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





By now we’ll probably all aware and getting jaded by the constant newsroll of Covid-19 horror stories, and the ominous stench of pandemic armageddon. To return to some sort of normality, the Monolith Cocktail promises to keep finding all the best new music for you to enjoy, dance to, contemplate and mull over. No cheap epidemic cash-ins and no tenuous links to self-promotional lockdowns here. Just great music, which we hope you will all keep supporting during these anxious uncertain times. And remember, if you do find anything on this playlist that you’d love to purchase, please root the artist, band out on Bandcamp tomorrow (Friday 1st May 2020), as the platform is once more waiving their cut of the fees.

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



Tracks in full are:

Hanni El Khatib  ‘ALIVE’
Mashmellow  ‘Share It’
3 South & Banana  ‘Rush Hour’
Supergombo  ‘Alien Felines From Beyond The Galaxy’
iyatraQuartet  ‘Chandra’
Santrofi  ‘Africa’
Damily  ‘Zaho Va’
Holy Hive  ‘Didn’t You Say’
Euan Hartley And Friends  ’30/1′
Twisted Ankle  ‘Landlord Laughs’
Lucidvox  ‘Knife’
Pabst  ‘Skyline’
Senji Niban  ‘Where The Birds Fly Now?’
Higamos Hogamos/Spacerocks  ‘Crome Yellow’
Raw Poetic & Damu the Fudgemunk  ‘Head On’
Tanya Morgan  ‘Resurrection’
Evidence  ‘Unlearning’
The Doppelgangaz  ‘Cloak Makes The Man’
Antti Lotjonen  ‘Pocket Yoga’
R.A. The Rugged Man ft. Chuck D  ‘Malice Of Mammon’
Dope Knife  ‘Face Fuck’
Cambetta & Apollo Brown  ‘Nightmare’
Makoto Kino  ‘West Madoka’
Bodyvox  ‘Yeah Yeah (D Ramirez Vocal Radio Edit)’
RJD2 ft. Homeboy Sandman  ‘One Of A Kind’
Sparks  ‘One For The Ages’
Mick Harvey  ‘The Journey: Part 1: Conflict’
Alex Stolze ft. Ben Osborn & Anne Muller  ‘Babylon’
Chicago Underground Quartet  ‘Orgasm’
Aksak Maboul  ‘Silent Silhouettes’
Halftribe  ‘Subliminal’
Clovvder  ‘My Mother Was The Moon’
Nick Cave  ‘Cosmic Dancer’
Die Wilde Jagd  ‘Himmelfahrten’
David Ahlen  ‘If I Have You’
Big Thief  ‘Love In Mine’
Yakima  ‘It Helped’
Murmur Tooth  ‘A Fault In This Machine’
Farezi & Sinan Oktem  ‘Dionysian’
So Beast  ‘Multiplayer’
Simon McCorry  ‘Pieces Of Mind’
Kahil El’Zabar & David Murray  ‘In My House’
Roedelius  ‘Geruhsam’



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.

NEW MUSIC ROUNDUP/Dominic Valvona





The Perusal is a great chance to catch up, taking a quick shifty at the mounting pile of singles, EPs, mini-LPs, tracks, videos and oddities that threaten to overload the Monolith Cocktail’s inboxes each month. Chosen by Dominic Valvona, this week’s roundup includes Clovvder, Escupemetralla, John Johanna, Twisted Ankle and Vukovar.

John Johanna   ‘The Eastern Harmony and Gospel Demonstrator: Outtakes and Demos 2015​-​17’
EP/Available Now





No stranger to this blog over the last couple of years, having made our albums of the year features for two years in a row, first with 2018’s afflatus gospel rock mini-album I’ll Be Ready When The Great Day Comes, and then in 2019 with the Book Of Enoch imbued gospel-raga-blues and Radio Clash cosmology Seven Metal Mountains LP, the Norfolk anointed artist John Johanna has made a name for himself crafting a brand of infectious musical gospels and hymns, sourced from a myriad of Biblical and worldly religious tracts: The good book according to Johanna you could say.

During the interim of a new album, and just when we could do with some spiritual levity, Johanna has just put out a collection of ‘outtakes’ and ‘demos’ made during the years prior to the already mentioned debut I’ll Be Ready When The Great Day Comes. Though straying from the North American and African American liturgy on his two more recent albums, these earlier trails and tribulations often sound like meditations on Southern American gospel and soul. For example, the rustic lo fi backbeat echo take of the Jordon vision, ‘Deep River’, has traces of the Deep South’s own reverent bluesmen but also an air of The Everly Brothers. You’d be hard pressed without prior knowledge to pick out the covers from originals, but Johanna produces hymnal takes on Thomas A. Dorsey‘s pre-war standard ‘Take My Hand, Precious Lord’ – lending the stalwart standard a touch of Canned Heat at their most holy – and E. M. Bartlett‘s 1921 ‘Just a Little While’ – giving it a kind of early spiritual rock ’n’ roll feel.

