Dominic Valvona’s New Music Reviews Roundup





A bumper roundup this month from me of eclectic tastes from across the sphere, including albums, singles, cassettes and EPs from Kammerflimmer Kollektief, Andrew Heath, Picturebox, Bokanté And Metropole Orkest, Acid Mothers Temple & The Melting Paraiso U.F.O., Perhaps and Stringmodulator.

In brief, ‘lower-case’ minimalist composer Andrew Heath delivers another almost recondite album of in-situ recordings for the Disco Gecko label, with his fifth album Evenfall. In the same orbit, albeit far more mysterious, haunted and experimental, the Kammerflimmer Kollektief conjure up seven cerebral mood environment themed extemporized performances on, what could be, the longest entitled LP of 2018, There Are Actions Which We Have Neglected And Which Never Cease To Call Us. Crossing over with the titans of proto-Krautrock, the freak-out that is the Acid Mothers Temple & The Melting Paraiso U.F.O., Jim Haney’s own Kosmische Afrobeat and jazz explorers Perhaps feature two of its members on their upcoming improvisation Hexagon. Haney also, through the boutique Kamikaze cassette tape platform, re-releases/re-introduces two of the legendary astral-travellers iconic albums to the world, In C and La Novia. Plus we have the latest recruit to join the Submarine Broadcasting Company hub, the German ten-string duo Stringmodulator; delivering their debut manifesto of noise for the label, all sounds emanating through just a bass and electric guitar.

Away from the electronic traverses and peregrinations there’s the new album of maverick Canterbury psych and new wave pop eccentricity from Picturebox; the Gare du Nord label supergroup long for ‘escape’ on their second album. And the cinematic transglobal partnership Bokanté And Metropole Orkest release a dramatic sweeping suite, What Heat.


Bokanté And Metropole Orkest – Conducted By Jules Buckley ‘What Heat’ (Real World Records) 28th September 2018

 

Unsurprisingly, considering the renowned cast of musical talent that has joined forces to create this sweeping cinemascope suite, the supergroup-within-a-supergroup behind this global union of outstanding collectives has risen to the challenge of producing a polygenesis epic. The providence is as rich as it is long, with the ‘Texan-bred’ New York instrumental jazz hybrid Snarky Puppy founder Michael League the instigator behind the continent-straddling intergenerational Bokanté, and the acclaimed English conductor, composer and musician Jules Buckley leading the multiple Grammy-winning cross-discipline and genre Metropole Orkest ensemble.

Within those two groups number a multitude of talented individuals and guests too numerous to name, though one of the most integral performers, a co-founder of Bokanté, is the Montreal-based Guadeloupean vocalist Malika Tirolien, who’s robust if diaphanous pitch and scale fluctuating coos and song can be found navigating and articulating the themes and distresses on every composition. An awe-inspiring voice of transglobal tones, expressions and dynamism, Tirolien’s meandering vocals are informed and graced by the Creole language – a most flowing of French-based languages that can sound especially percussive and funky, the dialect of her home being quite a specific form of it, though not too dissimilar to the Creole of Martinique and other former colonial French territories. It also lends its etymology to the ensemble that League and Tirolien started; Bokanté translates as ‘exchange’.

Musically transcending borders, the catalyst for this ambitious project – theoretically an acoustic one – is to not only share and celebrate cultures but draw attention to the increasingly hostile political tensions that threaten to cut off communities around the world. A reminder then of the benefits of our multicultural legacy, What Heat returns to the source, combing the Arabian and North African lands for inspiration.

A highly atmospheric and dramatic soundtrack with a stirring, accentuate company of strings adding a certain gravitas this sprawling panorama is cinematic in scope and mood. Broodily romantic, traversing a West African diorama, with guest Weedie Braimah on the djembe, the opening ‘All The Way Home’ fuses the true soul of that continent with flashes of jazz and urban modern R&B, tracing a connection all the way from New York to Ghana and Mali: Rustic sounding banjo and pedal steel guitar giving the impression that the group are merging the desert plains of Africa with American bluegrass and the Morricone imagined Wild West on the tribal soulful ‘Fanm (The Woman)’ and more enigmatic sounding ‘Chambre à Échos (Echo Chamber)’.

Elsewhere the evocation of Hispaniola, Brazil, Tunisia merges and crosses amorphously to an often lush but also tumultuous Buckley conducted Orchestra and quivered springy flute-y and skittering percussion. Plaintive, mournful and equally in anger at topics such as the migrant crisis, the album can’t help but sound like a rousing filmic adventure throughout: a most beautifully performed and sung one at that. Remarkably considering how densely packed the arrangements’ cast is, there is plenty of space to be found, even when a maelstrom turbulence is stirred up.

Swooning over vistas like a contemporary Gershwin who’s been listening to Beck, Trip-Hop, Afro-Futurist jazz, country and Malian blues, this, as it turns out, most congruous partnership successfully conjures up a wondrous hybrid drama that pushes each of the respective ensembles to the limits.






