REVIEWS/Dominic Valvona





As usual, another international whirlwind of stopovers awaits reader, as I pick out choice and interesting new releases and reissues from across the globe. Channeling his traverses, mountain climbs and treks across the California wilderness into ambient peregrinations, Fran Dominguez as the Forest Robot, takes the listener out into the great outdoors, with his latest suite After Geography. An aural escape, a safe spatial plain, Dominguez creates an environment in which to take stock. A Finnish-American freeform jazz partnership is in vogue with Stanley J. Zappa’s new album for the Baltic coastal label We Jazz. Saxophonist and clarinetist Zappa (a nephew of the late Frank) and drummer/percussionist Simo Laihonen traverse British-Columbia and all points in-between on Muster Point. Creating the most hushed and diaphanous of cinematic dreampop, Israeli artist Zoe Polanski releases the Violent Flower album. I also take a look at the troubadour pianist John Howard, who from his Spanish studio home, ties in his latest adroit songbook To The Left Of The Moon’s Reflection with the second part of his published memoirs, Illusions Of Happiness, this month. And in my reissues section there’s the first ever reissue of the West Java Yanti Bersaudara sisters honeyed soul and beat group psych exotic self-titled ’71 nugget. The Australian born, but bought up in a rural backwater of England troubadour Campbell Sibthorpe returns back to his roots with the expansive storybook, Ytown.

 

Towards the fantastical, though based in geological science, experimental dub unit Cousin Silas And The Glove Of Bones reimagine a lost continental bridge of shared deities and cultures on the new album Kafou In Avalonia. And finally, we have the new no-fi songbook of despondent poetic scorn and resignation from our very own Brian ‘Bordello’ Shea, The King Of No-Fi’.

Zoe Polanski ‘Violent Flower’
(Youngbloods) Album/17th July 2020





Despite, at various times, living in one of the most contested dangerous spots on the global stage, Israeli artist Zoe Polanski transduces all the violence, danger and stresses into a most diaphanous, sometimes fantastical, synthesized musical haze. Her latest fully-realized shoegaze electronic swoon of an album – co produced and written with the Tel Aviv producer Aviad Zinemanas – is subtle but immersive, moody yet dreamy. Lit though by Polanski’s travails, a deep sense of sadness and sighed questioning lyricism permeates the wispy vaporous smoke machine pop production.

Beautiful throughout, hushed and fragile, Violent Flowers is a sweeping cinematic articulation of conflicted feelings. The title-track, and former single, draws upon the ongoing Israeli-Palestine tensions; which has taken on even more drama in recent months with the policy of planned Israeli annexations in the West Bank.

Channeling the Cocteau Twins and Chromatics, this gauzy serenade of blossoming synth-pop is a disarming evocation of lightness that features Polanski yearningly searching for a way back home amid the division. The album’s second single, ‘The Willows’, mourns not only the painful end of a “surreal” affair whilst travelling across the USA, but is also inspired by Polanski’s mixed feelings of empathy towards her Palestine neighbours with a longing to escape the rocket attacks that passed overhead when she lived in the atavistic port city of Jaffa, during the 2014 conflict with Gaza.

Born in another ancient city port, Haifa, on the slopes of Mount Carmel, Polanski escaped the tumult through music and cinema. After obligatory service with the IDF, the experimentally burgeoning musician, singer moved to the States; recording with the NYC band Katamine and enrolling on a summer course in cinematography at the prestigious School of Visual Arts. The fruits of which can be heard evoking a kind of dream realism on this filmic scored album.

As it happens, on returning to Israel and settling in the liberal creative hothouse of Tel Aviv, Polanski started a new project of soaked-reverb “slow cinema verite” named after the renowned Hungarian filmmaker Béla Tarr. Tarr’s actual cinematographer Fred Kelemen caught Polanski at a live show. So impressed, he invited her to score his own upcoming film.

This latest vision sees the visual-audio talent reach ethereal, almost apparitional scales of atmospheric beauty as she sings veiled lines over her creative foil Zinemanas’ mirror-y and airy synthesis of arpeggiator, sine waves and enervated percussion. Dream pop and neon lit electronica meets Israeli panoramas, mysterious island inlets, touches of Vangelis (on the glassy contoured ‘Humboldt Current’), soft bobbing beats and pulchritude waves of silk.

Gentle, enchanting with an aching depth, Zoe Polanski together with Zinemanas have created a refreshing vision of dreamwave electronic pop and filmic music; one that offers a different perspective and sumptuous mystery. Turmoil has seldom sounded so gossamer and hushed.







Kalporz X Monolith Cocktail: Zoe Polanski ‘Pharaoh’s Island’



Stanley J. Zappa ‘Muster Point’
(We Jazz) Album/7th August 2020




A regular stopover on my global tour of reviews, the Helsinki festival-label-store hub We Jazz are proving to be among the most prolific deliverers of quality contemporary and experimental jazz. Earlier this month the assured label put out albums from the Danish-Finn JAF Trio and Gothenburg saxophonist Otis Sandsjö. Their latest release pairs up two former acolytes of the Mitford Graves school of free jazz enterprise: the American tenor/soprano saxophonist and alto clarinetist Stanley J. Zappa (who’s name embellished this LP) and Finnish drummer, percussionist Simo Laihonen. The Queens-made drummer extraordinaire and teacher Graves is renowned for his avant-garde contributions working with Albert Ayler, Paul Bley and the N.Y. Art Quartet; a reputation that is lapped up by his former students on this set of probing impulsive serialism recordings.

You may have guessed by the name, and yes Stanley is indeed a scion of the famous Zappa family tree: a nephew of the late rock-fusion genius Frank. Erring towards jazz, Stanley proves that old adage that the apple doesn’t fall far from the tree; highly adroit and proficient in pushing at the foundations, able to switch between the spiritual and hard bop. His foil Laihonen, of the long-standing Black Motor trio, proves equally as talented, propelling in bursts and snaps or in an amorphous fashion hitting and reeling shapeless accents and meanderings.

Joining them on the odd radial exploration, bassist Ville Rauhala adds some stringy, rubber-band thrummed double-bass runs and bodywork thwacking: less rhythmic and traditional, more loose and wandering.

Muster Point, a reference heavy album of track title locations (much of which name check places in Stanley’s British Columbia Canadian home), was recorded both in the studio and out on the road. You can hear some of the live spontaneity and an appreciative applause on the flighty clarinet and looming bass, with sporadic drum breaks, avant-garde piece ‘Muster Point IV’. Split between shorter ambling and more energetic incipient Muster Point entitled flexes, and deeper, longer workouts this album strikes out towards Pharaoh Sanders’ Egypt on the opening suite to dishing out tougher, heavier breaks on the street map ‘538 E14th, City Of Piss, USA’.

Fluting, twirling and coiling over the tumbling drums, rumbling timpani and shaking percussion, Stanley’s vibrato sax hawks and spirals with both longer and shorter breaths. Often sailing at a counter speed to Laihonen’s quickened rolling patterns, that wondering instrument trills freely as light as air itself. Well, for the most part. Stanley can also toot rapidly and with force when the occasion arises.

From drawing on the ancestral (on the Kahil El’ Zabar watery percussive underflow ‘Pleasant Avenue’) to skitting across a NYC boardwalk, Muster Point plays hard and footloose with freeform jazz; dipping into the spiritual and rapidly evoking hard bop dashes. Yet again its another fruitful experiment and performance from the We Jazz label.




Otis Sandsjo ‘Y-Otis 2’

JAF Trio ‘ST’


Forest Robot ‘After Geography’
Album/28th August 2020





With a deep connective respect to the landscapes this intrepid mountaineer and sonic explorer has scaled and traversed, Fran Dominguez provides a subtly evocative safe space in the most tumultuous of times. When all the elements of a virus epidemic and the ongoing tensions of Black Lives Matter mix with the divisive rage of social media and fake news, the only tool we have left to navigate the storm of constant faux-outrage is “intuition”. Put both together, as the California-based trekker Dominguez has done, and you get a most beautifully subversive ambient soundtrack; a tenderly produced sonic psychogeography of both the synthesized and naturalistic; a million miles away from the hubbub and stress of the online world. A sort of self-help guide for contemplation and rest you could say, the softened bobbing and trickled piano notes and gently blowing winds washing over the listener with just enough depth and interest to transport them to the awe-inspiring landmarks of nature.

With over 400 ascents and 6,000 odd miles of cross-country exploring under his belt, Dominguez tunes into those experiences when composing music under the Forest Robot title. Intuition, that main motivation and driver for the latest tonal contouring suite, After Geography, comes into practice after all the preparation in the world fails to allow for the variables that arise when climbing those magnificent rocky peaks. Though obviously a great title in itself and an encapsulation of the Forest Robot’s meditative semi-classical, semi-Kosmische maps, the inspiration behind it comes from Ringo Starr. As the anecdote from rock’s backpages goes, the bejeweled digit fingered Beatles drummer proposed it when the Fab Four were stumped for a title for their next album after Revolver. As a lighthearted chide at the rivals, The Rolling Stones, who’d just released Aftermath, Starr chimed in with “After Geography”. It seems highly appropriate in this context, and in this time.

An escapist survey that breaths in the influences of Roedelius, Boards Of Canada, Erik Satie, Harold Budd, Nils Frahm and Small Craft On A Milk Sea era Eno, the album covers the terrain in a gauze of delicate resonance, notation and obscured woody movements. Track titles become descriptive reference points and wildlife moments experienced, on this aural map; a clue at times to the scenic inspirations that encouraged them. ‘Of Birds Migrating In The Distance’ is for example a winged patted dance and flutter across the ivory, and the marimba-like bobbing ‘Glacial Architecture Of The Mountain Corridor’ features crystalized icy notes and melting droplets: it’s almost as if Dominguez captures the sunlight gleaming off the slowly melting glacier. ‘Over The Drainage Divide’, which doesn’t exactly sound very inspiring, is surprisingly wondrous, even spiritual, with its choral ethereal waves and hints of ghostly visitations. An ascendant version of that choral spirit can also be heard on the soft droning, delayed and bouncing notes beauty ‘All Across The High Plain After The Storm’.

A mostly peaceable geography, Dominguez’s latest impressive suite offers the safety of a timeless rugged pristine panorama. A breath of fresh air; a sonic plain on which to gain some perspective, that intuitive methodology proves highly successful on a most pleasing, imaginative ambient experience.





Campbell Sibthorpe ‘Ytown’
EP/21st July 2020




Following up on the impressive choral anthem ‘Good Lord’, which we premiered last month on the MC, the yearning troubadour Campbell Sibthorpe proves he has more than it takes to deliver the full emotionally stimulating package with his new, generous EP Ytown. Over seven tracks of similar beautifully realised rustic anthems and shorter mood passages, Campbell expands his themes of escaping the pastoral backwaters of small town life.

Both a travail down memory lane and pilgrimage, nature’s son returns from London to the town in which he spent those formative years, on the outskirts of Bristol, to mull over the past, but above all, as the Australian born songwriter/multi-instrumentalist set out to serenely on that ‘God Lord’ hymn, seeks to find himself amongst the humdrum scenery. Ytown could be many towns, any town, yet it proves evocative and creatively fertile enough to inspire this expansive songbook. The very essence of the place seeps into the music through field recordings and the sound of the local church’s pump organ – used very subtly as a sadly reverent undertow on the setting-sun curtain call ‘Strawberry Line Pt. 2’ a couplet to the EP’s only scenic twinkled if musing instrumental, The Shins like ‘Strawberry Line Pt. 1’.

Entirely self-produced and recorded from the bedroom of his youth, Ytown pays homage to innocence, to his childhood relationship with his ‘Father Carpenter’, and the unburdened freedoms of nature. The first of those is a powered-up Midlake country folk anthem, the latter, an achingly harmony rich longing to be as free and detached as the ‘Dandelion’.

Almost echoing an early Radiohead paired with the Fleet Foxes, the tender woven poetic ‘Pastel Porcelain’ seems to have stepped out of a medieval tapestry, and the opening dappled lit blossoming ‘The Sun Appeared’ shows an almost filmic and experimental quality to Campbell’s music.

A balance of acoustic naturalism and full on, climatic singles, Ytown is a great piece of expansive storytelling, a conceptual EP perfect in length, depth and heartfelt searching.





Campbell Sibthorpe ‘Good Lord’ Premiere


Brian Bordello ‘The King Of No-Fi’
(Metal Postcard Records) Album/16th August





The self-anointed king of no-fi returns with another songbook of quasi-demoed wistful despondency and self-deprecation; a stripped-back one-track display of rough charms that cuts to the heart of the cult St. Helens malcontent’s sardonic, but also extremely vulnerable, annoyances about modern life.

The idiosyncratic de facto leader of the long standing dysfunctional family legends The Bordellos, and the barely concealed instigator of the anti-Brit pop and plodding rock Idiot Blur Fanboy, Brian ‘Bordello’ Shea (who I must also point out is a regular contributor to these very pages) follows up on his recent solo offerings, the Liverpool Hipster Scene EP and Boris Johnson Massacre single, with another album for the Aussie platform, Metal Postcard Records. Recorded during lockdown whilst growing tired at the lack of revolutionary zeal and wit in contemporary music, and the reliance upon of nostalgia, regurgitation in the industry (both musically and through blogs, publications, radio), Brian has penned a quite sincere collection of romanticized sufferings, regrets and love songs.

Making even Sparklehorse sound like ELO in comparison, the no-fi production values on offer are raw but never really coarse or discordant. No augmentation, filters, effects or sundry, just a bare accompaniment of rough’n’ready but melodious acoustic guitar and the whirling of a rudimental four-track; the click of the record button and, at the end of each performance, the stop button.