An apostle at the crossroads, much of the material on this compilation woos, shakes, stamps to a country-blues-psychedelic accompaniment, led by a cosmic cowboy.

It’s quite refreshing in these cynical and hysterical times to champion a man of Eastern Orthodox Christian faith – the ‘God’ word and Christianity in general has become an anathema in polite society; looked on with suspicion or extreme prejudice in these apparent libertarian and virtuous times. Wishing to commune and share his beliefs on record, Johanna navigates both the happy-clappy conversion and pulpit to record atavistic sentiments and longing in a modern fusion of hypnotic sounds. The Eastern Harmony and Gospel Demonstrator : Outtakes and Demos 2015​-​17 is a great collection of a burgeoning artist on a pilgrimage of communion.


Related posts from the Archives:

I’ll Be Ready When The Great Day Comes LP Albums Of 2018

Seven Metal Mountains LP Review



Vukovar  ‘Cement & Cerement’
Video/Track/Available Now





Today’s airing is taken from the recently, without fanfare, dropped EXHUMATION: THE FIRST DEATH OF VUKOVAR (2014 – 2019); the first of three self-congratulatory ‘best ofs’ and collections of newish musics from one of the most criminally ignored British bands of recent years, Vukovar. If you’ve been a keen follower of the Monolith Cocktail and kept abreast of the many trials and tribulations of the Chthonian apostles of industrial, Gothic and post-punk, then you will know that this ever-evolving trio (at least in foundation) have imploded and broken up on countless times during their brief existence – though that is up for debate, as in theory the Vukovar are not dead and buried yet; continuing to exist as they do in one incarnation or another. During that short span of five years they’ve released seven totem albums of quality hardcore divine comedy and paradise lost, and plenty of despondent augurs. Sitting on enough material to fill another trio of albums, they’ve hit a snag of late, splitting up but also losing one of their chief inspirations and creative foils, the late tragic Ceramic Hobs instigator Simon Morris. Morris, one of many collaborators of the ‘underground’ and mischievous scenes to work with the band, joined them on their swansong LP Cremator – a curtain call at least for the original lineup. Vukovar’s seventh album proper and so far last just happened to also be one of the bands best and most accomplished efforts to date.

And so whilst awaiting that future vision of the band and stream of future albums the group now takes stock – the first time that they have in that five-year period -, releasing a triumvirate of highlights, and lowlights over the next month or so.

From that first compilation in the triptych series (as they call it), and framed as the first broadcast of what would have been the unholy Simon Morris communion extolled NeuPopAct, the last song the fated genius recorded with members of Vukovar, the Alan Vega/Charlie Megira in Brutalism romance ‘Cement & Cerement’, seems both a tribute and sad resigned glimpse at what could have been if he hadn’t committed suicide late last year. Watch this space, as they say, for more on those albums over the coming weeks.


Related posts from the Archives:

Vukovar ‘Cremator’ Review

Vukovar ‘Puritan’ Review

Vukovar ‘Infinitum’ Premiere

Vukovar/Michael Cashmore ‘Monument’ Review

Dan Shea on Simon Morris A Tribute



Clovvder   ‘My Mother Was The Moon’
Available Now





Emerging once more from the ether, the Gothic duo from the Uruguayan port of Montevideo has chosen to return with a cover of the morose King Dude ‘My Mother Was The Moon’ hymn. Equal in atmospheric veiled vaporous invocations, Clovvder’s siren wafts gossamer style, weaving a new black magik interpretation of the original’s fateful lyrics. Magic realism poetry and despondent esoteric romanticism combine to evoke a most haunting requiem, from a duo that seems to create veiled invocations in the gap between never worlds. Truly atmospheric and mysterious.


Related posts from the Archives:

Clovvder ‘Traits’ Review



Twisted Ankle  ‘Landlord Laughs’
(Breakfast Records)  Single/17th April 2020





A macabre contortion of sinewy no wave and crushing post punk the leading polemic single from the future self-titled Twisted Ankle debut LP is a tumult of unkempt rage threatening to boil over. A broadside at those sneering all the way to the bank with the profits of their rentals, ‘Landlord Laughs’ twists the ongoing housing crisis into a sort of neo-feudalist nursery-rhyme: a kind of updated Ring a Ring o’ Roses if you like, which the band, only half-mockingly, envisage ‘little primary children will skip around the merry tree chanting ‘where did you put it?’ and asking ‘Mummy, what’s a house?’ in future days. Though written before the current lockdown, this reference to the children’s sing-along playground game is prescient; inspired, though many have argued its not, by the great plague, it resonates with the end times epidemic currently throttling the life out of society.