Perhaps ‘Hexagon’ (Riot Season Records) 12th October 2018

Acid Mothers Temple & The Melting Paraiso U.F.O. ‘In C’ & ‘La Novia’ (Kamikaze Tapes) Out Now

 

In what is a crossover of mutual appreciation and ‘head music’ hedonism, Jim Haney of the Kamikaze Tapes felicitator and astral-navigator of the Boston, Massachusetts cosmic-jazz-psych-Krautrock band Perhaps has been sucked-in to the acid-cosmology of the legendary Japanese ‘freak-out’, the Acid Mothers Temple & The Melting Paraiso U.F.O.. The Acid Mothers’ only real constant presence, and its founder, Kawabata Makoto, alongside just one of the group’s many band members over the decades, Mitsuru Tabata, both feature on Perhaps’ latest traverse, Hexagon. Meanwhile the Acid Mothers have re-released two of their most fabled albums, In C and La Novia, through Haney’s ‘boutique’ tape platform: I believe for the first time on cassette.

Both sharing similar musical tastes and penchant for experimental improvisation, it seems an obvious choice for Haney to absorb their experience and free-form escapism on Perhaps’ sixth long player; an album that features one long extended flight of woozy fantastical psychedelic-Afrobeat-jazz-Kosmische jamming, cut into a moiety over two sides of vinyl. ‘The Number Of The Priest’, parts one and two, pit Tony Allen’s repetitive Afrobeat drum beat an Idris Ackamoor breaks bread with Xhol Caravan style peregrination against a constant tide and enveloping of zapping, rippling, squelched, high velocity takeoffs and oscillations. All of which threaten to fold or tear the melodic celestial fabric.

On the shore of an Afro-Futurist style Topographic Ocean, journeying across alpha waves and signing squiggles across the Milky Way, part one of this cosmic soundtrack opens with a more earthy rustic country blues harmonization. Members of the extensive guest list ape a despondent Crosby, Stills & Nash or Mike Nesmith style chorus: “Oh the water runs high on the river at midnight/I sit on the shore to grieve and to cry/The woman I love she left me this morning, with no one to kiss me goodnight.” They soon leave these weeping shores, beckoning in the acid Afrobeat and deconstructive forces that try to dismantle it.

The second part continues the same vibe but with more strangled, scratchy and tangled guitar, synth polygons and six-sided mayhem! Despite the stellar meteorite shower of debris and harsher effects that threaten to destroy it, there’s a great Afro-jazz melody and beat at the heart of this trip. A trip that at its most hallucinatory-chaotic and noisiest bears all the hallmarks of the Acid Mothers.







Speaking of which. Two of the loose freak-out ensemble’s prolific back catalogue titles are gathered together on tape, re-released or re-introduced to the universe twenty years on from their original release dates. For those unaware of this Japanese institution that sprouted out of the kool-aid soup in the early 1990s, the Acid Mothers haven’t just taken a liberal sip from the Krautrock chalice but bathed in it as the natural disciples to that epochs cosmic explorers and innovators. They do such a good job of it that you could easily mistake them for golden era Amon Düül I and II, Ash Ra Tempel, Can, Popol Vuh or Birth Control. In the mode of a transient, transcendental Les Rallizes Dénudes they absorb and produce a psychedelic phantasm of both meditative mysticism and freeform thrashing acid rock. Constantly evaluating and evolving, even forming alliances with their influences, just one example being Acid Gurus Temple (later changed to Acid Mothers Guru Guru) with madcap drumming progenitor and bandleader of Guru Guru Mani Neumeier, only the founding arch druid of this enterprise, Kawabata Makoto remains at the helm after twenty-five years of spewing out proto-Krautrock explorations.

Originally released in 1998 as a transmogrification riff on Terry Riley’s masterpiece of minimalism, ‘In C’, the Acid Mothers push the perimeters of that exalted composer’s loose concept towards the dreamy and haunted. Consisting of fragments and modules in C (though even this basic premise isn’t written in stone, with other notes and scales allowed if the situation and environment call for it), the actual rudimental arrangement can be shortened, extended, played within various structures and at a variety of tempos. An open-ended performance the Acid Mothers use a similar chiming, ringing vibraphonic introduction but transformed so it takes on the ascendant visage of an astral spiritual pilgrimage. That is until they throw in the overlapping rotating drum barrage. Sort of split, though thin quieter dissipation passages link each section together, into three parts (the third I think is a separate track entirely), the dizzy Wurlitzer motion calms into a mystical Tibetan meets Afghan occult of ghostly visitations (the ghost train to Lhasa!) section before communing with the reverberating spirits of early Can and Yeti and Wolf City period Amon Düül II.

From the dawn of the new millennium La Novia builds another one of those haunted mystical freak-outs, on this occasion channeling the atavistic folk music of the southern European Occitanian tradition. Historically spanning a third of southern France, parts of Catalonia, Monaco and Italy, this region, once know under the Roman Empire’s yolk as Aquitania, is still imbued with its legacy and cultural connections. Here, the Acid Mothers troupe take one of the Occitanian’s lamentable folk ditties and transform it into mantra like liturgy, half Axlerod, half Tibetan. Monk like hums and strange annunciations overlap with female apparitions to set up a spooky atmosphere. Guitars and drums eventually seep into the tapestry of amplified Popol Vuh, Phallus Dei Amon Düül II and the Ash Ra Tempel, but then fade into a medieval spell. A second track strikes up when the first melts away; this last peregrination drifting in a dreamy state on an Eastern pillow before fleshing out another fuzzy psychedelic, otherworldly jam.

Both albums prove invaluable to the evolution of psych and Krautrock, the Acid Mothers possibly one of the most experimental and best groups to emerge in the aftermath of the original scene. They’ve arguably become one of the most highly influential groups of their own era. Many, if not all, inroads into this freakzone over the last three or more decades lead back to those crazy Japanese. Long may they continue to oscillate towards the stars in their Technicolor U.F.O. If you want to own any of their extensive, haphazard and often impossibly hard to track back catalogue, this double-bill cassette would be a great start.






Kammerflimmer Kollektief  ‘There Are Actions Which We Have Neglected And Which Never Cease To Call Us’ (Bureau B) 23rd September 2018

Fathoming serialism soundtracks from, as the group put it, ‘who the fuck knows’ for over twenty years, across ten albums, the Kammerflimmer Kollektief once more peer into the ether to extract another avant-garde-ambient-industrial-kosmische-jazz vision on what could be the year’s longest entitled album.

Going through a manner of changes during that time, the Kollektief’s constant presence and founder Thomas Webber is bookended on the new album by the deft, probing, double-bass player Johannes Frisch and atmospherically eerie harmonium vessel Heike Aumüller – though Webber, on whining and waning guitar sculpting duties, and his companions use a host of instruments throughout their conceptual-minded performances.

Countering various moods with a number of real locations, each extemporized track is framed as a ‘Action’; each example of which counterbalances the ‘immersive’ with the ‘haunted’, the ‘lucid’ with the ‘impassioned’ and the recondite with the concrete. A reification of ideas and psycho-geography that informs each destination, all seven action titles offer vague clues and prompts to the group’s inspirations; many of which hold a literary reference – the radio signal melee, ‘Action 2: Discharged, Quauhnáhuac’ referencing the double volcanic snuggled small Mexican town made famous by the acclaimed writer Malcolm Lowry in his critically venerated Under The Volcano novel as the diorama for a day (of the dead) in the life of its fateful alcoholic British consul protagonist, Geoffrey Firmin.

Elsewhere in the purview of feelings and environments, the trio articulate a lucid state in the San Diego coastal Imperial Beach; a location of Surf lore that has appeared in a myriad of fictional titles, but equally notable for its strong US Navy presence. Though eventually clicking into a twisted esoteric Western ritual, this opening action is anything but a moody soundtrack to this surfing paradise, travelling as it does through an inverted test tube into a menacing landscape of controlled wailed guitar, harmonium drones and sawing, scraping strings; breaking out into a final jazzy, skipping outro. Keeping Stateside and in the Californian outlier, ‘Action 5’ features the small Marin County town of Bolinas: the mood ‘resplendent’. Though the improvised soundscape drifts between the ominous and weird, the harmonium is the only instrument that is easy to identify amongst the wooden creaks and stretches (a set of oars perhaps?), rotors and hums.

Back on European shores we have invocations of the Jean-Jacques Rousseau inspired French park and commune, Ermenonville (planned in 1752 by Rousseau patron and friend, René Louis de Girardin; the philosopher’s tomb famously sits on an artificial island in the middle of a lake in the gardens); the foot-of-the-Carpathian town of Ivano-Frankivsk, part of Western Ukraine (changing hands between various empires, including the Holy Roman and Soviet, over the ages); and the Saxony-Anhalt town, resting on the east side of the Elbe River, of Jerichow (not incidentally translated etymology style from the Biblical Jericho). Closer still to home, the album’s most serene moment is a Roedelius/Möbius/Eno/Rother Harmonia style drift into the port of Hamburg. ‘Action 3’ is anything but as ‘thoughtless’ as the mood prefix suggests; instead it sounds like a gentle but deep sailing meditation into the veils of some mysterious salvation.

Impossible to escape the German lineage of Krautrock, post-industrial and Kosmische, the Kollektief often evoke the folkloric mysticism atmospheres of Dance Of The Lemmings and older Amon Düül II albums, Faust, Einstürzende Neubauten. But they also stir up the most experimental of European jazz, esoteric Americanna, avant-garde and Godspeed You! Black Emperor influences too. Yet they conjure ghostly apparitional manifestations both imaginatively disturbing and dreamy, and entirely their own. TAAWWHNAWNCTCU is a topography of not only real historical, literary places but also feelings, emotions; a deep suffusion of enigmatic intelligence.




Andrew Heath ‘Evenfall’ (Disco Gecko) 21st September 2018

 

Once more resonating with the piano explorations of open-ended collaborative partner on a series of projects over the years, Hans-Joachim Roedelius – most famously on the Meeting The Magus album, and more recently with the live improvised recording Triptych In Blue, which also features fellow avant-garde composer/artist Christopher Chaplin – Andrew Heath’s latest album for Disco Gecko (his fifth) continues to emanate the most deft and ambient of musical articulations from a chosen environment. As with his last album Soundings, the self-styled composer of ‘lower-case’ minimalism evokes enigmatic, mysterious and occasionally mournful passages of evolving, passing time through the use of found and created sound manipulation and in-situ (a concatenate theme that connects to Heath’s site specific video art) field recordings.

The ‘in-situ’ of this soft imbued tribute to the Evenfall hour of light that beckons the start of the evening is a remote woodland glade in the English Cotswolds. It’s a place where nocturnal nature meets the machinations of human activity, the friction buzz and fizzled zap of a manmade electric fence and distant humming drones of an unidentified engine offer a constant synthesized undulation for light rain and stirrings in the undergrowth.

Articulating the seclusion, though never far away from the presence of the outside world, and passing of time in his chosen Avalon, Heath’s signature phrased piano note caresses, couplets and subtly-placed chords are this time accompanied and expanded upon to not only feature his own underwater bendy guitar and Morse-code tapping tape manipulations but also the searing soprano saxophone of the award-winning (Young Musician Of The Year 2018) Lydia Kenny and poignantly stark narrated poetry of the prize-winning Romanian poet, writer and journalist Maria Stadnicka. You could say it was a Gloucestershire effort, if not certainly informed by the county, as all the cast on this recording are based there or have an affinity with it, and of course it is home to the location from which the field recordings are taken from.

Kenny for her part, offers a suffused longing with occasionally piercing notes traverse to Heath’s piano and burnished, rubbing metallic drones on ‘The Still Of Evenfall’, and Stadnicka reads, in an almost automated, somehow not quite human mimicry of A.I. fashion, her intimate elegiac and startling erudite poem Breathing on the floating, misty ambient ‘The Garden Reveals Itself’: A poetic revelation metaphor that chimes with Heath’s unhurried compositions, the final line of Stadnicka’s poem lending itself to the title, describing artfully through the action of ‘breathing’ the memories, sense and sensations that come to those awaiting the inevitable; ruminating on the hours left:

‘He believes in time,

and in mistakes –

the heroic stare of heavy hours,

equally empty for all.’

With what sounds like all the time in the world, unpressured and untethered Heath creates the minimalist musical equivalent of slow food – though every effort is made at a serialism non-musical exploration, rhythms and patterns emerge to put this album in the neo-classical and melodious ambient camps. Adding at a slow pace a number of instruments and techniques Heath expands his nuanced experiments on Evenfall to shift, however minor, the focus and atmosphere on each new album. Heath stakes his claim as a natural scion of the ambient progenitors, especially his sometime foil, Roedelius: A compliment that don’t come any better.






Picturebox ‘Escapes’ (Gare du Nord) 21st September 2018

 

As if the cottage-industry polyglot Ian Button hadn’t led or collaborated enough already, more or less appearing as he does as the omnipresent instigator of the lion’s share of releases on his own diy-fashioned Kent-Paris international connected label Gare du Nord, he’s back once more stoking the fires of another unassuming supergroup: Picturebox. Two years on from the Canterbury soft bulletin psych and curious pop-imbued band’s last album, Button has somehow not only found the time and the patience to recall songwriter Robert Halcrow, Ben Lockwood and Alex Williams but also corralled fellow label stalwart Jack Hayter (a multi-tasker in his own right, he’s let loose on the violin on the Slim Chance-esque rustic canal path ‘The Vicar’s Dog’) and one-man band Matthew Dutra (not letting anyone else get a look in, Dutra not only co-wrote the concertinaed train journey inspired ‘GNER’ but also plays the guitar, piano and harmonica on it). In many ways a crossover project, Picturebox shares members with Buton’s other label love-in, and growing super-supergroup, Papernut Cambridge.

Quintessentially English, channeling many of the Kentish and bordering counties cannon of lo-fi mavericks and psychedelic eccentrics, from Kevin Ayers to Syd Barrett, though equally comfortable evoking new wave, Britpop and indie, the Picturebox set out to produce ‘pop music with an edge.’ And so just when you think the grinding fuzz and warping that introduces the album’s opening track, ‘Stumble’, indicates we might be in for an abrasive psych trudge they break out into a jangly pop mash-up of The Lemonheads, Stiff Fingers and Robyn Hitchcock. Elsewhere they evoke a melancholic Boo Radleys on the wistful daydream ‘Secret Escapes’, Denim on the Casio bossa-shimmer pre-set kooky ‘Nice Boys’ Mobile Disco’ and The Kinks on the downer minor bass chord pinged and submerged ‘Sirens’.

Those familiar to the label and its signature themes will recognize the idiosyncratic whimsy, sometimes surreal resignation, that often disarms or brings a comical veil to the sadder tropes of loneliness, unrequited love, and political climate, or as this album’s title makes apparent, the idea of and need to escape. Frustrations and the feelings of powerlessness, whether it’s in a job or relationship transcribe into quirks and metaphors: For example, the trapped in uninspiring low paid work after leaving school, encapsulated in the conformity of a ‘Uniform’.

Escaping by train, cab and airplane, Picturebox seem to have failed in getting away if the album’s final vignette swansong is anything to go by. That finale, ‘Troyte’, is a fleeting elegiac woozy Church organ service; a pastoral English past encapsulated and recalled in a short venerable passage; a reminder of the past, nostalgia and parochialism, which might be a comment on Brexit. The mood and outcome of which the group really hopes to break free and escape from. Pop music with an edge indeed, Escapes is another brilliant curious songbook of melodic eccentricity from the Gare du Nord stable.






Stringmodulator ‘Manifesto – Noises Made By Guitar And Bass’ (Submarine Broadcasting Company) 10th September 2018

 

Pretty much summing up the methodology of the German duo, the Stringmodulator moniker and title of their latest album is self-explanatory: Basically take your guitar and bass strings and…well, modulate them. Modulate them that is, through an effects-pedal switchboard of phaser, fuzz, reverb, cosmic flange and delay; ten strings looping, overlapping and pulsing to create a sound greater than the sum parts of Jan Quednau’s bass and Fabian Chmielewski’s electric guitar.

Entirely channeling through these two instruments, composed spontaneously and recorded on a two-track device without overdubs, the duo’s manifesto-driven debut for the Submarine Broadcasting Company platform transduces elements of Krautrock, post-rock, electronica and jazz fusion into a warped soundtrack of curious, wild and motoring instrumentals.

After the swirling ambient mists and distant low airplane engine like hums have dissipated on the ‘Prologue’, repetitive notation nodes, loops, patterns and resonance form to produce a Techno rhythm and bounce on the rock music version of ‘Pocket Calculator’ meets Yellow Magic Orchestra ‘Thump & Shriek’. Ruminating over pining, often meditative, landscape, Chmielewski’s guitar phrases arch and arc like the communing astral postures of Manuel Göttsching; especially on the ballad-esque scenic cave with water pool feature curtain call ‘A Quiet Place’.

Providing a varied and echo-y bed for his musical partner, Quednau offers a driving, prowling rhythm with his bass, but can also create a vaporous presence. On the Mike Oldfield lurking in the crypt with John Carpenter spooky suspense ‘Horror Vacui’, that bass guitar lays down an ominous and looming Goblin-esque atmosphere, and manages to turn the Kosmische chugger ‘Growl’ into a twisted Native Indian tribal beat.

Careering between a possessed, strangulated Land Observations on the ghost-in-the-machine ‘Guitar Sabotage’ and a caustic reverberating The Normal on the sharp squiggly sculpted ‘White Noise’ the duo sure know how to fill enough space and make enough noise for just two instruments. Yet they can articulate and describe subtly and skillfully the emotions and themes of their attuned performances, especially on the aching distressed rebounded ‘Echo Chamber’.

Not unique by any stretch Stringmodulator are however quite different in their approach; many of their contemporaries choosing similar two-instrument collaborations, though it’s usually twinned with a drum kit, work in the rock and indie genres. More like an amped-up Eno & Fripp or loopcentric lapping Math Rock version of Ash Ra Temple colliding with Einstürzende Neubauten this ten-string project is influenced by a wide range of conceptual and experimental artists: even soundtrack composers. Arty, technical yet ballsy, they span many moods; energetic being one of their strongest. I’m recommending it though because it is so different and difficult to define. It confounds me to be honest. And I find that interesting.





Words: Dominic Valvona

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New music reviews/Words: Dominic Valvona





Welcome to Dominic Valvona’s regular reviews roundup. This latest edition of Tickling Our Fancy includes albums, EPs and singles by the Dur-Dur Band, Spike & Debbie, Angels Die Hard, Cassini Division, Vigüela and Kiddus.

As always an eclectic mix of music from around the globe, the latest edition of my reviews jamboree and recommendations includes two albums released through the Benelux-heavy Jezus Factory label; the first, a prog, alt-rock, math rock and Krautrock environmental charged tropical Island soundtrack from Angels Die Hard, the second, an analogue synth driven oceanography purview of the Bermuda Triangle phenomena (released on cassette tape) by Miguel Sosa, under the guises of his Cassini Division moniker. Analog Africa keep up the good work in digging up and reissuing the most essential music from Africa and beyond with their latest and most dangerously sourced album collection yet: the very rare first two albums from the Somalia new wave-funk-reggae-soul-traditional fusion sensations, the Dur-Dur Band.

ARC Music bring us another meticulously researched and performed traditional songbook of music from Spain; the Vigüela troupe, ‘Ronda’ style, once more breathing life into sones, laments, carols and fandangos from the country’s interior; and Tiny Global Productions bring us a compilation of past musical projects from the Afro-Caribbean meets C86 indie partnership Spike & Debbie; and finally we have the brand new EP from the hallucinogenic languid soulful new Bristolian talent Kiddus, Snake Girls.


Dur-Dur Band ‘Dur Dur Of Somalia: Volume 1, Volume 2 And Previously Unreleased Tracks’ (Analog Africa) 14th September 2018

Bravely (or foolishly) indifferent o the climate of the Somalia flashpoint of Mogadishu, Analog Africa’s head honcho Samy Ben Redjeb travelled to the former trading hub jewel of the African NorthEast coast in 2016 to both dig and soak up the atmosphere and history of the very streets and sounds that once provided the infectious deep funk fusions of the legendary Dur-Dur Band.

A failed state in fluxes since the 1990s, Somali and by extension the faction-fighting battleground of its capital is, to put it mildly, bloody dangerous! Accustomed to risky and contentious political no-go zones Redjeb has form in visiting some of Africa’s most volatile hotspots in his pursuit of tracing the artists and original recordings down. This trip, which had been on the cards for years and had become a personal preoccupation, was I imagine hinging on security issues. But with an armed escort (an ad hoc volunteer at that) in tow at all times, Redjeb eventually arrived to source that elusive band’s impressive discography.

Going further than most to prove it was all worthwhile Redjeb digs up one of the funkiest and cool finds from the African continent yet. Embodying a period in the 1980s when Mogadishu could boast of its cosmopolitan reputation – notably the European chic Via Roma stretch in the Hamar-Weyne district, a colonnade for café culture, cinema and of course music – the hybrid Dur-Dur Band moped up the polygenesis fever of their native city with effortless aplomb. Particular places of interest in this story and geography are the iconic moiety of record shops the Shankarphone and Iftinphone, both run by members of the Dur-Dur Band’s nearest rivals, the Iftin Band, and the Jubba Hotel, where the Dur-Dur enjoyed a fractious residency: Balancing this coveted spot at one-point with a, by popular demand, extended run as the backing band for the play ‘Jascyl Laba Ruux Mid Ha Too Rido (May One Of Us Fall In Love)’ play, at the Mogadishu national theatre.

Making an impact, creating a “wow” from the outset, they enjoyed a short reign as the country’s number one band; releasing a quick-succession of albums, the first two volumes of which alongside two previously unreleased tracks make up this, the first in a series of Dur-Dur Band, re-releases. Though certainly a sensational and popular act the civil unrest that followed in the 90s would all but stifle their potential. They would only come to a greater audience outside Somalia via cassette-copying, Youtube and by happenstance; most notably the Milwaukee-based musicologist John Beadle, who in 2007 uploaded a tape he’d been handed twenty years previously by a Somalia student to his Likembe blog. Featured under the now famous ‘Mystery Somali Funk’ heading, Beadle’s post originally miscredited this convulsing funk gem to their Dur-Dur Band’s chief rivals of the time, the already mentioned Iftin Band – a mistake rectified by the Iftin’s band leader, who suggested it was in fact the fabled Dur-Dur.





So what makes this band and their rare recordings so special? Saved from ‘tape-hiss’ and ‘wobbles’, remastered to sound the best they’ve ever sounded, these curious but above all loose-limbed nuggets successfully merged a myriad of Somalia traditions with a liberal smattering of disco, reggae (via the northern part of the country’s ‘Daantho’ rhythm style; an uncanny surrogate for Jamaica’s number one export), soul and funk. Mirroring a similar fusion thousands of miles away in New York, the Dur-Dur languidly produced an electrified no wave new wave melting pot.

They were fortunate with their insightful founder and keyboard star Isse Dahir who molded a formidable forward-thinking group from a number of other Somali bands, including the rhythm providers, Ujeeri on bass (plucked from the Somali Jazz) and Handel on drums (the Bakaka Band). He also drafted in his siblings, with Abukaron taking on lead guitar and Ahmed enrolled as the band’s permanent sound engineer; a role that partially explains why they became known as one of the country’s ‘best sounding’ groups. The vocals meanwhile, which sway between the spiritually devotional and pop, were split three ways between another former Bakaka Band member, and Daantho style acolyte, Shimaal, the young female singer, whose voice assails the homeland to sound at times almost Indian, Sahra Dawo, and the spaghetti body shaped, nicknamed, Baastow – brought in for his ‘deep knowledge’ of traditional Somali music, in particular the atavistic spirit summoning ‘Saar’, a style perceived as far too dangerous by the manager of the infamous Jubba Hotel for his European guests: “I am not going to risk having Italian tourists possessed by Somali spirits! Stick to disco and reggae.”

Split up across a triple LP and double CD formats the Dur-Dur Band’s first two albums proper, Volumes 1 and 2, and a couple of unreleased tunes feature on this, the first in a promised series of re-issues. Released originally in 1986, the first of these and the band’s debut album, Volume 1, has a rawer unpolished but snazzy sound that saunters, skips and grooves along with aloof coolness to sweltering laidback funk. Opening with wah-wah chops and a fuzzy organ, ‘Ohiyee’ lays down a sophisticated but explosive spiritual dancefloor thriller. This is repeated on the bands first official hit ‘Yabaal’, which turns a traditional song into something approaching the no wave of ESG, mixed with tooting Afrobeat sax and disco swerves. The bendy warbled guitar soloing, snozzled sax fluttering ‘Doon Baa Maraysoo’ sounds like The J.B’s cantering down the Via Roma, or a lost Stax Vaults recording.

Volume 2 by contrast seems a little brighter and tropical; beginning as it does with the dub echoed, Trenchtown pirate radio broadcast ‘Introduction’. Sweeter dreamy saunters meet Muslim belt funk on songs such as ‘Jaceyi Mirahiis’, and on the singles ‘Dab’ and ‘Diinleeya’ you can hear evocations of quasi-reggae: Mogadishu meets Kingston on a spiritual plain!

A highlight in a catalogue of outstanding reissues, the Dur-Dur Band collection is quite unique. And a shining example of African fusions seldom heard outside the borders of its origins. Redjeb’s perseverance has paid off, introducing us to the formidable and exciting Somali polygenesis funk scene of the 80s. You’ll be hard-pressed to find anything that can compare or compete with this band’s solid sound.




Spike & Debbie  ‘Always Sunshine, Always Rain’  (Tiny Global Productions)  21st September 2018





A convoluted rock family tree, the meandering interwoven historiography behind one of Cardiff’s ultimate underground indie sensations, The Young Marble Giants, draws in the congruous lilted partnership behind this most brilliant new collection from the Tiny Global Productions label.

As a catalyst facilitator for the YMG’s leap from disbandment on the cusp of the 1980s to success and cult status after signing to a burgeoning Rough Trade, Mark ‘Spike’ Williams is perhaps forever immortalized as the ‘guitar pal’ who talked the feted band into recording the two tracks that would turn-around their fortunes: Already a well known figure on the diy Cardiff scene, instigating various projects (Reptile Ranch being just one) and co-founding Z Block Records, he encouraged a dejected YMG into providing a couple of songs for the Is The War Over? compilation; the rest is history as they say.

Forming all manner of collaborations with various YMG band members, Spike has and continues to work with the band’s Alison Statton (originally as the Weekend and currently going under the Bimini moniker), but also formed Bomb And Dagger with more or less the entire Giants lineup in 1983 (an offshoot of another Cardiff obscurity, Splott). From outside the YMG sphere, Bomb And Dagger would feature Debbie ‘Debris’ Pritchard, an artist and disarming vocalist who’d appear alongside Spike under an umbrella of guises including Table Table and The Pepper Trees. From this union a collection is born, Always Sunshine, Always Rain, pretty much a fey summary of the partnerships sighing demeanor and sound collects all manner of recordings from across the full spectrum of their endeavors.

Beautifully sung to a mostly lo fi Afro-Caribbean meets C86 indie backing of scuffling skiffle brushed drums, tropical lilted melodies and post-punk guitar, the sunny disposition of the music is a counterpoint to the political messages that lie at the heart of Debbie’s peaceable protestations and multicultural celebrations. From what is a collection of mostly rare recordings, ‘Strike’ builds a musical union between the under-the-cosh miners of Wales and their kin in South Africa. A post-punk Paul Simon twinning Cardiff indie with Soweto solidarity, ‘Strike’ (a track originally recorded for a miners benefit compilation) is a perfect example of Spike & Debbie’s pleasant shuffling and soulful magic.

Finding a tropical balance between Family Fodder, The Marine Girls and The Raincoats, the duo delivered messages of anxiety, oppression, patriarchal domineering, both physically and mentally (a recurring theme of being suffocated, drained and controlled by a partner in a relationship, permeate) to a most sauntering backing. At times limbering towards Camera Obscura and even the Cocteau Twins, they evoke a fantastical vision of Pauline Black fronting Ludas, though the most odd conjuncture is the elasticated ‘Houses’, which sounds like The Raincoats’ Ana da Silva fronting an Unlimited Edition Can.

For fan and completest alike this collection features the original lo fi quality skitty soul meets ruminating pop ‘Seaport Town’, later revisited by Spike and the Alison Statton, and the ‘Ilkeston’ version of a scratching dawdled guitar and echo-y ‘Assured Energy’, which appeared in a completely different form on the Stuart Moxham (another YMG, but going under The Gist title here) album Holding Pattern.

In chronological order, it is fair to say that most of the compilation has until now remained difficult to acquire or source. Differing in recording quality with slight musical differences between groups of songs, as each project adds or draws in a myriad of inspirations and musicians, this twenty strong collection is full of sunny gentle post-punk gems. The story of Spike & Debbie, their projection across a decade and more, proves an essential and pleasurable missing chapter in the story of the Welsh indie scene.






Angels Die Hard  ‘Sundowner’ (Jezus Factory)  1st September 2018





Keeping to the instrumental group’s psychedelic imaginations the latest concept album from Angels Die Hard is set in the dreamy, if in peril, Monsterism Island meets Les Baxter ethnographic phantasm of a remote Southeast Asian archipelago.

On a sabbatical, retreating to the wilds and ideals of life on the tropical island of Andaman, where, so the faux-legend spill goes, they hoped to find and record the mating call of the Drongo bird, the original trio passed the time playing all the local dives, opium dens and beach clubs. Chancing upon fellow sonic explorer and drummer/percussionist Alain Ryant, who was on a break from playing with Maxon Blewitt & Eriksson-Delcroix, the Angels expanded the ranks to become a quartet after some sort of tribal rites-of-passage style ceremony.

As backpacker anecdotes go this colourful semi-fictional backstory is one of liberal exotica consumption. It does however have a serious note: the ecological impact of a plastics-Moloch consuming society on the brink of a cataclysmic point-of-no-return, as the detritus of a throwaway globalized marketplace leaves no idyllic, isolated paradise untouched. Seeing the plastics efflux wash-up on the coastline of their present haven – a story about the final straw breaking the metaphorical camel’s back was seeing a local ‘sea gipsy’ smoking a bong made out of a Starbucks cup – the Angels were feted to dedicate, at least partially, their third and newest album, Sundowner, to this environmental tragedy. Of course a sizable chunk is also dedicated to those old tropes of emotional complexity (more specifically and blushingly, the ‘complex sensations’ before and after the act of lovemaking); articulated somehow in the group’s instrumental sagas and workouts.

Imbued with a legacy of progressive, alt-rock, psych, exotica and post-punk influences plus Julian Cope’s Krautrock compendium, the Angels transduce and channel a cornucopia of styles once more. Though this album doesn’t truly come alive until it reaches the VHS esoteric Western soundtrack title-track. It’s the first time we hear the arpeggiator neon space dream sequences, mixed with a panoramic Adam’s Castle view of psychedelic math rock: and highly dramatic and highly atmospheric it sounds too. Slower waveforms and smoke-machine effects appear on the lost Sky Records Kosmische meets Moroder cult theme tune meets Air ‘Dancing Algae’. But this album really gets going on the lengthy epic ‘Gutter Glory’, a two-part fantasy that progresses from a holy union of late 70s Eno, Jah Wobble and Andean soaring noodling to a full-on Brainticket sonic assault. Almost its twin in scale, ‘Acid Beach’ reimagines mid-70s Amon Duul II and Battles beachside at Cape Canaveral: the guitars mimicking a space shuttles thrusters and boosters.

Earlier tracks sound like space cowboy peregrinations accompanied by a cosmic reimagined vision of early U2 and Simple Minds, Holy Fuck and a motorik version of dEUS: A lot of ideas bouncing around inside the group’s shared mind-meld. They end on the album’s most serene if plaintive meditation, ‘Dirty Sunset’; a Floydian kind of jazzy blues serenading, with guitar notes falling like tears, the last image saved, the sun going down on a besmirched paradise: a downer bro.

You got to hand it to the Angels for expanding their horizons (literally), though far too many tracks end up going nowhere particularly new or rewarding. Yet when they do get it right they produce some fantastic opuses of amorphous abandon. Beachcombing a radioactive luminous landscape of musical opportunity they produce one of their best albums yet.






Cassini Division ‘Bermudas’ (Jezus Factory)  August 31st 2018





The enigma that is the Bermuda Triangle, a confounding phenomena, a twilight zone of improbability, a loosely demarcated area in the North Atlantic Ocean that has been written about and inspired countless generations. Unexplained disappearance central, a chasm for the ships and aircraft that have either lost momentarily or forever within its dimensions, the Bermuda Triangle (also called the Devil’s Triangle) lies across one of the world’s busiest shipping lanes. For though hundreds of incidents have been recorded over the centuries, they form an almost insignificant percentage of the overall traffic that made it through this mysterious void unscathed. Many of these disappearances have been exaggerated and misreported, so accounts are spurious. Yet this hasn’t stopped the endless flow of conspiracy theories: extraterrestrial interference being top of the list alongside inter-dimensional fantasies, the paranormal and governmental maleficence.

Jezus Factory stalwart Miguel Sosa, better known for his part in the bands Strumpet, iH8 Camera, Monguito and Parallels, composes a conceptual purview of not only the Triangle but the surrounding geography on his analogue cosmic cassette tape special, Bermudas. Under the solo Cassini Division mantle, beaming an experimental score from his Buenos Aires studio, Sosa seems to be having fun with his 70s/80s rack of switchboard patches and analogue equipment, retuning and configuring the pioneering quirkiness of fellow Argentine Waldo Belloso, the more Kosmische soaring otherworldliness of Tangerine Dream, and on the album’s scarier foreboding and wilder moments (‘Tropical Cyclone’ for one), a union of John Carpenter’s score for The Fog and W. Michael Lewis & Mark Lindsay’s soundtrack for Shogun Assassin.

A barely veiled tribute to the burgeoning age of the Moog and ARP Odyssey this kooky experiment is filled with all the signature burbles, wobbles, modulations/oscillations you’d expect to hear; from the primordial soup miasma to the bubbling apparatus of a mad scientist and 8-bit loading sounds of a Commodore 64 game. Every now and then you hear something really odd, especially when the drum machine is added; tight-delayed paddled snares and toms are rapidly sped-up or strung out and staggered. There’s even, what sounds like, a marimba on the Tangerine Dream transmogrify The Beach Boys ‘Seaweed Theme’.

For the most part articulating looming otherworldly leviathans and ominous confusion, Bermudas extends UFO period Guru Guru with a supernatural oceanography of submarine sonar rebounds and tidal motion sine waves. Arthur C. Clarke’s Cradle meets Chariots Of The Gods; Sosa’s analogue visions channel every facet of the Triangle’s legacy – the alien, supernatural, human and environmental -, his track titles plotting interesting and relevant historical and topographical references to events such as the point (or plateau) from which the Transatlantic cable started to the natural phenomenon of this region’s hazardous weather conditions.

As a break from the catalogue of bands he often plays with and leads, the Cassini Division instrumental psychogeography proves a worthy oddity of analogue synth curiosity.






Vigüela ‘A Tiempo Real – A New Take On Spanish Tradition’ (ARC Music) 24th August 2018


 

As the title of the latest album by the much-acclaimed Spanish troupe Vigüela makes clear, this atavistic imbued group of adroit multi-instrumentalists and singers offer a revitalization, a twist on the traditional paeans, chants, carols and yearning songs of their native homeland: especially their own El Carpiode Tajo village. Traditionally the music that permeates throughout Vigüela’s signature sound was never meant for the stage, but is played informally, almost unrehearsed, throughout the hamlets and villages of Spain’s interior.

Meandering through a timeless landscape finding and learning all manner of old customs, always ready to be taught or re-educated, an introductory anecdote from the group’s Juan Antonio Torres Delgado goes some way encapsulating both Vigüela’s methodology and inspirations. Torres believing he was quite well informed when it came to the courtship dance and folk song style of the Spanish ‘Jota’, was soon humbled by one of its leading lights, the singer Tia Chata, who he’d made a special pilgrimage to see in her home village of Menasalbas (located within the Toledo province, where the lion’s share of the music on this ambitious collection derives). Bringing out his guitar and (bearing in mind Torres is a pretty deft accomplished player) striking up a Jota rhythm, he was abruptly stopped in his flow by his muse: “Dear boy, you don’t know how to play the Jota. Wait until my husband comes home from work, he will show you.” The lady was right, once her husband returned home after work he really did show Torres how to play it. Though to be fair the Jota differs from region to region, each part of the country adopting its own unique version. As a testament to both their commitment and intergenerational interactions, learning and keeping local traditions alive, it proves a good one.

Returning to the source, adopting various customs on the way, they take a particular fancy to the ‘walking and singing in the street’ custom of ‘Ronda’. They reinterpret this unplugged carousing and minstrel like performance style alongside of others, including Christmas carols, ‘Seguidillas’, ‘Sones’ and the ‘Fandango’.

Spread over two discs with a generous running time of a hundred minutes, A Tiempo Real showcases not only the soul and aching heart of Spain but of course also shows off the masterful musicianship and voices of the groups meticulous lineup, which often expands to accommodate even more players: increasing in this case, from a quartet. Pretty much tapping, rubbing, peddling, plucking and strumming every sort of Spanish instrument they could lay their hands on, as well as a hardware store of miscellaneous object that include bottles and kitchen utensils, