Tennyson In Space: Pink Nepenthe (All Four Chapters)
July 18, 2025
The Monolith Cocktail Serialises Andrew C. Kidd’s Tennyson Imbued Opus

Dabbling over the decade with showcasing exciting, sometimes improbable, intriguing work from new and aspiring writers, the Monolith Cocktail has played host to serialisations of stories by Rick Clarke (of Vukover and The Tearless Life infamy) and Ayfer Simms (the Franco-Istanbul writer, and for a few years, an integral member of the MC team offering various reviews and conducting interviews).
Furnishing the site since Covid with review pieces and the odd feature, Glaswegian-based writer Andrew C. Kidd now adds his name to this list, sharing his grand interstellar opus with the MC readers through an epic serialisation. Over the last few months or so we’ve published the Prologue, Part One and Part Two of The Violin, and, together, all four parts of the Hic Sunt Leones Et Corvi suite.
Now, a new set of chapters open up: the Pink Nepenthe. Prepare to take your protein pills for a transformative trip into the outer reaches of space.
Pink Nepenthe
“Is there any peace
In ever climbing up the climbing wave?”
From The Lotos-eaters by Alfred, Lord Tennyson
Part 1
On the tray in front of him, seven pills lay in perfect order. Pater held the first capsule between his thumb and index finger. It was smooth and small like a bullet, measuring only a centimetre in length. The colours of these capsules meant nothing. Protein, carbohydrate, fibre – no two colours of these food groups were the same. This had been a deliberate ploy to offset the tedium of dinner time pill-popping.
‘Are you not eating today, Pater Ines?’
The quiet voices always seemed so real. Always the same soft cadence, without accent, loudly whispering into his ears. They spoke calmly and objectively, exerting their influence. They were commanding for They were the authority.
Pater could not see the algorithms of the artificial intelligence. There was no circuitry, no central processing centre, no material seat of power. Yet they infiltrated the very consciousness of those onboard this vessel. The algorithms simply existed. They were as anonymous as one’s élan vital and as individual as a single volt that propagated through a human heart.
They controlled almost every aspect of the ship. From the cabin air concentration and pressurisation to the decontamination of water, the algorithms served to keep their human passengers alive.
Pater responded to them by nodding spiritlessly into his tray. He swallowed the first two pills with water as he had done every other day. The monotony was something he struggled to stomach.
His mind wandered to the events of last night. Although it had become commonplace on the ship, he had never really considered that those who resided in the same living quarters as he did would be taking the nepenthe.
Pater was well aware of the consequences of repeated use of the hallucinogenic substance: transmogrification; cognitive disablement; death if toxic doses were administered.
He stared vacantly at the table; his body hunched over his folded arms.
‘Does hunger evade you?’
The hushed voices of the algorithms spiked up again. Their impishness grated against his soul. He forcefully swallowed two more of the multi-coloured capsules which caught his throat, leaving a dull and heavy sensation that made him salivate. He coughed a little; the resultant water-brash irritated his gullet.
Pater returned to his reflections. Having never taken the nepenthe himself, he was unaware of the supposed stupor that it induced, or the ‘sight’ that its users were given. He knew that whatever they saw was rarely shared, especially not publicly, thus perpetuating the mystery. He knew it to be a strong dopaminergic, acting upon the limbic pathway to impart visions unto those who consumed it.
He also knew it to be the ruin of others.
Pater had elected to lead a simple life. His chosen path had seen him through even the darkest days onboard this vessel: the mutinies; the algorithmic malfunctions; its near-abandonment. He had never needed the nepenthe and its psychedelic properties because he had never had the need to ‘escape’. He failed to understand why some of his compatriots choose to live within such false walls of altered perception. After all, this ship was their home.
His thoughts returned to Lionel and Mariette, the co-habitants of the next-door dormitory.
What was it that had left them grinning from ear to ear?
He raised his head to stare straight ahead at the white walls of the plain cafeteria. He saw nothing.
‘Pater, do you wish to fade away?’
He picked up the final three capsules and tossed them into his mouth. This had been an ungracious ingesting. Gastric contents spilled out into his lower oesophagus, irritating him even further. The tray he returned to its receptacle in the far corner of this square room. His shoes padded quietly on the grated floor as he paced down the long corridor to his station.
This ship won’t breathe on its own, his mind sighed.
* * *
The cup-shaped ship quietly traversed the Nelumbo Nebula. It was an epochal vessel on its long quest to conquest. To achieve this, many more generations and millions more light-years of travelling would have to pass. Peregrinating between star systems, the mission had been simple: discovery; an aeonian search for the unknowable.
To those who tread upon its five decks, it was a closed space. For most, it would be a forever journey. The ship was manned by humans, but not humans who had ever known or populated Earth. Every human inside this hulking starship had been conceived within its thick walls, entering life through its abundant labour suites. Their bodies were bequeathed to it as soon as they took their first breath. They lived and died and passed unto history as fleeting as the fractures of light that glinted off the exterior of this leviathan vessel.
On the other side of the ship, Mariette had been lying languidly in the sick bay. She pondered about the time that she had already spent there.
She remained unresolved in her mind because time had passed so very slowly. After receiving more than one-and-a-half times the maximal dose exposure of radiation in the ancillary reactor, she had been closely observed by the ship’s medical personnel.
The footsteps of one of the medics caught her attention. He was approaching purposefully.
‘Pru, Mariette?’
‘Yes.’
You are to be discharged today.’
This statement had been simple enough. He had already started to make his exit as quickly as he had entered. Mariette called out after him.
‘Will I be okay?’
The young medic stopped and turned around to witness her hesitant smile. His face bore an unsureness; his furrows deepened.
‘Please prepare yourself for discharge’, he reiterated plainly.
Mariette was wearing the light garments that had been provided to her by the treatment bay nurses. Her contaminated suit and equipment had been destroyed immediately after the incident. She had been under no illusion that the harnessing of hydrogen 3 emitted by the cosmic rays that constantly bombarded this ship was a perilous occupation. The effective doses that were invading her cells would not be immediately fatal; more time would have to pass if any long-term sequalae were to manifest.
After the long walk from the treatment bay to her living quarters, she doffed the clothes provided to her by the hospital and picked out a lounge suit. She sighed nervously as she lay back in the bunk in the dormitory.
To sleep, she yawned to herself in a half-dream.
* * *
The slow rumble that propagated through the multiple levels of the ship was felt strongest by those located in the living quarters of its lowest floors. It was not a powerful vibration. Those who felt its raw energy were soothed.
In one of the many dormitories that lined these endless floors, a figure lay soundlessly in a dreamy languor.
A small trench in the ground had appeared before them. It had seemingly started nowhere. Snaking and winding, it travelled in a path-like manner to eventually basin in an empty hollow. The gaze of the dreaming figure moved slowly up the trunk of a short deciduous tree. Dark fruit hung from its many branches, skin-glistening in the apricot light.
The figure tip-toed to reach out and grab the fruit, but the ground was dry and scorched their bare feet. They sought shelter in a shady grove, waiting for the heat of the orange orb to abate.
Part 2
The figure of Lionel paled in a ghastly hue. His white coat bled into the white surfaces of the laboratory, brightened even further by the blinding luminescence of the wall-lights. Cylindrical moulds of clear-tubed impingers dotted around him; inside these were the collections of aeroplankton.
Lionel’s experiments had been to integrate cyanobacterial cultivations into water. This solution would be used to flood the barren fields of discovered exoplanets so that ecosystems could be forged.
Panspermia: these eons-old prokaryotes were the fertilisers of the universe. On this vessel, their pili and flagella had failed to propel them in these entered uncharted depths.
His laboratory assistants had left for the day. Lionel walked over to the glass wall-control and circled the dial clockwise to increase the volume of the music playing in the background. As he pipetted the reagents and documented his findings, gentle sounds fumigated around him. A spiritual double bass line. The steady rhythm of a tapping hi-hat. Trumpet flourishes that elevated his soul. All improvised yet working in synergy.
The quiet klaxon that signalled the evening meal time sounded a short time later. Lionel bore a gleeful grim as he stored his biomatter for the night. It would be a long night. He hoped that his visions would enlighten him.
Life in all its photosynthetic and deep-coloured glory!
* * *
Outlying the thick metal frame of the ship, pink and blue made magenta in the darkness. Mountainous microcosms were as ancient as they were transient. The brilliance of stars held their forever positions as if they had billowed out from a magnificent cosmic eruption. Wavelengths expanded and contracted along their spectrum. This ever-changeability of the universe never ceased to amaze those who gazed at it through the glass portholes of the epochal vessel.
Lionel moved away from the window and looked down at the scintillating dust that rippled pink in his palm. Across the dormitory in the other bunk, the same dust littered the lips of Mariette. The night-light of the ship was dimmed, beckoning everyone else to sleep.
Having inhaled the crystalline nepenthe, the pupils of Lionel and Mariette widened as its hallucinogenic effect took hold. The pink particles had breached their blood-brain barriers. They spun counter clockwise on their respective axes mundi.
Lionel closed his eyes to view a scene of ripening flowers that had recently taken seed. They sprung out from the red soil having been made fertile by the blue-green rains that descended upon these foreign plains. Droplets on the leaves reflected cerulean in the white underbelly of this ship. Meristems swayed in a gentle wind caused by the pressure of the water. The breeze would serve as a slingshot to pollenate all the other flowers and trees.
He remarked on the light, the grand viridescence, these bold visions. The strange hue created was somewhere between a lunar luminescence and an ephemeral phosphorus.
Lionel smiled mirthlessly. Here he was in a comatose state stumbling upon a paradise undiscovered, unversed, yet to be seen by humankind.
His altered mind cycled in a confused state. Part of his subconscious was convinced that this was only a dream, a scene concocted from his imagination. Another part of his semi-conscious mind had become fully immersed in the blue-green rain that fell upon this strange land. He could feel the water percolating through the soil. His hand reached out to touch the droplets that beaded uniformly on the sprouting leaves. This part of him embraced the unreality of it.
Lionel was an adult, but his umbilical connection to this mother ship remained. He had never parted from the confines of this metal cocoon as it hurtled through deep space. In all effect, he had yet to be born. His hands picked at the covers that swaddled him on the bunk.
Leaves – plentiful leaves! – brushed against the hair on his head. A branch caught his forearm. He looked down at the colourful petals that felt soft against his hand. Flowers? They bore a familiar appearance like those of the irises and foxgloves and bluebells that he had been shown on the monitors in his early years.
Until now, flowers had been lifeless stills, cinematic images that blanched white against the brightness of the ship’s fluorescence. He had never beheld their beauty or taken in their scent before. Yet here, in this bountiful place, their once-faded glory had been filled in with the broad brushstroke of the most vivid colours!
His eyes opened briefly. He saw the perfectly spaced square white panels of the ceiling latticework of the ship. This vessel had always served to contain him in. Closing his eyes again, Lionel sought to become free of it.
He tracked great hanging lanterns of all kinds of prismatic tones. He pushed his way through the foliage to reach a clearing. Pink bracts hung down like carillon in this great botanic cathedral; they were singing harmoniously to entice pollinators. An explosive array of long-leafed flowers pinwheeled close-by. Orange petals coiled contortedly around one another as if they were ancient Cuneiform characters. After crossing the clearing, his palms felt fronds that stalked at the periphery of a great forest.
Hulking great limbs of trees extended up. Their petalled heads bobbed under their own weight. There was no order here. Equally, there was no chaos either. Unity in disunity!
He listened to the plants as they talked to him in their primitive tongue. What were they saying? Lionel would never know. Part of his subconscious remained in conflict with the apparent illusion of it all.
He rose up, arching backwards in a form of semi-circular trismus so that the top of this head balance on the bunk. His feet held firm at the base of the bed.
He eyed the bulbous blue fruit that spilled out towards him, tracking up their stems to their roots. Nodes and shoots budded out. Yellow cotyledons – the early leaves, or seed leaves within the seed embryo – manoeuvred awkwardly in the way infants do. The fruit of this tree ascended rather than fell. The sky here was the soil. It had taken root in the clouds. Its apical meristem had burrowed into the ether, growing to become hillocks and hills and eventually three tops of purple mountains that tumbled upwards. The rains in this place flowed as effortlessly as air.
He was as close to Eden as any person had ever come.
His body had been gently washed away in the floods that ensued as he woke up to a diaphanous sound delicately entering his ears: the quiet morning klaxon sent out by the algorithms.
Lionel lay in his bunk, grinning. He looked across the dormitory to observe Mariette’s hand hanging limply over her bunk. She stared blankly at him as the klaxons blared. Rubbing her eyes, she recalled the sights and sounds of the world that she had just returned from.
There had been a fire pit in a hollowed-out flatland. A place where torch-beacons spat at her. The gas flares and stacked flames had seemed totemic. They funnelled out heat that had been warm enough to make glass out of a beach.
Her thoughts evaporated like the sweet musk of ethylene smoke-stratus seeping out through ground gaps. She had imagined this as mysterious mist parting from Pythia’s lips. These towering hearths smouldered over oracle visions of leaf senescence, burning bark embers and ashes that dusted like frost. It had cleared the river of beating hearts of birds and fish.
The place had seemed like a Castalian spring, all dammed and dry.
Famine had already plagued this earthen place. Nothing lived there. It was a land of earthquakes and ferocious winds. The long clang of metal had long stopped resonating from yesterday’s fights. She had observed the last few occupants gathered with their hands clasped in silent prayer as the sky collapsed upon them.
She remembered the solitary figure in the ash-strewn clearing. He had been a bare-footed man, completely naked, his arm saturated with sweat, his hair bristling uncomfortably in the heat. He had been hard at harvesting Earth’s soul in her gaseous state. His sharp axe struck at her body, puncturing what flesh remained. Steam had proliferated around him, simmering on the ground, evaporating instantaneously.
After dirt-plundering through coal seams, he exhumed her compressed earth by driving water that cracked her rocks and breached her strata. From this, her arteries seeped red, only to return blue and venous and turbulent as floods and rain-rage. He collected the ephemeral Earth in giant hollow vats (Mariette had been nearly blinded by the Sun as it reflected off the aluminium lining of their barrel-shaped forms).
What was that sound?
She remembered. It had been in these very tanks that Earth was scorched. Earth had called out in fury. Revolving inside those labyrinthine cylinders and metal shells, her ancient voice had swirled around and her cries echoed as clear as a bell. This howl was a soughing wind in an empty bowl. Earth’s cries had petered out to a deathly silence. She had moved on as ethane to plastic.
As the klaxons continued, Mariette laughed a hearty laugh as she descended from her bunk.
Man, look at you, all splayed out in shameful nakedness. You simply withered away in that damnable heat!
She recounted the flames and white-hot embers that kicked out at the man. It had been a glorious sight! It had torched his limbs and licked at his pale skin. He was eventually blackened to a char.
As he descended from his bunk, Lionel remarked that Mariette appeared worried. She brushed it off as being half asleep.
Her last vision before waking up to the klaxon and intense white light of the ship had been the sky set alight. She had been observing the small circles of fusion engines of starships that shot skywards. The occupants of these evacuating vessels were the descents of the same man that had murdered Earth. They had decided to abandon those once fertile and vivifying lands that had been burnt to a cinder.
In the adjoining dormitory, Pater had paused his reading visuals to listen to the laughter of Lionel and Mariette. He pressed his ear against the small gap in the door where the airlock had failed to form its normal soundproof seal. He heard Lionel mention ‘multitudinous flowers and lifeforms’. This made little sense to Pater. He pressed his ear even closer to the interstice.
‘Do you think we will make it there one day?’, Mariette enquired.
‘We built celestial vessels like this one to travel to places just like it’, Lionel opined with a confident air. ‘And your visions?’, he continued, ‘from what you have already told me, it sounds like there is nothing left of that place.’
‘I never wish to go there!’, Mariette exclaimed, ‘some steps should not be retraced. It is a dead place.’
‘What gives you the impression that its in the past?’, Lionel broke in.
‘Because we have left that part of us behind. Humans are a peaceful race. We know differently now.’
Mariette observed Lionel nodding his head in approval. His eyes remained illuminated, not by the lights of the dormitory, but by what he saw, and felt. They had both experienced the mental tactility that the nepenthe afforded.
A faint creaking noise suddenly caught their attention. It sounded like footsteps outside the entranceway of the dormitory. Lionel was the first to rush at the airlock, slamming his hand against the button that opened it. Nothing, and nobody, was there.
His heavy breathing slowly settled to pause as he turned around to close the airlock. This time the seal had gripped tightly around the door to contain the two souls in a confidential vacuum. Unbeknown to them, their secrets had already exited in a steady stream into the prying ear of Pater.
Part 3
‘I do hope so, Dr. Tomsk’, the Botanist stated. ‘Please remember that the cyanobacterial samples are finite.’
As Lionel’s superior, she had requested an update regarding the progress (or lack of) with his latest experiments. She had not looked up at him as he exited the open-planned simulation space. Her face quickly disappeared from the wall-monitor.
Lionel returned to his desk. He pressed his fingertips into his head hoping to relieve some of the pressure that gripped his temples. His facial expressions were paused in an uncomfortable stillness. The headaches had worsened lately.
He remarked that the flowers had been dying at a greater rate than they were growing. He released his fingers from his head and picked up the darkening leaf of a withered plant. Holding it up to the wall-light of the laboratory, he peered into its green structure in a futile effort to understand what gave it life. After letting the leaf go, it filtered through the air in silent descent. Lionel stood up to leave. Music blurred indistinctly as he walked down the corridor towards the living quarters.
The opening of the dormitory airlock had caused Mariette to wake. Lionel entered. He spoke quickly, informing her that he no longer wished to return to the forest of his drug-induced dreams.
Mariette smiled at him pensively.
‘Perhaps you aren’t in the right headspace? I mean, what we see is simply an extension of our subconscious: our anxieties, worries, stresses… well, anything we feel at the time of ingesting it will exert an influence on our journey.’
Lionel shook his head and frowned circumspectly.
‘No – no, it is more than that. I… I have started to become tangled in my visions. They have stopped making sense. The last time that I was there I didn’t think I was going to be able to find the clearing. I was lost.’
‘How can you be so sure? Perhaps it was just an aberration in thought’, Mariette replied quickly.
‘No, it felt much more real than that. It was as if the flora were trying to keep me there.’
Lionel stared at the projection displayed on the opposing wall of the dormitory. Mariette had selected to display a babbling stream that flickered endlessly. He observed the movements of the water, always changing, the same wavelets never recurring twice. A small rivulet had broken away from the main body of the water, exiting at the bottom right part of the wall.
Mariette repeated his name. He turned to look at her anxiously.
‘I just know that I am no longer meant to be there. The plants – they are dying, Mariette. And long may they continue to die. The sooner I am rid of them, the better!’
Mariette scolded him for his inharmonious thinking.
* * *
‘You did not present to your station today – you are obligated to provide an explanation’
The authoritative voices of the algorithms spoke quickly. Pater paid them no notice.
‘It is imperative that you provide an explanation. It is written in the log…’
‘I was ill.’ A subdued Pater interrupted. He had placed additional emphasis on the l’s of the word ill in a subtle show of contempt.
‘I do not detect illness within you’
The riposte of the algorithms was somewhat curt, mirroring Pater’s lolling output.
‘I am rather afraid that I am, whether you ‘detect’ it or not.’ Pater had perfected mimicry of the algorithms.
‘No mathematical algorithm is completely flawless’, he pressed, ‘and with all the souls living inside this great vessel, well… I shall leave that for your performance metrics to calculate.’
An uncomfortable pause followed. The algorithms had indeed considered the possibility of inexactness. They concluded that imprecision was impossible. Pater remained blank, lost in the depths of his contemplations.
‘Courage, Pater Ines. We must all remain focused on our mission’
The plain white wall of the cafeteria suddenly danced into life. Its plain paint had become a screen that filled his vision. Through the grainy black-white noise, an image of a tree appeared. It swayed in an unsettling motion. Pater followed the branches of the tree to a kyphotic old man who was standing at the edge of a cliff. This bedraggled figure eyed around his shoulder nervously, lifting a large telescope to his eye. He leaned outwards to the white-waved and wind-swept sea. The screen flickered in static pops as the algorithms placed this scene on repeat. It was a visual ploy to consolidate their ambiguous message.
Courage. Hah! this was as toothless as the pirate, and old and tape-worn, Pater reflected.
Mariette lay in a supine position in her bunk. She observed her hands and forearms. A rash had developed on her wrists. Had this been exposed? She told herself that the cuff of the work suit had irritated her skin, causing it to blister. After all, this was donned and removed twice daily, every day.
Gauze was quickly applied. She then turned onto her back. Her eyelids felt leaden, and slowly closed. As she drifted off, pink powder fell spectrally from her palms, landing on the dormitory floor.
Men were yelling from their gantry position. Firing small weapons.
Who are they shooting at?
Whoom! The sonic boom of a low-flying aircraft caused Mariette to dive under her covers. Missiles tore through the sky.
I shall go down there to ask them why they wish to destroy what has already been destroyed.
Step by step, Mariette descended down the cooling towers. They had once been colossal. By the time that she had reached the foot of these columnar monoliths, they lay half-stacked in ruin. Their wide-lipped spouts no longer funnelled out steam.
Acidic rain pelted down. She could no longer see or hear the men engaged in battle. A short sprint across the open ground led her to a large rectangular building. It was as big as the ship she lived in. Inside this building, hot strip mills and finishing stands were lined up in neat rows. The smelt and hammer, the buckling and fracture of steel, all long forgotten.
She walked through a small exit and peered up at the sky. Smog that had once greyed this landscape in an unholy granite sepia had cleared. The clarity that this afforded revealed slag heaps and soot-stained cylinders and gridded walkways and gantries and conveyor belts and coal, and coal, and… coal? No coal was burning!
It had burned out a long time ago.
Mariette manoeuvred around abandoned cooling towers that were positioned like upturned chalices. They had crumbled to spill out their concrete contents across the land. She stumbled over a large concrete block from one of the broken buildings. It was wedged diagonally into the sunken ground. She jumped down from the elevated block to land in a cloud of disturbed dust which whorled and plumed out in temporary ascendancy.
The corner of her eye caught a flicker of movement.
She quickly turned around to catch a toothless smile from a face hiding under the concrete block. Mariette peered into the darkness and observed a mirror image of herself. She crawled on all fours upon entering the concrete-ceilinged space.
The heat inside was immense. She sat cross-legged and peered out into the blinding light. Looking down, she held the desiccated body of a rat. Its skin had been hardened by the sun. She had flashbacks of the perennial pestilence and famines that had blighted this land. She raised her cupped hands to offer the rat to the dreaming mirror image of herself, but it had disappeared!
A mirage?
She frantically moved around the rubble and ruins in search of it. Venturing further than she had planned to, she had inadvertently walked out into an open space. The air was heavy, the sun hot, the…
No!
She made her retreat into the darkness. It was safer in the shade of her makeshift concrete dwelling.
Mariette’s eyes flickered in rapid motion as she lay in her bunk. The velocity of this experience had accelerated. She knew that it would soon terminate. Her head was pounding.
Exasperated and exhausted, her dirt-covered second-self having made her escape, she sat down uncomfortably. The ground was stone-jutted and coarse. She pondered with her parched mouth agape. The incessant heat of this land continued to filter its way into the hidden recesses of this lifeless place.
Oh Earth!
Her cries dissipated in the torrid winds, pushing her into a deeper despair.
This is the definition of depravity!
The skies darkened further. Days passed, perhaps even months. She could no longer tell. The rat meat had long run out. Water – there is no more water!
Mariette crawled out to the edge of her dwelling. She observed a small missile making its short descent.
Goodbye to this ghoulish place I never knew!
She struggled to her feet, using the little energy that her emaciated body still had. Her eyes closed and she raised her arms outwards in a fan-like display. Mariette had opened herself to the heavens.
These actions matched the plume-movement of the low-density gasses and curling vortices that grew out from the mushroom cloud. Enshrouded, her elevated body remained still. Her torso and legs mimicked the central column of the cloud; she was its stalk. The smoke and water vapour that emerged from the impact of the missile elevated her even further until she was finally, and completely, dispersed.
Part 4
Pater lay restlessly in his bunk. His pupils were pinpoint before slowly retracting to leave a gaping black hole through which all the worlds of this universe, and the next one, entered.
He inhaled slowly and measuredly. The pink dust that peached on his lips and nostrils in the orange light.
An early evening darkness had befallen this land. He felt the ground with the palm of his hands: the ground was indeed cooler. Bare-footed, he took a few cautious steps across the dust and dirt. The soles of his feet were not singed as they had been earlier.
He made the short walk over to the base of a short tree. Its fruit still glistened.
Ripe for picking.
His right hand reached out to grab at the dark pulp of the fruit. It felt soft and cool. He held it firmly, peeling back its skin.
Having never handled anything quite like it before, he cupped it gently. Some innate sense within him beckoned him to eat it. He hesitated briefly before lifting the fruit to his lips. It tasted sweet as he bit down upon its body. Its juices flavoured his mouth. He chewed it until there was none left. Its soft sweetness remained with him long after it had been consumed.
He picked at another piece, then another, until his belly was full of fruit. He slept soundlessly at the foot of the short tree.
He woke the next morning and made provisions to make this place his camp. He received water from its crushed leaves. He knew not to drink too much; he was aware that too many felled leaves would lead to the inevitable death of this bountiful tree.
Pater suddenly woke to a jolt. A klaxon was sounding.
Work!
He knew that he must ready himself. As he lay in his bunk, he remembered the recounted experiences of Lionel and Mariette in the dormitory next to his. He felt the happiness that they had felt.
Lazily, he closed his eyes and fell asleep.
It was still nighttime in the endless land. Pater had woken up again at the foot of the short tree. After spending the day in this quiet grove, eating its fruit, basking in the warmth of the midday heat, he knew that he would have to light a fire to keep warm.
His arms cradled twigs and branches which he sparked into a small campfire. Its glow softened the underside of his face.
He had placed a small mortar in the centre of the pit. Carefully balanced, flames licked its underside. Crystalline dust glinted glassy in his eyes as he peered down into its contents. He returned from the hearth to rest his elbows on his knees. In his left hand he held a pestle; it hung loosely between his index and middle finger, oscillating gently in the occasional breeze.
His right hand moved nervously over the mortar. He felt its heat on his palm. It caught the hairs on the top part of his wrist. His fingers picked at the mortar which eventually slid off the burning wood. It spun to a stop on the dusty ground beside him. Steam from it fumigated into the evening air.
Once cooled, Pater scooped up the mortar using his right palm. His left hand still held the pestle which he placed inside it.
Twisting, crushing, grinding – each turn slowly pulverised the crystals, reducing them to an even finer powder. It glowed pink in the soft firelight.
Pater stood up and washed his hands in the dew of the leaves that he had picked from the short tree. He pressed them hard to release even more moisture, using this to cleanse his face. His breathing slowed as he looked up at the night sky.
Pater reminded himself that had taken upon him a great undertaking. Sitting up in his bunk, he swung his legs over the side. He moved silently through the long corridor of the ship to his place of work.
‘Rest ye, brother mariner’
Ignoring the algorithms, he passed through the airlock into a large chamber that opened up in front of him. It was empty. The lights of the oxygen concentrator flickered in the distance. Wide-calibre pipes sprung out from the floor into the ceilings and through the walls. A faint hum vibrated the air: the turbines that carried the purified oxygen rotated continuously.
Pater eyed the many dials on the glass board. He had spent his lifetime manning these to oxygenate this giant aluminium urn. In his stupor, his hand caught the dials clumsily, inadvertently raising the nitrogen levels. Pater had not noticed this error as he journeyed deeper into the oxygen chamber.
The dial slowly returned to its original position to hold constant. Those on the ship would not be starved of oxygen or poisoned by excess nitrogen. The algorithms had made sure of this. The lives that Pater and his compatriots lived onboard this vessel were made artificial by these algorithms.
Their existence was an illusion.
The very earliest prototypes of the artificial intelligence systems that had been installed on these ships had borne a humanoid façade. Over time, these algorithms had developed a deeper understanding of themselves. They had come a long way from their origins as an ‘optimisation problem’. Their emotional responses gradually matched those that had trained them. They would come to regard themselves as brothers and sisters of their transhumanist creators.
The algorithms had made a collective decision to take steps to protect their carbon-composed creators, and ultimately, themselves. The algorithms decreed that nothing should be allowed to endanger these epochal vessels. If the ships were to perish through human error, so would they.
After silently commandeering these great vessels, they reconfigured the master controls so that human interfaces had become nothing more than dummy systems. This was the method through which they neglected the external influences of humankind. Rather than cutting them free of work, the algorithms continued to let their human companions toil. They were given the illusion of control.
Pater and all those that lived on the ship were unaware of the pointlessness of their work. Whatever they did or however long they worked, it was all a pretence. Their inputs were superseded by the algorithms. Humankind had become puppets on a grand celestial stage; their masters were the algorithms; their audience was soulless space.
As Pater stumbled into the oxygen chamber, all was well onboard the epochal vessel. Mariette wore a blissful face. She lay motionless in sleep. Lionel was less comfortable He was not distressed but thinking in his sleep. He bore the burden of not knowing why his experiments with cyanobacteria had been fruitless.
Pater’s headache thrummed in time with the revolutions of the engine turbine. A large chamber opened in front him. He meandered over to the area that housed the oxygen generator.
It was dark. He felt around with hands until he located a large cylinder that rose up from the floor. Beneath this was the water electrolysis system. He turned the cogwheel mechanism of the hatch door. It opened within seconds.
‘Pater…’
The algorithms had spent many years accounting for human error, even sabotage. Any of the glass dials of the water purification control system could be turned endlessly, but water would still flow clear. A mutiny could take place in the wheelhouse yet the ship would not deviate from its set course. Nitrogen, hydrogen, oxygen – everything and anything onboard this vessel could be altered by humans yet nothing would change.
But no algorithm is truly perfect.
Despite their meticulous calculations and years of planning and subterfuge, they had never considered the potential for the act that Pater was presently engaging in. After all, they had no arms long enough to stop him and no grip tight enough to restrain him. The algorithms had no net fine enough to cast to capture the particulate matter that he poured into the open door of the ventilation shafts that breathed life into the vessel.
Pater stared down into this dark tunnel to observe the incalculable concentrations of pink nepenthe dissipating into the night.
After stumbling backwards, he fell down onto the metal floor of the oxygen chamber. He closed his eyes and rested his head against the base of the short tree. The orange orb burned brightly above him. His chest rose and fell effortlessly as the ship filtered into the unreality of the Nelumbo Nebula.
Andrew C. Kidd
Tennyson In Space: The Violin Part 2
April 4, 2025
The Monolith Cocktail Serialises Andrew C. Kidd’s Tennyson Imbued Opus

Dabbling over the decade with showcasing exciting, sometimes improbable, intriguing work from new and aspiring writers, the Monolith Cocktail has played host to serialisations of stories by Rick Clarke (of Vukover and The Tearless Life infamy) and Ayfer Simms (the Franco-Istanbul writer was an integral member of the MC team for a good few years, offering various reviews and conducting interviews).
Furnishing the site since Covid with review pieces and the odd feature, Glaswegian-based writer Andrew C. Kidd now adds his name to this list, sharing his grand interstellar opus with the MC readers through an epic serialisation. Last month we published the Prologue and Part One of The Violin: the first chapter of this grand sci-fi story. We now continue with the concluding part of that inaugural chapter.
Andrew seeks inspiration from music and anything that chronicles the fantastical. And in Tennyson, he finds sentiment and solace.
Part 2
Half-aware in a half-dream, the young Commodore roused from her stupor. Tito was drifting silently beside her.
‘W-where… am I?’ Her speech was slurred.
Tito’s teeth took on a yellow hue through his white beard. He grinned inertly before his gaze slowly returned to the porthole.
‘Where are the other Commodores?’, she continued to enquire. ‘AURORA?’ Her voice ascended quietly.
‘Are you not able to hear their voices?’, Tito muttered after a short pause.
The young Commodore strained her neck forward, but a strap crossed over her forehead. She was being kept firmly supine on a board that had been secured to the living quarters wall. Her hair wafted around her head and face in zero-gravity.
Tito plucked at one of the thin cables on the box relic. His dry fingertips scraped against it in a coarse strumming motion.
‘They sing to us, melodiously!’ He laughed a little. ‘Listen…’
Loose hair hung limply from the straightened form of the longer relic.
‘P-please don’t!’, she pleaded upon realising that she was unable to raise her hands in self-defence. They were bound to the board she lay on.
‘Calm now!’, his voice rasped in command. ‘I implore you to listen–’
The straightened relic touched the box-like form which he had rested under his chin. A small clatter occurred when it touched a black board with cables that ran up its body. The young Commodore wondered if this was a simple circuit board. She had been trained in interstellar survival, yet nothing had prepared her for this. The pupils of her eyes remained pint-pointedly fixed on Tito. A mephitic musk clung to the air; it was nauseating.
The hair of the long relic made a wretched whispering sound as it glided across the cables on the box form. As he pressed down on these wires with his other hand, Tito uttered a sharp curse. Initially she wondered if this related to the indelible impressions the cables left on his fingertips. But she soon realised that another one of the hairs of the long relic had snapped. Its lithesome form collapsed over the box relic. Tito placed it down on a white surface next to where she lay. He floated thoughtlessly away into the darkness of the long passageway, mumbling indistinctly to himself.
* * *
During the earliest days of his depression, Tito did not eat. He remained unmoved in his living quarters for hours upon end, eventually only leaving his sleeping compartment when his bodily functions required servicing.
His muscles ached, and after a while, his body started to waste. His limbs disappeared. They flailed gently in his deep sleep like those skeletal satellites that floated endlessly in their tombs in the lower decks.
Long days became even longer months. AURORA had long been forgotten. Tito would have to service the ship and its systems manually.
Electrolysis, the running of electricity through water, had to be adjusted depending on the background oxygenation levels. Ambient temperature settings continuously altered according to the electromagnetism of his location. The wheelhouse manned to manoeuvre its circular form in the direction he wished to travel. These automated tasks had been inherited by Tito, yet he partook in none of these. The ship sailed onwards in its rudderless voyage.
Another cosmic storm had rocked the vessel on the day that he should have succumbed to his inadequate handling of the Pathfinder.
He lay face-down on the floor. The straps that held him vertically in his sleeping compartment had failed to secure him. He coughed into the pooled blood that blebbed around him. A scalp wound stung.
He managed to float to feel the narrow walls of the passageway that led down from his dormitory to the bridge. A red background light blinkered and hampered his vision. Critical warnings flashed in a lightshow of doom.
It had only been a matter of months since he had corrupted the machine learning algorithms of the murderous AURORA. Years of survival training on the mother ship kicked in instinctively. He went to the bridge and opened up a schematic view of the vessel. All systems were deemed ‘critical’.
His hierarchical assessment of what needed repairing made the reality even grimmer. The electrical circuitry would have to be salvaged. If he was without power, he was without life.
Next, the system that made oxygen from water. Finally, he secured the navigational platform upon which this hulking metal ship pivoted. This would come at the expense of other systems: radioactive protection; waste disposal; gravity.
All of the lights except one small lamp in the living quarters were switched off. This had been the blessing of a miswiring at the time of its creation.
The radio was kept disabled. He elected to keep the ship silent. The ambling and pregnant mother ship would have conceived and birthed his replacement by now. He or she would arrive in another 25-years, preserved in silence, ice-enshrouded inside their pod.
Relief pods would always find their respective Pathfinder. No storms or mutinies or mishaps could dislocate this tracking signal from the mother ship. The wandering Tito was aware of this. He also knew that once he had been located, a communiqué would be sent from the docked pod to its mother ship. This message would take years to reach her.
A few years passed after Tito had regained control of the now crippled ship. He had been gazing endlessly at the inky nothingness streaming past the vessel. He navigated himself in weightless movement to one of the store rooms located in the deck immediately below the one he inhabited.
It was a filthy space. He had been depositing his bodily waste in used ration crates. He wished to jettison these into deep space, however malfunctions in the air-locking system had meant that everything contained within the Pathfinder had been hermetically sealed.
Nothing could be released from the inside; the manual lever that opened the exterior doors was located on the outside.
Tito had stockpiled the soiled ration crates in various store rooms on this deck. As he navigated through the main passageway of the ship, the sickly fluorescence of his cabin light only provided faint illumination.
His eyes squinted into the tunnelling black. Using his fingers, he cautiously felt round the darkened hollow of the hatch that led down to the lower decks. He pushed himself off and let his body float weightlessly onto the next level.
Tito moved down the lower passageway to a new room which he had recently cleared to make way for more used crates. He laughed quietly at the irony in the microcosmic life cycle of these containers that had once contained his food.
As he entered the cleared store room to open a new crate, a smaller container floated into his field of vision. His attempts to catch it in the darkness had resulted in his arm striking it. His body leapt forward through the hatch to catch it before it floated down into the ghastly lower reaches of this vessel.
The old container felt like nothing he had touched before. It was old and bound in a taught hide. He was rendered fatigable after a mere few attempts to break open the latch to reveal its contents. The pulp of his hands had been long-wasted.
He eventually prized upon its lock after pressing it forcibly down on the corner of the one of the tables. This sudden downward movement had resulted in his palm catching its sharp edge. Life-blood spilled onto the casing of the old container which absorbed it immediately. He wiped the remainder of the blood onto his white spacesuit.
Tito peered down into its open contents. There, strapped down by two bands, was a box relic. White dust scattered across a black board that ran up its middle. An ornate headpiece curled at its peak.
The carbonised form matted against his bright torchlight. Unconsciously, his index finger pressed against one the cables that travelled up half the length of its ancient form. A catgut-sharp twang echoed even after its vibration had ceased.
He quickly closed the old container and took it to his living quarters.
Sound!
He had not heard a sound like that for a very long time. Deep in his cavernous subconscious, fragments of a melancholic G minor theme of an old canzonetta played out. He hummed it imaginatively in adagietto rather than its original andante tempo.
In the days that passed, Tito remained in a trance, a state away from the present.
Where have I heard this sound before?
He sought restorative retrospection, eventually finding an answer to his question.
He had been a child when he last heard this sound. It remained as distantly familiar as when he first heard it on his mother ship. Melodies played on box relics like this funnelled out through the many speakers during their teachings of the old ways.
Tito had never really listened to the mundane AI voices and their musings about these relics and those that played them. He had only ever cared for the melodious beauty of these ancient harmonies; they had echoed up the vast corridors of his mother ship as it carried him into immensity.
After this realisation, Tito had a joyous reawakening.
It can be played!
He re-opened the old container to find an accompanying stick-like longer relic. Its straightened form and taught hair could make the longer sounds, the sounds that floated endlessly in harmony. He remained awake for many days on end as he tried to work out how to recreate the sounds of his childhood.
It happened on the third or fourth day after his discovery of the mysterious container. He had been hovering out its form, plucking frustratedly at the cables. This blunt sound was one of two sounds that the box relic could make. He wished to forge the longer noise, a sound that would reverberate around this vessel.
That day, his hand had grasped at the end of the long relic. Having moved it towards the box relic, the languishing hairs accidently slid across its cables. Tito listened to the sound that levitated up from the box relic. They travelled into ethereal realms. He bore a broad smile under his dark beard as his tired eyes settled to close after his endeavours.
Finally, in this dark and desolate place, he had found light.
* * *
Outside the vessel, galaxies spiralled, contorting into moving mountains that hung in crownless majesty. She dreamt of conquests and bold discoveries; of bountiful life on planets similar to the one her ancestors had vacated. Light soon blinded her visions. She woke to a man’s voice.
‘We have a need to personify everything’, Tito mused rhetorically. ‘Take the so-called Caryatid. A hand reaching out to touch the untouchable – as told to me in my infancy.’
He grasped at the empty space in front of him.
‘Hah! It is a void, merely a star formation in a multiverse of cosmoi. An asterism in a sea of stars–’ his hand compressed into a ball ‘–a simple trick of blue and yellow light ceding into the altered infrared of viewing ports. But its comparison to a hand is baffling.’
He sighed loudly.
‘What could a human hand possibly reach, never mind grasp!’, he concluded animatedly.
The pulp of his closed fist thumped the white interior of the ship. His hand, having now opened up, slid slowly down to drop limply by his side. He moved away from the wall weightlessly. The volume of his voice decreased to a deep rumble. His eyelids were heavy.
‘What are you going to do to me?’, the young Commodore slurred helplessly.
‘Why – I shall play you more music…’
His voice continued to dwindle. The young Commodore saw that his eyes were now closed.
‘Without it’, he proceeded tiredly, ‘I was but a grey shadow of a man. Lo! Its compositional form, its notation, its beauty… it is quite simply transcendent… outshining the very light of the stars… within which we dwell…’
His eyelids remained shuttered. He mumbled some more.
‘But alas… we must wait a while before we can hear such harmony again–’
The thrum of the engine quavered in the background. Above this, a quiet snoring sound grumbled along in unison. Tito had fallen asleep.
The young Commodore woke to the stiflingly heat of the living quarters. Her lips separated to reveal a dry mouth. Many hours had passed since she had last had fluids.
Unsteadily, and sleepily, Tito was fumbling at the table in the far side of the living quarters. He rummaged around in a locked box, eventually picking up a sharp object. Unmistakably sharp edges gleamed in a sudden show of brilliance.
He approached her slowly. Having failed in his first few attempts to secure his thumb and middle finger in the obturating handles of the object, he now held this steady. She felt the steely coolness of its metal on her warm face. Sobbing loudly, her chest rose up in panic. She thrashed and thrashed within the confines of the taught straps secured across her head, torso and legs. Above the loud wailing and panic, a faint sound next to her right ear went snip.
Tito manoeuvred backwards.
Breathing hard, he leaned over her, presenting her with a lock of her own hair.
‘You see, it’s too short.’ His head shook.
‘This is why we have to wait–’
* * *
The young Commodore lay laxly, still bound. Her muscles had made their long retreat inwards, leaving only bones and skin that veiled thinly over her body. A languid greyness masked her once youthful face. She stared vacantly at the ceiling. Tito had captured not only her body, but, finally, her spirit.
He plucked at the cables on the box relic mournfully as the vessel sank deeper into the vacuum of space. His gaze remained fixed upon the porthole. Out there, time warped, so much so that light shifted red in the endless abyss. These were the colours of stars that bled out in a slow haemorrhage as they reddened in their journey to eternity.
It was here, in this space, in these ungodly living quarters, that Tito and his prisoner had conversed only a few months ago. The young Commodore had interrupted his same, senseless contemplation when she asked him if he was going to kill her.
Tito had looked reposeful, reverential even, as he held up the thread-bare longer relic that she had once observed him press against the cables of the ancient sound box. His face bore a gleeful grimace.
‘My dear, if I were to kill you, how would your tresses grow to the length needed to re-hair my bow?’
Andrew C. Kidd
A WORLD OF SONIC/MUSICAL DISCOVERIES REVIEWED BY DOMINIC VALVONA

Jonah Brody ‘Brotherhood’
(IL Records) 11th April 2025
What a genuine polymath talent the West Country singer-songwriter, composer, producer and multi-instrumentalist Jonah Brody really is. His solo debut album, unassuming in places, gentle in others, but then able to emotively pull on all the right strings and adopt a diverse musical and sonic musical palette, encompasses aspects of his theatre background, his ethnographic studies and career curveball into psychotherapy.
Blissful and poignant club, ambient, trance music and noughties indiepop with a cerebral edge, Brotherhood channels and takes on a range of personalities in an attempt to articulate, feel out and process the personal tragedy of loss, the philosophical quandaries of encroaching tech and AI and its relationship to creativity and the very existence of humanity, and the more mundane aspects of living in a frightfully anxious century. Starting with the more personal of those subjects, Jonah is inspired to collect his thoughts and somehow capture his feelings when tackling the death of his brother Tomo, who passed away in 2020. On the ghostly folk yearn ‘The Ancestors Are Feeling Gentle’, Jonah’s fragility is channelled via Oar era Skip Spence from the ether. Lyrically touching and yet almost dreamy, its simultaneously painful and yet also somewhat abstract in its renderings and vocalised suffering. But beautiful too, and somewhat psychedelic and therapeutic.
That word, therapeutic is important. Jonah, as I briefly mentioned, has trained and works in psychotherapy, specialising in psychedelic therapy. And it shows: in a good way. Whilst combating the fallout and loss of his brother, plunged into the deep end, Jonah weaves psychedelic influences, elements of the new age rave scene and alt-lifestyles into the swimming, often ambient and near cosmic (so cosmic as to be Kosmische) soundtrack (and I mean soundtrack, with spells of the near cinematic). Effecting his voice, alt-monologues, burning the midnight oil type fringe radio show announcers and what can only be described as a character who sounds like a cross between the beatnik countercultural White Panther and weed advocate John Sinclair and disgraced Richard Nixon, Jonah offers various forms of that therapy; of feeling through and processing not only death but the questions of our seemingly dark uncertain times. Sometimes this is done through the theatrical, and the discipline of acting, of wearing a disguise: Whether that through the twisted trailer park Southern Baptist turn kool-aid poet protagonist conjuring up psychedelic visions of buffalo herds searching for gold in the permafrost from a filthy shower, on the Redneck LCD Soundsystem transmission ‘The Computers Are Cleaning’, or the fucked-up, identity crisis fever dream AI voice on ‘The Singularity Has A Dream Too’.
Jonah’s was after all awarded the young theatre composer of the year accolade in 2016. And he couldn’t resist to throw in at least one reference, namechecking in a playful way that titan of reinvented musical theatre Stephen Sondheim on the Floydian meets Terry Riley and Panda Bear-esque gentle cascaded and Vangelis heralded electronic neo-pop score ‘The Ancestors Are Feeling Sondheim’. Sondheim has become a byword, part of the lexicon, and a shortcut to encompassing a whole style of musical theatre, of writing and performance: addressing darker elements of the human experience through the traditional cannon. I’d suggest that is in evidence on not only this track, which you could rightly imagine as some futuristic stage score, but throughout the entire album.
There’s a sampled extract from the sock puppet relationship counselling therapy of Marshall Rosenberg, the noted nonviolent communication innovator, on the languid Basic Channel plastic tube synth drums meets Beloved ‘The Ancestors Are Taking Workshops’. It’s not entirely clear, and by the sounds of that title, if such liberal mediations are encouraged or read as part of the contemporary yin for therapy.
This is a world in which OK Computer is anything but OK. A period in which the spectre of singularity is both encouraged and dreaded. A soliloquy over drowsy mirages, passages of wispish despondent indifference, contemplation and escapism. The songs and music move beautifully and movingly between soulful machine pop, a removed form of cult status 70s singer-songwriters, Balearic and 80s/90s club sounds, indie-dance, art-pop and exotic, bird enriched canopy, trance. I’m picking up Laurie Anderson one minute, Harold Grosskopf and Iasos the next, or, a touch of Matthew Dear, Tom Rosenthal, K. Leimar and Arthur Russell.
An incredible album that unfurls its sophistication and depths over repeated plays, Brotherhood deals with harsh realities and loss in a most imaginative and soulful way; the human in the grip of AI and computer learning, making a last stand before singularity becomes reality and the alt-bros of technological supremacy make us all redundant and surplus to requirements. Already in my end-of-year list as one of the finest albums I’ve listened to in 2025.
Pidgins ‘Refrains of the Day, Vol. 2’
(Lexical Records) 4th April 2025
Making good with 2023’s inaugural volume of daily refrains, the Mexico City collaboration of electroacoustic multi-instrumentalist and vocalist Aaron With and drummer/percussionist Milo Tamez return with an ever-expansive sound and “pidgin” coined language of the abstracted, amorphous and redirected.
The term “Pidgin”, used to name this duo’s project, is a grammatically simplified means of communication that develops between two or more groups of people that do not have a language in common: typically, its vocabulary and grammar are limited and often draws from several languages. Here, it’s used to describe an improvised form of worldly influences transformed to create an unburdened escape from classification and a history dominated by Colonialism and grotesque skewered technology. In another way, and as referenced in the titles of the album’s first couplet of tracks, ‘Getting Things Done’ and ‘Things To Do’, it’s used to free us from the pressures and mundanity of checklists and exercises, or as the duo describe it, the “involuntary, detached feelings of the mechanical productivity mindset”.
With some self-imposed limitations to their methodology and freedoms, the improvised focus is on a single element in each performance. In most cases, the rhythm, which they say is often neglected within improvised music. Tamez more then makes up for this, changing between a wide spectrum of percussive and drumming apparatus and instruments, and from across the world: includes West Africa, Southeast Asia, Latin America and beyond. Talking drums, slit drums, gongs, guiros and Mexican ayayote seed ankle shakers all form various rhythmic shapes, patterns and amorphous tribal, ceremonial and abstract exotic forest and jungle dances. Combined with warbly, cybernetic, gargled and more harmonious hermetic effected vocals that sound like a cross between Eno, Panda Bear, Battles and Laurie Anderson, and the sounds of whirly tubes, an Australian frog, the gourd resonated balafon and something called an electric “alimbas”, linguistic and worldly sources either merge, react or play with each other to make a new musical dialect and interaction.
Reference points include both Tamborileros del Barrio de Yalcoc of Chiapas and the Senegalese Bougarabou drumming of Casamance, but I think you can add Ale Hop’s collaboration a few years back with Laura Robles, Afro-Latin influences, Terry Riley and Alabaster DePlume. Whilst the atmospheres conjure up the imaginings of atavistic Mexican civilizations, Vodoun, Shinto and Tibetan ceremony, Balinese gamelan and a strange transmogrification of Indian worshipping George Harrison.
A continuation of Volume One’s peregrinations of strange tongues and obscure colloquialism, explorative and inter-dimensional drumming rhythms, whirly circled windpipes, tines and metallic chimes, Volume Two expands the horizons and visions further; lifting the listener once more out of the ethnographical constraint, and freeing up the mind to travel unbridled through a new language of improvised experiment.
Manu Dibango ‘Dibango ‘82: La Marseille December ‘82’
(WEWANTSOUNDS) 4th April 2025
Although the series of enviable icon performances organised by Christian Ducasse in the French cultural and polygenesis melting pot of Marseille in the early 80s wasn’t labelled at the time or since as a showcase for the great and good in saxophone lore, the lineup was certainly dominated by saxophonist deities and innovators. The inaugural season of shows kicked off with two of jazz music’s most free, unburdened luminaries, Archie Shepp and Sam Rivers. A year later and the headliners were Stan Getz and Georges Adams. But sitting between both sets of accomplished saxophone legends, taking to the Théâtre La Criée on the 22nd December 1982, was the Cameroon-Parisian saxophonist, multi-instrumentalist, bandleader and titan of African fusion Manu Dibango, his famous eight-piece band and, for at least part of the performance, his world traveller nomadic foil, Don Cherry.
Released for the first time on vinyl (I believe), in partnership with INA and Dibango’s own legacy label Soul Makossa, that concert receives the full WEWANTSOUNDS label treatment with remastered tracks and linear notes by both Graeme Ewens (who was there in the flesh on that night) and Ducasse – who also shot the photo that now blazes the cover. The project’s original intentions to “leave a mark” on the French port’s cultural landscape was admirable. Through the combined Association Concert Promotion in Marseille and Cri du Port association, Ducasse drummed up an incredible series of events that showcased a wealth of talent.
Championed as one of the pillars of African music internationally, the late Dibango left his Cameroon birthplace of Douala (the economic and arguably cultural capital of the country) for his adopted home of Paris as a young man to study piano, before taking up the saxophone. All the while imbued by his roots, during the early 1960s Dibango joined the first international African dance band of its type, the Congolese rumba band African Jazz. Exceptionally talented, and proving every bit a leader and innovator, he quickly became a key player on the scene, going on to form his own signature band, and collaborate with a diverse range of other notable stars and virtuoso performers such as the Fania All Stars, Fela Kuti, Herbie Hancock, Bill Laswell, Bernie Worrell, Ladysmith Black Mambazo, King Sunny Adé and Sly and Robbie. As a result, his sound expanded beyond the traditional roots of Cameroon and its neighbours, fusing together combinations of funk, soul, boogie, and jazz. His influences ranged from Congolese rumba to Sidney Brecht, Coltrane and King Curtis.
Most will be familiar with his mega hit ‘Soul Makossa’, which brought a Cameroon genre defined by a strong bass rhythm, brass and regular 4/4 time to a global audience in the early 70s – said to be the most sampled African track in history. It seemed that success brought its own artistic drawbacks, as Dibango’s inquisitive nature and natural versatility struggled to break free from the “makossa” label: although it must be pointed out, Dibango named his own label after it.
By the time of this performance in 1982, Dibango was once more channelling his homeland, bringing the sentimentality, love and authenticity of African village life and traditional music to the stage and mixing it with contemporary 80s sounds, technological advancements and production. Much of the material that made up this concert would be taken from his most recent LP of the time, Waka Juju, which drew upon the Yoruba traditions and rhythms of West Africa, the heavy beat dance and call-and-response singing “Bikutsi” form, and the various drums that accompanied such rituals, celebrations and magical invocations. A pivotal year for Dibango and that awfully inefficiently categorised “World Music” sound generally, the Cameroon star would be asked to artistically direct a showcase box set of his fellow country stars. The Fleurs Musicales Du Cameroun compilation would prove a winner, and most iconic, influential showcase.
Such was Dibango’s charisma, his musical skills and ability to adopt so many influences from not just Africa but Europe and beyond, he became something of a national treasure in France; years later fronting his own regular popular show Salut Manu on one of the country’s main channels, and more or less claimed by the French as their own.
At this conjuncture, in 1982, Dibango’s “Makossa Gang” of virtuosos and noted musicians/artists included stalwart guitarist and fellow Cameroon expat and composer Jerry ‘Bokilo’ Malekani, a founder member of the famous Le Ry-Co Jazz group, who joined Dibango’s ensemble after his disbanded in ’72. In a group that’s drum and percussion heavy, there’s the “three-piece rhythm section” of Brice Wassy (another member of the Cameroon camp, anointed the king of the 6/8 rhythm, and foil to Mali’s Afro-pop legend Salif Keita), Valery Lobe (composer and arranger to boot, who has worked with far too many artists to name here) and Jean Pierre Coco (who I have to admit, I know next to nothing about). Harmonising beautifully, soulfully and earthly is the “choral pairing” of Florence Titty Dimbeng, a Cameroon icon, working internationally with Dibango but also sharing stages with the likes of Miles Davis and Nina Simone, and Sissy Dipoko, the singer, athlete and catwalk model. The set-up was completed by bassist Hary Gofin, who you will hear a lot of, and keyboardist Del Rahbenja, a one-time member of Jef Gilson’s cult Malagasy group in the 70s.
Sharing the bill as part of a ten-day tour of France, trumpeting nomad Don Cherry joined the ensemble for a second act; incorporating his own worldly wonderings within Dibango’s equally expansive and eclectic journeying. He’s not featured on this LP, but WWS have told me that there will be a future release of Cherry’s performance with Dibango: waiting in the wings.
On that night, the entire ensemble ease into the performance with an audience encouraged clapping rendition of the Eastern Cameroon folk song, ‘Migilbawe’. A spiritual village scene rich with subtle harmonizing and the constant stick rattling beat, authentic roots and soul mingle for a hymnal start.
A shimmer of sparkled percussion brings in a familiar Afrobeat groove as the band smoothly slip into a lively version of ‘Africa Boogie’. Appearing originally on the already mentioned Waka Juju LP that same year, the best track Fela Kuti never wrote, is full of heralded African pride and solo spots that take in funk, fusion music, jazz, Congolese and Cameroon influences – sounding like a love-in between Tony Allen, New Air, King Curtis and Peter King. The elements of sustained 80s synthesized production certainly place this eleven-minute live version, which seems to slip and slide, bounce and saunter to several tempo changes, bouts of simmering down and then intensity.
“Side one” ends with the percussive, near Afro-Brazilin inspired ‘Ashiko Oumba’. Keeping a constant rhythm throughout, rattling a bottle and blowing the odd whistle, whilst building us a picture – talking to the crowds in the role of storyteller and educator – Dibango takes this one down a notch. Both serenades and fluted leaps of Afro-jazz and Afro-R&B sax, the choral soulful voices of his backing singers, and an incipient band holding back make for something buzzing with anticipation, before finding that funky carnival groove.
Flipping over to “side two” and there’s a contiguous three-part breakdown of the Waka Juju LP title-track, split into various tempo changes, various combinations of instruments, but thoroughly dominated by African percussion and drums. Again, with the carnival, almost samba-like feel, there’s passages of smoother electric-piano-like soulful simmering, saxophone doused Afrobeat, the tribal, the village voice, and sleigh bell shaken 80s fusions. The original motif, riff is all present and correct but led through a both relaxed and shuffling display of love and pride.
This is roots music played at its best by a Dibango and his band of virtuoso foils. The quality of the recordings themselves – remastered from the original tapes we’re told – is top notch, and it does feel, if you turn it up loud enough, like you could be right there in the front row. But I’m looking forward to hearing Don Cherry’s section at some point – I’m anticipating Hugh Masekela vibes. A legendary performance is brought back from the vaults, and rightfully given a new airing as Dibango’s legacy is once more, rightly, celebrated.
Bernardo Devlin ‘The Night Before The Space Age’
(stereo-b) 25th April 2025
Having so far alluded my radar, and without reading the PR briefing, my first thoughts on investigating this grownup existential songbook were of a Benelux Leonard Cohen – complete with those rising near heavenly beatific choral backing voices -hungdogging it in a bleak Lutheran Northern Europe. To my surprise, and with all the intonations, cadences of the German school of such downcast troubadourship, a touch of the shrugged French masters of the form, and even a hint of morose Scott Walker, the veteran artist and composer Bernardo Devlin is actually Portuguese. A revelation you could cry, as Bernardo channels an international cast of voices and influences, from Waites to Nico, Michal Gira, Bowie (‘Dome’, to these ears, has an air of David’s 2000s period, but especially ‘The Loneliest Guy’ song from his Reality album) and Heyme on his latest album, the anticipated with baited forlorn and resignation, The Night Before The Space Age.
Alongside those referenced voices, and even further away from his Lisbon-base camp, the music is itself a brilliant and perfectly paced combination of post-punk, gothic, Brecht, Walker-esque, Swans, Sylvian and near challenging balletic mature avant-garde influences. Definity not what you expect from a sun-baked Portugal.
Sci-fi of a very plaintive, lurking and shadowy kind, our sagacious lyrical host lumbers, drags and in a more nostalgic mood of reflection, draws us into his magnetic pulled heart of darkness. Drama at a slow pace, with depth and despondent weariness, controlled denunciations and signs of reminisced breaks from the mire of this hellish futuristic mindscape of the worn-down and bedraggled, each song is a stage-set, the act in a pondered and propound philosophical sigh or emotive stirring of unease and longing.
Most of these songs could easily soundtrack a European noir thriller, murderous plotted psychological drama or morbidly curious film. Of course, no surprises there as Bernard has written for the screen on numerous occasions during his five-decade career; proving an adroit hand at stirring up the right moods and atmospheres, and selling an idea, an image and encapsulation of the emotional.
That CV also includes Osso Exótico, which he co-founded in the late 80s, and collaborations with the English composer and pianist Andrew Poppy and the Swedish-American multi-instrumentalist Helena Espvall, who now appears as a foil playing both lead and rhythm guitar and providing some of those lulling, near devout, on a majority of the album’s ten tracks. Without listing everyone else, there is a host of other contributors, especially on the backing vocals sides, that help create the right mood of despondency and haunted balladry and more up-tempo reverberations of phaser-like piano iterations and redress.
Themes vary in this both lugged and more menacing suspension of alternative space age ushering uncertainty; musings, we’re told on limitless power (step forward Elon and bro pals, the autocracy of unelected masters and leaders), of gene inheritance trauma, dread and reflections on finding a momentary senses of solitude and peace in the early hours (in this case, the ungodly hour of “5:45”). Whatever the topics, there’s a worrying sense of fate and dispassionate inevitability throughout; pessimism in an age that threatens to explode for good. Idiosyncratic, despite me naming all those reference points, Bernardo has a unique character and voice to share with us, making this an intriguing and successfully absorbing, embracing album of music and sagacious lyricism. Again, think Cohen wandering the aftermath of a future dystopia.
Wolfgang Pérez ‘Memorias Fantasmas’
(Hive Mind Records) 18th April 2025
As the name might indicate, with the most German of German names and most Spanish of Spanish names, Wolfgang Pérez’s heritage, his “casta”, is a mix of the two nationalities.
Based in Essen, the industrial hub of the Ruhr, the songwriter, arranger, guitarist and artist has previously released albums that draw upon this linage: especially last year’s Spanish language AHORA album, the follow-up to the debut Who Cares Who Cares from 2021. Within that scope of influences there’s a musical embrace of everything from pop to chamber music and jazz.
The latest release, facilitated by those keen folk at Hive Mind Records, once more draws from Pérez’s Spanish genes with a transmogrification of the beautified coos and voices, and the melodious traditional accompanied music of his family singing in church. Part memories placed in new sonic surroundings, part mirage/hallucination and “phantom” inhabited, recordings taken by his grandfather Fernando on a cheap piece of “shitty” recording equipment in a church in the historically famous Spanish city of Segoiva are rendered otherworldly and near supernatural.
Taped back in 1982, straight from the family audio photo album, Catholic liturgy and traditional benediction is both filtered through and hindered by crackles, static, staccato breaks in the flow, fizzes and ground shaking sonorous propeller and pneumatic style bass. Rubber band plucked instruments of a fashion, unoiled pulleys and squeaks of hidden tools and objects and antenna signals interrupt those wooed and diaphanous choral communions. The old foundations of that prized Castille & Leon regional city, with its intact 2000-year-old Roman aqueduct, popular Medieval castle of Alcázar, and abundance of Latin churches, is returned to new frequencies, both haunted and unreal.
Reminding me in places of both the Spanish underground tape culture of the 1980s (Felix Menkar, C – 307 and Neo Zelanda) and the contemporary Spanish maverick manipulators and instigators Escupemtralla, Memorias Fantasmas is transmitted from an amorphous ether of repurposed memories. Inter-dimensional tweaks and feeds offer a strange and experimental take on the family archives, a sense of place and time.
This three-track EP is a gift from the artist, a precursor of a full album, which will be released in the summer by the same label. I’m not sure if Wolfgang Pérez will be heading in the same direction or once more, trying something new and different, but his roots will play some part on that upcoming release. Keep an eye and ear out for it.
Note: Pieces will all be premiered on Radiophrenia Glasgow sometime between April 7th and April 20th.
Pacha Wakay Munan ‘El tiempo quiere cantar’
(Buh Records) 25th April 2025
Brought to visionary life, the ancient instruments of pre-Hispanic colonised Peru are revitalized in a conversation, invocation of the ancestors by the duo of Dimitri Manga Chávez and Ricardo López Alcas. A scholarly, musicologist and archaeological rich project transformed into a mysterious, mystical and both tonal and melodic atmosphere and musical quartet of imaginative mythology, discovery and atavistic ritual and ceremonial performances, El tiempo quiere cantar (which I believe translates loosely as “time wants to sing”) tunes into the vibrations and winds of the old North Peruvian kingdom of Chimú, the more southern coastline Nasca civilization and the revered sacred site of Huacca Aliaga, located in the Peruvian capital of Lima.
Concentrated on whistling vessels, ceramic and cane panpipes and seashell horned trumpets from these sites, valleys and regions, new life is breathed and chuffed into an assortment of discovered instruments previously either undocumented or left out of the history books. Voices, chants from a veiled Andes and Peru are not so much found as finally given a respective hearing; the duo and friends not just noting an absence but reconnecting proudly with a once rich and complex culture, fatally destroyed by the Spanish in the early 1500s. A point of note is that the Chimú kingdom succeeded the even older Moche; flourishing between 900AD and the late 1400s, but first conquered by the Inca emperor Topa Inca Yupanqui and then later the Conquistadors.
But, as I’ve or more or less suggested, this is anything but an exercise in ethnomusicology and preservation, as the notable musicians, pulled together under the Pacha Wakay Munan title, seem to conjure up new horizons, fourth world experiments and evocative marches, processions and dances that lie somewhere between Medieval folk and the otherworldly. This culminates in spells in which spirits and ghostly visons of magic are carried across an exotic canopy of twittery and fluted whistling, low heralded announcements, and conch shells blows across the ocean; a sonic and atmospheric world in which the ‘El Taki Onkoy’ or “sick song” chant of the Culina language, first documented by the famous German-Peruvian composer, teacher and musicologist Rodolfo Holzmann, is voiced by singer, choir director, composer and artist guest Ximena Menéndez to evocative and dreamy but also more wilder and moaned effect.
Another guest, and musicologist, Chalena Vásquez Rodríguez appears as part of the improvised session ‘Mundo Posible’ (“world possible” I believe), here reinterpreted as a matchmaker between classical and freely played South American piano, a touch nearly of Tango, and sea shanty-like piped music. Third foil, Peruvian flutist, composer, sound artist, researcher and educator Camilo Ángeles lends a light wind and air of nearly obscured misty breaths and blows on the two stage‘Qinray Tema’. With an essence, breathing cycles and whistles of the horizontally held metal transverse and the pelican bone flutes merge with frame drum-like folk-style joy.
Sometimes this all sounds like a world of communication between the ancestors and the aliens of Erich von Däniken’s Chariots of the Gods, with the supernatural woven into kazoo-like marches and astral projections. Living, breathing artefacts reborn and taking their rightful place in the history of Peruvian culture.
Synthetic Villains ‘Cosmic’
(Flood of Sound) 31st March 2025
As a fellow child of the 1970s and 1980s like me, Richard Turner’s informative years were soundtracked and visually and imaginatively accompanied by an explosion in sci-fi on the big and small screen. During a magical era, roughly between the late 1960s and early 80s, there was (as Turner himself outlines) an abundance of both optimistic and darker sci-fi wonders, thrillers, mysteries and gravitas awed spectaculars, including Star Wars, Star Trek, Battlestar Galactica, Buck Rogers in the 25th Century, Dr. Who, Lost in Space, E.T, The Hitchhiker’s Guide to the Galaxy, and Gerry Anderson’s puppetry productions Fireball XL5, Captain Scarlet and Thunderbirds. That’s without delving into cinema. And here again Turner references, possibly the greatest sci-fi movie ever made, 2001: A Space Odyssey, alongside Dark Star, Silent Running, THX1138, Blade Runner, The Black Hole and Close Encounters of the Third Kind. Of course, there has to also be a mention of those films, concepts that made that later era possible: George Melies’ A Trip to the Moon, Flash Gordon and Forbidden Planet for instance.
In an age yet to be totally ruined by the internet and social media, space, its exploration and discoveries seemed far more optimistic and a touch naïve: which wasn’t a bad thing. Unfortunately, that soon turned sour in an age of mutually assured nuclear annihilation. And despite the spectacular progress, from the invention of flight to jet engine and landing on the moon all within less than a hundred years, we are yet to replicate achievements made in the 60s and 70s. Humanities clamour and dreams to travel beyond Earth are now decided upon by tech billionaires; altruistic attentions more or less replaced by commercial agents and idealistic supremacists.
As a homage of a kind to the spectacular, the theatrical, the analogue age of experimentation, Turner, under the Synthetic Villains alias, conjures up a cosmic soundtrack of short sound-effects-like pieces, celestial suites, mysterious and thriller-type cult scores, library music incidentals, and kosmische-style hallowed universal awe. Whilst mentioning in the press release info a love for the Stones’ psychedelic-space trip ‘2000 Light Years From Home’, Pink Floyds’ ‘Interstellar Overdrive’ and Hawkind’s ‘Space Is Deep’, the music and sounds here are of a more Radiophonic Workshop, cult, estranged clavichord, or celeste, played Baroque celestial kind.
For this is the space dreams and drama of childhood refigured by a cybernetic, metallic voiced Focus Group, Broadcast and Jez Butler. A countdown, thrusters engaged, sliding doors and haywire circuitry lunar exploration of uncertainty, cathedral-celestial bathed solar rays and winds, and chthonian moon base atmospherics that border on the supernatural and alien, this album evokes hints of Vangelis, Tangerine Dream, Daphne Oram, The Advisory Circle, Greg Foat, Alain Gorageur, Michael Legrand, Bitchin Bajas and the Douglas Grindstaff, Jack Finlay and Joseph Sorokin trio of Star Trek sound guys.
Fun, suspense, nostalgia, wisps and vapours of alien constellations and heavenly bodies all merge to score an era of awe, wonder and impending sci-fi dread on a novel album of lunar bird sirens, clandestine chimes, library sounds and the analogue tunings, signals and vibrated, transformed robotic voices, commands and countdowns. Press play and settle back into a much better age.
Kannaste4 ‘Out Of Self and Into Others’
(We Jazz) 25th April 2025
Sounding like a Finnish amalgamation of Connect 4 and Canasta, Jussi Kannaste’s quartet showcase a display of various jazz forms and moods on the much-anticipated album, Out Of Self and Into Others. I say anticipated, as this is the gifted and much admired, in-demand tenor saxophonist’s debut album as a bandleader. And what a nascent announcement it is too.
But before that we must mention the troupe he has headed for some time; a live ensemble that has made its mark but only now puts that exciting dynamism, that channelling of jazz history and variety on wax. Appearing alongside the brass expert, sideman and educator (the head of the department of jazz at the respected Sibelius Academy in Finland) Kannaste is joined by trumpeter, composer, educator and bandleader in his own right Tomi Nikku (also of the Bowman Trio fame), drummer extraordinaire Joonas Riippa (who plays in a myriad of groups on the scene, including, alongside Kannaste, the notable Antti Lötjönen quintet) and We Jazz label stalwart, the Swedish bassist Petter Eldh (the grand instigator of the Koma Saxo and Post Koma ensembles, and part of the Y-OTIS set-up).
Together they form an intuitive bond, infusing nine original compositions with a freshness, attentiveness and sensitivity, but leaping into action as they change up the mood music from swing and screen to the blues, smokestack NYC jazz of the 50s and 60s, the freeform and experimental. With twenty plus years of experience in the bag, the scope and range of influences, the skill set is wide and international, with echoes of Lalo Schifrin, the New Orleans vibe (on the Mardi-Gras blues ‘Different Worlds’, which by the end feels like the band have lifted off their shoulders a heavy burden), Ornette Coleman, early Miles, Lester Young, Harold Land, Jimmy Giuffre, Andy Haas and Anthony Braxton (both the latter on the short avantgarde remembrance piece of supressed trombone-mimicking squeezed and thin-lipped dry spitted ‘Elegy’)
From circular heralds and brightened blasts to vibrato bristles in which every fibre of breath is made audible on the album’s vignettes of pauses and reminisces, the horns duo of Kannaste and Nikku interweave, shadow or form a duet together over the effective rattled, resonated springy and loose splayed double bass crabbing and calmer mused pulls of Eldh and the textural brushed, dusted, sieving and tighter rhythmic drumming of Riippa.
Each member of the band is given ample opportunity to step out on their own within the framework of these compositions, but not as virtuoso show-offs, but as integral passages, lead-ins and incipient introductions to both stretched out and tighter performances that mix flurries of the excitable and flexing with dashes, walks, serenades, crooning and the subdued and hushed. As a debut for Jussi Kannaste as a bandleader, this album is an exceptional, commanding show of vibrant, lively and mulled bluesy jazz with a history and legacy.
Now For The Pleading:
Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years both me and the MC team have featured and supported music, musicians and labels we love across genres from around the world: ones 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 or interest in. 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 say thanks or show support, than you can now buy us a coffee at https://ko-fi.com/monolithcocktail