In effect, the Bristol experimentalists ‘mirror the decaying social order of quarantine Britain’. The increasingly tormented track uses samples of the noises Boris Johnson makes in between words, set to a brash and burnished

Known for their bizarre theatrical live shows, Twisted Ankle has emerged over the last few years as one of the most unique acts in the South-West. A strange mix of post-punk, dissonant jazz and macabre humour, they’ve long been a prominent fixture on the live circuit, supporting Mclusky, JOHN and Fraud’s across the last year. Yet their recorded output has been unusually slim: until now. If The Fall in an unholy union with James Chance, The Lounge Lizards and Half Japanese grabs you, than fill your boots.



Escupemetralla  ‘Remotitud (2020)’
Video/Track/Available Now





Sharing their dark visions and nightmares during lockdown the mysterious Escupemetralla (which were informed means “spitsshrapnel” in Spanish) has been dropping the most haunting, unsettling tracks alongside blog postings and related video art every week. An organism, an organization, a fiendish underground hub of the disturbing avant-garde and experimental the anonymous makers of these soundbites and broadcasts from the damned have offered up this esoterically atmospheric ‘remoteness’ score.

Still in the dark, Escupemetralla offer up this transmission statement: ‘the result of a series of retro-transmissions to be carried out in the mid-twenty first century at the “Thorne’s Cone Light Reversion Laboratory for Children”, Los Alamos, Texas (Federal States of Mexico and Puerto Rico). In a certain way, Escupemetralla are just virtual entities that will actually exist in several years’ time.’

Whatever is happening, it proves a frightening vision that chimes with the ongoing crisis of Covid-19 lockdown. Prepare to be spooked.


Related posts from the Archives:

Escupemetralla ‘Fe, Esperanza Y Caridad’ Review



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.


Review & Recommendations Roundup – Dominic Valvona




Kicking off 2019 this inaugural edition of Dominic Valvona’s eclectic roundup of new releases includes the new, and only second solo, autobiographical framed album from art/sex/music icon Cosey Fanni Tutti; the dual-album celebration of Germany’s Station 17 collective (originally formed as a musical therapeutic experiment between a Hamburg group of mentally handicapped residents and musicians), marking thirty years of experimental sonic sculpting and collaboration; the dazed jingle-jangle shoegaze from the London outfit Deep Cut – releasing their first album for the Gare du Nord label –, a new album from Tim Presley’s White Fence of soft psychedelic, new wave, fragile troubadour and yearning off-kilter analogue electronic bulletins; a single-type release of bewitching romantic morose from the Uruguay duo Clovvder and a real bona-fide 7” slice of vinyl from legendary English psychedelic luminary Twink and the Gare du Nord label’s unofficial house band all-stars, Papernut Cambridge and Picturebox.

 

Chasing up releases from the fag-end of 2018 I also take a look at the repackage appraisal of the rare and much sought-after 1978 Celtic-folk album from Flibbertigibbet, Whistling Jigs To The Moon, and a collection of previously unreleased recordings from the obscure 60s/70s, genre spanning Paraguay duo JODI, plus delve into the mind of the music composer artist Garrett N., who follows up (tens year later) on his debut album with an ambitious progressive suite of high quality-produced hard rock, funk, sound collage, Hip-Hop, psych and astral synth, Let’s Get Surreal.



Albums

Cosey Fanni Tutti ‘Tutti’
(Conspiracy International) 8th February 2019




After five decades at the cutting edge of subversive performance, conceptual art, and with pushing the envelope of cerebral industrial electronic music there’s no sign of stopping the grand dame icon of the leftfield Cosey Fanni Tutti from continuing to deconstruct and contextualise the limits of the sonic abyss.

Even in recent framed ‘autobiographical’ years, Cosey could hardly be accused of languishing on past glories; the results of a pinnacle year in retrospection revitalized and worked to produce this, Cosey’s only solo album since 1982’s Time To Tell. It could be said that the controversially open artist’s – who has all but laid herself bare physically and sexually in the pursuit of pushing the boundaries of morality, taste and censorship – practice is wholly autobiographical; Tutti being no different in that respect.

Originally created as a soundtrack for the Harmonic Coumaction film as part of a wider COUM Transmissions retrospect (the Dadaist, and to an extent, Fluxus inspired enfant terror group of which Cosey, alongside Throbbing Gristle’s Genesis P-Orridge, co-founded in 1969) that opened the Hull, UK City of Culture celebrations in 2017, the caustic but often vaporous diaphanous eight soundscapes that make-up this latest album can be read as a continuum of Cosey’s biography (published in the same year) and on-going assessment.

