Album Review/Dominic Valvona

Bastien Keb ‘The Killing Of Eugene Peeps’
(Gearbox Records) 9th October 2020

The soundtrack to an American-noir-meets-Jackie Brown-meets-cross-continental-cult-60s movie that’s playing out in the head of Sebastian Jones, this ambitious suite of partly lulled and narrated cinematics, instrumentals and set pieces is as diaphanous as it is mournful. With a wide lens Jones (under the nom de plume of Bastien Keb) languidly drip feeds his fatigued melancholy, anxieties and deepest thoughts through a sorry tale of death and despair; as unveiled by a gonzo/Burroughs monologue style gumshoe, and sung, cooed by a fragile soul.

An ode we’re told to Italian Gallo paperbacks on screen, crime flicks of many other kinds and French New Wave cinema, The Killing Of Eugene Peeps mixes genres and influences up into a nostalgic opus that also has something to say about the draining mental stresses and indolent fatalism of the modern world too. Jones, using music as some kind of therapeutic outpouring, impressively managed to find the strength and will to create this impressive (if downbeat and aching) album whilst working a hard slog in a warehouse each night: The exhausting effects of which Jones says turned him into a zombie for a year.

The talented multi-instrumentalist, apart from guest spots by Kenneth Viota, Cappo and Camille Imogues, even played, recorded and produced this whole album single-handedly.

A work in three parts (the film score, soundtrack and incidental music), the dead-body-in-the-room Peeps is not so much told as a murder mystery but dissected in the form of soliloquys and resigned derisions on how this sad tragic event unfolded.

There’s plenty of title riffing on those crime flick inspirations, and musically Jones uses a leitmotif of nods to Lalo Schifrin, Issac Hayes, Alessandro Alessandroni and Krzysztof. A recurring San Fran/New York 70s detective movie and TV sound can he heard on the opening ‘Main Title’, which sounds like Hayes conducting an elegiac Corleone death march side-by-side with a New Orleans band, as a proto Tom Waits drawled figure narrates our city skyline information. Yet musically Jones moves on with the very next track, the soulful oozing pained ‘Lucky (Oldest Grave)’, which has an air of both a choral Clouddead (especially Yoni Wolf) and TV On The Radio about it. Sometimes the vocals are double-tracked, with one track being slurred as to sound almost drugged and lethargic.  By the time we reach ‘Theme for An Old Man’ the brass and timpani detective noir is mixed seamlessly with jazz, soul and trip-hop (imagine Four Tet playing around with Portishead). And then the dreamy fluty gauze of ‘All That Love In Your Heart’ evokes some kind of 60s Italian or French flashback.

Echoes of dub, vibes, Ethno-jazz, Bernard Estardy, Miklos Roza, James Reese And The Progressions, Curtis Mayfield and hip-hop follow. Deft Nottingham rapper Cappo switches the narrative and sound, letting loose to a zappy 70s cult score with a consciousness left to roam freely flow on the ominous ‘Paprika’. A jazzy vision of Mike Patten and Jean-Claude Vannier’s creative partnership one moment, a wah-wah soul maverick cop score the next, Jones eclectic musicianship produces a modern noir both poignant and clever. All those various strands are pulled together for a sophisticated despair and eulogy, but also curiosity. This is a most beautiful, ambitious if often traumatic inquiry of a fully released drama, a filmic album of great depth and scope that has Jones channel his personal struggles to the soundtrack of poignant drama.     

PREVIEW/REVIEW
Dominic Valvona





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

For your consideration this week, tracks, even a film trailer, from The Band, Chassol, Nordine Staifi, Graham Costello’s Strata and, Van Pool.


Graham Costello’s Strata  ‘Cygnus’
(Gearbox Records)  Single/14th February 2020




From out the burgeoning Glasgow jazz scene rises Graham Costello’s Strata; an impressive sextet that edges towards post-rock and minimalism but was founded on a synthesis of flowing progressive and fusion jazz. Embodied in their latest untethered mini-opus, a free-flowing ascendance to the northern constellation of ‘Cygnus’, drummer Graham and his Strata troupe dynamically turn in an amorphous performance. Both moody and mysterious, with a certain gravitas, they build subtly from horizon emergent lingering caressed saxophone and ebbing gentle piano to a crescendo of rapid percussive barreling rolls, punchier horns, slam the lid down on the keys avant-garde piano and Afro-jazz undulations on a suffused journey towards the stars.

