Adam Green


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. We also hate separating genres and so everybody in these features, regardless of genre, location, shares the same space.

Void of points systems and voting, the Monolith Cocktail team selection is pretty transparent: just favourites and albums we all feel you, our audience, should check out. Dominic Valvona, Matt Oliver, Brian ‘Bordello’ Shea, Gianluigi Marsibilio and Andrew C. Kidd made all of 2019’s selections.

Spread over three parts, the inaugural selection here runs from A to G, from A Journey Of Giraffes to the Adam Green. Part Two will run from H to P and Part Three from Q to Z.

A.

A Journey Of Giraffes ‘Hour Club’ & ‘Kona’









Two atmospherically evocative peaceable ambient suites from the brilliant lo fi maverick A Journey Of Giraffes (nom de plume for many years of the Baltimore composer John Lane) make this year’s ‘choice’ list. Released earlier in 2019, the Hour Club pushes Lane further than ever away from his previous Beach Boys homage experiments into both deeper, darker recesses and sweeping traverses. From Terry Riley to Sky Records, Hour Club is an often-magical soundtrack, with every track sharing a 7 minutes and 1 second rule.

The second album, Kona, an unassuming love letter to the iconic late Japanese composer Susumu Yokota, was premiered back on the Monolith Cocktail in August. Magically ruminating, offering both the beatific and uncertain, this pagoda dreamt fantasy is an exotic, sometimes ceremonial, Zen like album that evokes the Fourth World Possible Musics of Jon Hassell, Popol Vuh and the higher plain communal glistened zither transcendence of Laraaji. Quite possibly, Lane’s most realized, complete album yet. (Dominic Valvona)

Full review feature…

Aesop Rock & TOBACCO ‘Malibu Ken’
(Rhymesayers)




“Both happen upon a sharp splinter of hip-hop pitching to the left, but not way out left” – RnV Jan 19





Straight off the bat the gaudily sleeved Malibu Ken foresees a tough slog in store, given the respective running through brick walls of these decidedly non-plastic conspirators. Aesop Rock rhymes like a rebooted Max Headroom, TOBACCO activates at the moment where Rock starts glitching as synths home in on your VHS tracking button. Obviously it’s a jerky leftfield match made in heaven, primitive videogame set pieces overridden by one of the underground’s most enduring, levelling out bad trips but still very much needing these cracked, skeletal neon runways to assure his own navigation and empowerment. Take it as post-modern, post-Armageddon, welcome respite from the mainstream etc etc, or the faultless engineering of the technical and the broken, backwater flights of fancy and stranger than fiction truths jamming in a keyboard repair shop. (Matt Oliver)

Armstrong ‘Under Blue Skies’
(Country Mile Records)






Julian Pitt, aka Armstrong, is one of the finest songwriters to emerge from Wales in recent years: a man who has been blessed with the gift of melody that can be comparable to McCartney, Wilson and Jimmy Webb – Yes, he really is that good.

This is an expanded reissue of his first LP, which was originally released as a limited edition cdr, one that I played constantly. Thankfully it’s getting a much-deserved official re-release from The Beautiful Music label. I am so happy this great lost LP has finally got the release it deserves; it is no longer lost just simply Great, one of the finest pastoral pop LPs you will ever hear. (Brian ‘Bordello’ Shea)

Full review…


B..

Babybird ‘Photosynthesis’







What I love about Stephen Jones, aka Babybird, apart from his wonderful songwriting talent and his dark humor and his obvious love of music and its many genres, is that he has so much soul. He has so much love for music in fact that he makes music not just because he may make a decent living from it but because he has no choice, he has to make it like he has to breath to stay alive. He has to create music, create art, he has to experiment with the magic of melody and write such beautiful songs, and Photosynthesis is an LP full of dark beauty and such bloody good songs. A small dark masterpiece, a master class in songwriting. (BBS)

Full review…


Baileys Brown ‘Still Fresh’
(Potent Funk)




“Skimming the scummy but with buckets of fizz and a little soul stardust answering the title’s call, BB keeps the hottest point of the club within striking distance of a couch and headphones combo” – RnV Aug 19





Investing in a gang of absolute mic-snatching hoodlums, bringing the sort of posse cuts where you dial the first two nines in anticipation, just to be on the safe side, Baileys Brown swings the wrecking ball club-wards before looming as a quiet storm presence fuelling dark alley unease. His best work where you can’t see in front of your face – add damp air or a biting breeze for maximum effect – the raw basics of Still Fresh are more than enough for emcees to chow down on (Axel Holy, Datkid, Dabbla), while a certain juju drifts in and out as if it’s not just testosterone at work. Animal instinct floods from a group who have the trousers to go with the mouth (“yeah I’m talking shit, but you’re doing it without flow”); however, a soulful section towards the back end shows Brown can rise above the rough stuff, reaching out towards a bigger stage for something that shouldn’t be skipped on account of what’s gone before. (MO)


Bantou Mentale ‘ST’
(Glitterbeat Records)







A sizzle. A static shock, a charge that most importantly signals something is changing in the musical fabric; a signal of something dynamic but also something dangerous, a mirror image of the real world, the real refugee and migrant experience and chaos. Vivid and fresh being the optimum words as the Bantou Mentale vehicle shakes up the melting pot convergence of Paris’ infamous Chateau Rouge; addressing assumptions/presumptions about their native Democratic Republic of Congo home in the process. Not so much explosive, the electric quartet seem relaxed, even drifting as they channel the soul and spirit of cooperation; opening up aspects of the DRC culture and humility often lost or obscured in the noise of negativity – and the Congo has had more than its fair share of violence and tumult both pre and post Colonialism.

Kinshasa reloaded; Bantou Mentale is a thoroughly modern sonic vision of peaceful cross-border fraternization. Lingering traces of Jon Hassell & Eno, Radio Tarifa, UNCLE, TV On The Radio and even label mates Dirtmusic are absorbed into an electrified subterranean of frizzles, pylon-scratches and hustle-bustle. Above all, despite the subject matter, despite the polygenesis sonic hubbub this is a soulful soundtrack: cooperation ahead of fractious division and hostility. A more positive collaboration for a 21st century chaos. (DV)

Full review…

Bathtub Gin Band ‘From The Old Navy Club’







The Bathtub Gin Band are a duo from my hometown of St Helens, and this there debut LP. A mini LP in fact, recorded live in a local studio, just acoustic guitar and drums and fine songwriting; the sound of two talented musicians enjoying themselves; an LP that recalls the sound of the Liverpool bandwagon club of the early noughties; quickly strummed guitar ragtime blues telling tales of drunken nights out and failed romantic adventures, an album to listen to as you are getting ready for a wild night out or after you have staggered in after one.

