Reviews
Dominic Valvona

In this amorphous crisscross of genres and borders I take a look at the latest in the label Night Dreamers ‘direct-to-disc’ series, a dynamic live album of fresh performances from Istanbul’s legendary souk reggae/dub and Krautrock psych legends BaBa ZuLa; Analog Africa delve through the stranger corners of the “B-movie” Colombian label Disco Machuca on their upcoming La Locura de Machuca compilation; and Daniel O’Sullivan explores library music for his latest transformation, a series of instrumental albums in collaboration with KPM.

Two front vocalists step away from their bands to go solo, with Ghent stoner/alt-rock band Wallace Vanborn frontman Ian Clement returning to the fold after many travails with a personal songbook collection, See Me In Synchronicity, and Diamond Thug’s Chantel Van T going out on her own with a debut country blues imbued songbook, entitled Nicalochan.

There’s also a label special, with three recent and upcoming ambient and experimental imbued records from the North American hub Somewherecold Records: an ambitious cosmic suite of Kosmische analogue synth odysseys from Giacomelli, snapshots, threads and lingering traces of esoteric and ether materialised country and bluegrass guitar sketches from Droneroom, and an emotive suite of love-lost movements from Vision Eternel.

BaBa ZuLa ‘Hayvan Gibi’
(Night Dreamers) Album/2nd October 2020

The latest release in Night Dreamer’s “direct-to-disc” series stars the rebellious stalwarts of Anatolian cosmic dub and psych, BaBa ZuLa: a three decade spanning Istanbul group originally birthed from the embers of the band ZeN.

Fusing the folkloric with solar flares of Krautrock, souk reggae, 60s and 70s Turkish psych and cosmic-blues the rambunctious group come on like a Sublime Porte vision of Can’s Ege Bamyasi and Soundtracks albums, only replacing much of the Teutonic legends setup with more traditional instruments like the “oud” and “saz”: albeit electrified and fuzzed up to the gills. That Can reference isn’t so surprising, as the BaBa have worked with the band’s late human metronome Jaki Liebezeit on numerous occasions: his two-way influence felt and inspiration noted on BaBa’s 2019 album Derin Derin. That same 2019 album, like so much of their output, was originally produced for a soundtrack, a documentary about falcons. And this latest “live” and direct special showcase includes a number of such tracks scored for film and stage; it also, like that falcon inspired work captures the materializations, mood, feelings of a menagerie of symbolic animal subjects.

Recorded before lockdown in the pre-pandemic nightmare, Hayvan Gibi (which means ‘to act with the natural grace of an animal’) includes six almost untethered, unleashed vivid performances from the Istanbul mavericks. It’s an album that seeks to fulfil the “live” feel and energy that some fans have commented has been lacking on previous studio albums. Invited to the Artune Studio setting in Haarlem by the label, they were encouraged to freely take-off on a flight of Eastern fantasy; encouraged to also riff on and extend past glories too. “A musician’s dream” as the band’s electric, scuzzy defacto leader and founding member Osman Murat Ertel puts it, this, also challenging, method of recording and cutting a disc from start to finish on one session gives them that energetic impetus. It also showcases each of the band’s talents. On the elliptical rhythmic Can-like dervish ‘Sipa Dub’ (also known as “The Foal”), the group’s braying oud soloist and keyboardist Periklis Tsoukalas gets to shine and sing a kind of spiritual Sufi-imbued emotive intensity on a song about an Aegean coast donkey and its foal. Percussionist virtuoso Ümit Adakale is unleashed unaided on the drilling, rattling and hotfooted breakbeat ‘Nal’ (or “Horseshoes”).

Old favourites like the ‘Çöl Aslanlari’ (“desert lion”) composition, originally made for Antonie de Saint-Exupéry’s stage production of The Little Prince, go off on a long improvised peregrination of clopping psych-rock and shimmering cymbal washes, whilst the group’s earliest groove, ‘Tavus Havasi’ (which furnished the soundtrack to the Tabutta Rövasata film) assails close to the mooning of Guru Guru and a Turkish Bar dance.

A let loose BaBa ZuLa is a most incredible experience; a scuzzed, scuffed, trinket shimmery, rippling and blazing rhythmic energy and dynamism both intense and yet also a mirage of reggae and dub imbued Anatolia mountain gazing. It’s also a reminder of what we’ve been missing in these dragging pandemic restrictive times.

Further Reading…

BaBa ZuLa ‘Derin Derin’  here….

BaBa ZuLa ‘XX’  here…

Various ‘La Locura de Machuca: 1975 – 1980’
(Analog Africa) Album/16th October 2020

Quite possibly the kookiest oddity so far in the Analog Africa catalogue, this distant outlandish relative to the label’s Diablos Del Ritmo: The Colombian Melting Pot 1960 – 1985 compilation from 2012 is the sort of “B-movie” discovery you’d expect Finders Keepers to release. From the same international Colombian gateway of Barranquilla as that collection’s purview, La Locura de Machuca: 1975 – 1980 features a similar spread of Afro-Colombian saunters, scuttles and scratchy percussive funk as that record, yet finds a twist: a kink.

For all the familiar traces of that folkloric electrified Cumbia, the Caribbean-African-Colombian hybrid Champeta Criolle, and Congolese rumba (to name just a few styles), the music that flourished from the Colombian underground is…well, different. Much of this is down to the genius and bizarre mind of the former tax-lawyer turn record company executive Rafael Machuca, who wowed and seduced by the Barranquilla music scene jacked in the day job to set-up and sit behind the control desk as the producer of his own label enterprise, Disco Machuca. This was the heady mid 70s, an age in which Colombia’s music scene was thriving with the sounds of imported nuggets and blasts from the African continent. Though native dance styles such as Bolero and Vallento still rocketed up the charts, the fervor was for a spread of Afro prefixed sounds that proved popular at the neighbourhood sound-system joints, known as “the picos”. The locals would in time add more traditional flavours, including the already mentioned versatile Cumbia, but also more modern influences such as psychedelic music and disco.

Machuca channeled that exciting dance mix with his unique label of specially put-together one-offs and more established mavericks; the often experimental and kitsch productions of which is described as the “B-movies of Colombian music” by the label’s stalwart recording engineer Eduardo Dávila. Some of that self-depreciative description is warranted for the label’s roster of artists and acts, but also for Machuca’s habit of just creating from scratch a studio band to front one-off singles and albums when he couldn’t find the right band to realize whatever vision he had leaping about in his head. Two of which, the mono skiffley itching and squiggly, Stylophone like buzz and gargled organ Samba Negra and the bongo rattling, carnival lolloping space age garage band El Grupo Folelórico, lasted only the time it took to enter the studio and press stop on the recording desk. Both of these outlets feature heavily on the compilation. Though the El Grupo Folelórico’s binary data zapping Afro bustle ‘Tamba’ qualifies as the closet of these tracks towards that B-movie status.

The label could accommodate such fancies with the money they made from more established and popular stars; such as Alejandro Durán (left off this more unconventional comp) and Aníbal Velásquez (who does feature with his slightly unhinged belly laughing and hurried Cumbia track ‘La Mazamorra del Diablo’). “Fringe artists” like La Bande Africana, King Somalie, Conjunto Barbaco and Aberladro Carbono were able to cut loose off the back of those hit-makers. The first of those names lends the collection a salacious boy/girl hush and sigh of Gainsbourg meets Bollywood in a Colombian coastal town, with their coquettish and playful ‘Te Clavola…Mano’. King Somalie meanwhile riffs on the “funky monkey” with a talky Afro-boogie and turns in a sexy fun conversational on ‘La Mongui’.

Personal favourite of mine is The Grupo Bela Roja, or to be more exact their both swooning and jaunty lead singer who channels a young Miriam Makeba on the beachside ‘Caracol’.

There’s much to discover from this sometimes-unhinged label, yet nothing so avant-garde or “loco” as to neglect an essential rhythm or hypnotic good groove. Samy Ben Redjeb’s decade-long-in-the-making project unearths some mesmerising rarities from the stretched-descriptive scenes of Afro-Caribbean and Afro-Colombian music, throwing in some curveballs and raw 45s.

For those looking for a fresh perspective and for something strange, the La Locura de Machura compilation will fill that need. Ad for everyone else, this is just a great vibrant mad world of South American sounds that deserves space inside your noggin.

Further Reading…

Analog Africa Tenth Anniversary Special  here…

Various ‘Jambú e Os Míticos Sons Da Amazônia’  here…

Chantel Van T ‘Nicalochan’
Album/23rd October 2020

Stepping out on her own from the South African dreamy space-indie Diamond Thug, the country blues and folksy lilted voiced Chantel Van T makes a boldly intimate and vulnerable statement on the debut solo songbook Nicalochan. Via a Danish solstice and summers spent contemplating at the shoreline’s edge, the hushed and swooned songwriter/singer opens up in a considered, soothed and sometimes creeping fragile manner over gently sweeping Dylan-esque Western soundtracks, mountain songs, the knowing enchantment of Lee Hazelwood, and lush morning dew yearn of Catherine Howe.

With a maturity and depth beyond her years, the often sadly but constantly dreamy Cape Town artist seems to channel a country twang that evokes shades of Emmylou Harris, Bonnie Dobson, and on the prohibition era Appalachian Lomax ‘Bittersweet Absolute’ a touch of Josephine Foster. Chantel has a voice deep, diaphanous, ached, resigned, and drifting, yet at times almost fatalistic.

An introduction to Chantel as much a candid therapy and chance to let all those thoughts and philosophically poetic questions on what reciprocated love really means (and how far it can be taken), the growing pains of womanhood and childhood.

A suffused accompaniment (all recorded with the Danish producer Anders Christopherson and a small intimate ensemble of musicians) of wallowed brass, softened string caresses, gauzy tremolo twanged and acoustic rhythm guitar, and patted toms and splashes of cymbal provide a subtle stripped backing track. One that sometimes can’t help but meander into Dylan’s ‘Knocking On Heavens Door’ on the leading, waning beauty travail single ‘Rumble And Crawl’, and a 50s yuletide mix of Rosemary Clooney and bobby-sox Spector on the album’s early punt at a seasonal number, ‘Christmas’.

Full of pining, searching affairs of the heart Nicalochan is a most hazy and beautifully executed testament of timeless country blues imbued vulnerability from an artist going it alone: A great debut of understated wisdom and inquisitive questioning songwriting, which I can see making many of the end-of-year lists, including my own.

A Somewherecold Records Special:

Vision Eternel ‘For Farwell Of Nostalgia’ Out Now
Giacomelli ‘Cosmic Order’ 9th October 2020
Droneroom ‘Blood On Blood’ 16th October 2020

All three released via Somewherecold Records.

From the highly prolific online magazine/shop-front and facilitator of various underground electronic and experimental artists, a trio of recent refined and concept-bound releases has drifted onto the Monolith Cocktail’s radar: Just three from an exhaustive roster that’s updated weekly. Extensively a soundboard and platform for composers and mavericks alike from both sides of the North American border, Somewherecold Records offer up the intimate and ambitious, depth and the translucent, peregrinations and wanderings with their most recent spread of albums.

The first of these is the grand Kosmische analogue spanning opus from Silicon Valley composer Steve Giacomelli; a triple CD expansive series of cosmic ordered suites that traverse the astral plane, new age transcendence, various thermos, gases and topographic ebbs and flows. Giacomelli’s fourth such album of cosmic ambient minimalism for the label, this celestial and evolutionary mined impressive ARP Odyssey (portable) synth birthed work of thirty-six scales into deep space, refractions of light play, pulse and gravitas uses a number of techniques to accomplish an overall sound of forgotten Sky Record maestros, Tangerine Dream, early Cluster, Tomat and Vangelis. This synthesised vision – that can sometimes err towards the ominous forebode and mystery of Kubrick – synthesis of the abstract, deep space, the inner mind, nature and the heavenly is accomplished with an apparently limited pallet and the use of counterpoint sequences, the generative and a method, favoured by Frank Zappa, called “xenochrony” – that is the extracting of a solo or other part from its original context and placing it into a completely different song/composition.

A three-hour journey through the imaginings of Giacomelli’s inner and outer star-guided mind, compositions vary between the beautiful cathedral-in-the-sky heralded ‘Cosmic Fanfare’ and the Klaus Schulze-rescores-Zardoz forebode and deep space hum of ‘The Best Laid Plans’; from the 8-bit orchestral manoeuvres of ‘SMPTE Of The Universe’ to the heavenly choral-blowing space fantasy ‘Diplodicus Green’, and the tubular generator, dash communicating ‘Remembrance Petition’.

No matter where he guides us, Giacomelli fashions a most diaphanous and mysterious epic. The Cosmic Order is a grand project, nothing short of immersive and starry.

The second of this trio of albums and EPs from the label takes us into the Kosmische-cowboy experimental soundscaping world of the Louisville-based artist Blake Edward Conley. Trading, moseying and meandering under the Droneroom alter ego, Conley pulls together a number of tracks and ideas from compilations for this transformative and transduced album of layered resonating guitar soundtracks and pauses.

A “two-lane blacktop” drive across the imagined travails of an alternative strung-out country and bluegrass accompanied America of gas station stops, mechanical breakdowns, and side road excursions, Blood On Blood gathers those “stray tracks”, threads and “snapshots” to meander through an evocative if distant landscape. Whether inspired by or in their finished state sailing close to, a number of these drowsed post-country instrumentals are dedicated to Conley’s fellow compatriots, and both explorative and old testament liturgy guitar imbued artists: The Tennessee psalm fanning Joseph Allred and folk artist Cole Morse to name just two.

Some of these sonic-thoughts-out-loud ruminations and traverses are more country than others. A certain cowboy swoon can be plucked from the lingering traces of ghostly country blues and bowing vibrato of ‘Truckstop Déjà vu’, and there’s an air of a Lynchian vision of Ry Coder on the galvanized steel gate stick rattled and didgeridoo like drone mysterious ‘And On The Last Day The Land Did Sing Me’. A removed form of Americana, with the tremolo wanes and quivers and spirit all there but veiled by the Baroque, Latin, cosmic and supernatural, ‘Let The Bluegrass Hold My Head’ is anything but. However, the dreamily acid ‘The Coyote Adrift In The Unfamiliar’ evokes a more Kosmische and Krautrock influence; sounding like an esoteric ripple in the fabric by Ash Ra Temple. In fact there’s a lot of spacey spectral leanings, an otherness, even alien, from beyond the ether: There’s even a supernatural enough transmission from that void in the shape of ‘Ghosts For Sale’.

Another impressive if unassuming album for the label that does something different, out there with its source, Droneroom’s Blood On Blood is an incredibly strange album of guitar experimentation that warrants discovery: A cult album in the making.

Back towards the ambient spectrum, the final release in the special is a most emotively drawn and purposeful EP of intimate mood music by the Montréal-based Vision Eternel. Coining the phrase “melogaze” to describe his lush “emo” brand of majestic and caressed swirling feelings, heartbreaks and loves, the band’s founder Alexander Julien soundtracks a love lost affair with a most swaddled suite of ambient music, shoegazing, and semi-classical longings.

Over a quartet of channeled “movements” (rain, absence, intimacy and nostalgia), Julien charts this affair-of-the-heart with a both cinematic and melodious touch. The EP though is a greater conceptual work that even arrives accompanied by a short story and plenty of poetic, stirring baggage. Lingering reminisces pour from this composer’s light yet deep vaporuos yearnings.

On the cover itself, Julien is painted as some kind of Left Banke thinker meets Graham Greene Third Man and shoe-string Marlowe; a riff on 50s and older covers of that vogue. And so nostalgia is certainly evoked on this almost timeless EP of abstracted emotionally pulled memories made tangible. It’s actually a most lovely, touching trembled and graceful encapsulation of the themes; beautifully put together. It’s also entirely different and like all three of these releases pushes experimental, ambient music in different directions, yet never loses sight of taking the listener on those same sonic journeys into the cosmic, imaginary, and intimate.

Somewherecold Records is proving a catalyst and platform for some of the most interesting and ambitious of under-the-radar artists. Expect to see plenty more or their releases on the Monolith Cocktail in the future.

Ian Clement ‘See Me In Synchronicity’
(Cobraside Records) Album/October 2nd 2020

All the better for it, full of sagacious yearning, frontman of the Ghent stoner/alt-rock band Wallace Vanborn, Ian Clement makes a welcoming return to the musical fold with his second solo album See Me In Synchronicity. After many travails and a series of breakdowns, Clement opens up with a songbook collection of musings on troubled romances, escaping, intimacy and more mystical, metaphysical queries on the altered states of consciousness: a subject that stems from the earnest singer/songwriters interest in mysticism and the spiritual, and its place in an increasingly secularized, atheistic Western culture.

Further, as Clement himself illuminates, “mysticism and madness touch each other, even in ordinary life. The daydreamers whose hope lies in love and fantasy or in loneliness or madness, is something that everyone can relate to.” And there is, at least, some of that title’s “synchronicity”; as also reflected on the album cover’s dream state alpine juxtaposed with cityscape and beret fitted beachcomber meandering below a seductive muse collage artwork.

Though far from mystical sounding or esoteric, this is a solid songbook with just enough edge to set it apart from the well-worn tropes and sounds found in most alt-rock of a similar persuasion. For Clement traverses not only hard rock but also country (verging on Americana), indie, post-Britpop and, even, new wave (chugging away tot the dashboard emotional pulling pop motor pop of The Cars on the “consciousness” imbued ‘Turtle & Crow’). And so you can expect to hear a subtle pallet of influences and sounds prompting this brooding but often mature and wise album.

Vocally Clement evokes a touch of Jeff Buckley (via Blackbud’s Joe Taylor) and Mark Lanegan, whilst the mix of blazing rock guitar shadings and hooks leans towards Bends period Radiohead, post-punk and early noughties Bowie. However, the most surprising humbling and yet bittersweet romantic song, ‘Bliss’, strays into the Floydian. There’s also a dappled gospel-tinged organ that keeps popping up throughout the album; a kind of low-key Muscle Shoals vibe.

Making sure this all gels, and offering some of that edge, is the luminary German producer Renė Tinner, who knows a thing or two about pushing the envelope and finding that important synchronicity between the commercial and experimental having worked with such polar opposites as Can and George Harrison. This culminates in a production and sound with depth, soul and a few surprises. Clement unloads his pains and intimate resolutions on a most sophisticated, hard-fought and lyrical work: A brave work at that.

Daniel O’Sullivan ‘Electric Māyā: Dream Flotsam And Astral Hinterlands’
(VHF Records/KPM) Album/23rd October 2020

The latest in a long run of explorative transformations for Daniel O’Sullivan, of both Grumbling Fur and This Is Not This Heat fame, sees the London-based musical polyglot traversing the “library music” oeuvre.

Although often the preserve for lovers of cult mavericks and the kitsch, library music is infinite in scope and varies considerably in quality. Often, because of its very nature dismissed as either a pale imitator of the sound and music it’s trying to ape, or void of true artistry and depth: produced in many cases as a background soundtrack and cheap off-the-shelf filler. Of course this is all bullshit, the label itself now so diverse and overused as to include some truly gifted composers alongside one-offs and obscure unknown peddlers of lo fi and unassuming skits. Essentially though, it is seen as music that fits specific criteria or commission, as O’Sullivan puts it, music made “more for functionality than sonic self-portraiture”.

It also includes, in more recent years, an increasing number of artists-in-the-know appropriating library music’s guilty pleasures and forgotten acolytes: Not so much as pastiche but rather in the mode of homage and mining ever more obscure sounds. And so a very much “knowing” O’Sullivan in collaboration with those purveyors of such rediscovered treasures, KPM, invests a lot of time and effort in producing an 18-track suite of sophisticated redolent library music gestures, sweeps, memories and fleeting incipient soundtracks on the first of a trio of such albums. The challenge however is in creating a fully-realised composition with a start, middle and sort of conclusion in short form: every track on the album being more or less under the 3-minute mark.