A freestanding single, ‘Cygnus’ was recorded, as it happens, at Bryan Ferry’s Studio One in West London, and engineered by Hugh Padgham. Alongside Graham on this night flight peregrination were Harry Weir on tenor saxophone, Liam Shortall on trombone, Fergus McCreadie on piano, Mark Hendry on guitar and Joe Williamson on electric bass.

Of interest from the Archives:

Also on Gearbox Records: Abdullah Ibrahim ‘The Balance’ (review)



Nordine Staifi  ‘Zine Ezzinet’
(Sofa Records/Bongo Joe)  Teaser track from the MAGHREB K7 CLUB: Synth Raï, Chaoui & Staifi 1985​-​1997 compilation/27th March 2020




The Maghreb as you’ve probably never heard it before: All whistles, Casio presets and boogie disco on the cusp of alt-pop, like a North African Postcard Records. Sofa Records in conjunction with Les Disques Bongo Joe present Maghreb K7 Club: Synth Raï, Chaoui & Staiif 1985-1997, a compilation of tracks recorded and produced between those years in Lyon, France by musicians from North Africa’s Maghreb region; created in the hothouse environment of the city’s café culture by artist mostly from Algeria. This compilation brings together eight tracks that were then released on audio cassettes only, offering them for the first time ever on vinyl. Now there’s an offer you should find hard to refuse.

As the PR spill explains: ‘Most of Lyon’s musical scene is composed of men originating from eastern Algeria, but since the 1950s, the Croix-Rousse and Guillotière cafés have counted musicians from all over Maghreb. These cafés were social hubs, where these individuals met up weekly; playing together and sharing their everyday life experience — but they also had a major role in the development of popular music of French-based North Africans. In Lyon, Le But Café in the 3rd arrondissement or the bars on Sébastien Gryphe Street in the 7th arrondissement were among these: one could conduct business there, getting booked for a wedding, a baptism, a gala, or a studio session… all took place there.

Playing together in Lyon. The practice of music was cross-regional with different North African influences, but also with local traditions. These versatile musicians also absorbed new local influences: music within the context of immigration was a perfect school for musical cosmopolitanism. Chachacha or tango versions of some Cheikh El Hasnaoui tracks come to mind, or Mohamed Mazouni’s jerks and twists. Like their predecessors, the musicians in this compilation brilliantly integrate raï or staïfi tunes with disco aesthetics or funk guitar riffs as Nordine Staifi did. You could also think of Salah El Annabi who used the Oxygene theme (1976) by Jean-Michel Jarre, the Lyon-based composer and electronic music pioneer. “As we say around here, mixed weddings make good-looking lads!” said Abbès Hamou, a musician from Place du Pont. Following on from their musical traditions and unrestrained inventiveness, the musicians’ repertoire naturally assimilated their era’s aesthetics and technologies.’

From that compilation here’s Nordine Staifi’s ‘Zine Ezzinet’. Expect a full review report next month.


Robbie Robertson And The Band documentary   ‘Once Were Brothers’
Film/Select cinemas from 21st February 2020




As the earnest progenitors of a peregrination soundtrack, later to be expanded into a whole genre in its own right, under the audacious ‘Americana’ moniker, The Band defined a bygone pioneering spirit at a time when the American youth (especially) were pushing for both social and political change. Their songs spoke and sympathized with a certain inherent truth and hardiness from an age of steam, aligned with the country’s most destructive historical chapter, the civil war; out-of-step yet somehow wholly relevant in the face of civil rights and the Vietnam war. In a manner they would also be chief instigators of the whole ‘revival’ scene that saw The Beatles and bands like The Kinks return to more pastoral roots.

It didn’t matter, and is a totally fatuous bum-steer that four fifths of that quintet were born and raised over the boarder in Canada; an historical America will forever be immortalized by such summary tales of the old west as ‘The Weight’, ‘The Night They Drove Old Dixie Down’ and ‘Across The Great Divide’ regardless of the authors nationality. Tales, which were so vivid as to be cinematic in their storytelling and nature; encompassing both tragedy and perseverance through the eyes of richly textured characters: the sort of individuals that could have easily stepped out of the novels of Steinbeck, Faulkner, Hemmingway and the photo-plated almanac chronicles of the 19th century.

It wasn’t just the landscape and their own interpretations they owned so convincingly, they could also be relied upon to adopt the mantle of the artists they covered too, from Chuck Berry to Sam Cooke. As a backing band themselves for such luminaries as Ronnie Hawkins, through to Bob Dylan (electrifying the troubadour laureate’s sound), that spiritually revered line-up of Robbie Robertson, Rick Danko, Levon Helm, Garth Hudson and Richard Manuel lived up to their presumptuous ‘THE BAND’ moniker; incorporating the sweet gospel soul of the deep south with country, ragtime, Tin Pan Alley and bluegrass at the drop of an old proverbial hat; they were ethereal and superior in musicianship, way beyond most of their contemporaries reach.

Rightly receiving another moment in the spotlight, a new documentary film, focused towards the group’s only surviving member, Once Were Brothers is inspired by Robertson’s 2016 bestselling memoir testimony of the same name. Presumptuous (that word again) to now single out his name (Robbie Robertson and the Band), even if he saw himself as unelected leader, this latest overview is billed as a confessional, cautionary, and sometimes humorous tale of Robertson’s young life and the creation of one of the most enduring groups in the history of popular music. The film, directed and put together by the trio of old hand Martin Scorsese (who of course memorably captured The Band’s The Last Waltz curtain call for posterity), Brian Grazer and Ron Howard blends rare archival footage and interviews with many of Robertson’s friends and collaborators, including Bruce Springsteen, Eric Clapton, Van Morrison, Scorsese, Taj Mahal, Peter Gabriel, David Geffen and Ronnie Hawkins, among others.

Hopefully it will prove a worthy chapter in the story of one of the greatest Bands to have ever stalked the Earth.



Chassol  ‘Rollercoaster (pt.2)’
(Tricatel)  Single/Out Now




On the big dipper of life, the surreal mindscape of the very much in-vogue idiosyncratic French producer Chassol is as cerebral as it is fun.

Firstly though, for those who’d like a bit of background, Paris-Martiniquais Chassol (real name Christophe Chassol) has been finessing his own experimental ‘ultrascore’ approach to composition, in which – inspired by Steve Reich and Hermeto Pascoal – vocal and ambient sounds from video footage are harmonised in perfect sync to create a living, breathing soundtrack. His experiments caught the ear of Diplo, who in turn put Frank Ocean onto Chassol’s 2013 album, Indiamore. Ocean – at the time working on Blonde – then tapped Chassol to join him at Abbey Road, to develop speech harmonisation on the album (following a period of Chassol ignoring his calls, having no idea who Ocean was). Shortly afterwards Solange – having Shazam-ed his music at a performance installation – sought out Chassol to produce several tracks on 2019’s When I Get Home.

His latest album, the upcoming Ludi (released on 6th March) is inspired by Hermann Hesse’s first long-form novel The Glass Bead Game, or as it is sometimes published the Magister Ludi (hence the LP title), and the themes of play, both in relation to that novel’s central board game theory and to an inspired reification of four sociology-based elements of ‘play’, as envisaged by sociologist Roger Caillois: chance, masks, competition (as depicted in the previous single, ‘Savana, Céline, Aya’) and on this latest single, ‘Rollercoaster (Pt.2)’, vertigo.

A bizarre ride that transduces and harmonises the sounds and sights Chassol captured on a ride at the Tokyo Dome theme park (captured GoPro gonzo style and without permission in the accompanying video), ‘Rollercoaster (pt.2)’ is a kooky adrenaline rush that features the guest vocal “ohms” of Alice Lewis, Thomas de Pourquery and Alice Orpheus.

There are certainly some heavy depths to both this single and the forthcoming multi-disciplinary double-album, yet a sense of wonderment, exploration and excitement too.


Van Pool  ‘Bathing In The Open’
LP/26th January 2020




If you’re familiar with the expletory saxophone playing and electronic manipulations of the prolific Andy Haas – from his burgeoning days as a Muffin in Martha’s new wave outfit in the late 70s to his work with Meg Remy’s ever expanding U.S. Girls troupe, to his myriad of solo and collaborative projects, then you’ll be thrilled to hear he’s just formed a new group, the Van Pool. Different in mood to the amorphous unsettling augers and outright nightmares that permeated the evocations of his collaboration with Dan Fiorino on the American Nocturne visions, this latest improvised experiment of smoldering, squawking and yearning saxophone contortions and attuned blowing is a traverse of contemporary jazz.

Joining Andy on the quartet’s second album, Bathing In The Open, are the guiartist/bassists Omer Leibovitz and Kirk Schoenherr and drummer Layton Weedeman. From tranquil undergrowth wanderings, permeated by wafted guitar twangs and lingering saxophone to the more bent out of shape, more piercing and intense, this fantastical, transportive suite of ‘ideas’ is for fans of the Cosmic Range, Donny McCaslin, the Ross McHenry Trio, but also just fans of free-form, unburdened performance in general.

Of interest from the Archives:

Don Fiorino and Andy Haas ‘American Nocturne’ Review

U.S. Girls ‘In A Poem Unlimited’ Review


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