Beautifully written and crafted with well-arranged songs performed with verve and vigor, From The Old Navy Club is another little gem for 2019… (BBS)

Full review…


Blu & Oh No ‘A Long Red Hot Los Angeles Summer Night’
(Nature Sounds)




“A mosey across the West Coast to capture the hustles and bustle as a frontline tour guide mapping out all the no-go areas and places to tap into local electricity” – RnV Mar 19




Drawing on both the energy of the locale and when that red mist begins its descent (‘Pop Shots’ feeling the heat to the point of delusion), there’s Blu, unafraid of foregoing any sort of word association for the sake of putting a brick on the accelerator out of Thunderdome – sometimes straight talking will only do when the stakes are high. Then there’s Oh No, performing funky wheelspins between cruising and hot pursuit, capturing all the glamour, glitz, hustle and insanity the City of Angels calls everyday. The pair switch career mode from local big timers to chancers seeing how far their luck will stretch, and A Long Red Hot… is one of the year’s coolest releases; find somewhere where it’s 96 degrees in the shade before throwing on loud, sequenced to directorial perfection so the highs, lows and inbetweens form a logical thread, and where the action-packed comes with composure remaining everything. (MO)


Blue House ‘Gobstopper’
(Faith And Industry)







The fruits of two-years labour, James Howard’s (aka Thomas Nation) latest appearance as principle writer is with the Blue House collaboration; a group that boosts the talents of Ursula Russell (drumming for the brilliant Snapped Ankle, and soon to release music under the Ursa Major Moving Group), Dimitrios Ntontis (film composer and member of a host of bands including Pre Goblin) and Capitol K (the nom de plume of the ever-in-demand star producer Kristian Craig Robinson). Following up on the group’s 2016 acclaimed Suppose LP with another rich mellow empirical state-of-the-nation address, the Blue House’s Gobstopper is suffused with a languid disdain, as they drift through the archetypal bleak waiting rooms of nostalgia and the limbo of benefit Britain.

Gently stunning throughout with hues of a gauze-y Kinks, a less nasal Lennon, a more wistful Bowie and woozy Stereolab, Howard and friends perform a disarming mini opus that soaks up the forlorn stench of an out-of-season postcard seaside pub, air-conditioned gyms and quaint English motorways – ‘Accelerate’ in name only, the speed and candour of a hitched-up caravan that’s more ambling (with the radio dial set to Fleetwood Mac bounce) than autobahn motorik futurism. (DV)

Full review…

Boa Morte ‘Before There Was Air’
(Gare du Nord)







The understated majestic swells of the Irish band Boa Morte don’t come easy, or arrive regularly. Only the band’s third album proper in twenty years, the misty expansive mini-opuses found on the long awaited Before There Was Air are like gentle but deeply resonating ripples from a distant shore. Slow, methodical, every second of these air-y hushed suites moves at a stately pace: in no hurry to arrive, with many of the beautifully purposeful songs disappearing into the ether, out of earshot but forever lingering.

A finely crafted sweeping album Before There Was Air exudes a timeless quality; one that by all accounts has been well worth the wait. (DV)

Full review…

Simon Bonney ‘Past, Present, Future’
(Mute)







Arguably one of the great voices of Australian music over the last four decades, Simon Bonney is nothing if not proficient in taking hiatuses. Emerging from just the most recent one, five years after the release of the last Crime And The City Solution opus American Twilight – itself, the first album by the iconic alienated nihilists turn beatific augurs of country-doom in twenty years -, and twenty-odd years since the shelving of his third solo LP Eyes Of Blue, Bonney has made a welcome return to the musical fold.

Prompted by the decision of Mute Records to facilitate the release of that fabled last solo songbook, the Past, Present, Future collection is both a reminder, featuring as it does tracks from both the 1992 Forever and 1994 Everyman albums, and showcase for six previously unreleased tracks from Eyes Of Blue.

Not new material but a catalyst for projects going forward, this solo collection proves as prescient today as it did back then. Especially the beguiling cover turns homage (in light of Scott Walker’s passing) of the brooding maestro’s stately majestic lament to fading beauty and decadence, ‘Duchess’. Much of the Bonney songbook, delivered with earnest, deep timeless country-imbued veneration, aches, even worships, for a string of muses; an undying, unwavering love to both the unattainable and lost. One such elegiac object of such pathos-inspired yearning is Edgar Allan Poe’s famous ‘Annabelle Lee’ –the metaphorical lamentable figure of the Gothic polymath’s last poem -, who appears on both the eponymous and title tracks from Eyes OF Blue. Lovingly conveyed, even if it marks the death of that lady, it proves symmetry to the album’s profound poetic loss of influence, desire and alluring surface beauty of ‘Duchess’. Eyes Of Blue, which makes up half of this collection, follows on from the previous solo works perfectly. A touch deeper, even reverent perhaps, but every bit as bathed in country suffrage. Salvaged at long last, that lost album offers a closure of a kind. Proving however, to chime with the present, far from dated, this collection is a perfect finish to a great run of epic, though highly intimate, solo opuses; the songwriting as encapsulating and grandiose, earthy as you would expect. (DV)

Full review…

Aziza Brahim ‘Sahari’
(Glitterbeat Records)







Bringing the message of the displaced Saharawi people to the world stage, Western Saharan musician/activist Aziza Brahim follows up both her critically rewarded 2014 album Soutak, and the no less brilliant 2016 serene protest of poetic defiance Abbar el Hamada album with her third for Glitterbeat Records, Sahari.

Imbued as ever with the desert soul of that disputed region, the latest record, with its visual metaphor of optimism in even the most desperate of backdrops and times – dreams of growing up to be a ballerina proving universal – attempts to marry the beautifully longing and heartache yearns of Brahim’s voice to a number of different styles and rhythms: A subtle change towards the experimental. Imbued as ever with the desert soul of that disputed region, the latest record, with its visual metaphor of optimism in even the most desperate of backdrops and times – dreams of growing up to be a ballerina proving universal – attempts to marry the beautifully longing and heartache yearns of Brahim’s voice to a number of different styles and rhythms: A subtle change towards the experimental. Previous encounters have channeled the poetic roots of that heritage and merged it with both Arabian Spain and the lilted buoyancy of the Balearics. Working with the Spanish artist Amparo Sánchez of the band Amparanoia, Brahim has chosen to add a congruous subtle bed of synthesized effects to the recording process: before performing live in the studio, but now recording in various places, the results collected together and pieced together in post-production. This methodology and sound furnishes Brahim’s longing traditional voice with certain freshness and, sometimes, shuffled energy.

A most fantastic, poetic songbook that will further cement Brahim’s deserved reputation as one of the deserts most serene artists. (DV)

Full review…

Bronx Slang ‘Bronx Slang’
(Fabyl)




“Jerry Beeks and Miggs are more sages than saviours, proving you don’t have to settle for what’s supposedly trending. Proper hip-hop citizenship” – RnV Feb 19




Golden era restoration, true school appreciation…so many attempt to recreate/pay respects to hip-hop’s glory days but often overcook it to the point of self-neutering. Nothing of the sort applies here: Bronx Slang press home the pervading advantage (if you can call it that) of volatile politics, loud and clear messaging deriding the powers that be without resorting to playground tactics. Miggs and Jerry Beeks also know they’re in the entertainment business (‘Well Well Well’ > 50 Cent’s ‘21 Questions’/How to Rob’, Jadakiss’ ‘Why?’), and the baritone-midrange contrast frames the all-important dynamic duo telepathy, catching last breaths should anyone step to them. A box fresh success…and this is before the dirty little secret of the downtown funk hustles being hatched by two UK ringers: one-time big beat ne’er-do-well Jadell, assisted by fellow frat partier and bass house dabbler Fake Blood. Proof therefore of 90s boom bap as international language slash Holy Grail. (MO)


Danny Brown ‘uknowwhatimsayin”
(Warp)




“Still coming through loud, clear and uncouth” – RnV Oct 19



A slight tweak to the Danny Brown experience doesn’t make him any less of a livewire. Q-Tip as executive producer is not an invitation to keep his new, freshly coiffured muse in check, and despite a slightly exploratory start sonically, it’s the same old Danny boy keeping the spirit of ODB alive, quickly into his shit-chatting rhythm and proving that emperor’s new clothes do not make the man. Whether he’d enjoy being tagged as more well-rounded (rather than versatile – Brown’s mind remains pretty much one track in its own strain of ADHD that never misses a beat), the likes of ‘Belly of the Beast’ and the title track pull him in different directions but have that up-to-no-good personality keeping the peace, though he’s a smoother operator than you’d probably give credit for. Short but sweet, like a high sugar soda hit, and still highly strung, but hey – that’s entertainment. (MO)


C…

Nick Cave & The Bad Seeds ‘Ghosteen’





We knew it would come but not when; Nick Cave’s moving concept elegy Ghosteen articulates both the grief and coming-to-terms of the loss of his son Arthur in 2015. And so this often striking, if lamenting, and beautifully poised opus arrives four years later with grandiose expectations.

Often conflicted, Cave articulates despair to a bared atmospheric led Bad Seeds soundtrack of vivid and poetic images and feelings. With a tonal backing of choirs, the afflatus Kosmische of Roedelius and touches of The Boatman’s Call, Ghosteen is a mournful work of pulchritude and grief. It’s also perhaps one of Cave’s best albums in decades. (DV)

Choosey & Exile ‘Black Beans’
(Dirty Science)




“The comforts of soulful Cali ear butter, and rhymes of a valued familiarity, eye a top 10 spot come the end of the year” – RnV Mar 19




“Come and get your soul food”, a wise band once said. Treating Black Beans as an album that brings the family together around the record player, though it’s just as strong as an edutainment pursuit with headphones and your own private enclave, Choosey and Exile are the master cross-section of warm, good-old-days idealism and a voice providing revisions to nostalgia, telling the fuzzy feelings to sit up straight and tucking you in without forgetting that in love and life there’s always a moral to the story. Aloe Blacc’s deployment to send spines shivering on the all-seasons champ ‘Low Low’ is a masterstroke, the blues and soul source material carefully sifted and restored so that heads are set to thinking that maybe, everything is gonna be alright, pausing today’s mile-a-minute trends and attitudes. Grooves and truths set to soothe and move you. (MO)

Clipping ‘There Existed an Addiction to Blood’
(Sub Pop)




“Where no-one can hear you scream in space until its engine room sucks you in and spits you out” – RnV Oct 19




‘Nothing is Safe’, ‘He Dead’, ‘Run for Your Life’, ‘All in Your Head’…there’s nothing like a cult Clipping cakewalk leaving you gasping for breath. Holographic rhymes and reedy synth beats programmed like a doomed ignition sequence, whose sometimes beatlessness is replaced by wailing walls of surround sound hell and empty, nervous atmospherics, it’s the perfect deployment of the textbook pincer movement, peering stealthily around corners before letting the autofire get open until one great ball of fire engulfs everything. Crew commander Daveed Diggs plays on the edge of rogue Andre3000 operative with ambitions of hero decoration, and as blood both pumps and runs cold, the LA crew still manage to get street lifers Elcamino, Benny the Butcher and La Chat to buy into the mission of a burnt out future – game recognise game. Forget West Coast low-riders, these are the men who fell to earth: you’re pleased they just about survived to tell the tale, and something tells you they’d do it all over again, for club and country. (MO)

Cosmic Range ‘The Gratitude Principle’







Guided by Toronto based everyman Matthew “Doc” Dunn the multi-limbed super-group collective of faces from the city’s most recent creative rise to prominence follow up their 2016 polygenesis New Latitudes debut with more of the same: Spotted dabbed slinking sexy spiritual jazz, flute-y Orientalism, snuggling air-y saxophone, wallowing subterranean funk and primal scream therapy peregrinations.

The Gratitude Principle gathers together the Slim Twig’s raging, wild wah-wah licks, the experimental snozzles and spiraling wildly saxophone of Andy Haas, Isla Craig’s ethereal siren vocal and flute duties, Kieran Adams’ drums and tinkerings with electronics, Brandon Valdivia’s congas and percussion, and the keys of Mike “Muskox” Smith and Jonathan Adjemian in a sub-aquatic yearning union of free and Afro jazz and Krautrock. Another trip into the cerebral: a jam session of epic mapping. (DV)


D….

Jack Danz ‘TMIB’
(Blah)




“Entwining the concepts of lo-fi and low life and guaranteed to get under your skin…the voice of someone who’s seen too much but knows exactly what’s going on” – RnV May 19




With rhymes offered as a grunt through what sounds like a prison intercom, Leeds’ Jack Danz is an on-point example of making something cutting edge out of a squalid image – aka, the Blah battalions. Sawn off trap bass, rinky-dink riffs taking on a spectral/lost perspective, and Danz succumbing/thriving while up to his eyeballs, TMIB is the cold light of day after a dive of debauchery: ideal listening for a trashed hotel room or freshly decorated squat riddled with wrongdoing. Danz’ numbness to what are undeniably a set of head nodders (where everything else appears dead from the neck down), makes his flow both out-of-body and trudgingly destructive. If he happens to be in character, it’s a natural role, giving him an impenetrability that means few can answer back to him. Including the engineered ambiguity of the sleeve, this is high power stuff out of sobering surroundings, particularly as there’s definite vulnerability being shown by the album’s end. (MO)

Datkid ‘Confessions of a Crud Lord’
(High Focus)




“On his worst behaviour when ‘Confessions of a Crud Lord’ writes red-top headlines, Datkid bullies the beats of Leaf Dog until he’s administering toilet swirlies” – RnV Apr 19




Goaded by 16 South Westerly beats that’ll have you nodding your way into an MRI scan – your neighbours will love being trolled by the bottom ends – from the moment the word ‘Crud’ stinks the title out, Datkid has it all his own way. An ambassador for UK hip-hop’s rise of the footsoldier, this Bristol blitzkrieg bop is detailed with the confidence of someone thinking they can take on the whole pub and exit with barely a scratch. Suffice to say it’s a relentless baseball bat swing of not giving a monkeys, loving to pounce on out-of-towner weakness in a heartbeat, and whose purity of show and prove, go hard or go home, is enough for guests Westside Gunn, Conway the Machine and Roc Marciano to show support. Once upon a time this would’ve been slapped with an ASBO, but the Crud is strong with this one: “what’s the point of living if you’re just surviving” shows that Datkid really knows where it’s at. (MO)

Graham Domain ‘Fragments Of Light’
(Metal Postcard Records)







Graham Domain is an acquired taste I suppose. Why, I do not know as everyone needs some dark weird music in their drab lives, an ideal cross taste cannon submerge of Tom Waits, Bela Lugosi and Brian Cant naked massaging the tears out of a neglected and abused cabbage patch doll. Stray keyboard drifts beautifully over simple drum beats whilst duetting with the memory of a long lost lover’s memories of tasting your alcohol on her lips and tongue, the ghost of her naked form haunting the side of the bed that once belonged to her.

This mini album, as has been the other two Graham Domain releases this year, is a really must be heard LP that sadly are not being heard. Why, I really do not know. Maybe they are just too strange or just too emotional or simply people are not getting to know or hear about them. So if you are reading this review give it a listen and tell your friends. (BBS)


E…..

Callum Easter ‘Here Or Nowhere’
(Lost Map Records)







One of those dreamy disarming albums that creeps up on you, the Edinburgh-based Callum Easter’s poised and indolently profound debut, Here Or Nowhere, is a sparse affair of the heart. Often lyrically succinct, saying a lot with few words, Easter shifts tonally between the heavenly and more moody. Songs such as the South Seas charmed and swimmingly ‘Fall In Love’ offers the dreamy, whilst the enervated industrial strikes and gritty Scottish bur narration of ‘Fall Down’ offers something grittier.

After a late conversion to music, the self-taught afflatus voiced troubadour leaving a career in professional football behind him at the age of 21, Easter adopts a number of well-travil(ed) and dragged over musical influences. Somehow he makes them sound new, especially on the wonderful Southern echo-y bar room piano rock’n’roll blues hymnal ‘Only Sun’. There’s also a channeling of Charlie Megira, Alan Vega and The Legendary Stardust Cowboy on a range of beautifully poignant songs, and hints of a lot of 2000s Canadian and American indie.

Despite some of the wry mistrust and resigned despondency, Here Or Nowhere is a spiritual pop album suffused – for the main part – by choral angelics, reverent glissandos and a touch of the afflatus. It’s also an album of singles, with every track standing alone and separate in its own right away from the album as a whole: Nothing short of a marvelous alternative pop and gospel triumph. (DV)

Eerie Wanda ‘Pet Town’
(Joyful Noise Recordings)







The lost sounds of childhood summers, the finger clicking bliss of a Joe Meek hit, the beauty of the lost rainbow in an angels wish, this LP by Eerie Wanda makes me recall all this. Pet Town is a fine album indeed, at times it gives me the same feelings of joy I have when playing The Beach Boys much-underrated classic Friends; songs wrapped up in the power of the pureness in being alone.

This is simple in its beauty and the beauty is its simpleness, the vinyl etchings of acoustic nights wrapped in your ex’s arms soundtracked by a lovingly compiled mixtape of the Marine Girls and Holly Golightly’s softer moments.

Summing up, this is an LP to wrap around you to keep you warm in the coming winter months and the LP to play as you walk in the summer sun remembering how happy sad life can be. A stunner. (BBS)

Full review…

Ethnic Heritage Ensemble ‘Be Known Ancient/Future/Music’
(Spiritmuse Records)







From the doyen of the Chicago scene and alumni of that city’s famous hothouse of talent, the School of the Association for the Advancement of Creative Musicians, drummer/percussionist and bandleader Kahil El’Zabar is still exploring, still connecting five decades on from forming the spiritual jazz troupe Ethnic Heritage Ensemble.

Kahil and the current troupe of Corey Wilkes (trumpet), Alex Harding (baritone saxophone) and Ian Maksin (cello) together celebrate a prestigious 45-year career whilst also, and always, looking forward on the latest collection Be Known Ancient/Future/Music. Spanning live performances, recordings and even a track from the 2015 documentary that forms part of the title of this LP, Dwayne Johnson-Cochran’s exploration Be Known, the ensemble once more channel the ever-developing Chicago rhythm that has marked this city out for its unique, often raw, take on R&B, Soul, Dance Music and of course jazz.

Less cosmic than Sun Ra, and less out-of-the-park than the Art Ensemble Of Chicago, Kahil and the EHE tread a different path towards enlightenment; spreading the gospel of positive Afrocentric jazz to ever more dizzying and entrancing heights. Spiritual music with a message doesn’t come much better than this, the EHE showing no signs of waning after 45 years in the business. I’m off to hunt down and digest that lengthy cannon now and suggest you do too. (DV)

Full review…


F……

Frog ‘Count Bateman’
(Audio Antihero/Tape Wormies)







Frog are a kiosk by the sea, on a suburban beach. The essence of their work is gathered in a search for intimacy that is expressed in DIY and lo-fi passages; a very successful sound universe touched by Bon Iver, Daniel Johnston and other such sacred monsters. Their flame is lit on Count Bateman.

The new album in fact captures the peak of a clear path and placed lo-fi sound. The interweaving of stories on this record are a safe place that puts us at peace and in dialogue with the idea of Frog’s music.

Frog are like Matisse, painters of windows and fixtures that open in an expanse of neighborhoods, cities and stories. Count Bateman is an open window from which air enters and often there is also a hurricane breeze; in fact the second part of the record is full of unusual sounds and more driven, electronically, for the duo. (Gianluigi Marsibilio)

Full review…


G…….

Mike Gale ‘Summer Deluxe’







Escaping the short days and dreary dampness of an English winter, the Hampshire-based polymath Mike Gale (notable for his work with the Americana imbued Co-Pilgrim) suns himself in the dappled rays of lilted surf pop on his new solo album, Summer Deluxe.

Liberally splashing about in the efflux surf of The Beach Boys the much-prolific Gale (this is his fifth album alone in just five years) hides a certain sorrow, longing and yearn under the most colorful and dreamy of melodious harmonies.

Dazed and hazy, a hushed mirage of summer, the leaf-turning breeze of autumn is never far away, its arrival denoting all the connotations and metaphors you’d expect, that fleeting optimism of the summer masks and makes all our woes seem far less burdening. Summer Deluxe is swimmingly brilliant in its indie slacker charm with hints of Sparklehorse, Animal Collective and McCartney; a scion indeed of that Beach Boys spirit. (DV)

Full review…

Nicolas Gaunin ‘Noa Noa Noa’
(Hive Mind Records)







This is included because it sounds unlike anything else I’ve listened to in 2019. Originally put out in 2018 on the obscure Artetetra Records label, Nicola Sanguin, under his barely concealed appellation alter ego Nicolas Gaunin, strange exotic minimalist Noa Noa Noa LP has found a new home on the Brighton-based imprint Hive Mind.

With vague hints of Krautrock legends Embryo’s more percussive experiments in Africa, the dreamy mysterious invocations of Le Mystere Jazz de Tumbautau, Radio Tarifa, Ethno-jazz at its most untethered and Analogue Bubblebath era Richard James, Sanguin’s fantastical experiments mix vague sounds of thumb-piano, Serengeti and jungle wildlife, bamboo glockenspiel, clacking wooden and bass-heavy hand drums and nuanced workshop Techno.

Noa Noa Noa is indeed a thing of curious evocation; a searing balmy transduced soundtrack worth investigating.

Full review…

Gawd Status ‘Firmamentum’
(Tru Thoughts)




“Militant pride that’ll uproot those sitting on the fence, it’s a saga that must run and run. Absolutely boomin’” – RnV May 19



When the Big Bang wiped everything out first time around, Gawd Status saw it as an opportunity, in which Kashmere’s Strange U spaceship nosedives into the jungle, moondust dementia still sputtering from its exhaust, and Joker Starr swaps the battle arena for the cannibalistic, kill or be killed lawlessness of the Firmamentum outback. The Gawd Status is a complicated one, seriously heavy at a skinflint eight tracks long (even in the current age of artists finally getting album length right, 28 minutes is a bit of a choker), fiercely standing up for itself in articulation of black rage and examination of conspiracy theories, and revelling in The Iguana Man’s thick doomsday fog. The event completed by some utterly bumping soul sisterhood from Fae Simon, its arrival at Tru Thoughts is a slight surprise. Nonetheless it’s a work of art that burns bright like a brilliant, tumultuous dream. (MO)

The Good Ones ‘Rwanda, You Should Be Loved’
(Anti-Records)







Finding the most earthy of uncluttered soul in the most inhospitable and traumatized of environments, global renowned producer/facilitator Ian Brennan once more sets up the most minimalist and unobtrusive of recording sessions; capturing the raw, natural magic of Rwanda’s The Good Ones for posterity before it dies out.

Though moving slowly past the scars of the country’s genocide, the glorious encapsulating and whistling voices that make up this collective live a bare sustenance, eking out a meager life as farmers in the remotest of landscapes.

Recorded at guitarist and vocalist Adrien Kazigira’s hillside farm, Rwanda, You Should Be Loved Place is as poignant as it is hearty; a songbook of lilting lullaby’s, forewarnings and lament. Not that there presence is needed, but a cast of Western artists – Kevin Shields, Corin Tucker, Tunde Adebimpe and Nels Cline – lend support on a number of these beautiful songs.   (DV)

Adam Green ‘Engine Of Paradise’
(30th Century)





Meandering through the modern world of incessant tech-babble and validation cult, the former Moldy Peach turn left banke troubadour Adam Green once more traverses the boulevards and Greenwich Village hangouts of a more simpler, connected time on his wonderful folksy songbook, Engine Of Paradise.

Channeling a homage of Lee Hazlewood, Burt Bacharach, Harry Nilsson, Ian McCulloch, Jim Sullivan and Father John Misty our romantic and candid swooner delivers Midnight Cowboy like cocktail ruminations on love in the context of a society in the grip of an ever intrusive and alienating social media. Nostalgic certainly…but all the better for it. (DV)

Playlist
Compiled by Dominic Valvona with contributions from Matt Oliver, Brian ‘Bordello’ Shea, Andrew C. Kidd and Gianluigi Marsibilio.
Graphics by Gianluigi Marsibilio.








Reflecting the Monolith Cocktail’s tastes and favourite choice tracks from the last few months, the Quarterly Revue is a diverse musical journey; an eclectic international playlist of discoveries. This is a space in which you are as likely to find the skewered Gary Wilson meets Brian Wilson stained-glass psychedelic songwriting of the Origami Repetika creative hub as you are the conscious transportive jazz of Horace Tapscott. Brand new tracks appear alongside reissues and recently uncovered nuggets as we move through funk, jazz, hip-hop, post-punk, shoegaze, desert blues, techno, psychedelic, acid rock, space rock, and the most experimental of musical genres.

 

Behold…part three…


Tracklist::

Snapped Ankles  ‘Three Steps To A Development’
DJ Shadow  ‘Rosie’
Kid Acne/Nosaj/Spectacular Diagnostics  ‘Crest Of A Wave’
Gang Starr/J. Cole  ‘Family and Loyalty’
Danny Brown  ‘Best Life’
Bronx Slang  ‘More Grief’
SAULT  ‘Let Me Go’
clipping.  ‘Nothing Is Safe’
Bloke Music  ‘Everything On’
Seaside Witch Coven  ‘Splutter’
Trupa Trupa  ‘Remainder’
Stereo Total  ‘Einfach’
Los Piranas  ‘Palermo’s Grunch’
Baba Zula  ‘Salincak In’
Abdallah Oumbadougou  ‘Thingalene’
Grup Dogus  ‘Namus Belasi’
Taichmania  ‘See Ya at Six or Seven’
Kota Motomura  ‘Cry Baby’
Baby Taylah  ‘Reclaim’
House Of Tapes  ‘Melted Ice’
Camino Willow  ‘Hollywood’
Callum Easter  ‘Only Sun’
Junkboy  ‘Waiting Room’
Elizabeth Everts  ‘Contraband’
Bloom de Wilde  ‘Soul Siren’
Badge Epoque Ensemble  ‘Milk Split on Eternity’
Chrissie Hynde/The Valve Bone Woe Ensemble  ‘Meditation on a Pair of Wire Cutters’
Swan/Koistinen  ‘Diagnosis’
Sirom  ‘Low Probability of a Hug’
Koma Saxo  ‘Fanfarum for Komarun’
Matana Roberts  ‘Raise Yourself Up/Backbone Once More/How Bright They Shine’
Die Achse/Ghostface Killah/Agent Sasco  ‘Baby Osamas’
U-Bahn  ‘Beta Boyz’
Occult Character  ‘Half-Wits and Cultists’
Asbestos Lead Asbestos  ‘Shrimp Asmr’
Repo-Man  ‘Evan The Runt’
Issac Birituro & The Rail Abandon  ‘Kalba’
Nicolas Gaunin  ‘Vava’u’
Mazouni  ‘Daag Dagui’
Mdou Moctar  ‘Wiwasharnine’
Aziza Brahim  ‘Leil’
Resavoir  ‘Resavoir’
Purple Mountains  ‘All My Happiness is Gone’
Babybird  ‘Cave In’
Adam Green  ‘Freeze My Love’
Catgod  ‘Blood’
Frog  ‘RIP to the Empire State Flea Market’
Pozi  ‘Engaged’
Roi  ‘Dormouse Records’
Origami Repetika  ‘Winged Creatures’
Horace Tapscott  ‘Future Sally’s Time’
A Journey Of Giraffes  ‘September 11 1977’
Jodie Lowther  ‘The Cat Collects’
Equinox/Vukovar  ‘Lament’
Kandodo 3  ‘King Vulture’

Hip-Hop Revue: Matt Oliver





Singles/EPs

A bouquet of beats, Cupid-sent cuts, and rhymes to make your headboard rock – it’s the post-Valentine’s instalment of Rapture & Verse for all you horndogs. Legendary London Posse rhymer Bionic returns as the GreenCryptoKnight, showing you never lose your superpowers as he tears into Jazz T and Zygote’s face slapping, emerald-vinyled ‘Superman’, before adjusting the slicked back specs and tie look on the sombre ‘It Set In Stone’. Circling the drain and enjoying the sensation of tenterhooks snagging the skin, Press1, Sylla B and Dr Syntax face up to the facts of ‘Smartphone Zombies’, far gloomier than the amusing title insinuates. Taking you to down to ‘Suicide City’, where the grass is decidedly not greener and you can decide for yourself about the girls, Onoe Capone turns on the rapid fire with nothing to lose as the “bad guy that’s misunderstood”.





Bonus heat from Nolan the Ninja on the quiet storm ‘IMG’ slickly goes from casual retrospective to show-n-prove tying you up in knots. On some grimy underdog biz, Lee Ricks grits his teeth fully aware that ‘Life’s a Bitch’, fired up by being fed up, peering over the edge to BigBob’s fatefully wistful nodder. Similar grit out of necessity is displayed by the granite-carved David May, right on time when grinding hard on ‘Black Box’ with Lake Indigo pairing Celtic wonder with bass pushing the reds. Yamin Semali passionately defining what it means to be ‘Immortal’ comes with strings leaping from the speakers and a banquet of soul food for thought. Nothing but honest energy on seven amped tracks from DJ Nu-Mark, Slimkid3 and Austin Antoine creates a ‘TRDMRK’. Beats and rhymes loosen the screws on your speakers and make the front row spring-loaded, with Guilty Simpson and Dillon Cooper coming through for the jump-ups.






Albums

Round four of the Czarface chronicles, this time with Ghostface Killah in the guest hot seat. There are times when an isolated Tony Starks feels like a fourth wheel/fifth Beatle – 7L & Esoteric 1, Wu-Tang Clan 0 – but compared to some of his more recent long players his appetite on ‘Czarface Meets Ghostface’ is well up. In amongst the usual play-your-position hurricane of uppercut-landing beats and career-ending 16s from the cipher to the comic book store, is confirmation of what an amazingly consistent emcee Esoteric is. Don’t expect Czarface to relinquish their infinite lives status any time soon.





The unquenchable thirst for blood that motivates Ramson Badbonez, makes ‘Mic Day the 13th’ a date to both revere and fear. RB’s considered decapitations, referencing all your favourite madmen, accomplish carnage with the level-headedness of a double agent whose shift changes under a full moon. While beats go bump in the night, a pokerfaced accomplice of the slasher going about his business, it’s a very British campaign of murder-murder-kill-kill.





You are about to witness the strength of street knowledge. The ‘G.A.W.D.’ complex of Joker Starr is his usual bustling style putting an F word to what you heard, hitting you with a bunch of robustly educational reducers set up by Micall Parknsun with a Blaxploitative nod on the boards. Jack Jetson and Illinformed are the ushers to ‘Strange Cinema’, tuneful head nodders galore until necks feel swollen, and an impactful flow with very little histrionics, even when “I lost my mind, now I found it, but it’s missing bits”: a watertight combination. The latest round of two minute warnings from Bisk, sticky, lo-fi claustrophobia from a peak NYC housing project, makes you squint through the abrupt ‘Gunsmoke’: an absolutely deadly spell of fully clipped relaxation.





Your neckline firmly in his sights, Pitch 92 runs a tight ship in representing ‘3rd Culture’ with a steady hand at the wheel. The Manchester producer must’ve sprinkled some sort of emcee catnip in the booth however, as he brings out some excellent performances from Jehst, Kashmere, Sparkz, Fliptrix, Foreign Beggars, the Four Owls and more. While there’s no doubting that the guests would have come through, you have to give credit to Pitch on the boards for giving them the right and clean balance of canvas to do so.





Seethingly succinct and planning your downfall at his most matey, Rick Fury isn’t quiet in giving his targets what for, signalling the ‘Death of Autumn’ from the North East. Expertly manoeuvring soulful strike-outs from DJ ADS, in tune with the changing colour of the leaves and cannily reworking a trance classic on the album’s finale, Fury intertwines the mutual exclusivity of a simmering glare and a playful bounce to his rhymes, suggesting that if you make yourself comfortable, don’t do overdo it. An emcee able to cancel all challengers.

Boom bap, original rap: Bronx Slang’s self-titled album systematically sorts the wheat from the chaff. On paper their method is foolproof: high protein funk prone to espionage (and from surprise sources), mic-crumbling rhymes, 11 tracks, tag team performance, concepts and comment, plentiful lines to rewind…if all of this sounds overly nostalgic at pains to keep it real, Jerry Beeks and Miggs are more sages than saviours, proving you don’t have to settle for what’s supposedly trending. Proper hip-hop citizenship.





How do you like your eggs in the morning? Jazzy, sunny side up and with plenty of snap? Remulak’s plate of ‘Scrambled Eggs’ gets a dusting down and offers an instrumental challenge to any plucky master of ceremonies, doing very nicely for itself when you’re taking a break from putting on the Ritz and wearing spats with a swoosh. Most dapper, and no faking either. A decade’s worth of Oliver Sudden in 46 minutes is a fine flick through the racks that sails down like the first pint of summer. The ‘10 Year Mixtape’, put together by Downstroke and featuring assists from Luca Brazi, Sam Zircon and Ill Move Sporadic, is guaranteed to remove all accumulated crud from your ears: pretty much unskippable.

 

Presenting old skool rules from Positive K and MC Lyte, and the greatness of the Train Robbers.








Words: Matt Oliver

Matt Olivers essential Hip-Hop Revue





Singles/EPs

Rapture & Verse’s Halloween prep starts with the usual cutting of holes in a bed sheet, a liberal squirt of ketchup, and a splash of ‘The Tonic 2’ EP across the chops. Dr Syntax and Pete Cannon guarantee a minimum 24 hour protection, examining avenues few dare to visit: the self-explanatory ‘Workinout’ and ‘Facial Hair’ are modern day anthems, stared down by the solemn midpoint warning ‘Oh’. A livener in seven easy supplements. Another duo displaying a healthy sickness, Rack Mode and Elliot Fresh are married to the game ‘Till Death Do Us Part’. Toughened funk with devils horns poking out, and rhymes draining biros with quick reflexes, vow in unison to give you six of the best.





When Mistah Bohze has the ‘Momentum’, he’s hard to stop, twisting through a booming synth shunt before lifting the lid on ‘Pharaoh Dynamics’, delivering snake charming with a death grip. Following a headhunter’s thirst with time to chill, the Midlands’ perma-blunt Late rides again on ‘Elevationz’, making sure his tacks are the brassiest to the sound of Juttla lining the apocalypse with palm trees. Swatting away string orchestras and Hanna-Barbera getaways, competition is defenceless against the renegade steamroller that is Little Simz’ ‘Offence’, pedal pushed down just as hard on ‘Boss’.





A twin takedown from Cimer Amor and Side Effect won’t rest until punks are in their place, ‘Write That Down’ and ‘Gangsta Talk’ nicely to the point en route to causing front row mayhem. ‘Well, Well, Well’ by Bronx Slang styles out the concept of wanting it all, helping themselves to the individual strengths of uncle Tom Cobley’s extended family as a rewindable hypothesis; come for the namechecking, stay for the swagger. Winter’s icy grip is manoeuvred puppet master-style by Yugen Blakrok, part outlaw part cyborg breaking civilisation down into ‘Carbon Form’. Fiercely underground, intimidating, but creating fascinating parables as she goes. ‘The Bone Collector’ by V Don is pure law-breaking music while trying to retain a respectable air, six tracks of fair means and foul carried out by Westside Gunn, Crimeapple and more. “Shave the hair off their fingers so nothing gets stuck on hammers” is a gangsta credential to aspire to.



Albums

The hotly tipped ‘Humble Pi’ divided between Homeboy Sandman and Edan may only be a miserly seven tracks long, but is a banquet of slaps that will become one of your five a day, and ultimately year. Sandman as people’s champ, underground avenger and backpack laureate, and Edan tying an extra double knot in the Madvillain tapestry, are a sixth sense-powered twin threat, embroiled in their own battle royale with each other to reach the summit.

Because ‘Home is Where the Art Is’, the easygoing Barney Artist helps put feet up, but with a darker edge waiting in the next room. For want of a better phrase, his is a rapper next door persona making easy progress to eardrums enjoying a lie-in, deepened when his heart and head begin skirmishing, with appearances from Tom Misch, Jordan Rakei and George the Poet sealing an excellent album of broad appeal.





A quick follow-up to this year’s ‘No Brainer’, Coops’ ‘Life in the Flesh’ continues to look at the world through the blinds; late night but wide awake, survival instincts to the fore and maintaining the momentum of his previous profile that balances retreating wisdom and patiently lying in wait. A master of overlapping the effortlessly tense and the testily comfortable, this is both shelter of and from the streets.

The Madison Washington dossier of ‘Facts’ compiles the personal, intellectual, challenging and sometimes just plain funky. One way or another the US-to-UK pair are gonna light a fire under you with their outpouring of ideas. “Equal parts west coast funk and desert trip-hop” – thanks to great beats from top to bottom from The Lasso, the always lyrical Lando Chill makes his point as a continued threat from whatever angle he examines ‘Black Ego’, though perhaps because of the scenery behind him, a (positively) different proposition from ‘For Mark, Your Son’.





Smooth, slick and possibly dangerous to know, Boog Brown pushes her sophisticated self-titled album at a speakeasy on the low, manned by Tom Caruana. The immediate coffee shop connotations are much more treacherous and ultimately stirring than a simple after hours slam – the Atlanta-via-Detroit emcee and producer feed off one another to create a dusky work of art streaked with comforting light.

Twiddling the dial from left to right for the perfect score of chopped up loops, hardcore head nods, needle fluffers and sunny stop-start soul, Jansport J gets ‘Low’ but ends up with an instrumental album on high. Tweaks of Redman and Al Green are the highlights of a roadtrip where sunglasses and chill are compulsory. That well known fact that nothing rhymes with ‘orange’ is good news for Chariman Maf’s ‘Ginger’, bounding in with a ten track instrumental set full of get-up-and-go and then smoothing it on out for headphone clientele. Funk and fun encourages biros to get scribbling if they’ve got the brio. It ain’t no fun if Illingsworth don’t get some, the some in question on ‘You’re No Fun’ being instrumentals laced with varying amounts of Detroit dustiness and leftism, and the occasional rhyme – Open Mike Eagle and Denmark Vessey temp on the mic – that flicks ears back into action.





A cracked, chainsmoked delivery between Jeezy and The Game seems ideal for Recognize Ali to enter the arid realms of suited and booting mobsterdom. The opposite is true, and ‘The Outlawed’ partly has the UK to blame – Farma Beats, Smellington Piff, El Ay and Da Fly Hooligan all contribute to his running wild into the china shop. Gradually the handbrake is applied, but Ali’s chokehold clamps down on all wannabe thugs and keeps squeezing. ‘Behold a Dark Horse’ by arch dehydrator Roc Marciano is in a similar bracket, a ride you should back once he’s “cocked a nine back like a hand jive”. For someone who claps on instinct – notwithstanding a dip into Chaka Khan on ‘Amethyst’ – he remains a deceivingly slippery character, transfixing you when weaving from ambassador reception to swinging 60s to street brawl.

Still holding the steadiest of lines for what seems like forever, Atmosphere load up on their indelible variables so ‘Mi Vida Local’ always offers something to cling onto. The persistent acoustic drizzle, the hope of cloud-breaking sunshine when an amp gets kicked up or a bottle smashes, the passive/aggressive set-plays modelled as passion/aggression – not to mention the downright sickly ‘Trim’ – preserve their position as both fulcrum and window to the world.

A tumultuous DJ Muggs on the boards, and B-Real and Sen Dog personifying cold-blooded calmness in the eye of the storm – or too stoned to be affected. Cypress Hill’s ‘Elephants on Acid’ is a psychedelic stampede magnified by hallucinations, incantations and Judgement Day dominating the calendar. Old habits obviously die hard – ‘Oh Na Na’ and ‘Crazy’ sound like ‘Insane in the Brain’ remixed by ‘Gravel Pit’ – but the saga that unfolds and breathes down the neck of their 90s heyday takes the band into a new dimension.

 

Looking good this month: Riz MC, Sa Roc and Shockwave with Andy Cooper.











Playlist: Chosen by Dominic Valvona & Matt Oliver/ Curated by Dominic Valvona





Priding ourselves on the diverse, pan-global playlists we collate for your aural pleasure and indulgence, the Monolith Cocktail Quarterly Revue series is the eclectic behemoth of them all. With no demarcation of any kind or rules we mix the harrowing and gothic with beckoning polyrhythmic dancefloor screamers, flights of panoramic fantasy with raging protestations, and the most sublime peregrinations with experimental cries from the wilderness.

Everything you find on this playlist has either featured on the site over the last three months or been in our general orbit (the sheer volume of music we get sent means there is inevitably issues of space and time, and so some great tracks just don’t make it; this is our chance to feature those lost tracks). Below you will find a full track list, including links to reviews.


Tracklist:-


Malawi Mouse Boys  ‘Hunger (Hymn)
Spike & Debbie  ‘Strike – Compilation Version
Dur-Dur Band  ‘Yabaal
Goatman  ‘Jaam Ak Salam’
Mac Miller  ‘Party On Fifth Ave.
Parquet Floors  ‘Wide Awake’
LCD Soundsystem  ‘Oh Baby – Lovefingers Remix’
Papernut Cambridge  ‘The Hobbledehoy
Yuzo Iwata  ‘Gigolo’
Soft Science  ‘Undone
Stella Sommer  ‘Dark Princess, Dark Prince
Mehdi Rostami & Adib Rostami  ‘Delight
Yiddish Glory (Loyko, Alexander Sevastian, Sophie Milman)  ‘Shpatzir in Vald (A Walk In The Forest)
Yazz Ahmed  ‘The Lost Pearl – Hector Plimmer Remix
John Coltrane  ‘Impressions – Take 3’
Thelonious Monk  ‘Nutty, Pt. 2’
RAM  ‘Dambala Elouwe’
Vaudou Game  ‘Tata Fatigue’
Derya Yıldırım, Grup Şimşek  ‘Uc Kiz Bir Ana’
Idris Ackamoor & The Pyramids  ‘Land Of Ra’
Bixiga 70  ‘Quebra Cabeça
Etuk Ubong  ‘Black Debtors’
Ayalew Mesfin  ‘Hasabe (My Worries)’
Ippu Mitsui  ‘Shift Down
Otis Sandsjo  ‘Teppich
Nyeusi  ‘Jupiter’s Giant Red Spot’
Angels Die Hard  ‘Acid Beach
Mothers  ‘PINK’
Rat The Magnificent  ‘Up The Street
American Nudism  ‘Future 5-0’
Dead End, M, Second Son  ‘Let The Music Talk
Tenesha The Wordsmith, DJ Khalab  ‘Madea’
CRIMEAPPLE, Big Ghost Ltd.  ‘Your Love’
The Last Skeptik, Mikill Pane, Allana Verde  ‘Rules Of Engagement
Beans, Sam Fog  ‘The Black Chasm’
Bronx Slang  ‘Rushing The Stage
Wordburglar  ‘Rental Patient
Gunshot  ‘Sulphur
Stringmodulator  ‘Betwixt & Between
Laure Briard  ‘Janela’
Brian Bordello  ‘Eddie Cochran’
Simon Love  ‘God Bless The Dick Who Let You Go
Picturebox  ‘The Vicar’s Dog
Atmosphere  ‘Make It All Better Again’
Daniel Rossen  ‘Deerslayer’
White Denim  ‘Good News’
La Luz  ‘Mean Dream’
Kammerflimmer Kollektief  ‘Action 3: Thoughtless, Hamburg


Previous Quarterly Revues From 2018 



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