Channeling various maverick troubadours, post-punk poets (Dan Treacy springs to mind) and a Brylcreem of rock’n’roll idols (ironically enough the release of this album intentionally falls on the anniversary of the true king, Elvis’ death), Brian postulates on a lack of energy and rage in music, the death of the mutherfucker personalities, a bevy of “scarlet” women and lost innocence. Brian can be a romantic sod at times, even sentimental; writing some real tender poetic lines amongst the scorn and despair, with even a hint of Bacharach on ‘Banana Splits’ (yeah, imagine that!). Various stolen kisses, evocations of less complicated, less divisive magical times permeate the album despite the constant references to the death of this and that and the lamentable resignations and threats to give it all up. Sometimes Brian just tersely pays homage to his icons, such as Lou Reed and Billy Fury.

Quite swooning in places, this is neither a plaintive nor angry songbook, but as I said before a sincere often humorous yearn from a maverick soul stuck in lockdown. The King is dead; long live the King.


The Bordellos ‘Debt Sounds’

The Bordellos ‘Will.I.Am You’re Really Nothing’



Cousin Silas And The Glove Of Bones ‘Kafou In Avalonia’
(Submarine Broadcasting Company) Album/19th June 2020





Reimaging a time when Earth’s landmasses were being reshaped, the atavistic geological inspired futurist dub unit pose a cultural “what if?” with their fourth “set”, Kafou In Avalonia. Developing out of a volcanic arc at the northern edges of the “supercontinent” Gondwana (we’re talking about 550 million years ago; when this leviathan contained one-fifth of all the planet’s land) but decoupling to form a drifting micro continent of its own, Avalonia, if it didn’t eventually breakup and collide with Pangea, would have bridged what is now the Atlantic Ocean. Crustal fragments underlie parts of Southwest England, Southern Ireland and the East Coast of America. Wishful dreaming Cousin Silas And The Glove Of Bones picture an alternative reality; one in which Avalonia still existed as a gateway between all Earth’s cultures and peoples. It acts as the crossroads that might have set out an entirely different course for civilization; a more integrated, less fractious one perhaps. In this setting Haitian, Brazilian, Angolan and Nigerian deities, spirits and rituals converge with an experimental soundtrack of post-punk dub, Kosmische and electronica.

Invoking a lost world, a quasi-Atlantis, they merge voodoo ceremony and tribal incantation with sonorous throbbing basslines, barracking drums, heavy reverb and craning Manuel Gottsching like guitar.

A reference heavy album, with various “Loa” (spirits) and divinities summoned and made offerings, the track titles name check a pantheon of the worshipped. The opening gabbling dub and primordial shrouded ethereal jug-poured ‘Oxûm Over Water’ pays homage to the Yoruba peoples river goddess, while the singing chorus and insect chirped trans-Europa rail momentum Kraftwerk meets Guru Guru ‘Oxalá Of The White Sky’ takes its name from the Brazilian “sky father” and creator of human beings. Elsewhere, Haiti’s spiritual ancestors are represented in the shape of the serpent creator of the cosmos, Damballa (the On-U-Sound dub prowling low frequency crumbled bass languorous ‘Damballah Of The Dark Sky’), and senior Petro visitation born from the heinous savagery and injustice of slavery, Ezilí Dantor (the lolloping Orb submersion ‘Ezilí Dantor Awake’). Incidentally, that last spirit especially took kindly too offerings of crème de cacao and jewelry, and on its birthday, a wild pig. It’s believed that one such feast in honor to Dantor preceded the infamous slave revolt of 1791.

Ancestral ghosts meet synthesized futurism on this mystical transformed aural geography, as recordings of various rituals swirl in and around a cosmic soup. A supernatural and celestial, seeping and vaporous vortex of polygenesis sources are gathered together to create an imaginative cosmology hybrid. If The Future Sound Of London and Ash Ra Tempel recorded an album at Lee Scratch Perry’s black ark studio it might very well have sounded something like this. And that’s me saying this is a bloody great experimental dub album. Seek out now.




John Howard ‘To The Left Of The Moon’s Reflection’
(UK John Howard/USA through Kool Kat Musik) Album/7th August 2020




Chiming with the second candid, sometimes wistful, chapter in the pianist raconteur’s memoirs, this latest fragrant songbook manages past regrets with wizened heartfelt balladry. With plenty of time, including the lockdown, to mull over the past, after writing two volumes of self-effacing recollections (part two, Illusions Of Happiness, is scheduled to tie in with this album, published on the 7th August) John Howard channels a lifetime of setbacks and learning through the philosophical and metaphorical.

Coming to terms and letting go in some respects, the fledging 70s star set back by a series of career mishaps and a traumatic accident (forced to make a fateful leap from the window of an apartment he shared in Earl’s Court with some colourful Filipino gay characters, who brought back a mad Russian ‘bit of rough’ intent on murder) muses over breakups (the la la, almost Christmas seasonal, chiming mini anthem ‘I’m Over You’) and a broken friendship (the regretful heartache ‘Echoes Of Pauline’). The latter’s real life subject appears as a recurring figure of that regret in John’s work; the best friend from school losing touch since 1973 (as John admits, probably down to him and not Pauline) first pops up on ‘The Flame’ from the career launching Kid In A Big World showcase, and later on ‘Pauline’s Song’, which featured on the 2009 EP Songs For A Lifetime.

Pauline’s presence, companionship is much missed it seems, as John looks out from his Spanish home veranda on an uncertain, if scenic, world. Idyllic though it is, his life in the Southeastern Spanish town of Murcia can’t make up for the pining of his former Welsh home, and even further back, Lancashire. Moving across the seas to preempt Brexit, John recalls a Welsh pastoral bliss on the wistfully beautiful melodious ‘And Another Day’. Yet both lyrically and through his signature subtle minor key changes moves deftly into the sadness of leaving it all behind. The scented waltz-y ‘Illusions Of Happiness’ ambles through a perfumed garden of delights but also mournfully wades out into the sea; waiting on something, a ship, vessel, the final boat ride perhaps.

Old ghosts mingle with analogies of saviors, and the tropes of coming-to-terms with one’s decisions. This is all done with a most adroit touch of pastoral organ, Baroque chamber pop, gentle Dylan-esque harmonica, concertina and softened tambourine rattled crescendos: all of which is played by John. It’s a sound that is saved from the saccharine and pushed towards the yearning beauty of the early Bee Gees, late 60s Beach Boys and the Incredible String Band, whilst echoing the flourishes of John’s burgeoning pianist troubadour career in the 70s.

The 17th album proper in a career that has regularly stalled (mostly down to the mishandling of others), with gaping holes in which John turned his hand to A&R, the lyrical To The Left Of The Moon’s Reflection follows on from last year’s brilliant Cut The Wire – just one album in a long line of such releases from arguably his most creatively prolific tenure. The poetically scene-setting songbook is a perfect accompaniment to those memoirs; a mature retrospection of a life well lived.








John Howard ‘Cut The Wire’

John Howard ‘Incidents Crowded With Life’

John Howard ‘Across The Door Sill’



Reissue

Yanti Bersaudara ‘ST’
(La Munai Records) Album/7th July 2020





A beautiful three-part harmony serenade drifting out of West Java, the much sought after 1971 album from the endearing Yanti sisters is finally being reissued for the first time ever. From Indonesian musical treasure hunters, La Munai Records, a befitting repackaged version of that original Bamboo Music magical Sundanese suffused treat.

Previous twee recordings, which swing between Merseybeat and enervated gospel soul, have made it digitally onto a number of platforms and compilations over the years, but the sisters’ later self-titled nugget has remained pretty elusive.

Released towards the end of their tenure, this beautifully cooed, lulled and charming harmony rich record seems oddly out of step with its time; though the strict regime in Indonesia had the gall to ban rock’n’roll, and so outpourings of fuzz-thrilled rebellion and salacious gyrating were kept to the minimum: more the early fab four’s ‘Tell Me Why’ or anything by The Tremeloes than the dirty scuzz and teasing of the Rolling Stones. That’s not to say the odd frizzle of psych and a coarse guitar twang or two doesn’t pop up here and there, but this early 70s songbook is mostly dreamy, heavenly even, and spiritual.

Whilst channeling the siblings (that’s Yani, Tina and Lin Hardjakusumah) West Javanese heritage of Bamboo Music, Gamelan and Jaipongan, you will also hear a constant sustained and fanning ray of church organ too. The lovely honeyed vocals even reach the ethereal heights, sounding like an Indonesian version of Dusty sings gospel.

The second most populous ethnic group in Indonesia, the Sundanese people (a name derived from the Sanskrit prefix “su”, which means “goodness”), of which the sisters belong, reside in a part of the country synonymous for its rich musical traditions. Soothed into an exotic dreamboat mix of angklung ringing and bamboo bobbing, reedy staccato surf guitar and ticking away drums those delicate ancestral chimes are propelled into the beat group era, and on the misty organ ghostly ‘Bulan Dagoan’, a spooked funhouse garage band era.

Coquettish, enticing, at other times like the 5th Dimension and choral rhyming, the girls vocal sound is sweetened; flourishing with yearned and exotic swooning.

For those of you wishing to enjoy a languorous dreamy slow boat to Java, with just enough fuzz thrills to pique the interest, let the Yanti sisters provide the hip accompaniment. If you’ve already been entertained by the trio, then you’ll find this ’71 release less saccharine and girl-group than previous albums; more magical and with more stained glass soul.






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.

PREMIERE/REVIEW/Dominic Valvona



Luke Mawdsley ‘Misery Gland’ taken from the upcoming album Vulgar Displays Of Affection, released on 24th July 2020 through Maple Death Records.


For those of you with a morose curiosity you’ll find that Luke Mawdsley’s metaphorical river of consciousness runs deep with it. The former Mugstar guitarist circumnavigates the dark waters of trauma and anxiety on his second solo outing, but first for the caustic experimental Italian label Maple Death Records, Vulgar Displays Of Affection.

Billed as a “cathartic meticulous journey brimmed with emotion and failure”, Mawdsley’s spoken-word mise en scène dictation is masked with a warped and slurred daemonic vocal effect, both menacing and disdainfully as it splashes around in the mire of minimalist industrial electronica and the harrowing flagellations of Scott Walker. Plumbing the depths Mawdsley’s one part King Midas Sound, one part the more deranged examples of a “verbasier programmed” Bowie on the Outside album removed voice pours a lucid string of vivid depictions and despair into the listener’s ears. Today’s premiere track, taken from that upcoming album, is a case in point; the murky generator throbbing and wretched stained ‘Misery Gland’, a vision of Einstürzende Neubauten trading blows with Coil, seers with despondent spoken monotones and more speeded-up demon giggles.

The scene is set with sonorous rings, strung-out tremolo, hammerings and knocks, tight-delayed repetitive drum machine hi-hats, fizzles and a looming threat of synthesized atmospherics. It is a stench as much as a tonal soundtrack that reaps a malady of industrial noise, drifting esoteric blues and the Lynchian. An uncertain, anxious and often sinister creeping discourse on the themes of sexuality and disorientation, this haunted murky generated dungeon music draws from a well of disillusion.

The lyrics themselves either slither through the mulch of a mashed-up brain or almost predatory turn subjects into the lurid and dangerous. There are various play-on-words type track titles, from ‘Vauxhall (Cavalier) & I’ – a space-echoed car boot lubricated with a threatening musk – to ‘A Grudge Supreme’, and a chilling Ry Cooder blues fantasy built around the fictional parody of the Dr. Steve Brule hosted public access psycho-analysis spoof Check It Out! – the naïve Brule character played by John C. Reilly, expunges by happenstance horrifying details of his life story whilst discussing a range of topics. Sometimes despite the pain, distress and that creepiness, Mawdsley can offer a twisted sort of humour with the surreal images he conjures up. And the music does offer some lovely melodious waves, and even the glimmer of something less suffocating.

‘The River Takes It All’ declares the album’s finale; an increasingly distorted caustic and hostile wrangle of a climax with tortuous appeal, the waters of which threaten to engulf. A deeply revealing experience of the lurid, coarse, disturbing and vivid, Mawdsley’s immure vulgar displays rest wearily upon the shoulders. In this cursed time of uncertainty and vehement argument, the pained artist struggles through the miasma of indignity to create a drip-feed of chthonian distress.

 

Ahead of its release, we bring you the premiere of the album track ‘Misery Gland’.


Maple Death Records · Luke Mawdsley – Misery Gland



Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.


PLAYLIST/Dominic Valvona





Welcome friends to another one of Dominic Valvona’s eclectic/generational spanning playlists; the Monolith Cocktail’s imaginary radio show. In practice this amounts to Dominic picking whatever he sees fit, including tributes to fallen idols and tracks from recent reissues. This month’s edition pays a small homage to the late Italian deity of soundtracks and composition, Ennio Morricone. Joining him in on this journey is Art Decade, VoilaaaKahvas Jute, Tono S.Pharoah Sanders, Electric Eels, Faris, VED, Abel Lima, The Staple Singers, Jerzy Milian and twenty-three other eclectic choice artists.

Listen how you choose, but each playlist is curated in a special order.

As usual, for those without Spotify (or boycotting it, pissed with it or whatever) you can find a smattering of videos from the set below the track list.



Track List:

Mike James Kirkland ‘What Have We Done’
Voilaaa   ‘Manu ecoute ca…’
Pharaoh Sanders ‘Farrell Tune (live In Paris 1975)’
Tono S. & DJ Metys ‘Recept Na Uspech’
Lord Finesse with Sadat X and Large Professor ‘Actual Fatcs’
Weldon Irvine ‘Love Your Brother’
Ted Hawkins ‘Sweet Baby’
Tripsichord ‘The New World’
Kahvas Jute ‘Shes So Hard To Shake’
Country Weather ‘Boy Without A Home’
Orangutan ‘Chocolate Piano’
Jessamine ‘Inevitably’
Electric Eels ‘Sewercide’
Indianizer ‘Mazel Tov II’
Hypnotuba ‘Hubbubuzz’
Art Decade ‘Delta’
Ndikho Xaba ‘In Praise Of Women’
VED ‘Sture External’
Faris ‘Oulhawen Win Tidit’
Velvett Fogg ‘New York Mining Disaster 1941’
Group 1850 ‘Hunger’
Pisces ‘Oh Lord’
Yanti Bersaudara ‘Pohon Kenari’
DakhaBrakha ‘Vynnaya Ya’
Abel Lima ‘Aonte’
Ennio Morricone ‘Arianna’
Marva Josie ‘He Does It Better’
Gryphon ‘Mother Nature’s Son’
Robert Lester Folsom ‘Ginger’
Quiet World ‘Star’
Minami Deutsch ‘Sunrise, Sunset’
Uniting Of Opposites ‘Ancient Lights’
Jerzy Milian ‘Hausdrache’
Ennio Morricone ‘The Chase’
The Staple Singers ‘Washington We’re Watching you’

VIDEOS:


 

 

 

 

 

 

 

 

 

 





Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

REVIEWS SPECIAL/Dominic Valvona





From the very start of the Covid-19 epidemic I’ve emphasized the importance of supporting artists and bands. More than ever in an industry with ever diminishing returns for the majority, and with the ever increasingly domination of streaming taking over from sales, they need our financial help.