Untethered to any particular place or time, spanning the decades to inform both present and future, Tutti is meant to be both an extension yet ‘stand alone document’. Transformed, manipulated and re-processed in the ‘now’, the various abstract perspectives and past incarnations are presented as a sophisticated soundtrack of mostly serialism shifting moods and evocations.

Nuanced and subtle, Cosey refines a legacy that includes Throbbing Gristle and various Chris Carter partnerships to produce a minimalist Techno with ominous otherworldly atmospherics, wafting esoteric style jazz pines and both inner and outer minded cosmological elemental style conceptual album. The title-track itself layers lingering mysterious exotic lingers of jazzy saxophone over distant pounded kinetic beats, cutting tetchy subdued mechanics and suffused drones that touch upon that sonic legacy.

Elsewhere on this series of suites pattering beats cloak alien avian squawks on the wilderness of ‘Drone’; hollow winds blow through metallic rotations on the wizened alluded ‘Sophic Ripple’; Cosey’s veiled apparition lulls drift amorphously in liquid reverberations on ‘Heily’; and leviathans pass over a bending Tangerine Dream like expanse on ‘En’.

Those more familiar with Cosey’s history might recognize title references, sonic prompts, and the use of atavistic arcane spiritual language (the album’s cascading crystalized mirror, ‘Orenda’, using and channeling the Iroquois group of Native American tribes’ name for the spiritual power inherent in people and their environment; the force behind divination, prophecy and soothsaying, amongst others), yet Tutti is a deconstructive breakdown of that same past, built back-up and put together to offer a new dialogue and visage going forward.

Not so much a revelation as ‘continuum’, Cosey’s first solo album in over thirty-six years is a clever atmospherically mysterious and sagacious soundtrack that transmogrifies a lifetime of ‘art, sex and music’ into a most recondite purview of effective electronica.









Station 17 ‘Werkschau’ & ‘Ausblick’
(Bureau B) 1st February 2019




Growing and developing way beyond the initial perimeters of a social experiment between the mentally handicapped residents of a Hamburg community and the independent musician Kai Boysen, Station 17 (as they would become known) has made a sizable and influential mark on the German music scene. From humble beginnings as a stimuli therapeutic project in 1989, the always evolving collaborative group has blossomed into an internationally acclaimed touring band, released over ten albums of eclectic experimentation and worked with an enviable cast of cross-generational artists: from members of the old guard such as Can, Faust, Tangerine Dream and Neu! to more contemporary Techno and electronic artists as DJ Koze, Datashock and Kurt ‘the Pyrolator’ Dahlke.

Spontaneous throughout, the constantly-changing lineup behind Station 17 effortlessly merge and rework Krautrock, Kosmische, Pop, Post-Punk and Techno music into something unique and, above all, democratized: the varying disabilities of the collective’s cast inevitably feed into the process, yet offer no barrier to creativity.

Celebrating thirty years of such experimental and inspired music exploration and performance, on the 1st of February Station 17 will both pause to take stock of the back catalogue, with the retrospective collection Werkschau, whilst looking forward to new sonic horizons, with the release of their eleventh LP proper, Ausblick – a companion piece to last year’s Blick (which made our albums of the year features). The first of these albums – sporting a homage to Can’s Landed album cover art – Werkschau crisscrosses the group’s cannon; from the 1990 self-titled debut album right up to the already mentioned 2018 triumph, Blick.

Certain albums gravitated towards the trends and zeitgeist of the times, but tracks, often a decade or more apart, sit together well with no discernable difference in quality or production. The first trio of tracks for instance, stretch across three decades; moving between the panted, mooning and gasped vocal free-form post-punk of ‘Feeger’, from the Debut LP, to the industrial drum’n’bass, Kraftwerkian meets NIN ‘Budemeister’, taken from the 2006 LP Mikroproffer, and the shimmery bossa electro-pop of ‘Techno Museum 2’, taken from the 1997 LP, Bravo. Elsewhere there are shades of limbering DFA Records-sign-Populare Mechanik, on the 2011 Fieber album track ‘Uh-Uh-Uh’; Bowie oozing over the Art Of Noise on, what could be homage to the Hamburg district and city’s infamous pirate insignia football club, ‘St. Pauli Der Hat Heute Geburts Tag’; and the luminous lunar bound’s of Can’s ‘Dizzy Dizzy’ can be heard permeating another 2011 track, ‘Zuckermalone’.



Guest appearances/collaborations being Station 17’s forte this retrospective includes an abundance of them; including the gangly-Hip-Hop Fetter Brot match-up ‘Ohne Regen Kein Regenbogen’ and the slick sonar reverberated Yellow Magic Orchestra hued, Michael Rothar travelling ‘Bogie Bogie Báka’. (Both tracks of which are taken from the collaborative dedicated 2008 album, Goldstein Variation). It also neatly ties-in with the group’s upcoming album rather well, featuring as it does Station 17’s bridging collaboration with Andreas Spechtl of Ja, Panik! fame, ‘Dinge’, taken from the last album Blick: The upcoming Ausblick conceived in the PR spill as that record’s congruous twin. A companion piece, it shares more or less the very same lineup of guests, featuring once more the mischievous faUSt instigators Zappi and Jean-Hervé, new wave pop appropriator Andreas Dorau, the power-up Düsseldorf and Berlin straddling duo of one-time Ashra and Klaus Schulze drummer Harald Grosskopf and former Kraftwerk, Neu! and Pissoff journeyman Eberhard Kranemann, Tangerine Dream convert Ulrich Schnauss, contemporary electronic artist Schneider TM and of course, Spechtl.

Though this time around tracks seem to be far more expansive on the whole, loose and cosmic, especially the Pyrolator team-up ‘Geisterstunde, Baby’, which bounds and bends to a craning Jah Wobble-esque elasticity, and the Soon Over Babaluma galactic dusting ‘Un Astronaut’, which features both Schneider and old Krautrock hand, founder of GAM and echo guitar pioneer, Günter Schickert.

Wafting aromas of Eastern mystery, free-form jazz and liquid serialism permeate this album as Techno meets with Industrial, post-punk funk and My Life In The Bush Of Ghosts era bass lines; resulting in one of Station 17’s most sophisticated, mature and thoughtful albums yet. A Teutonic odyssey, Ausblick’s enviable guest list certainly helps, yet it is the enthusiasm and spirit of the collective’s ‘wohngruppe’ that enrich and offer a distinct perspective.

Not resting on their laurels, Station 17 simultaneously looks back whilst cosmically being propelled forward, releasing both their new and retrospective albums on the same day. Thirty years in, those humble origins far exceeding expectations, Station 17 continue to produce the goods.



White Fence ‘I Have To Feed Larry’s Hawk’
(Drag City) January 25th 2019




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.

Wise in his choice of associations, Presley has in recent years formed a fruitful bond with fellow American maverick Ty Segall – their latest collaboration, Joy, was released back in the summer of 2018 -, and Welsh artist Cate Le Bon – pairing up to form the odd lolloping DRINKS. It was whilst bunking down at Le Bon’s grotto in the Lake District in the winter that he wrote the songbook that would eventually become I Have To Feed Larry’s Hawk; the admittedly rudimental skilled Presley, sat crafting ideas on Le Bon’s piano whilst she was out adding another string to her already stretched polymath bow, designing wooden furniture at night school.

Once back in the States, imbued even further by his recent move from L.A. to San Francisco, Presley called upon fellow lo fi graduate and face of Lazy Magnet, Jeremy Harris, to help mold and transform his halcyon transatlantic sketches. Harris is credited as the all-round talent that learnt and then, more or less, played and recorded this curious collection in the San Fran located studio of former Bees founder and producer, Paul Butler.

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”. Opening up to a point, Presley’s sighed, understated vocals deliver lyrics swaddled in psychedelic analogy and lazed daydreaming resignation.

Closing the album, the final two-part suite of Ham Reductions, is an experiment in perpetual arpeggiator analogue-electronics. Split in to ‘A: Morning’ and ‘B: Street & Inside Mind’ bookends, these pleasant retro-futurist never-ending instrumentals both evoke the familiarity of Cluster and Eno. Reconfiguring a binary computerized language, each piece is probed and piqued by glistened but more caustic harsher interruptions flows and the sound of the traffic: The inner workings of Presley’s mind transduced into calculating, ruminative passages from another era.

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.





Flibbertigibbet ‘Whistling Jigs To The Moon’
(Sommer) December 5th 2019

JODI ‘My Espontáneo’
(Out-Sider Music) December 5th 2019




Feeding an insatiable hunger for obscure (sometimes for good reason) missives and forgotten links in the chain of music history, the Spanish Guerssen hub of multifaceted labels dishes up an abundance of rarities from around the world, and across time. Two such rare finds have piqued my interest this month, the first from the Paraguay duo JODI, and second, a reissue of the fleeting Celtic lunar imbued Flibbertigibbet album, Whistling Jigs To The Moon.

Faithful to the name, the Out-Sider Music imprint digs out a hotchpotch of previously unreleased recordings from the Wenger brothers, Joem and Dirk. Gathered together under the Pop Espontáneo title – a title that only goes so far in describing the duo’s highly diverse styles and influences – this compilation captures the brother’s at their most experimental, as they graduated from the schoolmates band The Rabbits to the sibling duo JODI and later still, after signing a contract with EMI-Argentina, IODI.

Isolated to a degree in their Paraguay homeland, cut-off to an extent from their peers, an unburdened and unpressured JODI relentlessly recorded an abundance of genre-bending songs and instrumentals at their 8-track studio in Asunción. The results of which, in the main, were self-financed and released in very small numbers privately.

Early adepts of the Moog, which they use with a cosmic relish throughout the majority of these recordings, the Wenger’s could be said to have been innovators in South American psychedelic boogie and space-age disco rock. Aggrandizing the brothers further, the PR spill and accompanying linear notes hold them up as pioneers; diy and lo fi doyens whose sound was ahead of its time. To be fair, at times you think you’re hearing the kernel of Ariel Pink or R Stevie Moore, but far from humble beginnings, the Wenger’s certainly had the cash to spill, owning as they did a state-of-the-art studio, a mellotron, moog and clavinet, which were hardly cheap or even easy to come by at the time of their late 60s and early 70s flowering.

If you’ve already heard Out-Sider’s repackage of the duo’s 1971 album, Pops de Vanguardia – possibly, as claimed, the first lo fi diy garage-psych album to be produced on the continent – you’ll be familiar with their method of blending Santana-like Latin rock with clavinet croaking heavenly funk and psychedelic garage to produce melodious pop. Digging deeper into the archives and stockroom, their ‘sound-alikes’ collection unearths such hidden gems as ‘Change Your Mind About Me’, which pitches soft American 70s rock with phaser-guitar and tropical percussion; the Steppenwolf-in-leather bastardized Beatles riff at the discotheque Glam-rocking, ‘Take Me Higher’; the Brian Auger rock’n’roll meets psych sermon, ‘Sunburst Of Bees’; and The Monkees harmonize over The Smoke, ‘I Will Wait For You’. But you’re bound to hear smatterings of Bolan, Mick Ronson, Sensations Fix, Amen Corner and The Kinks on this crisscrossing compilation.

Technically proficient they use all kinds of tricks, effects and overlays to skewer their visionary rock music pop. And if this kind of thing interests you, then you’ll be pleased to hear that the booklet describes all these various methods and the instruments used in great detail – guitar wise, the brothers showed a penchant for the Fender Jaguar and Jazz bass. Unfortunately enervated by the pressures of recording for a major label, the German-Paraguay brothers were forced to record more commercially viable hits. And so these recordings are only seeing the light of day forty odd years later, after the JODI heydays of the mid 70s.

This is a worthy collection and obscure curiosity that could lead to revival of forgotten treats from 60s/70s Paraguay; the sons and daughters of the German diaspora that ended up there, sharing an unconscious link to similar pioneering musical innovations back in the Krautrock homeland.












In a different direction entirely, the Sommer imprint revival of the critically well-received but commercially poor Whistling Jigs To The Moon album by Flibbertigibbet looks to place the Celtic-South African troupe in the upper echelons of prog and psych-folk greats.

Formed after the break-up of the earlier cult Irish group Mellow Candle by band members Alison O’Donnell and David Williams, after an unsuccessful 1972 album release for the Deream label – Swaddling Songs despite the attention and band’s reputation, failing to revive the Candle’s fortunes -, the prevailing Flibbertigibbet was born in the immigrant and local communal houses and clubs of the South African folk scene. Leaving the Emerald Isle after that Candle’s light went out for good, O’Donnell and Williams hooked-up in South Africa with ex-pats Barrie Glenn and Jo Dudding to form the earnest, romantically lamentable band of well-travail(ed) musicians.

From initial live performances in a homely community, the obviously gifted and talented group of like-minded folk lovers were soon patronized; their admirer and facilitator, Prof. David Marks soon offering them the help to record and release, what would be, their debut LP. Expanding the ranks further with classical first violinist Francesco Cignoli, jazz bassist Dennis Lalouette, string-bassist Nippy Cripwell, flutist Colin Shapiro and fiddle player Dave Lambert, they recorded an attentive songbook of beautifully lulled traditional folk sagas.

Taking old Irish standards, but also weaving their own deft tapestries, they dance jigs in drunken stupor to the moon cycles and swoon like the French Lieutenant’s Woman, waiting on the smugglers cove for loved-ones to return. They do this with the most understated of lilting charm, evoking the subtlest hues of Fairport Convention prog and the softest of psychedelic rock influences.

The stalwarts of bucolic and coastal folk are all present and correct – from English Oak and seafaring analogies to the protestations of the oppressed working classes -, as Flibbertigibbet travel back and forth across timelines. Special mention must go to O’Donnell’s voice, which is diaphanous and longing, channeling Sandy Denny, Linda Ronstadt and The Poppy Family as she woos and sighs over both the perfectly administered acoustic and electrified backing – itself a mix of the Trees, American country-folk rock, Fotheringay and Fleetwood Mac, but also a faithful interpretation of far older, more bodhran frame drum led, traditional forms too.

Saved hopefully from obscurity and the clutches of record-dealers – the original 1978 album fetching a pretty price online, if you can indeed find a copy – this repackaged appraisal of a folk rarity should be well-received by the folk and head music communities. Beautifully crafted storytelling from a band with much to offer, Whistling Jigs To The Moon is an enjoyable and stirring treat for the soul.




Deep Cut ‘Different Planet’
(Gare du Nord) January 25th 2019




As if Ian Button isn’t busy enough already juggling a multitude of projects, he’s not only the drummer in the London-based Deep Cut band but also facilitating the release of their third LP, Different Planet, through his very own Kentish cottage industry imprint, Gare du Nord (a good time to mention that labels impressive showing in our albums of the year list).

Formed around the dreampop shoegazing indie pop songwriting of the group’s founder, Mat Flint, and Emma Bailey, Deep Cut could be said to appeal to the Gare du Nord label’s penchant for nostalgia. Squeezing plenty of mileage out of The Byrds (8 Miles of it in fact on the track ‘Washed Up’), Lush, My Bloody Valentine, Jesus And Mary Chain, Throwing Muses and Ride, they inhabit another decade – though considering how bloody popular the 80s and Britpop eras both are, they’ve probably hit upon a winning formula.

In a spirograph haze of jingle-jangle paisley hued fuzz, drifting lingering cooing vocals and attitude power pop, the former Revolver frontman and Death In Vegas bassist Mat adds shades of his previous bands sound to the make-up; pitching up with trip-hop indie beats on the baggy-candour ‘Spiraling’, and switching on the Fujiya And Miyagi version of the motorik, on the early pulsing Sheffield electronic ‘Alarm Button’.

Playing with that lush signature of cracking indie pop, Emma (shadowed on backing vocals and harmony throughout by Mat) can at any one time channel Tanya Donelly, Sonya Madan and Miki Berenyi simultaneously. Though as breezy and shrouded in vapours as it is, Emma has a certain swagger and attitude that manages to pierce the daze.

The backing meanwhile shifts between all those already mentioned reference points, but can also throw up a few surprises, especially with vague passing influences such as Cabaret Voltaire, Ringo Deathstarr, Teenage Fanclub, Altered images and the Happy Mondays all swirling around.

A decent sound with plenty of variation, subtitles and energy, Deep Cut refine and breathe life back into the yearning shoegaze and Britpop of another era. With conviction, well-crafted songwriting and a captivating lead singer, they manage to stand apart from their influences just enough to avoid cliché and a reliance on the nostalgic.





Garrett N. ‘Let’s Get Surreal’




Channeled into an eclectically blended opus of a showcase, in a sense a purview of Garrett’s tenure as a composer and sound designer creating incidental music and soundtracks for a litany of American networks, the pun-tended riff entitled Let’s Get Surreal runs through the full gamut of its creator’s skillset and tastes. In the decade since his first and only other album thus far, Instrumentals And Oddities, there’s been a hell of a lot water-under-the-bridge, and Garrett’s album at times seems like one out-of-sync with its time: Leitmotifs and themes, including a growing cacophony of multiple George Bush Juniors reading out his infamous address to a nation speech on the eve of the second Gulf War (overlapping and twisted until the word “terrorism” echoes like a broken mantra), are evoked on the WMD condemnation, undulated by a Kubrickian menacing drone, ‘Saddam/Espace’ – just one example of a subject overtaken by a catalogue of equally destructive and important events; the incessant hunger for stimulation, reaction and validation of 24-hour news feeds quickly replacing world events at such a rate as to make anything longer than a few years back seem ancient history.

The sound quality indicates a talent for production: Garrett N. is attempting to bring hi-fidelity and a verve of polish back to music production; arguably a lost art in so many ways, especially in an era when availability and convenience is valued above audio quality, and when music is accessed, predominantly, through compressed digital streaming platforms on smartphones. If nothing else, Let’s Get Surreal sounds good in its bombast; loud when it needs to be, clean and crisp when more thoughtfully meditative and ambient. It makes a refreshing change to hear it.

The music itself is epically framed, following a concept that errs towards progressive rock and beats opera; there’s even an ‘Overture’ to kick things off, part of a triple suite of tracks that (surreal indeed) morphs Michael Caine’s anecdotes about gay slurs and allusions to a changing musical landscape of 70s Floyd, ethereal synth work, hues of heavy Muse prog guitar gestures, brighter shades of MGMT and psychedelic pop and Todd Rundgren. Continuous with recurring hooks, bridges and fades connecting each track on this hour plus filmic soundtrack, Let’s Get Surreal blends lofty noodling with longing composure as it confidently zaps and fuses the cosmic with Hip-Hop instrumentalism, library music with 80s flange rock, 8-bit robotics with conga funk, and low-riding RNB with the psychedelic.

A curious album from an obviously talented music producer and musician, this ambitious suite does seem like a home-studio project from a bedroom maverick, dressed-up as a resume, yet remains an impressive expansive astral oddity of constantly progressive and twisting musical tastes: An album where nothing, quite literally, is spared!




Singles

Twink ‘Brand New Morning/ Dream Turn into Rainbows’
(Gare du Nord) February 1st 2019




A match made in halcyon nostalgic haven, quintessential English psychedelic journeyman Twink (the nom de plume of former Pretty Things, Pink Fairies, Tomorrow, and the fleeting Stars instigator, Mohammed Abdullah John Adler) breaks bread with Ian Button’s Gare du Nord label’s unofficial house bands, Papernut Cambridge and Picturebox, on his latest bucolic single.

Taking a while to materialize on wax, the Gare du Nord lineup of Button, Robert Rotifer, David Woolf and Robert Halcrow first worked with Twink back in 2017; backing one of the doyens of early psych for a series of ‘rare’ shows, which included a guest slot at Kaleidoscope’s 50th anniversary Tangerine Dream jamboree.

Essentially Twink’s spotlight, the (traditional) A-side, ‘Brand New Morning’, was co-written with Picturebox main man Halcrow. A genital kind of vicarage Baroque-chimed harpsichord period Syd Barrett dream capsule from psychedelic rock’s back pages, this earnest Village Green enchanted ditty breaths in the optimism of a sunny-side-up kind of day. The more interesting companion B-side, ‘Dreams Turn Into Rainbows’, is a flute-y and mellotron dreamy romantic yearned number. Building from folky psychedelics echoes into a diaphanous Moody Blues fantasy, Twink’s repeated sentiment of, “I still dream about you/ But dreams they turn into rainbows”, is carried on the currents and vapours of his backing troupe’s melodious lush lingers.

Ever expanding the catalogue of nostalgic and halcyon age signings, Ian Button’s label dissects the past but lives in the present, whether it’s the 60s, 70s or even 80s (see the label’s Deepcut LP, which also features in this roundup): The metaphors and analogies proving timeless, even if the music isn’t. Twink is an obvious fit and addition to a label so endeared with England’s less celebrated mavericks.

By the time this review reaches you, the limited-to-200-copies vinyl single should be available via the shared Twink Bandcamp page. A digital copy for streamers is also being made available.





Clovvder ‘Traits’
November 13th 2018




Invoked during an ‘astral winter by the seas’ of the Uruguay port city they call home, Montevideo, the Gothic atmospheric conjurers Clovvder and their most recent couplet of eerie and poetically forlorn bewitching drones (Traits) merges the ominous with the ritualistic diaphanous surrealism to unsettling, spiritualist effect.

Channeling the unconventional morality of the celebrated surrealist Uruguayan-born French writer/poet Isidore Lucien Ducasse’s Les Chants de Maldoror, ‘old gods’, magik and hermetic beliefs, the duo’s Tanky and CO3RA personal peer dramatically into the void as they navigate the aloof philosophical quandaries of existence and self: The second of the two tracks, ‘Solipsismo’ can be translated as both ‘alone’ and ‘self’, a prompt in this case to the eternal downer that the ‘self is all that exists’.

Tar black waters, swirls of minimal dark majesty, resignation, and wispy apparitions posing descriptive esoteric longing lyricism (“Black abysses, swirling/I felt born in me”) materialize in waves across both of Traits haunted soundtrack evocations. A sad melancholic beauty and glints of escapism however lift the mood of the drowning-in-the-River-Styx vibe.

Relatively obscure, with only a handful of singles online, Clovvder may well dissipate back into the ether that they appeared from; their non-linear visions and dark arts sorcery poetic minimalism (imbued in part by the genius experimental cinema of Russia’s exalted Andrei Tarkovsky: Scenes from his loose amorphous interconnected autobiographical movie The Mirror are used to accompany ‘Hydrophila’) demand total absorption and the time to take hold.

Difficult to place; neither electronica, field recordings, drones or that dismissive ‘Witch’ prefix trend, Traits is closer to the perimeters of occult soundtrack magic realism poetry and despondent esoteric romanticism.






Words – Dominic Valvona

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