Delving into the cosmology of the elaborately psychedelic entitled Electric Māyā: Dream Flotsam And Astral Hinterlands you’ll find a full body of atmospheres, inner spaces, emotions, sciences and supernatural elements articulated by a diverse pallet of sounds and instrumentation. O’Sullivan caters for every occasion, from beatific meditation Eastern transcendence (‘Adoring Solitude’) to emerging from a mysterious mist-clearing landscape (‘Butterscotch Broth’) and Tomat evoked celestial cathedrals-in-the-sky (‘Eagle Ears’). And that’s all within the first five tracks: the mystical, the ambient unveiling of inspired scenery and the cosmos. Elsewhere there’s deft evocations of the sort of tender Italian pianist-driven soundtracks of the 70s favoured by Greg Foat (‘Flashbulb Memory’), a bird’s eye view from above wispy, translucent clouds (‘Feathered Earth’), a kooky burbled and steam-post-punk merger of Kraftwerk, Bernard Estardy and Jon Hassell (‘Gray’s March’) and haunted monastic dream muses (‘Sybil’).

From the sublime to the strange, ethereal to the earthy, most bases are covered on this expansive album of the vapourous and gazing. Most of which is beautifully produced and entrancing. Mixing semi-classical with ambient music, avant-garde and electronica, O’Sullivan has created an inspiring sonic journey through library music’s most lunar and traversing, stirring highlights without reverting to that pastiche and lazy homage. It is nothing short of a great piece of instrumental work, the soundtrack to a most wondrous ambitious movie.

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.


Ranil y su Conjunto Tropical -monolith cocktail


A quick shifty, glance, a perusal of the mounting pile of singles, EPs, mini-LPs, tracks, videos and oddities that threaten to overload our inboxes this month by me, Dominic Valvona.

This week’s roll call of honours includes A Journey Of Giraffes, Northwest, Ranil and Violet Nox.


Ranil y su Conjunto Tropical ‘Cumbia Sin Nombre’
(Analog Africa)   Teaser from the upcoming LP ‘Iquitos – Amazonía – Perú’, released 20th March 2020



Drifting back towards the Amazon, Analog Africa – via their congruous Limited Dance Editions imprint – once more float upstream towards the outposts of the South American continent to discover the sauntering sumptuous delights of ‘cumbia’ music. Venturing past the city of Manaus and past the Brazilian/Peruvian border, to the city of Iquitos. It might be fatalistic or encouraging depending on your feelings about the film, but the remote Iquitos, completely cut off from the Peruvian coast, accessible only by air and water, and surrounded by impenetrable forests, was where Werner Herzog filmed the maddening visionary Fitzcarraldo: the epic story of one man’s struggle to bring opera to the Amazon; the travails of which entailed dragging a great big paddle ship over a mountain. Cut off then from the outside world, this lush if hardy place to eke out a living, incubated a novel version of the famous, polygenesis folkloric music.

Though everyone on the continent has had a go at adopting and tinkering with the original form, the melodious Cumbia hails from Colombia. Informed by a trio of cultural influences it can be broken down as thus: the rhythmic foundations derive from Africa, the indigenous offer up the flute-y sound, and the Europeans the costume and choreography. In recent times it has been electrified, adopted by untold contemporary bands.

Iquitos’ favourite son of cumbia Raúl Llerena Vásquez – known to the world as Ranil – was a Peruvian singer, bandleader, record-label entrepreneur and larger-than-life personality who moved to the heady lights of the capital, Lima where he swirled the teeming buzz of the Amazonian jungle, the unstoppable rhythms of Colombian and Brazilian dance music, and the psychedelic electricity of guitar-driven rock-and-roll into a knock-out, party-starting concoction.

When Ranil returned to Iquitos after several years teaching in small towns, he assembled a group of musicians and prepared to take the city’s nightlife by storm. His unique blend of galloping rhythms and trebly, reverberant guitar was so successful that he was soon able to take his new band to Lima to record their first record at MAG studios, where many of Peru’s most successful psych, rock and salsa bands began their recording careers.

Yet Ranil had no intention of entering into the indentured servitude that comes with signing one’s life away to a record company. Instead he established Produccions Llerena – possibly the first record label founded in the Peruvian Amazon – which allowed him to maintain complete control over the release and distribution of his music. His fearsome negotiation skills and his insistence on organising his own tours turned him into one of the central figures of the Amazonian music scene.

Although his records were popular throughout the region, Ranil never sought his fortune in the capital, preferring to remain in his hometown of Iquitos where, in recent decades, he has concentrated his considerable energies on his radio and television stations, and become involved with local civic politics. Yet his legacy has continued to grow among those fortunate enough to track down copies of his legendary – and legendarily difficult to find – LPs.

Ranil’s extraordinary output has remained one of the best-kept secrets among collectors of the genre and psychedelic Latin sounds.

Ahead of the Ranil y su Conjunto Tropical album we’re sharing just one of the three teaser tracks currently doing the rounds; the sauntering lilted and scrappy ‘Cumbia Sin Nombre’. This will go some way to keeping you warm during these miserable rain-lashed and freezing winter months.

Of interest from the Archives:

Analog Africa Tenth Anniversary Special

Mestre Cupijó e Seu Ritmo ‘Siriá’ Compilation Review

Bitori ‘Legend of Funaná ‘The Forbidden Music Of The Cape Verde Islands’ LP Review

Dur-Dur Band ‘Dur Dur Of Somalia: Volume 1, Volume 2 And Previously Unreleased Tracks’ Review


Northwest ‘All Of A Sudden’
(Temple Arts) Video





On occasion, due to time constraints and the sheer volume of requests/submissions thrust upon the Monolith Cocktail each day (let alone week or month) the odd sublime band slips through our hands. The adroit cerebral and artfully beautiful Northwest duo is one such example of this: though we managed to at least feature the slow-released beatific ‘The Day’ lull in our last ever Quarterly Revue Playlist, at the end of 2019. Taken from the duos most recent (and second) album of subtle yearning pop and neo-classical lent mini-opuses II, the achingly ethereal voiced and purposeful heart-breaking ‘All Of A Sudden’ has been furnished with a new video. A favourite not only of ours but the duo themselves, who consider it one of the best songs they’ve ever written (they might just be right on that), Northwest’s heavenly voiced Mariuca García-Lomas explains that the message behind this tender feely classically brushed and gauze-y trembled strings evocation has been difficult to express before in words. Hopefully these metaphorically blinded and bandaged visuals – recorded on an emotionally charged cold morning in an English garden – will enlighten us further.

Taking the plunge a few years back, quitting their jobs in the bargain and relocating to the UK, Mariuca and her foil Ignacio Simón have released two albums so far under the Northwest moniker, though they also appear under various other guises – this particular incarnation of the duo expands to accommodate a small chamber orchestra. They’ve also recently launched their own label hub, Temple Arts, for all theses projects; a one-stop platform you could say. Not confined to just breathtaking music, they’ve also released a series of little films and performances, two manifestos, organized an arts festival in a church in London and collaborated with a wealth of other artists, such as dancers and costume designers.

Romantically plaintive with a political dimension, their last video-track ‘Pyramid’ (taken from the first LP) was directed by the artist Álvaro Gómez-Pidal on 16mm film and used a drawn-on-film animation technique. This latest visual accompaniment is no less sublime.

Of interest from the Archives

Quarterly Revue Playlist Part 4



Violet Nox  ‘Future Fast’
(Sleep FUSE)  EP/Out Now





A slightly disorientating and ominous vision of futurism waits on the new unearthly cybernetic EP from the Boston, Massachusetts synth-heavy troupe Violet Nox. Gazing into the mainframe this quartet of light-bending minimal techno and ambient explorers fashion a strange cosmology from their tech setup. The subtly engineered wispy and whispery vapour trail opening ‘Cosmic Bits’ features an ever-intense soundscape of lightbeams, downplayed acid burbles, resonating satellite signals and air-y sine waves. It also reminded me a bit of the organic subterranean trance of the Future Sound of London and various records put out by the R&S and Hart House labels in the early to mid 90s. The moist atmospheric ‘Moonshine’ merges post-punk with bity techno, with its use of what sounds like flange-y guitar – though this could be the sound of a guest ‘ukulele’ – reverberations, bendy effects and cybernetic voices on an increasingly mind-altering journey. More metallic robotic like voices can be found on the fizzle lashed echo-y ‘Superfan’ – a track that just keeps getting weirder and nosier as it progresses – whilst ‘Bell Song’ sends those broadcasts and masked annunciations into a vacuum of trance-y tubular ambience and vague percussive industrial washes.

More intriguing and mysterious than dystopian augur, Violet Nox’s warped explorations prove intriguing and adroit in navigating brave new (alien) worlds.



A Journey Of Giraffes  ‘Armenia’
LP/Out Now





Seeming to get better with every release, the unassuming maverick ambient and soundscape explorer behind this most picturesque of animalistic monikers, John Lane, has in recent years been prolific in churning out the most subtle but deeply effective under-the-radar soundtracks. The safari has moved, in more recent years, away from Lane’s Beach Boys imbued driftwood suites to more ambient and traversing experimental influences. Previous excursions from the Baltimore composer include an aimless supernatural field-recorded walk through the forest, – a mixture of Arthur Russell meets Panda Bear and Alejandro Jodorowsky in John’s Maryland backyard -, and the love letter to the late Japanese electronic composer Susumu Yokota, Kona – a ceremonial, Zen like soundtrack that evokes the Fourth World Possible Musics of Jon Hassell, Popol Vuh and the higher plain communal glistened zither transcendence of Laraaji.

The latest album looks to the edges of Eastern Europe, where the Caucasus meets the Middle East, and the mysterious of Armenia. A land much disputed, fought over and most tragically, its population during WWI herded from their lands towards one of the 20th century’s most heinous genocides (still contested by the perpetrates to this day). Atavistic psychogeography, myths, ancient readings and poetry form the inspiration on this generous 44-track album of differing stirring soundscapes, traverses, contemplations and ruminations. From the air-y and sublime to the more ominous, primal and fraught, minimal evocations sit alongside more churned oblique scrapped moody horrors. Voices from the old religions swirl and echo amongst the hewn stone monuments to Armenia’s ghosts on an outstanding mesmerizing soundtrack. I’m not sure how many more great records John has to make before he gets the recognition he deserves, but it better be soon.

Of interest from the Archives

A Journey Of Giraffes ‘Kona’

A Journey Of Giraffes ‘F²’

Expo ‘She Sells Seashells’


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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.

Dominic Valvona’s new music reviews roundup.





Interesting releases from across the world and music spectrums; Tickling Our Fancy is the most eclectic of reviews roundups. With no themes, demarcations of any kind, or reasoning other than providing a balanced platform for the intriguing, the great and at times, most odd releases, I bring you this month’s latest selection.

I have a truly international spread of releases for you all, even more than usual with one band in particular, the backpacker collective The Turbans, featuring band members from the UK, Eastern Europe, Levant, Africa, Balkans and beyond. I take a look at their borderless debut album for Six Degrees Records. From Mexico way, there’s the b-movie space mambo and cumbia occult of Sonido Gallo Negro: newly signed to Glitterbeat Records and releasing their third album Mambo Cósmico. Uniting for the second time together on a recording, Welsh harpist maestro Catrin Finch and Senegal kora star Seckou Kieta reunite for diaphanous and reflective celebration of the two instruments and their respected native homeland’s heritage on SOAR. Closer to home there’s the latest inimitable psychedelic pop album, Natural Causes, by Anton Barbeau; an EP of blossoming, Kaleidoscopic dance pop from the Leeds duo Lost Colours; the first solo album project to see light after the break-up of The Liars, with Aaron Hemphill’s Nonpareils solo debut Scented Pictures; Sebastian ReynoldsMahajanaka odyssey, now finally getting a soundtrack release; and the tortured industrial noise and biblical raging of the Boston duo Water Fragment.


Nonpareils   ‘Scented Pictures’   Mute,  6th April 2018

With the Liars now, more or less, the sole concern of Angus Andrew, the first fruits of the schism that split the original band up is now unveiled in the shape of Aaron Hemphill’s solo nom de plume Nonpareils: chosen because it’s a “name that didn’t evoke a single person or a producer name, but hopefully something that sounded more like a group or a band…something plural.”

Moving to Berlin in 2015, a year before he left the Liars, Hemphill has had a good two years break from his former band mate, but instead of reflection or acrimonious scorn he’s decided to deliver a cyclonic churning and confusing barrage of sonic displacement; a window in on the woozy state of Hemphill’s mind, all those ideas, snippets and memories channeled through a abstract and broken staccato and heavy reverb obstruction that’s still capable of throwing out some pretty good hooks and tunes.

‘Metaphysically reconstructed pop’ as Hemphill himself calls it, the druggy feel and lingering traces on his inaugural solo debut, Scented Pictures, was all recorded in Berlin using the most haphazard and off-kilter of processes. Recording ‘stacks’ of acoustic instruments whilst ‘doing the silliest’ of experiments upon them, Hemphill also encouraged the engineer on these sessions to distract and hinder him as he bashed away on the drums (without a click-track), and set up the microphones, when on the piano, to deliberately “fall away from the body of the instrument.” And so there is a strange disconnection and time-lapse, in which everything sounds like it’s running away from its main source or languidly slurring, that runs throughout this album. It ties in to the theme of “time-accelerating” and Hemphill’s premise of a “sensory experience of memory”, which encourages the brain to fill-in the gaps of what is a constantly trudging, stuttering soundtrack of disorientated peculiarities. None more so than The Timeless Now, which sounds like a churned and slurred breakdown of time itself, set to eternal damnation and spinning like a centrifugal space sequence.

Amongst the reversed effects, stumbled drums, tetchy loop oscillations there’s hints of Mogadon induced Atlas Sound (on the surprisingly Spector trippy dream pop plaint Makes Me Miss The Misery Girls), a Coil/John Cale hybrid (Cherry Cola), vaporous synth (ala the Eno-esque Press Play), Alan Vega (more specifically the title track, which also includes a subtle trace of Neukölln Bowie, but his ghostly presence can be heard on many tracks) and R. Stevie Moore.

Often resembling a scratched CD having a fit of the jitters; often obscured under a veil of languorous multilayering; often sounding distant; Hemphill still retains an ear for melody, combining the abstract with post-punk, rock’n’roll and techno to produce something dreamy. His ideas are distilled into a seething disorientation of time and memories; tapping in to the anxious and confusion of our times. Not so distant from the Liars sound, yet different enough to be challenging, Scented Pictures is an enigma waiting to be unraveled.






Sonido Gallo Negro  ‘Mambo Cósmico’   Glitterbeat Records,  6th April 2018

Serving up a mystical occult of a third album, the sauntering Sonido Gallo Negro take a trip aboard one of Erich Von Däniken’s ancient astronaut controlled UFO to draw in a wealth of cosmic affected South American styles and exotica.

Slinking all the way the nine-piece outfit reach out beyond the Mexican borderlands to embrace the multicultural dance rhythms brought to the Americas via Africa and the Middle East and of course the centuries ingrained influence of the Hispaniola.

Already interpreting and reframing the popular cumbia – what was originally the folkloric rhythmic dance practiced by the Africans who were en mass displaced and brought to work in Columbia – and mambo on previous records, the group now include a hybrid mix of ‘cha cha’, the Mexican ceremonial dance known as ‘danzón’, and the Sinú River sprung brass orchestra come Caribbean region of Colombia ballroom style ‘porro’.

Oscillating over the Nazca Lines or creeping through the Theremin quivering sorcery mists of Catemaco, every song has an exotic but kitsch like charm; no more so than with the world famous cover of the Mexican bandleader Pablo Beltrán Ruiz’s mambo turn crooner swaying Quién Será?, covered and transformed into an almost comic dash, with Farfisa organ prods and Dick Dale tremolo.

Encompassing Santo vs. the creatures from Mars b-movie cosmic effects (Mambo Cósmico, but also throughout), deity worshipping ritual frazzling (Cumbia Ishtar), bird-like trilled exhales from the cha cha hot-stepping carnival (La Foca Cha Cha Cha), sultry ballroom with Spanish flair (Danzún Fayuquero) and Surf twanged otherworldliness (Danza del Mar), Sonido Gallo Negro perform everything with a lively flair; both busy but controlled.

Like a Mexican Head Hunters celebrating the rich musical diversity and occultist symbolism – from the mysterious allure of Mesoamerican pyramid building societies to magic shamanism – of the Americas, Sonido Gallo Negro meld all their influences together in one big bubbling melting pot of fun.






The Turbans   ‘The Turbans’   Six Degrees Records,  6th April 2018

Collecting band members as they busked together in such exotic locations as Kathmandu, the two instigators, and fellow ‘half-Iranian/half-British nomads’, behind the international backpackers The Turbans, (the self-confessed ‘seventh best guitar player in the band’) Oshan Mahony and violinist Darius Luke Thompson, have amalgamated countless styles and cultures towards a largely upbeat celebration of borderless solidarity.

The term for this cross-pollination of the Levant, Balkans, India and Africa, coined by the group’s Kurdish percussionist Cabber Baba, is ‘music from manywheres’, though their base and center for at least half the time when not on tour is Hackney in London – the other half spent in Goa. They sing of this attachment to Hackney, celebrating its multicultural allure and spirit to a loose backing of electrified souk rock and jostled hand drums on the paean tribute song of the same name.

It would take an age to document each of this globe-stretching group’s credentials and heritage, let alone mention all the additional guests that make this, The Turbans, debut album so richly amorphous, traversing as it does so many cultural and national references. Songs such as the folkloric wandering Sinko Moy, written by the group’s former Bulgarian pop star and Django Ze front man, Miroslav Morski, for instance features the lulling atmospheric choral backing of The London Bulgarian Choir, who project us the diaspora and view from the Carpathians, but then other elements of musicality and tone hint at Cairo, Timbuktu and even Ireland. This shifting sense of location is The Turbans signature; one minute gazing from atop of a camel, searching over sand dune landscapes, the next, regaling a romantic atavistic paean to Flamenco accompaniment in Moorish Spain.

Featuring a rambunctious mix of characters, from Belarus oud player Maxim Shchedrovitzki to guembri maestro Simo Lagnawi, the group throw Tuareg blues, gypsy music, Moroccan pop covers, colonial Tunisian lounge music and Greek folk into one gumbo pot of both harried japes and more serene contemplation.

Political by being so diverse in a climate of hostile nationalism and closed borders, The Turbans don’t so much push an agenda as reference the various travails by which many of its members had to overcome to reach these shores. And so this album is more a celebration of universal collaboration.

Recorded, of all places, in a previously abandoned 500 year old property on the borders of Scotland and England, in the Northumberland farmhouse turned community arts centre where the group’s co-founder Mahony grew up, you’d be hard-pressed to find a more international sound right now.






Catrin Finch & Seckou Keita   ‘SOAR’   bendigedig,  27th April 2018

 

Only two releases in and the bendigedig label – an independent partnership between Theatr Mwldan in Cardigan, Wales and ARC Music – is already proving to have erudite tastes for the finer examples of beautifully-crafted folk and traditional music from the versants of Wales and beyond. Following on from the recent Gwyneth Glyn album Tro, the internationally renowned harpist Catrin Finch once more draws parallels musically and culturally between her native Wales and the West African homeland of musical partner Seckou Keita, on the working duo’s second album together, SOAR.

In a similar vein to her fellow compatriot, Glyn, who just as effortlessly blended her Welsh lilted tones with those of the Indian ghazal singer Tauseef Akhtar on the Ghazalaw LP collaboration and has also supported Keita on tour, Finch merges the angelic elegance of the harp with the equally elegant, spindly diaphanous sound of the harp-like Kora, as played by the maestro from Senegal,

Combining the two distinct, but as you’ll hear highly congruous, instruments together and bringing both experts extensive knowledge and talents to the fore (and the bios of these two practitioners is highly impressive and wide), the duo weave an intricate melodious album that celebrates both their diversity and shared goals.

Originally coming together for the award-winning Clychau Dibon LP in 2013, the harp partnership continue with that album’s avian theme, using it as a springboard for another articulated series of paeans and serious reflections. Though it might not be the most obvious of geographical connections, both artists seamlessly tie their respective backgrounds and heritage together, starting with the divine ‘soar’ and flutter of the Dyfi Osprey on the opening bird of prey homage, Clarach. Immortalizing the first Osprey in modern times to be born in Wales after an absence of 300 years (persecuted to extinction by the end of the 17th century), its survival and 3,000 mile migration to West Africa is celebrated by mirroring its travail between the two continents; this majestic creature’s freedom finds solace and respect through the duo’s charming melodies and interplay. It’s a forced migration, and the theme of colonization, that’s given a more jazzy-blues harp voice on the trembled-held poignant 1677. Tilted after the year that Vice-Admiral Jean Il d’Estrees stormed the Dutch fort on the island of Gorèe off the coast of Keita’s birthplace of Senegal, captured in the name of his master King Louis XIV, it marks the point in history where rule in the region passed to France. Gorèe would become a notorious slave trading port over the next century. Capturing the motion of rocking boats in the interaction between the two instruments, the duo mimic a murky back and forth pattern in plaintive remembrance to those who have left the West African coast behind for a better life, and for those who weren’t so lucky.

Staying close to Keita’s heart, they also perform a reinterpretation of the lovely tribute to Yama Ba; written by Keita’s uncle and fellow kora maestro Solo Cissokho as a paean to the woman who believed in him when times were tough, and was willing to invest in his future, buying him the equipment he needed to amplify his instrument. From the semi-nomadic Fulani people who live all over West Africa, Yama Ba is given a peaceable, softly accentuated homage, with Finch replacing and transforming the original melody played by Cissokho’s bassist Kevin Willoughby. There’s also an inviting gesture of effortless warmth on the Senegal split-language entitled Tèranga Bah: A nod to the country’s version of ‘great hospitality’, Tèranga translates as ‘hospitality’ in the Wolof dialect, Bah as ‘great’ in Senegal’s other most common tongue Mandinka. And one of the oldest tunes in the Senegambia kora repertoire, the difficult (only played we’re told by experienced practitioners) Baisso is twinned with an excerpt from Bach’s Goldberg Variations on the surprisingly seamless and classical reverent turn joyfully serene Bach To Baisso hybrid.

Back to the valleys of Wales, and one of the album’s most serious tunes, Finch commemorates an event, a catalyst for an insurgence in Welsh nationalism that led to a groundswell of protest and even sabotage. Cofiwch Dryweryn is a gorgeous lament to the flooding in 1965 of the Tryweryn valley in north Wales; flooded to create the Llyn Celyn reservoir that supplied water to the city of Liverpool. Those unfortunate enough to have lived or worked its land were forced to leave; an action that led to much resentment and went towards a revival in self-determination – though it would of course take a further forty years for Wales to get a devolved powers from Westminster. Here, lost almost in the flow of the watery gushes and drama, Finch’s whispery tones echo the feelings, “remember Tryweryn”, as Keita lends a yearning vocal and kora pinning accompaniment.

It’s often difficult to hear when one instrument begins and another ends, the kora and Welsh harp in such synchronicity. The earthy spindled kora and plucked ebb and flow of the serene harp both prove the most complimentary of companions. The two heritages and ancestral combine for a united front on the plight of not just a migratory bird but people and ideas too. The exchange articulated with beauty and élan.






Sebastian Reynolds  ‘Mahajanaka EP’  Nonostar, 20th April 2018

Finally releasing the soundtrack part of his beautifully transcendental Mahajanaka odyssey style dance and music collaboration, the Oxford musician/composer/promoter and member of the Flights Of Helios collective Sebastian Reynolds launches an EP’s worth of variations to promote the upcoming live performance of the Mahajanaka Dance Drama at the Wiltshire Music Centre 2nd April 2018. The beautifully softly malleted and chiming peregrination original is transformed subtly and serenely over the course of a live performance – performed with his Solo Collective triumvirate band mates Alex Stolze, Anne Müller and Mike Bannard – and two remixes.

A keen enthusiast of eastern and oriental cultures, especially Buddhism, Reynolds travelled to Thailand a while back as part of a British Council/Arts Council England funded trip. During that visit he laid down the groundwork for the Mahajanaka project, a collaboration fusion of both traditional Thai forms and Western contemporary dance and music, which reinterprets the ancient stories of Buddha on his multiple incarnations journey of perfection towards becoming fully enlightened.

Partners on this reimagining project include Neon Dance and the acclaimed dancer/choreographer Pichet Klunchun, and on the score itself, features both long-term collaborator Jody Prewett (keyboard) and the Thai pop group The Krajidrid Band under the direction of composer/producer Pradit Saengkrai. Recorded playing the classical Thai “piphat” ensemble music, The Krajidrid Band’s evocative sacred finger cymbal chimes and peaceable soft mallet accompaniment is sampled and looped by Reynolds to produce a gently overlapping and mysterious ambient flight of fantasy. It certainly creates the right mood, successfully merging the source material with the atavistic, transformed by Reynolds’ signature process of reinvention.

Featuring his chamber electronic partners from the already mentioned and most brilliant Solo Collective project, there is a trembled bow and gentle stirring strings version, included alongside the original. Performed at the Roter Salon, Berlin on the 6th February 2017, this live recording adds a gently lilting undulation of European cello and violin, courtesy of Müller and Stolze, to the ceremonial Thai drones and lush divine resonance. Taking it in another direction, albeit subtly, the Emseatee remix adds a ice-y vapour and tight enervated clattery beats, ala Bonobo, to the Southeast Asian suite, whilst the Atlasov remix subtly wafts this soundscape towards a gauze-y The Orb and Artificial Intelligence era Warp label direction. Though nothing quite matches the original Jon Hassell like venerable peregrination, a most beautiful evocation of the Buddha enlightenment transported to another realm.




Anton Barbeau   ‘Natural Causes’   Beehive/Gare du Nord,  13th April 2018

Ian Hunter via Robyn Hitchcock via Luke Haines, wrapped inside an enigma, the Sacramento born, Berlin-based, Anton Barbeau changes his style of delivery repeatedly yet always maintains an idiosyncratic ingenuity in whatever he does. Posing in a not too dissimilar fashion to Julian Cope on the cover of his latest (and 23rd) album Natural Causes, he looks to all intents and purposes, standing amongst the long stones, like nature’s son on a Ley Lines trip. You can hear a hint of the arch druid of heads own, more, digestible and melodious brand of psychedelic pop running through Natural Causes, but not exclusively, as he opens up to the 12-string élan of the decade he was born in to: the 60s.

Not so much softening up as choosing a more personal, peaceable approach to ‘glorious sounding’ maverick pop, Barbeau has produced something quite stunning and timely (Barbeau fast approaching his 50th birthday): a cerebral album both instantly memorable, melodic and yet adventurous and inventive.

The results of an aborted project under the Applewax banner, made in the run up to the 2016 US elections, Natural Causes is the reflective, more open antithesis to what would have been a far darker and mournful proposition. In part a request from Barbeau’s French label Beehive (released in conjunction with Monolith Cocktail favourites, Gare du Nord), the album that would eventually grow out of the abandoned Applewax would include remakes of past classics alongside new material.

Having another bite at old faithful, Magazine Street, he amps up the jangle factor and production on this country-rock Byrds meets Green Pajamas classic. There’s also reinforced crisp breezy versions of Creep Tray – this time featuring the lush undulated backing vocals of Karla Kane, who guests on a quintet of songs, adding everything from harmonies to “OMs” – and the fuzzed-out vortex, Just Passing By.

In between the all too fleeting to be effective as anything other than paused intermission style vignettes, Barbeau and a congruous cast of guests lend a touching caress to a songbook of contemporary surreal lyrical musings and love songs. Unrushed, even breezy in places but hardly lacking intensity, there’s an air of nostalgia in homages to the radio stations and DJs that sparked interest in the young Barbeau, on the Hunter fronts Tom Petty band finale Down Around The Radio. And with a nod to one of the music cannons greatest ever records, The Beatles Sgt. Pepper kaleidoscope, a stab at a popsike hit (a missing link from one of Strange Days magazines 80s halcyon compilations) is made with a song that was originally written to be recorded at the venerated Fab Fours’ inner sanctum of Abbey Road, with the quirky Disambiguation, which evidently does have a tenuous link to the Beatles, featuring as it does McCartney (and Pretenders) wingman Robbie McIntosh on 12-string guitar. Meanwhile, the discombobulating time-signature Coffee That Makes The Man Go Round is humbly declared to feature the “second greatest riff ever”, and is in part inspired by one of the 60s most underrated bands, Family.

Perhaps one of the most touching declarations and attempts at a lilting anthem, Summer Of Gold, which features Nick Saloman and Ade Shaw of Bevis Frond fame, and Michael Urbano who works with Neil Finn, sounds like Crowded House backed by a Mellotron accentuated rich Amon Duul II. Adopting an entirely different sound, Barbeau covers a strange space in which Sparks collaborated with Squeeze on Secretion Of The Wafer, and channels George Harrison (yes another Beatles link) on the Krishna referencing peaceful Mumble Something.

Fans of Barbeau will be once again charmed by his unique songwriting abilities, and those still unfamiliar with the inimitable generation X artist of renown will find much to love about his psychedelic pop genius.






Lost Colours   ‘A Different Life EP’   61seconds,  14th March 2018

Featured last month, Lost Colours’ life-affirming cosmos pop single One Space Left sits at the center of their new follow-up extended EP, A Different Life. That debut song, a visceral explosion of colour encapsulating the Leeds-based duo’s optimistic abandon in producing psychedelic pop, with a lilt of globe-travelling trance, to put a smile on your face.

Featured either side of it is a trio of similar universal voyages and a number of various remixes, starting with the slow boat to Goa via the South China Seas caressed and lingering Organic Adventures. Building a relaxed soundtrack into a stronger, more rallying trip-hop explosion, the scale of this adventure expands to include waves of indie rock guitar, strings and crashing drum breaks. On a more jazzy soul trip, part Chemical Brothers, part Acid-jazz, the title track and Technicolor High both feature the earthy indie soulful vocals of Sam Thornton. The first of these is a horns, flute accented cyclonic propelled thrust through “the cosmos”, the second, an indie-dance Coldplay traverse.

A Different Light receives two remix treatments, both of which stretch, chop up or strip the original; the Abstract Orchestra transformation slinky but sharp and optimizing the jazz elements; the Night Stories, amping up the swirls and adding velocity drum’n’bass to the mix. Technicolor High is given the LC Nightshades Euro club treatment, with bongos, vapour trails and ambient pauses.

The Lost Colours duo, already lively for the past few years on the remix scene themselves, have been biding their time, steadily building up material for their move over into producing their own original blossoming, Kaleidoscopic material. They sound to be on the right path, their debut and new EP an unashamed joyful and lifting experience of psychedelic and exotic trance dance music.




Waterman  Fragment   ‘Waterman  Fragment’   Available now on Bandcamp

Though something of an unknown entity, I do know for certain that the often brutal and discordant Waterman Fragment convincingly grind through the miasma, shock and stresses of our unstable, conflict-beckoning world on there recently released self-titled LP. Started by two self-confessed “music survivors” of the 90s New England noise/skronk scene, the Waterman Fragment duo have moved on to summon forth a caustic barrage of demons with this incarnation of metal pummeling, warped and tortuous flagellation.

Quite vivid and fired-up, when you can hear them, the mostly spoken (or barracked through a megaphone) lyrics have a real depth and poetic menace. Layers of meaning and references strike at the bowels of hell; the aftermath of an aerial bombing raid that hits a zoo becomes a quasi prose style menagerie version of Guernica, on the hypnotic quagmire dissection of death from above, A King And A Smak In A Calm. Warning it’s strong stuff, but here’s an example of that distressing vivid lyricism: “Beneath deep rubble reptiles squirm. The aquarium explodes. Monkeys and gorillas flee, hair singeing as they run. Shattered glass aviaries empty themselves. Trapped in their temple, elephants die. Rats work the huge rib cages and mounds of entrails to make a golem, filling its head with flies, as the city shines red through a gate knocked off its hinges in the background.”

The finale, which almost bounces and shimmer along by comparison to the rest of the album, moving along to a double-time mix of the Moon Duo, Sigue Sigue Sputnik, Suicide and The Normal, is an elegiac unflinching discourse on the Crystal Meth epidemic sweeping America (but the rust belt in particular): “A lumber saw took his leg, lost all his teeth to crystal meth.”

Harrow be thy name and all that, there’s plenty of Biblical quotation or allusion to it anyway to be found; extracts of Psalm 51 can be found on the fork-tongued exorcism at the foot of the Babel Tower, The Hyssop – a reference to the brightly coloured shrub found in Southern Europe and The Middle East, mentioned in the bible, known for its medicinal properties as an antiseptic. The Swans argue with 4AD era Scott Walker soundtrack certainly sounds like a brooding combat between the esoteric bible and dark forces. There’s plenty of rage, a lot of the daemonic, and plenty of the Old Testament prophecy amongst the blood and guts and tearing flesh.

A theme of breaking free, shouted over the white noise, and the need to breathe; shedding the old skin, escaping the augurs of destruction; and escaping the Skynet possible future of automation and our robot overlords on the repeated steel ring fence kicking and foot pedal throbbing industrial Function: “Come meet the robot god, your soul’s entrusted to take off his metal mask. I’m staring back at you. I am the function of pure self destruction, anti-reproduction, and pro-automation.”

Sawed, drilled, stamped, teared, hammered and bashed, you really will feel like you’ve been savaged and beaten by the time you reach the end. A challenge certainly; the paranormal, biblical, esoteric no match for the realities of human nature and its darkest misdeeds, distilled through the harsh Gothic and industrial noise soundtrack of the uncompromising Waterman Fragment duo. For those who embrace the gloom and mire consider this a most heavy serious recommendation from me.




Words: Dominic Valvona






If the Glitterbeat Records label had a remit, ‘a raison d’etre’, it would be all about transcending borders, whether it’s the physical, geographical or subconscious kind, to bring the most ‘vibrant’ and ‘committed’ of artists to a global audience.  Finding existing and ‘possible musics’ (to borrow a term from the label’s own reissue of Jon Hassell and Brian Eno‘s iconic 1980 transformative soundscape experiment, Fourth World Volume One: Possible Musics) from across the world, the independent German-based sister label to Glitterhouse Records has in a short timeframe helped reshape and redefine what we know as ‘world music’ – a fatuous term in itself, still largely used to denote anything outside the comfort zone of Western commercial music.

Originally putting out a catalogue of sublime and obscure records from some of Malia’s most important, traversing desert blues and rock artists (from Ben Zabo to Tamikrest and the Songs For Desert Refugees compilation) on Glitterhouse, world traveler bluesman Chris Eckman of Dirtmusic fame (the labels unofficial in-house band) went on to co-found the Glitterbeat imprint with Peter Weber in 2013. The inaugural release on that label, now celebrating its fifth anniversary, was a 12″ remix of Ben Zabo’s Dana by Mark Ernestus (Rhythm & Sound, Basic Channel), released sometime around March 22nd, 2013.

From the already mentioned desert blues stars of Mali and ‘beyond’, Eckman’s ever growing roster of contemporary sonic adventurers hail from a number of other African countries, including Ghana, Mauritania and the Bargou Valley bordering Algeria. And has since gone on to expand its remit and reach out to include music from the Balkans, Southeast Asia, the Levant and South America.

As you can imagine, this global expansion encompasses a myriad of musical styles, many of which were in serious danger of disappearing into obscurity if not for the work of music ethnologists such as Paul Chandler and Grammy Award winning field-recordist/producer Ian Brennan (we were lucky enough to interview Ian a couple of years ago), who both recorded for posterity ‘lost voices’ and atavistic guardianship documented collections for the label under the Hidden Musics series.

So busy and bustling with potential releases, in the last couple of years they’ve set up a congruous imprint of their own, the tak:til scion: an extension and home for more transcendental, meditative and experimental material that doesn’t quite fit the main label. Featuring a mix of re-released and remastered iconic albums from the ambient, soundscape and devotional genres – including the already mentioned inaugural Jon Hassell and Brian Eno collaboration -, Tak:til has featured Širom‘s Slovenian odyssey I Can Be A Clay Snapper and 75 Dollar Bill‘s psychedelic desert rock and trance of the Maghreb, avant-garde, jazz and even swamp boogie delta blues transient W/M/P/P/R/R.

 

From handkerchief waving Albanian songs of sorrow to Istanbul dub; from hybrid collaborations such as Tony Allen‘s album with some of Haiti’s finest musicans, the Afro-Haitian Experimental Orchestra, to the electric griot psych of Noura Mint Seymali; from the Turkish pregriation and siren vocals of Gaye Su Akyol to the carnival funk of Bixiga 70; Glitterbeat Records has helped uncover a whole new musical world of discovery for people like me. It’s no surprise that they’ve won the WOMAX label of the year so many times, and attracted heaps of acclaim. I’ve more or less featured every single one of their forty plus releases, and seldom found a dud. And Glitterbeat Records have appeared more times than any other label in our end of year features.

To celebrate the label’s fifth anniversary, I’ve chosen both personal favourite releases and tracks from the back catalogue.


Lobi Traoré  ‘Bamako Nights: Live At Bar Bozo 1995’  2013

From the very beginning, one of Glitterbeat Records earliest releases, Bamako Nights captures the loose, almost extemporized sounding, drift of the late Malian legend Lobi Traoré (who died at the age of 49 in 2010); capturing one of his ‘packed-to-the-rafters’ live shows from the feted and iconic Bar Bozo.  The singer/songwriter takes the crowd with him as he meditatively affects an adroit passage through Mali’s social and political pains. Attenuate guitar lines bolstered by flanger; licks powered by enveloping sustain; and a band whose steady yet often expletory solo spotted, bubbling bass and rapid percussion bind the nuanced accents together, all prove rhythmically hypnotic.

To have been a-fly-on-the-wall at one of these intimate, intense, shows must have been a magical experience; especially as Traoré kept the anticipation building; the appreciative audience either enthralled by every descriptive note and earthy toiled vocal or adding their own backing chorus of spiritual hollering and hand clapping: You’ll be hard-pressed to find a greater live experience and encapsulation of the atavistic West African blues.



Samba Touré  ‘Albala’  2013

As Mali continues to exist in a fragile union after the recent Islamic hijacked insurgency (curtailed by former colonial masters France with additional support from the UK), a host of the country’s great and good (Bassekou KouyateFatoumata DiawaraBaba Salah, Tamikrest to name just a few), compelled to speak out, have added gravitas to their praised sweet tribal blues in defiance of the regimes that would have banned or at the very least censored their music. Known for his work with the late Malian legend, Ali Farka TouréSamba Touré is an amiable enough chap whose previous acclaimed albums, Songhaï Blues and Crocodile Blues, were more genial affairs, shows his disapproval with a grittier, riskier brand of protest on Albala.

Albala – translated from the Songhaï language as ‘danger’ or ‘risk’ – is a darker, albeit lamentably so, album. But so delicately melodious and nimble is the delivery that the cries of woe remain hymn-like and hypnotically diaphanous: the blues may have turned a deeper shade of forlorn yet still sways with meandrous buoyancy and restrained elegance.

A traditional accompaniment from Touré’s regular band mates Djimé Sissoko (on ngoni) and Madou Sanogo (tapping out a suitable candour on congas and djembe), with guest performances from celebrated ‘master’ of the one-stringed violin, the souk, Zoumana Tereta, and fellow Malian ‘neo-traditional’ singer Aminata Wassidje Touré is bolstered by effective guitar and keyboard layers from Hugo Race (The Bad SeedsDirtmusicFatalists). This subtle mix works wonders, giving the overall sound a mystical delta blues feel, resplendent with fuzz, wah-wah and wailing soul.



Aziza Brahim  ‘Soutak’   2014

Born in the hardened landscape of a Saharawi refugee camp on the border of Algeria and the Western Sahara, beguiled vocalist Aziza Brahim embodies the wandering spirit of her people; their settled, though often borderless and disputed lands, previously claimed by Spain, were invaded in 1975 by Morocco. Though made up of many tribes with many different goals the Saharawi people did mount a fight back. It was in this climate that Brahim was hewed.

Soutak, or ‘your voice’, is centered on just that. The backing is striped to a degree, so the poetic reverberated vocals can echo and warble soulfully without interruption. Though there is no mistaking that strong, robust and primal Saharan spirit, the congruous accompaniment is a mix of both Balearic and folk rock styles – especially the deep sleek bass guitar notes that slide and weave under Brahim’s distinctive voice.

Produced by Chris Eckman (of Dirtmusic fame), whose assiduous talents have done wonders with Malian blues rockers Tamikrest and Bamako Afrobeat artist Ben Zabo, Soutak was recorded live in Barcelona: the fluid lilting cosmopolitan sound of that city is unmistakable.

Serene and subtly sung, the choral, almost desert gospel hymns take time to unfurl their charms, so be patient. Once again Glitterbeat and Eckman have a classic world music crossover on their hands.



Dirtmusic  ‘Lion City’  2014

Connecting the ‘dirt music’ environment of an unforgiving Australian outback with the Cajun swamplands, desert and bustling African townships, Glitterbeat Records co-founder and producer of their awe-inspiring roster of world music greats, Chris Eckman, leads his nomad troupe across esoteric and meditative terrain soundscapes.

At times almost alien, their borderless approach to mixing rock, blues and (mostly) West African music in a seamless wash, creates something both mysterious and original. Recorded at the same time as their last album Troubles, in Bamako, Lion City couldn’t help but be guided politically and socially by the upheaval in Mali. A testament to the eerie developments and a lament that also offers hope, Dirtmusic and their guests (which include such luminaries as the Ben Zabo Band and Samba Touré) prove that you can work alongside African artists without succumbing to condensation.

Far more successful if not authentic than anything Albarn or indeed the ‘Radio’ polygenesis collectors The Clash could ever produce, these Westerners move serenely, blurring the cultural boundaries as they circumnavigate the psychogeography of the chaotic city and romanticized but often harsh sand dune landscapes of both West and North Africa. You could say it was a culmination of the entire Glitterbeat labels stock, condescend into one challenging soundtrack.



Noura Mint Seymali  ‘Tzenni’  2014

The technicalities, pentatonic melodies and the fundamental mechanics aside, nothing can quite prepare you for that opening atavistic, panoramic vocal and off-kilter kick-drum and snare; an ancestral lineage that reaches back a thousand odd years, given the most electric crisp production, magically restores your faith in finding new music that can resonate and move you in equal measure.

Hailing from the Islamic Republic of Mauritania, nestled in between Algeria, Senegal, Mali and the Western Sahara, with the Atlantic lapping its shoreline, Noura Mint Seymali keeps tradition alive in a modern, tumultuous, climate. Her homeland – run ever since a coup in 2008, by the former general Mohamed Ould Abdel Aziz, duly elected president in 2009 – was rocked by the immolation sparked Arab Spring and subsequent youth movement protests, all of which were violently suppressed by the authorities. Add the omnipresent problems of FGM, child labour and human trafficking to the equation and you have enough catalysts to last a lifetime. However, Noura’s veracious commanding voice responds with a dualistic spirit, the balance of light and shade putting a mostly positive, if not thumping backbeat, to forlorn and mourning.

Recorded in New York, Dakar and in the Mauritania capital of Nouakchott, Tzenni transverses a cosmopolitan map of influences and musical escapism. The original heritage still remains strong, yet the ancient order of griot finds solace with the psychedelic and beyond.



Jon Hassell/Brian Eno  ‘Fourth World Vol.1: Possible Musics’  2014

Already riding high on a crust of acclaimed production projects and numerous semi-successful collaborations and solo albums, when Brian Eno touched down in New York City in 1978 he would unintentionally help direct another important development in ambient and world music (and also end up staying for five-years). Absorbed in what the city had to offer him musically, Eno came across the stripped and atmospherically rich experiments of trumpeter/composer Jon Hassell, who’s own pathway from adroit pupil of Stockhausen to seminal work on Terry Riley’s harangued piano guided In C, encompassed an polygenesis of influences: a lineage that draws inspiration from avant-garde progenitors like La Monte Young, and travels far and wide, absorbing sounds from Java to Burundi.

Though a minor figure in the sense of worldwide recognition, and never one to brush with any sort of commercial popular appeal, Hassell irked out his own personal philosophy. With a handy masters degree in composition, he attempted a reification of what he would term the “fourth world”; a style that reimagined an amorphous hybrid of cultures; a merger between the traditions and spiritualism of the third world (conceived during the “cold war” to denote any country that fell outside the industrious wealthier west, and not under the control of the Soviet Empire) and the technology of the first.

Untethered to any particular landscape and age (though traversing for the most part the mysterious, veiled continent of a inter-dimensional Africa), geographical and environmental alluded titles act as points of reference; alluding both to such diverse subject matter as the traditional songs of the Central African pygmy tribes (Ba-Benzéle) and the latitudes and weather phenomenon of an undisclosed landscape or city (Rising Thermal 14° 16’ N; 32° 28’ E).

Moving at a similar pace throughout, the lingering vapours drift over and enclose the listener; hinting always at some mystical or miasma presence; steeping each composition in a sepia of low emitting foggy harbour like droning horns, plastic pipe sounding percussion, tape echo experimentation, panoramic glides over the savannahs and of course Hassell’s stripped bare, reedy and masked stirring trumpet.

An almost continuous set of transient movements, the mood varied from lightly administered rhythmically slow paced pieces to cerebral blankets of panoptic memory; a style coined as “future primitive”. Reissued by Glitterbeat Records under their visionary imprint Tak:til, this album can be read as a principle guiding light and inspiration for their roster and ambitions.



Various ‘Hanoi Masters: War Is A wound, Peace Is A Scar’ 2015

A side excursion, travelling due east to Asia and breathing in the evocative songs of Vietnam, Glitterbeat Records launched their new series of field recordings entitled Hidden Musics with the Hanoi Masters compilation. Finding a congruous musical link with their usual fare of West African releases, the label sent Grammy-award winning producer Ian Brennan (credits include, Tinariwen, Malawi Mouse Boys, The Good Ones) to Vietnam in the summer of 2014 to record some of the most lamentable and haunting resonating war-scarred music. Indelibly linked to what the indigenous population call ‘the American war’, the examples of both yearning and praise pay tribute to the fallen: delivered not in triumphant or propagandist bombast but in a gentle meditative manner, these survivors, forty years on from the end of the harrowing and catastrophic (the repercussion still reverberating in the psyche of the burned America and its allies) war, were still undergoing the healing process.

Tinged with an omnipresent lilting sadness these songs are imbued with battle scars (hence the albums subtitle War Is A wound, Peace Is A Scar), featured artisans and traditional music masters who had joined the cause, sometimes for the first time in years, allow their voices to be heard once again and recorded for posterity.

Considering the history and ill blood between cultures – though this has eroded as capitalism takes hold and the country opens up – it has in the past been difficult to investigate the serene and attentive beauty of the Vietnam music scene, but this earnest and adroit study into a world seldom covered proves enlightening and humbling.



Bixiga 70  ‘III’  2015

Speaking Fela fluently with marked respect and reverence, going as far as to borrow part of the late Nigerian bandleader and doyen of Afrobeat’s backing group moniker, Bixiga 70 may be inspired and informed by Kuti but they do so much more with his high energy polyrhythms and feverish hot-footed anthems. The eclectic Sao Paulo band, who joined the Glitterbeat family in 2015, add even more flavour to the Afrobeat template on this their third album. Energised by their performances in the hotbeds of fusion, from North Africa to Europe, and working with a decentralised method of producing new material, the III album reaches out and embraces an even richer array of world sounds.

Incorporating the rhythms and dances of their own continental home, Bixiga shake and shimmy to the local customs of cumbia and the sensual hip movements of the carimbo on a trio of slinky paeans to the indomitable spirit of joyous release. Congruously they go, flowing from one source to the next deftly, passionately and with a raw powered energy, our Brazilian friends relationship with Glitterbeat has proved to be a sound move; an ideal home for the group’s ever expanding fields of sound and exploration.



Afro-Haitian Experimental Orchestra  ‘A.H.E.O’  2016

Progenitor and embodiment of the Afrobeat drum sound, still in high demand four decades after his explosive partnership with Fela Kuti, the much-venerated Tony Allen extends his infectious percussion style beyond the African homeland. Sharing an obvious entwined history with Africa, the shared Hispaniola Island of Haiti proves both an esoterically mysterious and congruous collaborative foil to Allen’s distinct drumming patois.

Invited to perform in 2014 by the French Institute Of Haiti’s director Corinne Micaelli, Allen’s visit would end with a public broadcasted concert in the main square of the capital, Port-au-Prince. Collaborating with Allen would be a cross-section of local percussionists and singers recruited by vocalist, dancer, ‘voodoo priest’ and director of the Haitian National Bureau Of Ethnology, Erol Josué; Josué would himself lend his sweet yearning and reflective tones to two of the tracks on this album.

The call went out and the great and good of the Haitian music scene came. Racine Mapou de Azor, the Yisra’El Band, Lakou Mizik and RAM. Another Monolith regular and one-time Port-au-Prince resident, Mark Mulholland was drafted in as the experimental orchestra’s guitarist, and as it would turn out, eventual legacy overseer. With only five days of studio rehearsal time to gel and work out their performance, the sessions proved both, as Mulholland observed, ‘chaotic’ and overwhelming’.

Elevating beyond the borders it was created behind, the Afro-Haitian Experimental Orchestra root foundations shuffle and shake free of their stereotypes to move freely in an increasingly amorphous musical landscape. You’re just as likely to hear vibrations and traces of Dub, native Indian plaintive ghostly echoes, Sun Ra’s otherworldly jazz and funk as to hear the indigenous Haiti sounds and Afrobeat pulse. Tony Allen is once more at the heart of another bustling, dynamic explosion in rhythm.

Various Artists  ‘Hidden Musics Vol 2.  Every Song Has Its End: Sonic Dispatches From Traditional Mali’  2016



Though no less an achievement, the second volume in Glitterbeat Records “Hidden Musics” series offers the full gamut not just musically but visually too, and is a far more ambitious documentation of a troubled country’s lost tradition than the 2015 Hanoi Masters survey. Expanding to include 11 concatenate videos, Every Song Has Its End is the most complete purview of Mali’s musical roots yet. This is due to the project’s mastermind and architect Paul Chandler, who has documented Mali’s music scene for more than a decade.

Forgotten in some extreme cases, ignored or considered as Mali’s past by new generations, maestros of the 6-string Danh, such as Boukader Coulibaly, and the Balafon, Kassoun Bagayoko, are celebrated and interviewed for this collection. Whether it’s traversing the Gao region in the northwest to record the earthy desert pants of the female vocal ensemble, Group Ekanzam, or capturing a Sokou and N’goni love paean performance by Bina Koumaré & Madou Diabate in the heart of the country, this chronicle of the pains, virtues, trauma and spirit of the country’s musical heritage is an extraordinary love letter and testament to the country.


Bargou 08  ‘Targ’  2017

Ahh…the sounds of a dusky reedy gasba flute; the tactile patted and burnished bendir drum; the rustic, earthy strung loutar, and the flowing, soaring scale vocals of the Bargou 08 project’s chief instigator Nidhal Yahyaoui, set an impressive atmosphere in the first couple of minutes of the album’s opening track, Chechel Khater. And that’s all you’d need, except there’s another eight equally evocative and thrilling tracks to hear.

The source of this sound derives from a relatively uncharted region that lies obscured between the mountains of northwest Tunisia and the Algerian border, called the Bargou Valley, which despite its barren isolation, has cultured a unique musical fusion, stretching back hundreds of years. Captivating and magical enough in its ancestral unchanged form, the songs of the valley, sung in the local Targ dialect (a language that is one part Berber, the other Arabic), are given a contemporary jolt that transforms the atavistic paeans, odes and poetry of yore into an intoxicating swirling rapture of electronic North African funk.

Filled with a legacy of turmoil and tension that goes back an aeon the album’s many themes, from describing a lover’s vital attributes on Mamchout to laments of alienation, resonate strongly with the growing unease of events, initiated six years ago by the Arab Spring. Tunisia itself is facing a struggle and teetering on the edge, with no guarantee that certain cultures won’t just disappear or be fragmented in the ensuing melee. Originally setting out to document his Bargou Valley home’s musical heritage before it disappeared, Yahyaoui has successfully and thankfully, with his musical partner, producer and the album’s keyboard player Sofyann Ben Youssef captured this rich mesmeric culture for posterity. And in doing so, produced a masterpiece that will endure.



Širom  ‘I Can Be A Clay Snapper’  2017

With an unspecified, but as the name suggests, emphasis on the “tactile”, Glitterbeat Records new imprint label gives a welcome platform to entrancing experimental tonal performances and sonic polygenesis traverses alike. In the latter camp is this Slovenian peregrination suite from the landlocked, Alps nestling country’s visceral sonic conjurors, Širom.

Evoking memories and feelings, both real and imagined, with a soundtrack thick with atavistic connections, the trio of punk and post-rockers turn experimental folk and acoustic instrumental cartographers convey a personal relationship to their homeland, on their second album together under the Širom banner.

Yet whatever the backgrounds, traces of North Africa, the Adriatic and the Middle East, the performances sail scenically through a dreamy otherworldly representation of Slovenia: Oriental, alien and Balkan visions permeate the plucked, malleted, chimed and purposefully played compositions, which subtly and rather cleverly build up complicated layers and various overlapping time signatures during the course of their journey.

Theremin like siren voices drift in and out, enacting the myth and seraph, whilst on the watermill turning Everything I Sow Is Fatal Sun Ra travels with John Cale and Pharaoh Sanders on a pilgrimage to Samarkand. The most recurring sounds however pay testament to the Balkans ghosts. The folkloric stirrings, lulls and yearning of Slovenia’s past bordering both a pan-Europa of migration and grief – stretching back a millennia – are transduced into often haunted vistas and metaphysical passages.

A most impressive and expansive inaugural Balkans travail; different from the previous two releases on this burgeoning new imprint, yet keeping to the tactile, accentuate and imaginative remit, whilst conjuring up mystical new soundscapes.



Tamikrest  ‘Kidal’  2017

Still availed of a homeland, though now liberated from their draconian Islamist partners, the Tuareg are once again left as wanderers in their own land, the unofficial guardians and custodians of the Saharan wilderness. For now only a dream, best realized and protested through music, the rock’n’roll Bedouins Tamikrest emerge once more from the barren landscape with a message of “power and resistance” on their fourth, equally entrancing, album Kidal. Paying homage to the strategically and spiritually important cultural trading town of the title, the highly-acclaimed (and rightly so) Tamikrest exude both the sadness and suffering of the dispossessed people who cling to the southwestern Saharan hub that is Kidal: a town which has seen its fair share of fighting, fought over, conquered and reconquered over time, it remains a symbolic home to the Tuareg. This is after all the town that nurtured them and where it all began.

Assiduous, confident and articulate, the musicianship shows not so much a progression as a balance between the meditative and rock’n’roll spirit of the Tuareg musical resistance. Tamikrest are as brilliant as ever musically, and Kidal is, despite its plaintive and lamentable subject woes, a beacon of hope in an ever-darkening world of uncertainty.



Ifriqiyya Électrique  ‘Rûwâhîne’  2017

Capturing something quite unique, the collaborative industrial post-punk and avant-garde rock scenes of Europe clash head-on with the descendants of the Hausa slaves atavistic rituals styled group, Ifriqiyya Electrique, create an often unworldly chthonian conjuncture of Sufi trance, spirit possession performance and technology.

A film project and now immersive sonic experience, inspired by the important Banga music traditions and the accommodating, rather than exorcising, of spirits ceremonial wild dances and call and response chanted exaltations of the black communities – originally transported to the region from sub-Saharan Africa – in the oasis towns of southern Tunisia, this astounding meeting of cultures and history is anything but scenic.

Formed in the Djerid Desert, the idea forged by field-recordist and veteran guitarist of the politically-charged Mediterranean punk and “avant-rock” scenes, François Cambuzat, and bassist Gianna Greco – both of which occasionally join forces with that livewire icon of the N.Y. underground, Lydia Lunch, to form the Putan Club -, the Ifriqiyya Electrique spans both continents and time. For their part, Cambuzat and Greco provide the grind, industrial soundscape texturing, sonorous drones and flayed guitars, but mostly, the “electrique”, whilst, offering a dialogue with the spirits and the tradition, Banga musician Ali Chouchen – joined in the live theatre by an expanded cast of fellow voices, krabebs and Tunisian tabla players from the community, which includes Tarek Sultan, Yahia Chouchen and Youssef Ghazala – provides peripheral sounding evocative echoed and esoteric vocals and equally haunting nagharat.

Spiritual conversations transformed and realigned with the machine age turmoil of industrial noise, Arthur Baker style rock and hip-hop production, post-punk and even Teutonic techno, Rûwâhîne is a rambunctious unique force.



Park Jiha  ‘Communion’  2018

Circumnavigating the globe to bring much-needed exposure to new sounds, Glitterbeat Records imprint tak:til gives a second wind to a suite of acuity serialism from Southeast Asia. Released originally in South Korea in 2016, the neo-classical musician/composer Park Jiha’s debut solo album Communion is given an international release by the label of repute.

Inspiring what we’re told is a burgeoning Korean music scene (well, an alternative to the K-Pop craze), a chief progenitor of the movement Jiha alongside collaborative partner Jungmin Seo originally melded the country’s musical heritage with an eclectic range of contemporary sounds as the 숨[suːm] duo in 2007. Releasing the highly influential regional albums Rhythmic Space: A Pause For Breath (2010) and 2nd (2014), Park and Seo crossed the time zones to perform at both WOMAD and SXSW. Congruously putting the duo on hold to explore a more ‘personal’ and minimalistic ‘musical vocabulary’ as a solo artist, Jiha dexterously balances the air-y abstract breathes of the ‘piri’ double reed bamboo flute, the searing twang of the ‘saenghwang’ mouth organ and the softly paddled patter of the ‘yanggeum’ hammered dulcimer in what is a dialogue between a dulcet calm, the meditative and an entangled dissonance.

Transforming Korean traditions into a more experimental language that evokes the avant-garde, neo-classical and jazz yet something quite different, Park Jiha’s tranquil to entangled discourse evocations reach beyond their Southeast Asian borders both musically and metaphysically into something approaching the unique.


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