With that in mind, there are more than enough new and upcoming releases to get you salivating at the prospect of spending those dwindling funds in my July roundup. Travelling to and beyond both Earthly and Heavenly realms from the comfort of you own sofa, I take a look at the upcoming debut suite from Jason Kohnen’s newest adventure (in collaboration with Dimitry El-Demerdashi and Martina Hórvath), Mansur; a wanderers traverse of burnished ruins and temenos set to a cinematic, warping trip-hop soundtrack called Temples. Fresh out of Rio, Brazilian wonderkid Thiago Nassif releases another vibrant and sophisticated pop album of samba and bossa no wave. Melbourne artist Wu Cloud returns from his off-the-beaten-track Indonesian getaway with an atmospheric exotic ambient electronica suite of jungle sonics. Out of Helsinki, two Nordic jazz albums from the We Jazz label; the first, the Danish-Finn JAF Trio lay down their dynamic live sound on wax for the first time, and the experimental Gothenburg tenor saxophonist/clarinetist Otis Sandsjö produces another volume of deconstructive electronic-hip-hop-trip-hop-jazz. From the relatively untouched musical atoll of São Tomé & Principe, Bongo Joe reissue Pedro Lima’s 80s classic Maguidala. Closer to home, The Lancashire Hustlers offer another nostalgic songbook of quality psych pop and troubadour pastoral soul with their fifth album, Four Hands, Two Voices.


Thiago Nassif  ‘Mente’
(Gearbox Records)  Album/3rd July 2020



Feted no less by “no wave” off-kilter maverick and former Lounge Lizard Arto Lindsay, the Brazilian multi-instrumentalist and producer Thiago Nassif has made a name for himself over the last decade for producing the most idiosyncratic tropical-flavoured pop music. Drawn to Nassif’s transformed visions of bossa nova and samba, Lindsay, who has a reputation for refreshing those genres and working with many of the forms star turns, has co-produced a number of albums for the Rio-based artist; including this latest neon afterglow, Mente.

Channeling some of the American all-rounder’s past productions, most notably his work with the legend Caetano Veloso and more contemporary Tom Zé, Nassif balances those balmy softened open-toed sandal sauntering rhythms with harder edged experimental no wave and synthesized tubular metallics. It’s a juxtaposition of atmospherics, of light and shade, of the organic and plastic, and even languages: Portuguese and English. In practice this sounds pretty brilliant; a liquid (a blancmange even) of often slinking, bubbling, uptown/downtown Beck, Eno & Cale, Prince, Ariel Pink and St. Vincent, picked up and flown to a retro-futuristic Brazilian beachfront nightclub. The opening no wave soul mirage ‘Soar Estranho’ (one of my tracks of the year) shows off this cultural mix; reimagining Lodger era Bowie flanked by James Chance and Lou Reed’s doo wop chorus of female backing singers perusing in a discotheque. In short: cool as fuck. But just as you get comfortable, a lurch and shriek of tumbled drums enters the fray: less a harsh jerk, more a delightful off-kilter excursion.

Yet despite those interesting excursions, jolts and hooks and the contemporary feel, the melodies prove often nostalgic: a dreamy electro-fashioned sheen envelopes those bossa and samba grooves and tango washes that headily send the listener back to the 70s and early 80s. Still, it’s a fascinating world that escapes Nassif’s mind; a place where vague Robert Fripp guitar traces wane against a sunbaked percussion of bottle rattling; off-center piano and elliptical grooves merge with Herbie Hancock funk; fanned phaser guitar comes of against skulking seedy Gauloise-puffing French sophisticated cool aloof; an alternative reality in which Eno remixes Caetano’s more showy popular samba romantics.

Very imaginative and experimental, Nassif pushes South American music into exciting directions with an album that oozes a coolness of liquid tropical no and new wave. Mente surfs a delicious ebb and flowing tide of quirky “plastique” pop: A leopard skin upholstered, neon lit sumptuous groove of the fuzzy, fizzling and sauntering.






Mansur  ‘Temple’
(Denovali Records) Album/10th July



Venturing once more into amorphous mysterious musical territories, Jason Kohnen finds another outlet for his traversing invocations with the Arabic named Mansur. Worn by infamous caliphs, this popular Middle Eastern name translates as “the one who is victorious”. The caliphate ruled by those who wore it was as vast and multicultural as the array of evocations and geography found on Kohen’s latest mini-album, Temple.

Previous esoteric and panoramic soundtracks by Kohen, from The Mount Fuji Doomjazz Corporation to The Kilimanjaro Darkjazz Ensemble, roamed a borderless realm of influences. With even less jazz on offer (though those previous two jazz affixed outfits always had a vague interpretation of the genre), the cinematic atmospherics of this newest incarnation, the Temple drifts, sweeps and swoons across a gauzy veiled expanse of ancient Persia, India, Arabia, South Eastern Europe and the Aegean. Much of this is down to the array of international instruments that both Kohnen and his collaborating foil Dimitry El-Demerdashi (ex-Phurpa fame) use to stirrup this mirage state of Dionysus acropolises and atavistic Sufi mysticism. Various two-string and more bowed instruments (such as the Chinese “erhu”, Iranian, Armenian and beyond “kemenche”, and Indian “dilruba”) rub up against reedy flutes (the Persian “ney” and Indian “bansuri”) and both staggered and slurred trip-hop beats, slithered synthesized effects.

Floating in and out of the album’s titular spell, vocalist Martina Hórvath appears like an ancestral spirit or forgotten deity dreamily cooing sweet evocations; part Hellenic, part Celtic. This and its “revisited” companion piece both reminded me of the experimental Greek duo Xaos; though the second ‘Temple’ altarpiece offers up crunchier giant’s footsteps like thuds, and casts supernatural shadows on the pillars.

Elsewhere on this well-travelled five-track adventure, the esoteric Balearic chill in the sun ‘Disciples’ takes the listener to Muslim Spain via the toiled troubles and lament of the East, and the five notes per octave scale ‘Pentatonic Ruins’ travels in slow-releases across both the Arabian deserts and foothills of Tibet. The album’s final magical escape ‘Leyenda’ (or “legend”) brings in a piano, bowls and the kemenche flute to evoke a kind of semblance of 1930s Cairo: A soundscape of intrigue, suspense, bazaars and Arabian music halls converge.

Wandering a proscenium of afflatus burnished ruins and temenos to a cinematic, warping trip-hop soundtrack, Kohnen finds another fruitful creative release for his mesmerizing mythology of mystical and spiritual sounds.






JAF Trio ‘S/T’  (3rd July 2020)
Otis Sandsjö ‘ Y-OTIS 2’ (24th July 2020)
(We Jazz) Albums



Constantly delivering some of the best in contemporary jazz over the years, the Helsinki label and festival platform We Jazz has regularly popped up on the site with its quality catalogue of, mostly, European talent. This month sees the Nordic facilitators release two albums of opposing styled experimentation.

Dropping just this week, the first of these deft workouts sees the lauded Danish-Finn live act JAF Trio of saxophonist Adele Sauros (of Superposition renown), bassist Joonas Tuuri (Bowman Trio) and drummer Emil Bülow lay down their dynamic buzz on wax for the first time. Formerly awarded the We Jazz “rising star” award in 2017 for their “loft style” conjunction of cool but busy American and European jazz frills, tumbles and stretches, the trio now capture that live spark in a studio setting.

With a faint air of nostalgia, or at least the influence of those hip cats Mingus and Wayne Shorter, and a lift of Be-Bop, the trio proves to be one classy act. Sauros blows and honks both a mean and snozzling (even clarinet like at times) sax over Tuuri’s double-bass bodywork tapping runs and bowed sloping and Bülow’s quickened drum spills and accentuated concentrations. Signature loftcore, the opening account of ‘Ninth Row Of The Fifth Floor’ is a showcase for clicked walking basslines, skipping breaks and schmoozing sax spontaneity.

Each track seems to start in one place but end up in another; liberally handing out solos and more stripped spots, both busy and more methodically studied, as they go. Whatever the mood, whether that’s more humming and whistled saxophone contemplation or counter d’n’b like rhythm erratics, the chemistry is playful but always probing. Loft space meets Pierrick Pédron on a contemporary breakbeat, the JAF Trio bounce ideas around in the studio to produce some top-drawer jazz.





Making good on his previous free-fall in motion Y-OTIS LP (which made our albums of the year), the second of We Jazz Records’ July releases finds the Berlin-based Swedish tenor sax and clarinet bandleader Otis Sandsjö once more pushing the boundaries of electronic jazz. Volume Two of this simultaneously flowing and fractured, stumbled jazz breakdown sees Otis deconstruct his group’s performances in real time. Like a remix before the originals even been finished, Otis enacts his ennui like wonder for changing the rhythm, groove and direction.

Backed by fellow label mates Petter Eldh (bass and synth) and Jonas Kullhammar (flute) of Koma Saxo fame, plus Dan Nicholls (keys and synth duties), Tilo Weber (drums), and with featured spots from Per “Texas” Johansson (flute), Lucy Railton (cello) and Ruhi Erdogan (trumpet), the native Gothenburg sonic explorer elliptically skips and trips through hints of J Dilla, Flying Lotus, Four Tet, John Wizard, Takashi Kokubo, 808 State and Bobbi Humphrey.

The jazz elements, which sound like a transmogrified electric Byrd, drift and waft in starts and stops. Otis sax hoots like a magical owl on the woodland fairytale turn Eddie Gale spiritual joint ‘Tremendoce’.

With two flute players in the ranks and Otis also on clarinet, there’s obviously a lot of wind being blown around; and again it’s mostly quite dreamy, organic and floating as it wraps around the constant breaks and lurch or dragging drum parts.

From the cosmic and celestial to earthy, the familiar is turned inside out on an album that mixes soul, hip-hop, d’n’b, trance, electronica and jazz together. Every bit as extraordinary and inventive as the previous volume, part two is a unique, re contextualized, pinball flipper driven rush that takes jazz forward. This is a really great trip of an album, as blissful as it is intense. Definitely in my choice picks of 2020; one of the best jazz albums you’ll hear all year.






The Lancashire Hustlers  ‘Four Hands, Two Voices’
(Steep Hill) Album/12th June 2020



There’s nothing more reassuring and cozy than a new Lancashire Hustlers album. Bathed in a nostalgic glow of peaceable 60s and 70s harmonies and a lilted haze of the familiar, Brent Thorley and Ian Pakes always turn-out a disarming songbook of psychedelic and troubadour melodies worth savoring.

Following previous mini pop operas and a collection of songs based on the poems of Walter de la Mare, the Stockport duo reconvene for an album of self-discovery, raincloud love-lost misery, the philosophical and regretted: Not strictly a thematic album, more a concept of age-old tropes that continue to trouble the soul.

Musically combining the shared harmony of Turn Breaks with the idiosyncratic romantic psych pop of bands such as The Left Banke, they often stirrup a smorgasbord of congruous bands and artists. Four Hands, Two Voices is no exception, with surprise shades of Marvin Gaye and Curtis Mayfield on the pastoral soul opener ‘Top Gun (In Retirement)’, and a kind of Anthony Newly starring musical meets XTC on the more theatrical ‘Stuck In The Middle Of A Week’. Elsewhere amongst a repeating musical leitmotif of quasi-swami atmospheres (brassy resonating faux-sitar and finger-cymbal trinket charms), you will find dalliances with Bacharach (sharing a stage with George Harrison) on the lilting romantic waltz whimsy ‘It’s Too Early’, the voice of Glenn Tilbrook on the beautifully pining rained-off ‘The Flowers And The Reservoirs’, and Badfinger harmonizing with Dylan on the quivery, dreamy malady ‘Letters I Should’ve Written’.

Disarming what is a touching but poignant selection of both melancholy and lamentable reflection, the duo’s loving and comfortable, even smooth musical sheen makes the sadness and yearning parts more palatable.

Whether venturing into the mind to connect with an object of desire or sailing across the subconscious on an adventurous voyage into psychoanalysis, these northern hustlers are guaranteed to make the journey a most harmonious one. The duo’s fifth album is another lovely songbook of maverick encounters, pastoral soul and soft bulletins.






Wu Cloud  ‘Pulsa Rimba’
(The Slow Music Movement) Album/18th June 2020



Under the sticking heat of a lush Indonesian jungle canopy and on the edge of golden idyllic Sumatran beaches, the free-rolling Melbourne artist Wu Cloud places the listener in a sumptuous soundtrack of resonating, delayed field recordings and subtle, distant lo fi rhythms on his debut longplayer for the Lisbon label The Slow Music Movement. An immersive sound experience, produced from a “rucksack studio”, Pulsa Rimba –which literally translates as the “pulse of the jungle” – is a insect chattering, monkey (or in this case, to use the old world appellation of the species, a “Monyet”) calling, bird hooting menagerie of local Indonesian wildlife and fauna; augmented by the most accentuating and intuitive of effects and enervated tricking and chiming of beats.

Almost carefree and meandering, Wu’s backpacker recordings take-in the exotics and dense jungle throbs of ‘Weh Island’ (an island off the northwest of Sumatra, often known by its biggest city and capital, Sabang) and the cross-traffic sounds of both nature and human encroachment in the Sumatran city of ‘Jambi’ (a busy port metropolis and greater province that lies close to the ruins of the ancient Srivijaya kingdom city of Muaro Jambi) on a gentle, unfolding ambient suite of the organic and synthesized.

From the hammock to bumpy bus rides, Wu captures in an ad hoc fashion a living moistened terrain. And those field recordings are left to drift and waft as a fine gossamer layer of undulated gamelan-esque rhythms, hand bell like softened chimes from the local bamboo tube apparatus known as a “angklung”, sloping refractions and water pouring percussion is added. Sometimes so hypnotic as to be somnolent, at other times mysterious and exotic enough to evoke some extraterrestrial activity (the lunar bound ‘Flying Lizard’), the jungle pulse is a mirage of kinetics, Eno and Cluster ambience and spacey-echoed remembrance of geography experienced.

Enchanting escapism, Wu Cloud’s atmospheric Indonesian jaunt is a conservation of sound; a contemplative wildlife sonic survey of what’s left of an untamed landscape.






Reissue


Pedro Lima  ‘Maguidala’
(Bongo Joe) Album/17th July 2020



Seldom in the spotlight or given much attention, the African island nation of São Tomé & Principe remains relatively obscure: especially music wise.

A former Portuguese colony, whose African population were mostly enslaved souls shipped in from the continent’s interior and coastlines, this fertile island became famous for growing cocoa, sugar and coffee. Most heinously though, it soon became a transit post for the slave trade itself; its location off the coast of Gabon in the mid Atlantic offering an ideal cove for the transporting human cargo.

It would take over four hundred years but independence finally came in 1975. Though revolts against the colonial masters were a constant throughout its history, even as late as the 1950s when long-suffering Angolan contract workers rioted, enforced labour continued right up until political revolutionary groups such as the Movement For The Liberation of São Tomé & Principe overthrew the Caetano dictatorship. Democratic reforms would be slow but peacefully introduced in the 90s, and the island is now considered one of the most stable free nations in Africa.

An outspoken advocate of change, and star of this welcoming reissue, Pedro Lima was an activist and lauded recording artist who for his political stance was anointed by the islanders as “A voz de povo de São Tomé”: “the people’s voice of the island”. Not that you detect that revolutionary zeal in his most joyous, sun-scorched island life harmonies. Those sweetened but dynamic tones disarm any kind of anger or rage.

Remarkably, until recently, and through those discerning people at the Bongo Joe label/store, there hadn’t really been any musical survey of the São Tomé & Principe. Their Léve Léve compilation, which takes its title from the locals carefree “take it easy” attitude, was the first. Bongo Joe now hones in one of that compilation’s star turns with this reissue of what is considered as Lima’s best album, Maguidala – if nothing else, this reissue could save you a hefty sum, as the original is going for anywhere up to £350 on discogs.

Originally recorded in ’85 with his trusted band Os Leonenses, this both sauntering and scuffled four track highlight from the catalogue showcases an artist at his peak. Relaxed but also driven at times, Maguidala is a conjunction, as fertile as the soil, of influences from across not only the island but also African continent. Perhaps picked up when recording on the mainland in Angola for a number of labels, and further afield in Lisbon during the 80s for the IEFE imprint, Lima’s sound took in the famous Congolese rumba style of Soukous, the Dominican Merengue and local “Puxa” rhythms. The results are a most buoyant, harmonious dancing groove of scuttling percussion, beautifully lulled sweet voices, trickling, picked and streaked guitar and peaceable goodwill. The title-track and finale (‘Lionensi Sá Tindadji’) are both busy, more constantly, if softly, driven performances that skiffle and rattle along. Lima for the most part serenading, attempts to add a few shrills and “whompahs” on the latter.

‘Sãma Nanzalé’ seems more drifting; almost a beachcomber lullaby. Whilst ‘Cxi Compa Sã Cã Batéla’ skips, saunters and shuffles towards that Congolese rumba influence.

The laissez faire sound of an island hideaway, Lima’s Maguidala showcase is a perfect summer album; a piece of escapism we could all do with right now. Prompted in part by Lima’s death last year, Bongo Joe has revived a warranted classic and shone a light on a musical legacy. Stick it on and let the good time rumba and Créole harmonies wash over you.






Special word from me, founder and basically one-man operator behind the Monolith Cocktail.

Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

Playlist/Dominic Valvona/Brian “Bordello” Shea/Matt Oliver





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

Tracklist In Full:


Thiago Nassif  ‘Soar Estranho’
Freak Heat Waves  ‘Nothing Lasts Forever’
Lithics  ‘Hands’
Ammar 808 ft. Susha  ‘Marivere Gati’
Bab L’ Bluz  ‘Gnawa Beat’
The Koreatown Oddity ft. Taz Arnold  ‘Ginkabiloba’ 
Koma Saxo  ‘Koma Mate’
Wish Master  ‘Write Pages’
Gee Bag, Illinformed  ‘I Can Be (Sam Krats Remix)’
Gorilla Twins  ‘Highs & Lows’
Jeffrey Lewis  ‘Keep It Chill In The East Village’
Armand Hammer  ‘Slew Foot’
Public Enemy  ‘State Of The Union’
Run The Jewels  ‘Yankee And The Brave (ep.4)’
Gaul Plus  ‘Church Of The Motorway’
Tamburi Neri  ‘Indio’
Ty, Durrty Goodz  ‘The Real Ones’
Fierro Ex Machina  ‘A Sail Of All Tears’
Skyzoo  ‘Turning 10’
Kahil El’Zabar ft. David Murray  ‘Necktar’
Afel Bocoum  ‘Avion’
Etienne de la Sayette  ‘Safari Kamer’
The Lancashire Hustlers  ‘Stuck In The Middle Of A Week’
Scarlet’s Well  ‘Sweetmeat’
Campbell Sibthorpe  ‘Good Lord’
Westerman  ‘Drawbridge’
The Fiery Furnaces  ‘Down At The So And So On Somewhere’
Kutiman  ‘Copasavana’
Caleb Landry Jones  ‘The Great I Am’
Bedd  ‘You Have Nice Things’
The Original Magnetic Light Parade  ‘Confusion Reigns’
Cosse  ‘Sun Forget Me’
Bananagun  ‘Modern Day Problems’
Salem Trials  ‘Head On Rong’
Lucidvox  ‘Runaway’
HighSchool  ‘Frosting’
Jon Hassell  ‘Fearless’

All our monthly playlists so far in 2020

 

 

 

 


New Music Of Interest Style Roundup/Dominic Valvona





The Perusal is my regular one-stop chance to catch up with the mounting pile of singles, EPs, mini-LPs, tracks, videos and oddities that threaten to overload the Monolith Cocktail’s inboxes each month. A right old mishmash of previews, reviews and informative inquiry, this weeks assortment includes Ammar 808, Jon Hassell, Itchy-O, Kamo Saxo and Tony Price.


Ammar 808  ‘Marivere Gati (featuring SUSHA )’
(Glitterbeat Records)  Single/12th June 2020





“Except you, Divine mother, who else in this earth is to protect us ?

The ones who fall on your feet, giving up completely their ego,

you protect them, take care of them.

Meenakshi I believe in you.”


Dropping out of the nowhere, the latest trailblazing syncopation of transformed futuristic Pan-Maghreb languages, rhythms and ceremony from the leading producer Sofyann Ben Youssef expands the sonic horizons to collaborate with the Carnatic singer Susha.

Converging under Youssef’s most free spirited of electronic projects AMMAR 808, the signature propulsive TR-808 bass and warped effects of that alias meet with the alluring, buoyant spinning tabla driven devotional music of southern India, on the first single to be released from the forthcoming ‘Global Control / Invisible Invasion’ album. An ode to the goddess Meenakshi, who is an avatar of Parvati, the Hindu goddess of Fertility, love, and devotion, this hypnotizing throbbing fusion paves the way for an ever evolving and worldly sonic adventure.

Related from the Archives:

Ammar 808 ‘Maghreb United’ Album Review



Kamo Saxo  ‘Koma Mate / Jagd (Feat. Jameszoo)’
(We Jazz Records)  Single/12th June 2020


With a psychosis of breakbeats and prowling, jostling conscious jazz – the kind that channels the likes of such titans of the form as Sun Ra, Pharoah Sanders, Lloyd Miller, Leon Thomas and Albert Ayler – the exciting quintet Koma Saxo emerged last year as a new vehicle for a wealth of adroit European contemporary jazz musicians. Assembled by the Berlin-based Swedish bassist/producer Petter Eldh under the umbrella of the brilliant Finnish Jazz label We Jazz, the horn heavy ensemble includes many of the label’s stars, including Jonas Kullhammar, Mikko Innanen, and Otis Sandsjö on brass, and Christian Lillinger on the drums. The group made their performance debut at the label’s own festival in 2019, followed by a double A side single, the exotic flight of fantasy entitled ‘Part Koma/Fanfare For Komarum’, and a self-titled long player.

The latest double A-side single to drop from the ensemble refashions the conscious jazz swinging, double-bass tripping ‘Koma Tema’ performance from that debut album. Reincarnated as ‘Koma Mate’, the beats are dialed up, the skipping even more tripping, and the horns serenading. A sort of breakbeat abstraction with signs of melodious drifting, and cooing diaphanous spirits it doesn’t so much improve on the original as take it in a oft-kilter direction.

On the “flip” side, the Dutch producer Jameszoo is let loose to deconstruct and rebuild the Koma Saxo sound on the flexed and untethered tooting horn ‘Jagd’. Tenor sax floats and meanders over another tripped-up fluctuating groove to push the jazz group towards a hypnotized and fractured dancefloor.

Related from the Archives:

Koma Saxo ‘Port Koma/Fanfare For Komarum’ Single Review



Itchy-O  ‘Milk Moon Rite’
(Commissioned by Onassis Foundation as part of the ENTER series) Performance/3rd June 2020




First aired at the beginning of June but recorded on May 7th, as the moon loomed large orbiting at its closest point to Earth, the grand gesturing esoteric Denver collective of Itchy-O executed its own “Milk Moon Rite” performance.

As the ensemble explain: “Earth’s only natural satellite has orbited our sky as a massive emblem for countless religious worshippers across the eons. Known to the Greeks as Selene, the Hebrew Yarcah, and the Hindu lunar god Chandra; Egyptians also associated the moon with Isis, to name just a few appearances across mythos. It personifies the mysteries of life and death, both scientifically and spiritually.”

The 13-minute film is part of ENTER, a series of new works commissioned from artists across the globe, created in 120 hours or less, and drawing on experiences and transformations faced through the COVID-19 pandemic.

“In a call to the gods for balance between opposites”, members of the drum driven art ensemble laid down a squalling friction of extemporized industrial ceremony and repetitive taiko beatings and hammerings: a vision that evokes Alejandro Jodorowsky conducting a unholy communion between Faust and Sunn O))) in a landscape in which the chthonian meets satanic. Settle down to the unsettling my children.

Itchy-O have in the past performed with David Byrne & St. Vincent’s band, shared the stage with experimental legends Devo, and anchored the world-renowned Dark Mofo Festival in Tasmania. Other performances include opening for Beats Antique, Melvins, and headlining Austin-based Fantastic Fest three years in a row.



Jon Hassell  ‘Fearless’
Taken from the upcoming new album Seeing Through Sound Pentimento Volume Two/24th July 2020




Progenitor of the borderless and amorphous evocatively traced, hazy dream experiments, John Hassell’s transmogrified nuzzling trumpet and sonic soundscape textures have inspired a generation of artists over the last forty odd years. The composer and trumpet player’s 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. Hassell 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.

Though an independent artist pioneer in his own right, his name has become synonymous with that of Brian Eno’s, the pair working together on the first ambient traversing volume in Hassell’s Possible Musics series of iconic albums, in the late 70s.

Though he has continued to produce futuristic amorphous peregrinations, his back catalogue has in more recent years been rediscovered through various reissues. As a companion piece to the first Pentimento series of albums, 2018’s Listening To Pictures suite, a second volume is being released later next month. Pentimento is defined as the “reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over”; a process, a layering of coats that is reflected musically on this upcoming experimental vision, Seeing Through Sound. From that album, the foggy-headed mysterious lurking, fanning rayed, early Can metronomic ‘Fearless’.

Related from the Archives:

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

Jon Hassell ‘Dream Theory In Malaya’ Album Review

Jon Hassell/Farafina ‘Flash Of The Spirit’ Album Review



Tony Price ‘Interview’
Track preview from the upcoming LP Interview/Discount/17th July 2020




Abstracted No Wave meets dream fuzzy sparkled organ jazz on the latest suffused nuzzled trip from the multitasking Toronto visionary Tony Price. The New York based producer, musician, and songwriter makes his debut on the Telephone Explosion hub with a new album; a couplet of traversed vaporous jazzy meditations that seem to have been recorded from behind a cozy if mysterious fog. Maybe not a veiled fog, but as the first track from this side-long duo of tracks, ‘Interview’, is described in the accompanying blurb “a meditative exploration of the tile-tunneled labyrinths of NYC’s subway system at night.” You could say a field recording of the most amorphous group of subway jazz buskers emanating thoughts and musings into the nocturnal ether.

Leader on this dial tone hazed peregrination, Price lends his fingertips to an assortment of eye-candy keyboards and synthesizers (Fender Rhodes, Hohner D6 Clavinet, Arp 2600, SP1200, Prophet 5), sketches out gossamer guitar strands and a repetitive lurking bass and also programs the drums. Flanking him on this distant recording are some experimentalist heavyweights: Giosue Rosati on fretless electric bass, blog stalwart and friend Andy Haas on signature untethered saxophones & effects, and Dan Pencer on bass clarinet.

The imbued fleeted spark of modal jazz, electro-funk and narcotic non-linearity of 1970s minimalism style LP is framed as “an electrifying collision of fractured jazz- concréte and combustible downtown funk that crushes the entire continuum between minimalism and maximalism into a hypnotic wreck of metropolitan sound matter.” In practice, to these ears, it sounds like a communion of the Cosmic Range and Zacht Automaat. A winner in my book.

Price has lent his expertise to a wide range of critically acclaimed records on labels like 4AD, DFA, Slumberland and Burger Records amongst many others. In 2017 he founded his label and creative services unit Maximum Exposure, which quickly became an in-demand entity, providing production and design expertise to the likes of Capitol Records, Pat McGrath Labs, Vogue, SSENSE, 4AD, and Night School Recordings amongst others. The new album will be released next month, 17th July 2020, but you can now sneak a listen of the A-Side.




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.

Premiere/Dominic Valvona



Campbell Sibthorpe ‘Good Lord’
Single/16th June 2020


Musically it seems that trope about leaving the stifling claustrophobia and humdrum of a small town behind for stimulating adventures in the big wide world never gets old. But I think many of us can relate to the feelings of being stuck-in-a-rut; the need to breathe in pastures new, or even “transcend” to loftier heights of self realization, as the Australian born but raised in a small town outside of Bristol, rustic yearning troubadour Campbell Sibthorpe does on his latest humbling single, ‘Good Lord’. A kind of reverent rural gospel plea, Sibthorpe heads out on a musical pilgrimage of self-discovery; the most aching iteration of “Who am I?” left ringing out in the last section of this considered mini-opus: answered right at the end as the venerable seeker coos “I will find out”.

Speaking about the track, Sibthorpe says: “I wrote Good Lord before moving away from home. I’d walked around the village one day and maybe it was seeing a dead bird on the road or the noticing of how empty the streets were but, in that moment, I realised how stilted and stagnant my life had become, and that I had to leave”.

Fans of such harmonious troopers as the Fleet Foxes, Fyfe Dangerfield and The Shins will find much to admire this beautifully considered, paced dreamy prayer like anthem that rolls through the changes, highs and lows.

The Monolith Cocktail is premiering ‘Good Lord’ ahead of its official release date on the 16th June 2020. The latest in a string of well-lauded singles, this newest rustic-devotion will also be included on the forthcoming EP YTown, due to be released on the 21st July 2020.

The singer songwriter and multi-instrumentalist first started playing gigs around Bristol whilst working as a cleaner at a local school in 2017. Quickly gaining a reputation for his passionate performances, and shortly after releasing his debut EP Sky Lily, he upped sticks and moved to the London metropolis the following year. He has since gone on to support artists including The Staves, The Magic Lantern, and Hannah Lou Clark and received support from Radio X, BBC Introducing In The West, and Folk Radio UK among others.






Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

REVIEWS ROUNDUP/Dominic Valvona





As of writing this latest roundup of new music recommendations and curios, the lockdown restrictions that many of us in the UK have been under are erratically and confusingly being lifted (to some degree). Still, anxiety and uncertainty reigns, as the music industry (I’m thinking more the venues, small scale enterprises, self-made and the diy) is left pretty much high and dry with little in the way of finical help, or even solutions to the inevitable problems of a post-Covid, isolationist society.

Live music being the biggest casualty of this lockdown, it is indeed pretty worrying that one of the only revenue streams left open to artists to make any real money from is now so endangered. As we have all seen for ourselves or heard from an abundance of artists and labels, the so-called savior of streaming has been anything but beneficial for the majority of artists. And can hardly count as revenue at all – unless you are Kanye West or Justin Bieber.

We will of course need time however to see how physical sales will fare; though I bet many out there have baulked at buying vinyl, CDs, anguishing over the spread of the virus. Records stores have been forced to close down and move online of course, which may also affect sales: the browser in particular will be affected, as will many of us who enjoyed not only looking for records but just the company and chat with the shop owner, the chance of coming across something by chance or being recommended something. Spontaneity has gone out the window in that respect.

With all that in mind, I ask you to do what you can in supporting new music and the artists featured in this roundup. You can of course purchase many on Bandcamp and similar sites.

 

As ever this selection is an eclectic gander at artists and bands from around the world, cosmos and beyond. Bringing us beautiful, evocative bluegrass rooted traverses, Kentuckian born and imbued Myles Cochran delivers a new subtly unveiling EP of ambient and guitar experiments, My Own Devices; sonic navigator Alex Norelli, under the Fierro Ex Machina nom de plume, conjures up an album of heavy electro-acoustic imaginings; and painter/musician Marco Bernacchia, aka Above The Tree, produces a vivid soundtrack of ambiguous folkloric and synthesized mystery on the new album King Above. In the Techno field of experimentation, the ever-prolific Sad Man is at it again with another album; this time in lockdown and going for the kicks. Also, Etienne de la Sayette unleashes another pleasant polygenesis album of African and South East Asian grooves.

In the reissues in-tray this month, I have a special treat for fans of The Monochrome Set’s stalwart vocalist, songwriter and guitarist Bid and his noughties project of surrealist and eccentric escapism, Scarlet’s Well. Join me as I run through a new decade spanning collection of songs from the catalogue. I also run through the recent reissue of the Indonesian music legend and maverick Harry Roesli’s ambitious 1975 psych-soul-pop-funk-gamelan opus, ‘Titik Api’.

Headlining this latest roundup, two titans of the contemporary and spiritual jazz scene, Kahil El’ Zabar and David Murray, join forces once more to lay down a righteous transportive performance on the ancestral with a modern pulse communion Spirit Groove.


LEAD REVIEW




Kahil El’ Zabar’s ‘Spirit Groove Ft. David Murray’
(Spiritmuse) LP/12th June 2020


Praise be to the healing arts of those contemporary jazz luminaries Kahil El’ Zabar and David Murray. If ever there was a time when we all needed calm and a spiritual deliverance it’s right now. A service, a quasi-liturgy of spiritual jazz, the two American titans of their experimental forms have drawn on a wealth of providence and influences to once more join forces through El’ Zabar’s “spirit groove” of connectivity.

As a harmonious bedfellow to the Chicago drummer/percussionist’s lauded (especially be me) Ethnic Heritage Ensemble, this righteous groove communion with the tenor sax and bass clarinet maestro Murray “intends to move you nakedly with a deep sense of dance on a Mind/Body/Spirit level.” And what a groove it is; a disarming rhythmic set of performances with a poignant, timely message, or, as El’ Zabar himself puts it, “This is the moment to rekindle the notion of social relevance within the legacy of jazz as an improvised people’s movement for social change.”

The creative partners enact this change (or at least attempt it) by channeling both the ancients and jazz greats they’ve both been lucky enough to share stages with over the last fifty years. El’ Zabar for his part, learning the craft through the Chicago hothouse known as the School of the Association for the Advancement of Creative Musicians, and by playing with or supporting such greats as Eddie Harris, Cannonball Adderley, Rahsaan Roland Kirk, Pharoah Sanders, Dizzy Gillespie, Nina Simone and Archie Shepp (the list goes on). Oakland born Grammy Award winner Murray meanwhile has recorded and performed with a no less impressive list of notable talents, including Henry Threadgill, Olu Dara, McCoy Tyner and Elvin Jones. Murray was also a founding forefather of the horns and wind instruments lauded World Saxophone Quartet.

El’ Zabar’s atavistic with a modern pulse spiritual soul and jazz experiments are coupled with Murray’s untethered long and short breath saxophone contortions on an album of new, specially written material and expansions of compositions from the back catalogue.





Joining them on church service organ and cascading, accentuate piano is Chicago stalwart Justin Dillard, and on bowing soothed and more scuttling acoustic bass, the burgeoning talent Emma Dayhuff. This makes for an enviable solid act; a quartet of jazz apprentices from different generations that between them have connections to every great jazz pioneer of the last fifty plus years. But, nearly, all roads lead back to Coltrane in particular. Murray despite practicing and molding amore unique technique inspired by the triumvirate of old guard doyens Coleman Hawkins, Ben Webster and Paul Gonsalves then what Coltrane preached, he’s paid various homages to the late great saxophone deity. ‘Trane’, a notion, encapsulation, nod to his universal influence pared down to just the second syllable of a name, is all that’s needed on the track that appears on this album as a tribute of sorts. The swing time ‘Trane In Mind’ is a mood, a sense of that style; a splashed poolside dash of Coltrane in his ascendance.

 

Faith though is the main driver of the groove and varied utterances that pour out of this erudite ensemble’s performances. The water-carrier trickled percussive opener, ‘In My House’, welcomes all to El’ Zabar’s titular sanctuary; a place to raise the spirits and soul. A prayer in the form of a primal gospel House music anthem, the jug pouring shuffler features El’ Zabar’s signature vocal exaltations, which sometimes negate words and lyrics for just hums, feelings and an essence of vocal expression. A frame for a freeform expansion of the mood, Dillard switches from subtle piano phrasing to venerable organ, whilst Dayhuff bobs around as Murray customarily catches shortened hooted breaths and longer sublime circular breathing squalls.

The power of faith in love is enshrined on the next dreamy flight, ‘Necktar’. Dedicated to not only Murray’s new wife Francesca but also true love itself, the quartet skiffle and swing to a liquid soul music groove that sets up a meeting between Gil Scott Heron, Bill Withers and Lester Bowie. Talking of dedications, El’ Zabar’s ancestral percussive, vocal cooing ‘Katon’ opus was written for his fourth oldest son. (El’ Zabar has quite the brood of children and grandchildren we’re told). A special bond and sentiment is conveyed over a magical meditative suite of music box mbira, deft piano, serenading and hooting tenor and dipped bass.

‘In The Spirit’ is, as the title says, another faith radiating communion. Bird like fluting floats over dusty brushed drums on this venerated shuffled version of the original, first performed by El’ Zabar in late 70s Germany. Another past composition, the low-key Savoy jazz like ‘Song Of Myself’ was part of El’ Zabar’s trio project with Murray and the late bassist Fred Hopkins. “An introspection of dancing in your mind”, this riff on that recital stands out on an album of ancestral percussive heavy spiritual jazz and stripped acoustic House music with its smoky, kept subdued almost downtempo, intimacy. Almost veiled even, toots, dusty drums, hints of the vibes and live lounge atmospherics take the listener off into a new thoughtful space.

Working in various forms together since the late 80s, a third composition – appearing on the lauded LP of the same name – ‘One World Family’ is framed as a sort of “theme song” for the partnership. Extending the original with a more expansive performed backing of woody-slapped rhythms (which near the end climax in an erratic display of pounding and punching), spiraling reedy fashioned free-flowing saxophone and soulful melody, the quartet flex and breathe across a earthy but skybound cycle.

A reconnection, a spiritual bound partnership El’ Zabar and Murray appear from the tumult to capture a difficult to quantify feeling: a rage even. Quenching the soul with a “spirit groove”, they’ve laid down a both swinging and mesmeric alternative jazz service of mediation but also, and above all, they push for a positive change in the most inflamed and dangerous of times.





RECOMMENDATIONS


Etienne de la Sayette ‘Kobugi’
(Muju Records) LP/1st June 2020




As pleasantly inviting as the album’s sumptuous artwork, the highly active Etienne de la Sayette delivers another worldly traverse of Africa and South East Asian rhythms.

Channeling a wealth of his ever-expanding array of projects, from the Ethnio-groove imbued Akalé Wube to Bae Ho homage-inspired Baeshi Bang, and from Frix to an assortment of film scores, the Etienne de la Sayette platform pulls together the overspill. Put together in-between all these other commitments, but far from a secondary concern, the latest album to emerge from that project is a rich gentle flowing exotic affair. Played entirely by the intimate band of flexible drummer Stefano Lucchini, balafon maestro Lansiné Diabaté, and a small circle of guests, the undulating soundtrack is mostly devoid of technological interference: no virtual instruments or MIDI were used in the making of this record we’re told. Etienne for his part plays a mix of accentuate and hooted, relaxed honked saxophone and flighty flute throughout this borderless escape.

Embracing genres, especially in the rhythm department, the opening odyssey ‘Jajinmori’ takes a traditional Korean rhythm that Etienne discovered whilst collaborating with percussionists in Busan in 2016 and adds a softened Kuti Afrobeat vibe, Orlando Julius Afrojazz sax and the buoyant wooden bobs of the balafon. Riding over the top of this wavy fusion, Chicago rapper turn Parisian scenester RaceCaR lyrically flows with a stream of poetic consciousness that kicks back to the ancients. He gets to finish the album too, with a more political spit against the arms industry and the militarization of authority on the growled, scuzzed acid-metal-psych Deep Purple-esque monster riff ‘War Business’. Though spanning a two-year period, this “sawn-off shotgun” of a leap from the rest of the material proves the timeliest in light of recent events.

Second guest spot on this album goes to Cameroon troubadour Erik Aliana, who arrives from another compass point to rasp, growl and also lay down sweeter vocal charms on the rustic-folky village song ‘Safari Kames’.

Taking the guiding light of Afrobeat once more, the busier ‘LOULOU’ is as much influenced by Steve Reich ad chamber music as it is by Kuti and Tony Allen. There’s even a tone of Benin spotting organ and Hailu Mergia woven into the flashbacks. Diabaté’s balafon is almost watery, like a jug pouring out the droplets of bouncing notes. It’s “shamanic invocations” that rise from ‘Kobugi King’; another undulating fusion of the dreamy and soulful, taking in Muscle Shoals organ, oriental voodoo and impassioned talking-in-tongues utterances.

With slightly more buzz and rattle, the group channels the spindled resonance of the metal tine thumbed Kalimba, as played in the style of Konono #1, on the wilder exchange of organ and free-form drums tribune to the African and Caribbean god of knowledge of stories, ‘Anansi’. They also evoke a bit of the intense fuzz of Marc Ribot; his ‘Ceramic Dog’ being mentioned in the notes.

The only cover, Tegenu Balkew’s Ethnio cassette obscurity ‘Anchi Bale Game’ plays loose with the original’s magical spell drift towards the Orient. In another example of the free-travel music show, the group takes on a reggae gait with the church service suffused beachcomber ‘Tortoises’.

The most interesting thing about this album and the musicianship is the flow of ideas, and the weaving together of both African and Korean rhythms, as Etienne and his ensemble blend tastes of Nigeria, Ghana, Cameroon and the Orient together in one track. Apart from a couple of numbers, Kobugi is a lilting, relaxed but deep listen; a cross-pollination of music synchronicity.





Myles Cochran ‘My Own Devices’
(9Ball Records) EP/19th June 2020




Regular readers and followers may remember that we premiered the experimental Kentuckian bluegrass, roots guitarist and composer Myles Cochran’s subtly evocative single, ‘It’s Like This’ last month on the Monolith Cocktail; a track that reverberated with the atmospherics and mood of a vaguely traced place on the outskirts of a recognizable American panorama. A hazy semblance of Cochran’s alternative Americana sound, that same single now forms one part of an extended version, ‘It’s Like This – It’s Like That’, on the new EP, My Own Devices. Expanded into a drifting Appalachian traverse with echoes of 75 Dollar Bill, and part rustically dreamy guitar, part lilted classical waned and bowing strings (the cello parts courtesy of Robert Curran), this couplet would make a great soundtrack to ambiguous horizons.

Recorded and put together between rural studios in France and the UK (where he now resides), much of this EP’s material wanes and sighs, breathes and pines across a sonorous prairie. The opening swooned, rhythmic shuffle ‘Love Is As Beautiful As Pizza’ merges reverberations of Myles Bluegrass signature trails with jazz, post-rock Mogwai and Daniel Lanois. As the title suggests, it is indeed a beautiful, and bowed mirage-y, instrumental.

Released a few months back, the ‘Early Dark’ peregrination blends more yearning sad and trembled strings with brushed drums, and the hint of a Mick Harvey soundtrack (there’s that word again, ‘soundtrack’). Though you can also confidently add shades of Ry Cooder, Robert Fripp, Warren Ellis and Steve Reich to both this ‘springtime mix’ and the rest of the EP’s material.

Plonking peaceably across the prairie, Cochran finishes up on a Bruce Langhorne meets Eno mosey ‘Churrito’; another drifter traverse of skiffle like rhythms, resonating guitar and spindly strings.

Almost just the tracings, lingering from behind the valley landscape, Cochran’s meditations and waning mood pieces are easy and quiet on the ear; shaped towards an alternative contemporary ambient vision of those bluegrass roots.

Myles will follow this latest EP up, we’re told, with an album entitled UNSUNG later this year.





Fierro Ex Machina ‘Processions’
LP/19th June 2020




The sensory sonic processed imaginings of Alex Norelli concentrate the mind on some foreboding sometimes creeping recondite worlds: Worlds that branch both the chthonian and alien.

From an apparatus of electro-acoustic, and what the L.A. based multi-instrumentalist and creative calls their “noise harp” – an assemblage of deconstructed electric versions of classical strings and dejected music equipment, which includes Alex’s Grandmother’s out-of-tune 1950s S1 Hammond Organ -, materializes a quartet of heavy studies in the experimental neo-classical, ambient, soundtrack and jazz fields. Yes, I did mean to include jazz; the kind that the American Nocturnal avant-garde saxophonist Andy Haas exudes on his various boundary-pushing peregrinations. But also a semblance of Ornette Coleman’s strung-out writhed, iron gate hinge waning saxophone can be heard enervated on the album’s opening mourned journey through the portal, ‘Praeter Nexus’. Unsettling as it slowly gains gravitas and a seething momentum that grows more mysterious, more unknown. The Nexus track demonstrates a frayed, fabric torn movement simultaneously as spatial as it is claustrophobic and dark.

Ominous nocturnal movements follow with the spherical shifting ‘The Shadows Of Plants At Night’. Metronome counted ripples tick away in the night garden as a ghostly-like voiced sound and permutations of Donny McCaslin’s sax waft by. Those plants sound more like concrete planetary leviathans chiding and scraping together. The lamentable entitled ‘Do You Know The Sorrow Of The Horses’, which sounds like the opening from a particularly harrowing plaint from beyond the ether features howls of a kind from wolves of some sort prowling the borders. This wispy invocation, as a scion of Cage and Nam June Paik, trundles across the inner workings and mechanisms of a grand piano: or so sounds.

‘A Sail Of All Tears’ finds a trace of melody and even a rhythm amongst the circling uncertainty and the chills. Turning over in the darkness, dawdling bass guitar and electric guitar notes act as guidance through the enormity of the elementals.

There’s a dark majesty and gravity to all four of these heavy evocations. The dissonance is nowhere to be found however, and so even in the abyss each one of Norelli’s visceral statements remain in a sort of ominous building harmony; a synthesis of sonorous emotion, journeying towards the void: A soundtrack for our frightening times.



Sad Man ‘Daddy Biscuits’
LP/5th June 2020




Despite the alter ego moniker of garden shed electronic music boffin Andrew Spackman’s most prolific incarnation yet, the Sad Man in lockdown is anything but as anxious and plaintive as the name might suggest. The latest (must be millionth, or something like that, release from Andrew now) experiments-in-motion album is in fact quite playful: a laugh even. Euphemisms, innuendo aside, Daddy Biscuits has a more uninterrupted flow of rhythms and progresses in a less agitated, ennui fashion than most of Andrew’s output.

Set loose with a trick noise making apparatus, the Sad Man goes for the kicks, transmogrifying House music and Techno for a staccato dancefloor. Jolted Djax Techno gets warped and bashed with shocks of Mike Dred, galloping 808s and mischievous Ed Banger electro funk on an album in which you can hear the cogs moving around in the artist’s noodle: where to go next? What about this, zap-bang-clatter-wobble-drill!! A Sad Man track seldom ends where it began.

God knows what the titles indicate half the time either. The titular cyber wilderness track alone goes through Luke Slater, Juan Atkins, Aphex Twin and the Chemical Brothers. The track ‘Sleeper’ is anything but somnolent, running as it does through a bastardize version of Herbie Hancock’s ‘Rockit’, 16-bit computer game coin-up prizes and hints of M-Plant Rob Hood and a crystalline dream magic. For me though, I love the strange curio ‘House Work’ (definitely a tune that would improve the chores no end). It sounds like Major Force mashed with Wagon Christ and Les Rita Mitsouko; a sort of electro-operatic funk.

For kicks then, Andrew eyes up the groove on a collection of both panel-beater workshop beats and modulated weirdness; an album for lovers of Warp, Leaf, early Jeff Mills and House Of Tapes. Lockdown proves a fertile environment for the conceptual artist and sonic maverick. I like this subtle change. Pass round the magic biscuits selection again in the future please.





Above The Tree ‘King Above’
(Hukot Disc/Plug In The Gear/Krimzkramz Sub Post) LP/Available Now




Dropped into some alternative futuristic pastoral world in the aftermath of an unexplained event – or that’s at least what it feels and sounds like to me -, visual artist and amorphous sonic sculptor Marco Bernacchia creates a visionary traced soundscape of haunting holy and esoteric materializations from out of the ether on his latest vivid soundtrack, King Above. A soundtrack, as it turns out, for an as yet unreleased documentary, this regal entitled suite of passages, renderings and lingerings would suit a mysterious theme with its signs of the ominous, exotic, and in some cases, supernatural.

Gravitating around the so-called “Italian occult psychedelic” scene, a catch-all term coined in the early noughties to describe the emerging esoteric and out-there sound being made by bands such as Comaneci and Father Murphy (both of whom feature in various ways on this album), Bernacchia practices a sort of ever-evolving vision of “outsider music”. Far too knowing and technically proficient and learned to be the musical equivalent of the usually naïve outsider art, his Above The Tree moniker mapped abstractions have a depth and knowledge that betrays an eclectic, studied palette of influences.

Blessed and doomed in equal measure, the Urbino Academy of Fine Arts alumni paints a both unsettling and pretty atmosphere. In between his professional practice (reaching the heights of exhibiting at the Venice Biennale; which is one way to say you’ve made it in the contemporary conceptual art world), the painter has learnt an assortment of instruments, from saxophone to guitar, the Malian harp-like Kamalengoni to the Russian variant of the Jew’s harp, the Vargan. All of which appear throughout the various dreamy drifts and Kosmische stirrings.

All these instruments and influences are filtered through a gauze of the gossamer, wispy and misty, with the bewitching chimes set against distant echoes of voices, messages and Medieval leftfield folk: think Faust at their most atavistic meets Sproatly Smith. Something like the courtly, rustic reverberations of a past epoch drift in and out of a vaporous bed of drones, ambience and exotic swathes of an unearthly realm. The plucked brushed tremulous guitar phrases often evoke Ry Cooder and (sharing this particular roundup) Myles Cochran.

Nature is always present no matter where Bernacchia guides us. There’s even a sort of nature meditation codex at the end of this fourteen-track oeuvre; the sound of birdsong and an ambiguous great scenic outdoors is permeated by the waning gravitas building accompaniment of bowed strings and the barest undulations of the synthesized. Icy blows, vortexes, cylindrical metallic and ghostly visitations merge with the pastoral and at times the revenant.

With permission from his already mentioned compatriots, Father Murphy, a sample from the group’s 2018 esoteric blessed ‘Communion’ – which featured on the Rising. A Requiem LP – features on the cooed cloisters score ‘Merci On Us’. The original song’s venerated choral atmospherics are woven into the lulled dreamy renaissance treatment.

“Donating” lyrics and voice to a couple of tracks, Francesca Amati of the Comaneci duo offers up a strange repeated breathy mantra on the open couplet ‘Windows Soul’, and utters soliloquy like phrases on the title-track. Amati sounds like a weird space-age narrator on the latter; her statements fragmented, almost disjointed.

Those utterances offer another layer of mystique to an album steeped in the abstract. Tangible instruments exist with the unmistakable tremolo of a guitar, gabbling of the ngoni and spring of a vargen, yet it’s the obscured textural hints of imagined places and spaces that win out. Bernacchia has embraced a history, myriad of emotive forces and atmospheres, the organic and synthesized, and transduced it all into this suffused empirical soundtrack of sublime outsider folk. I thoroughly recommend you seek it out.






REISSUES

Harry Roesli ‘Titik Api’
(Lamunai/Groovyrecord) LP/2nd June 2020




It may sound surprising to many of you dear readers to find that someone as switched-on as me hasn’t come across, until now, the Javanese Temple psychedelic funk of the Indonesian maverick Harry Roesli. Submitted by the kind folks at the Lamunai/Groovyrecord hub, a reissue version of the celebrated artist’s iconic mid 70s concept opus Titik Api has piqued my interest.

Providence wise first, Roesli was born in the bastion of Gamelan, on the island of Java in 1951. In what could be described as a privileged upbringing, Roesli’s father was a major general in the Indonesian army, his mother a doctor; both positions offering a relative security in a country ruled by the quasi-dictator Suharto – a leader with a tightening grip, who managed to keep hold of power for four decades, from 1967 to 1998.

Obviously a talented musician from a young age, Roesli actually decided to study engineering instead of music. It was during those formative years that the creatively minded bohemian was turned on to political activism – a story retold in more detail in the album’s liner notes. To be glib and race through the details, he became an active member of the 70s Tradisi Baru Movement. Translating as “New Tradition” this growing political and creative movement were committed to experimenting with Indonesian traditions such as gamelan. Critical of the regime however, it soon became too dangerous for student activists such as Roesli to evade the authorities iron fist. In one such crackdown, Roesli found himself imprisoned. Luckily for him, a Dutch member of Amnesty International was on the case; gaining an escape route for Roesli through the promise of a scholarship, studying percussion in Holland.

To cut a long story very short, this gave the burgeoning talent another layer of musicianship and host of new influences, which he eventually would take back to his native home. The music of Indonesia was now fused with prog rock, psych, acid rock, pop, enervated funk, soul and even the more complicated rock experiments of Zappa. All of which you can hear on the ambitious 1975 concept album, Titik Api: a kind of Indonesian drama set to music, with ‘prologs’ and ‘epilogs’ and a quasi-overture, a work of art from a hip-international minded cat. It’s nothing short of a Southeast Asian panorama of atavistic mysticism, romance and spiritual yearning.

The first cut from this double album alone, ‘Sekar Jepon’, moves from a gamelan Goblin to Bolero, whilst maintaining the signature zappy effects, sizzled fuzz and chiming percussion that permeates this entire opus. Those prog rock influences get harder on the hypnotizing temple rock ‘Jangga Wareng’: almost Sabbath heavy. The fluty thirteen-minute epic ‘Lembe Lembe’, features both shades of Jethro Tull and ‘Revolution’ era Jefferson Airplane. Slicker, leaning towards soul music, the romantic-sounding female lulled harmonies, sun-anointed ‘Merak’ fans out towards a lilting Brazilia. In a similar vein, another lengthy opus, ‘Kebo Jiro’, switches from soft funky soul and pop to fantasy boat ride, then snake-charming prog and rattling conga solo. ‘Curah Hujan’ takes a scenic route in an Alfa Spider convertible, as the radio blasts out a quasi-Bossa Italo love theme.

It seems Roesli wasn’t shy in throwing everything into his musical fantasy; Latin dreamy troubadour on the first of two ‘epilogs’, proto-disco on ‘Dinding Tolan, and Samba-rock on ‘Bunga Surga’.

From seductive slumbers to golden temple spiritualism and mirage-y trinkets and tubular tolls, Titik Api is an adventurous psychedelic vision from a fertile, expansive mind. An alternative Javanese dimension, invigorated by contemporary late 60s and 70s influences this is an all-encompassing epic from the Indonesian maverick. Don’t worry if like me you missed it first, second even third time around, this new reissue will serve crate-diggers and psychedelic fans alike well enough. Take a punt, dig it out and be introduced to a whole new rabbit hole of Southeast Asian music.





Scarlet’s Well ‘Magic (Selections From 1999 – 2010)’
(Tapete Records) LP/26th June 2020




The saga of the Monochrome Set spans five decades and umpteen break-ups. Blossoming at the fag end of the punk epoch, and continuing to produce music even to this day, the revered group has disbanded at least three times during a checkered history. The second those breakups, in 1998, proved a fertile escape for the Set’s stalwart singer, guitarist and songwriter Bid, who plowed his fantastical and whimsical inventions into a new band, Scarlet’s Well: a band that would, in one form or another last until the third incarnation of the Set in 2010.

 

A congruous bedfellow to Bid’s former group, Scarlet’s Well not only featured the Set’s 90s period keyboardist Orson Presence and producer Toby Robinson, but also transformed some of the unfinished material. Though it wasn’t just a place to crash for former Set members, the evolving, changing lineup would after a few albums expand to include Alice Healey on vocals.

Conceived as an “atmosphere” rather than a band, Bid conjured up a surrealist village diorama and cast of bawdy rouges, lost supernatural characters and monsters, explorers and pining cowboys/cowgirls to build an evocative storybook. Coming to life over seven albums of varying quality, this strange but disarming set location and its vague geographical tributaries (“somewhere east of the Azores and only slightly north of the Styx”) offers a magical encapsulation of all life’s woes, tribulations and physiological defects. It’s an adventure in which some of the salty sea dog inhabitants take the listener on a voyage to various atolls and exotic river ways; sailing into a range of both suffused and fleeting musical ports-of-call. Even the means of nautical travel differ, from a junk to galleon, a skiff to Pugwash shambolic pirate ship.

Receiving an appraisal a decade on from the Well’s final swansong, this oeuvre brings together a (almost) chronological collection of idiosyncratic pastoral whimsy and deeper, darker metaphors. “Bless my barnacles”, the rightly titled Magic collection opens with a couplet of alternative pop sea-shanties from the Well’s 2006 LP, Unreal: A year that proved very productive, with the band uncharacteristically releasing a duo of albums that year. ‘Sweetmeat’, which despite its alluded title sails on a junk to the gentle tones of a lullaby, has Bid channel Scott Walker and Roy Orbison on this beautiful sayonara caress. ‘Willy Whispers’ – no sniggering at the back – features the harmonizing sweet tones of Healey; who by this time was now a prominent member of the band. An example of that diverse range of influences and instrumentation, this spindled beauty simultaneously evokes Westerns, a punt down the Neva and the charming psychedelic storytelling of Pete Dello.

The debut album, Strange Letters, which now puts the songbook back in linear order, is represented by the solitary oompah-tuba ‘The Captain’s Song’. Reimagining a Brecht version of The Yellow Submarine, Bid’s put-on seadog baritone croons a veritable feast of sea-lovers Bonzo lyricism. Both comical and violent, he comes across like Blixa Bildgard early era Bad Seeds.

The first album of a new decade, 2000’s Les Baxter-esque The Isle Of Blue Flowers is represented by a trio of Spanish and concertinaed songs. Maybe a consequence of being signed to the Spanish label Siesta Records, there’s a dalliance with the host’s Flamenco and Latin spirit in the form of the castanet cantina ‘Lord Fish Garlic’s Last Expedition’: a song that fantasizes about a Suzanne Vega senorita fronting Fairport Convention during the Mexican war with America –imagine that! From the same album there’s the Franco-paradise Edwyn Collins-goes-surfing bendy title-track and the South Pacific meets Creole lala ‘Dark Dreams Aboard The Hesperus’.

Lewis Carroll’s literary and psychedelic totem heroine inspires the Well’s next album in the sequence, 2002’s Alice In The Underworld. A castaway choice of songs reflects the album’s use, again, of certain Spanish motifs and flairs. The exotic ‘Night Of The Macaw’ wafts lazily in a Caribbean bay; soft marimba and a lulling spiritual organ drift in the background of this beachcomber sway. ‘The Ballad Of Johnny Freak’ is another story entirely; a metaphorical tale of acceptance from Monsterism Island that puts Healey center-stage of a Hispanic lilted lament.

Moving forwards another two-years, The Dream Spider Of The Laughing Horse album features another of the band’s characteristic musical embraces: a kind of transcendent mosey form of Americana. The title-track, a trotting on the trial cowboy song, and ‘Big Dipper On The Spearman’s Floor’, a waylaid Hawaiian cowboy amongst the rock pools serenade, are chosen to fit the unfolding travelogue compilation.

The second album from 2006, Black Tulip Wings, goes all noir on us. The Bad Seeds rub shoulders with an enervated B52s, ‘Savage’ even goes into lounge swing halfway through its tremolo and Theremin-like wobbles. It’s show time on the album’s title-track as Brecht is brought to the Hollywood detective paperback.

Once more on the lonesome cowboy/cowgirl trial, the next two albums, 2008’s Gatekeeper and 2010’s Society Of Figurines reimagines the Western and country music cannons. On the first of these albums, Bid and his ensemble traverse The Mekons rebel country signature on the sweetly laced, springy desert key metaphor themed ‘Golden, It Is, Beautiful’. From the same record, ‘My Little Doll’ is a little more upbeat in comparison; a shuffling vision of The Bluebells round the campfire with the Frank And Walters. From the porcelain supernatural cast second of these two albums, it’s a strange combo of garage band with elements of the Inspiral Carpets baggy version of Tex Mex beat that underpins ‘Supernatural Services’. From that same record and drawing this decade spanning collection to a close, ‘The Vampire’s Song’ pitches Nosferatu in Nashville; the bloodsucker’s wandering song is a most lonesome pining affair.

Ambiguous throughout, Bid’s microcosm of mavericks, illusionists, rum miscreants and the plain misunderstood is an escape into the fantastical; a wealth of cryptic, surrealist psychedelic and cartoon outsider storytelling and art transduced into a disarming songbook of posy, shanties, ballads, cantas and pop. If you enjoy that long English tradition of eccentric songwriting, then this marvelous collection will quench your soul, heart and mind.




Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

Playlist/Dominic Valvona





For all our friends and followers alike in various states of emergence from a full coronavirus lockdown and the escalating events of George Floyd’s death at the hands of the police, let the Monolith Cocktail ease some of the anxiety, uncertainty and the rage with another volume of Dominic Valvona’s cross-generational, cross-genre Social Playlists (the 46th edition in fact).

Soothing the soul, embracing the eclectic the blog’s imaginary radisohow (or podcast if you prefer) brings together tracks from across time, genres and the globe to take the listener on a musical odyssey of discovery.

For those of you without access to Spotify, we’ve chosen a random smattering of tracks from Youtube.



Tracks In Full:

Mombasa  ‘Yenyeri’
Horoya  ‘Sete Curvas’
Chrissy Zebby Tembo  ‘Coffin Maker’
Colin Hare  ‘For Where Have You Been’
Dick Stusso  ‘I Am Not The Girl You Used To Know’
Stack Waddy  ‘It’s All Over Now’
The Research  ‘All These Feelings’
The Weather Prophets  ‘The Key To My Love Is Green’
Ludus  ‘Little Girls’
Itadi  ‘Ye, Ye, Ye’
Kashmere Stage Band  ‘Thank You’
Hooksy  ‘Flying Market’
Twin Hype  ‘Do It To The Crowd’
Neek The Exotic  ‘Backs and Necks’
Nolan Porter  ‘Iron Out The Rough Spots’
Rob Sonic  ‘Jesus Christ Super Tramp’
Tommy McGee  ‘The Hatch’
Mike Nyoni and Born Free  ‘It’s Only A Dream’
Allen Toussaint And Eldridge Holmes  ‘Gone Gone Gone’
Easy Kabaka Brown  ‘Belema’
Sola  ‘Tu Te Has Ido’
Crystal Syphon  ‘Have More Of Everything’
The Pretty Things  ‘Baron Saturday’
The Overton Berry Trio  ‘Hey Jude’
Shawn Phillips  ‘From All Of Us’
Jad Fair  ‘Haunted By Frankenstein’
The Dream  ‘Four Phone-Calls’
The Youngbloods  ‘Faster All The Time’
Quatermass  ‘Make Up Your Mind’
Sam Rivers, Anthony Cole, Doug Matthews  ‘Spark’
Nate Morgan  ‘Mrafu’
Clap! Clap!  ‘Southern Dub’
Psychic Ills  ‘Never Learn Not To Love’
The Pretty Things  ‘Parachute’
Drum Circus  ‘Groove Rock’
Thunder And Roses  ‘Moon Child’
Goran Kajfes Subtropic Arkestra ‘I’m On My Way/Patch Of Blue’
Sarah Webster Fabio  ‘Together/To The Tune Of Coltrane’s ‘Equinox”
Awa Poulo  ‘Djara Wilam’
Willis Earl Beal  ‘True’


Video Choices





Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.


Reviews Roundup/Dominic Valvona




Easing the boredom of coronavirus lockdown – though many of our international followers, and those across the border in England, are tentatively coming out of isolation – join me from the safety of your own home once more on a global journey of discovery. Let me do all the footwork for you as I recommend a batch of interesting and essential new releases from a myriad of genres. All of which I hope you will support in these anxious and trying times. With all live gigs and events more or less quashed for the foreseeable future, buying music (whether it’s physical or through digital platforms) has never been more important for the survival of the bands/artists/collectives that create it.

This week’s roundup takes on an unplanned devotional vibe, with many of the featured albums/EPs inspired or imbued by religious music and themes. The cellist, composer Simon McCorry is a case in point, his latest ambient drone soundscape The Light Only Blinds is guided in part by the Catholic liturgy of a Requiem Mass; though drifts and expands into the universal and space itself. Equally the stirring hushed beatific new EP from Swedish artist David Åhlén, ‘My Face Will Shine’, is also (among other things) inspired by Christian liturgy: especially the Biblical Psalms. Meanwhile, Bhajan Bhoy, the alter ego of Ajay Saggar, proves a transcendence of spiritual, talking to Yogi, style Kosmische and post-punk reverence. A strange performative alchemy is struck up between the collaborative union of Valentina Magaletti and Marlene Ribeiro on their mysterious, primal ‘tropical concrete’ communion Due Matte.

Not so spiritual, and untouched by the afflatus, Daniel J. Gregory (and his Carnivorous Plants) composes and assembles a ambient and lingering post-rock blues soundscape to the images he captured on a old Soviet camera, Fela Kuti disciples Les Frères Smith pack a punch on their explosive Afrobeat imbued new LP, Mutation. Love-Songs release their inaugural convolution of the organic and synthesized, Nicht Nicht, for the Hamburg label Bureau B. And finally, there’s the inaugural album from Carey Mercer’s new project Soft Plastics; an extraordinary, ambitious album at that.


Les Frères Smith ‘Mutation’
(Amour et Son) LP/22nd May 2020




Adepts of the Fela Kuti patois, the self-described musical ‘smugglers’ Les Frères Smith not only emulate their inspiration but even feature the Afrobeat progenitor’s youngest scion Seun Kuti on the group’s latest, and third, infectious bustle, Mutation.

Speaking Kuti fluently this eleven-strong group doesn’t just imitate the sun-bleached heralded horns, Tony Allen shuffles and entrancing grooves of the Nigerian superstar’s music but also channel his loosely delivered vocal protestations too. Always keeping it funky and suffused with a sauntered jostle even in the face of ever-growing tensions, the threat of increasingly hostile nationalism and the rise of populism the political slogans are liberally peppered or soulfully woven into the tapestry by the group’s rallying flanked singers and motivators Swala Emati and Prosper Nya. Les Frères Smith fill-in for Seun’s Egypt 80 on the splashed drum and Clav frills ‘No Waiting’: An impatient message of African unity rides over a signature nimble Afrobeat performance that has Seun deliver a usually cool vocal and swinging saxophone.

Of course these sonic contraband handlers of the faith will find their politics, freedom of movement even harder to evangelize in the current miasma of epidemic lockdown. For now, we’ll just have to let them musically take us on a backpack tour of riches. Because they don’t just fly Air Lagos but make stopovers in Cameroon (check out those basslines), Ghana, Guinea and on the shimmery fluted desert escape ‘Arouah’, Arabian North Africa. What they call the “Afrikanbeat” is a smooth merger of all these geographic scenes. Throw in some nitty, nifty Congolese guitar licks, some Orlando Julius lilted Afrojazz, reminisces of The Sweet Talks and Ebo Taylor, and then from across the seas, add a pinch of stateside soul sister Lauryn Hill, Erykah Badu, some Stevie Wonder and even a touch of The Brand New Heavies to find all the sunshine hustle grooves you could want.

Bedeviled, limbering, relaxed, Les Frères Smith lend a Gauloise flair to the Afrobeat blueprint on an album of bustled liberating energy.





Soft Plastics ‘5 Dreams’
(Paper Bag Records) LP/5th June 2020




From the embers of Frog Eyes rises Carey Mercer’s vivid dreamology, the Soft Plastics; an extraordinary-voiced inhabited vision, playful, untethered yet also intense. With partner and creative foil Mel Campbell at his side and an intimate circle of musicians – many of which are from the ranks of fellow Canadian scenesters Destroyer – Mercer’s abstract dreams are channeled into a magical, if often sad, songbook of lyrical symbolism, metaphor and passages of trauma.

Everyone is probably aware of the idiosyncratic songwriter’s travails, coming out the other side of throat cancer years ago; the very best outcome an affect on his music career and obviously his already unique bellowed, sibilant, fluctuating, weaving vocals. Though free from a cohesive theme as such, amongst the recurring lyrics of “swirling”, allusions to a green miasma, “wyld thyngs” and an actor’s diorama there’s the constant presence of “angels”: guardians perhaps. But it’s the album’s references (again, perhaps) to Mercer’s most dramatic episode on ‘The Party’s Still On’ that evocatively alludes to that diagnosis: “Knocked on the roof of my mouth, and said “shelter me in warmth”.

With some visions weighing heavier than others, and some darker, the inaugural LP under the Soft Plastics furnishing uses the imagery and lucid recall of Mercer’s dreams. These “remembrances” were sent to soundboard Joshua Wells (just one of the Destroyer cast that feature and help facilitate this album) as a foundation for, what is, a visceral journey through the musician/vocalist’s imaginings and augurs. It’s an ambitious world – not many albums come with a contextual-style essay. 5 Dreams “exists in a land that is deeply wet, dark, flooded” we’re told. The dank dampness is however broken by the occasional “gilded sun-beam” that “comes out of nowhere”, at which point “the song just stops and stares in bloody awe at what we are given, what we might see.”

Almost theatrical, the musical stage is expansive and deep; a counterbalance between the darkness and light. Sins, the omnipresence of a nuclear threat (of the winter, and family stasis kind), the pains of loss, and the biblical feature heavily on a soundtrack that omnivorously feeds on elements of lilted mariachi horns, industrial post-punk, ragged soul, new wave, shoegaze, pop, indie-dance, funk and Mercer’s back catalogue (Frog Eyes, Swan Lake). This means wandering hints of Blixa Bargeld, Talk Talk, Alex Harvey, Wolf Parade, The Mekons, New Pornographers and The Rapture. With a vocal freedom, between the languidly winding and more intense falsetto, the pathway traverses wildly imagined southern borderlands; a virtual dystopia where the hangman’s rope looms as a warning; a place where fascism lurks in the small towns. There’s something not quite right with this scene however; an artificial construct, peopled by willing (or unwilling) actors, playing the part of Mercer’s vivid dreamscapes and actions.

Mercer’s dream weaving evocations are, as I’ve already said, extraordinary on this ambitious, mesmeric album suite. Cryptic and charged, wondrous and yet dark, the Soft Plastics go further and deeper into the psyche to fathom the unfathomable. 5 Dreams warrants a place in every choice and best of the year lists at the end of this anxious, epidemic ravaged year. It really is that good.





Bhajan Bhoy ‘Bless Bless’
(Wormer Bros. Records)   LP/5th June 2020




Veiled in swathes of reverence and an afterglow of Gothic shoegaze, post-punk and the kosmische Ajay Saggar turns his fanned, flange reverberating guitar towards the transcendental on his first solo outing. Recently appearing in my January roundup as part of the Deutsche Ashram collaboration with Merinde Verbeck, Saggar extends that duo’s vaporous spiritual waves and dreamy translucence on this six-string led Eastern cosmology.

In case you missed the “blessed” anointed direction of this heavenly – if just as moodily mysterious and full of trepidation – panoramic opus, the alter ego “Bhajan” of this incarnation’s name refers to the amorphous devotional music of the Indian subcontinent. Synonymous with Hinduism, but also Jainism, this melodic raga form of worship has no set rules, and so fits in well with Saggar’s formless framework of layered melting guitar phrases, gossamer radiance, space-echo unit delay and ripples in the cosmic fabric atmospheres. Bhajan can be translated as “revere”, but also can be read as “sharing” too, and that’s what Saggar does: sharing his spiritual oeuvre of the esoteric and meditative.

We’re “welcomed” to this service with a brassy vibrating mantra: an introduction set-up for what’s to follow. The pouring guitar washes of Manuel Gottsching’s Ash Ra Temple permeate the album’s first long wave devotion ‘Strung Out’, which also features the Washington artist Prana Crafter as congruous communal collaborator. Those lingering six-string explorations increase with intensity as the traverse goes on; bending and craning with fuzz and scuzzy sustain in a Gunter Schickert fashion. Second guest spot goes to Holly Habstritt Gaal; her lulling siren coos beckon from the ether on the ethereal post-punk free-falling embrace ‘Cascade’.

On a pilgrimage of the magick and Indian mysticism, Saggar aligns wisps of Popol Vuh mantra otherworldliness with cause winds on the strangely titled ‘Stuck In A Barrel’, and casts a pulsing prodded synthesized spell of Roedelius arpeggiator and the Tangerine Dream on ‘Magicho’.

Whether drifting off after trekking the ‘King’s Mountain’, or circumnavigating the Kush interior, Saggar finds enlightenment in a cosmic vacuum. Sensory glides, harmonic rings, creepier growls, the twinkled and dub-y all merge on this ebbing tide of devotional music. Emerging from this isolation with a spirit of wonderment, Bhajan Bhoy reimagines a kosmische version of The Mission; a space rock Slowdive on an expansive multilayered guitar meditation.






Love-Songs ‘Nicht Nicht’
(Bureau B) LP/22nd May 2020




It shouldn’t come as a surprise to find the visceral electro-acoustic trio from Hamburg gravitating towards that incubator of Kosmische and expletory German electronica, the Bureau B label: A label that’s ranks include not just the second (or third) generation of Germany’s electronic and experimental music revolution but also some of the progenitors that started it, from surviving members of Faust to Roedelius.

Love-Songs inaugural convolution of the organic and defined for the label absorbs much of that pioneering providence, especially the Kosmische and the quasi-tribal, quasi-ceremonial wood-rim-clatter drums of Faust’s Zappi Diermaier.

A mysterious, sometimes Byzantium, invocation of the improvised, the synthesized and the acoustic, Nicht Nicht is a veiled world of amorphous resonance. There’s the use of Chinese cymbals that hints towards Tibetan and East Asian mysticism, what sounds like a clarinet or oud offers Egyptian fantasy, and the cattle bells evoke mountain cowherds of the Steppes. Add to this the utterances and chanted cadence of Love-Song’s vocalist Thomas Korf, which aren’t so much sung as lyrically described as they occupy the gauzy space. Korf’s lyrics are described as ‘Surrealist’, ‘Dada’, though I’d have no idea as he sings in German throughout.

Electronically sonic wise, pulsating bass throbs echo throughout this labyrinth alongside carefully, dare say sophisticated, arpeggiators, dark wave undercurrents and, when it really gets going, cybernetic techno beats. Suffused and vibrating with that air of mystery, Love-Songs create a stirring environment of reverberated tubular synthesized evaporations and both naturalistic scuttled rhythms and percussive trinkets. Nicht Nicht finds a balance between the two on a most experimental fusion of Kosmische, Techno and the mystical; an album that finds the trio pushing the boundaries further than ever.





Valentina Magaletti & Marlene Ribeiro ‘Due Matte’
(Commando Vanessa) LP/11th June 2020




A communion of sonic forebode and untethered visions of the universal, the collaborative Due Matte performance ascension brings together Valentina Magaletti (of Vanishing Twins fame) and her foil Marlene Ribeiro (of both Gnod and Negra Brancia) to forge an uninterrupted exploration of what the artistic partnership has coined “tropical concrete”. A counterbalance of the improvised and form, the natural and augmented, synthesized effects and the acoustic, this tropical concrete soundscape weaves recognizable instrumentation with (as the ‘concrete’ of that term would suggest) a masked assemblage of found objects and utensils. And so, an ever-present tolled, processional frame drum patters out a repetitive beat as the trinkets of tapped bottles, scrapped tin and other metallic objects trickle or scratch across a mysterious alchemy of Latin esotericism and an ever-shifting echoed soundbed of filters.

Metal bucketing, the circled ringing of bowls, brushes across the surface of a drum skin, water-carriers, revolving mechanisms, rasps and rustling noises and sounds are all the more mysterious as they spiral or spindle on this magic-reality soundtrack. In a fluxes between the supernatural and dreamy, the lucid and hypnotizing reverberations of an ambiguous world, cast adrift of its moorings, stirs up various references: whether intentional or by happenstance – a spell of South East Asia one moment, the Nile and even an atavistic Iberia the next.

Cooing voices and obscured talking add another layer of mystique to the serial Gothic, religious and fantastical elementals.

This, the third release on the burgeoning Italian ‘boutique label’ Commando Vanessa, was originally performed as part of Francisca Marques’ curated project Hysteria; a result of the collaborators artistic residency at Sonoscopia in Porto, a project conceived to ‘offer a look at female production and creation in today’s musical universe, creating new bridges between creators and audiences.’ The fruits of this strange, mostly uncalculated vision of artistic freedom traverse a mirror-y, occasionally primal, world of abstracted death knolls and rituals, under a killing moon. Let’s hope there’s more to come from this congruous union in the future.






Simon McCorry ‘The Light Only Blinds’
(Herhalen Recordings) EP/14th May 2020




Proving prolific in this year of anxious isolation and lockdown misery, composer, artist and adroit cellist of renown Simon McCorry is once more conjuring up evocative soundscapes, both introspective and universal, on his latest ambient suite The Light Only Blinds. After two recent Monolith Cocktail premieres of McCorry standalone singles – the minimalist Acid Techno imbibed ‘Pieces Of Mind’ last month, and the stirring atonal ‘The Nothing That Is’ in February –, and following in the wake of the fully-realized escapist, haunted environments and materialized spaces of the ambiguous atmosphere-building Border Land LP, McCorry offers a trio of light inspired meditations on the power, immensity and light-giving properties of the Sun.

Veiled, longing and at times inhabiting the awe and mystery of Kubrick’s cinematic visions of space, the arid lunarscapes and terrains of this lightened sonic escapism are both magisterial and daunting. Though alien in parts, with passing leviathans and gauzy metallic gleams, saws and waves suffused throughout, the EP is not just bathed in the rays of the Sun but also loosely imbued by the themes (hence the Latin liturgy titles, ‘Sanctus’, ‘Benedictus’ etc.) of the Catholic Requiem Mass. Instead of the David Axlerod route, McCorry gravitates towards the almost supernatural Atmosphères, Lux Aeterna, Requiem and Aventures suites of revered composer György Ligeti; all of which of course featured in Kubrick’s 2001AD, A Space Odyssey opus.

But this sacred wonderment at the Sun was also developed from the sound design work for a play that the ambient and neoclassical composer worked on in early March. “The theatre we were working in closed around us and the play only went as far as the first dress rehearsal. I’d been experimenting with a couple of analogue monosynths and liked the idea of using these as the sole source of sound design material. They have an unpredictable organic nature and paradoxically sound unnatural and alien. The play, Born Bad written by Debbie Tucker Green, is an intense family drama with a lot not said or on the verge of being said, it is an exercise in a slow build of tension that never quite overwhelms but threatens too as more and more is revealed. I wanted the sound design to be as if it is was the space, the hum of the electric appliances, lighting and heating, occasionally clawing it self into consciousness from a bed of churning chaos that lies behind everything.

The prevailing bed of those hums, undulations and waves sit under a synthesis of universal secrets, as enervated solar winds blow across the moonscapes and interiors, and shrouded movements trigger unearthly stirrings and shooting stars fly by in the night sky. An escapist soundtrack, McCorry’s subtle enlightened contemplations prove atmospherically evocative, another quality suite of minimalist gravity.






David Åhlén ‘My Face Will Shine’
(Jivvär) EP/15th May 2020




You may remember we premiered the Swedish singer, songwriter and multi-instrumentalist David Åhlén’s moving hymnal ‘If I Have You’ single, recently on the Monolith Cocktail. A whispery diaphanous veiled plaint that’s informed and inspired by the artist’s study of mystical Judeo-Christian texts on the Swedish Island of Gotland, and his own personal faith, this most beatific and angelic of songs also features on the new release, the devotional My Face Will Shine EP.

Though faith has once more concentrated the minds of many during this epidemic – you could say there’s been a resurgence -, society in general still casts a cynical derision of suspicion at those who practice religion. A lot of Christian music is of course dire, especially the modern happy-clappy sort. Åhlén though has found a gossamer balance between the choral-backed worship lament of tradition and a breathtakingly heart aching form of chamber pop.

Particularly moved by the Biblical Psalms, lyrics from the first single – lines such as “deep calls to deep in the roar of your waters” – are directly inspired by Psalm 42, as David explains: “Many of the lyrics for the EP are about the mystery of our soul speaking to God and the longing that follows”. Musically steeped in this traditional influence and spiritual yearning, ‘If I Have You’ like the rest of the music on this EP are elevated further towards the heavenly by the inclusion of the holy tones of The Boy’s Choir Of Gotland and a an attentive, sympathetic chamber ensemble.

Åhlén’s hushed and cooed falsetto softly ascends the Cloisters atmosphere like a yearning, robed, Antony Hegarty taking communion. The reverence is suffused across all four spiritual elevations, from the beautifully wooed and bowed longing string accompanied stunner ‘My Face Will Shine’, through to the ethereal Biblical cosmology ‘Shamayim’ (the Hebrew word for “heaven”).

My Face Will Shine offers a full immersion into the devotional and longing; a connection to a higher calling you could say; a step away from our own preoccupations into the moody chamber pop of holy reverence. Aside from the spiritual leanings, many will find this an incredibly constructed heartfelt and beautiful record.




Daniel J. Gregory & Carnivorous Plants ‘Dusty Starlight’
(Kirigirisu Recordings) LP/Available Now




From rifling through workshop drawers like a sound burglar, to lending the most lingering traces of post-rock and blues-y guitar to attuned radio/TV broadcasts from an unspecified European geography, Daniel J. Gregory’s minimal sonic collage for the Japan-based Kirigirisu label is an album of channeled refracted landscapes. From mountains to coastlines and cities, Gregory’s serial synthesis of guitar and textured drones and winding mechanisms soundscapes give a sound and visceral life to pictures taken on an ‘old Soviet camera’.

A photo album given an assemblage of ambient resonate waveforms and more noisy musique-concrète, Dusty Starlight passes through ‘Blue Holland’ colour palette waterways and scrapped contours of a vague landscape. Foreign transmissions intermittently crackle and spark into action but offer only more mystery. You can even hear the artist himself counting in, or, in soliloquy style mumbling under his breath on the rummaging ‘V’.

Over various hums, signals, static, chains, clicks, camera loading and caustic interference Gregory plays various electric guitar renderings. Played with a light touch, these sometimes reverberating, often rippled and drifting trails linger between touches of Craig Ward, Spaceman 3 era Jason Pierce and Raül Refree. On the album’s final Roman numeric entitled ‘VII’ there’s even a hint of a more enervated, less dark, Sunn O))). But this could be framed as a kind of post-rock blues; a style not too dissimilar to the label boss Neil Debnam’s very own Broken Shoulder/Flying Kites alter egos.

A soundtrack in many ways that offers a strange collage of found, usable object manipulations and tremulous experimental guitar, the Dusty Starlight album looks through a removed lens at a scarred, displaced landscape. One that’s more mysterious and subtly stirring than dystopian or even haunting. This old Soviet tech offers another angle on ambient experimentation.






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.

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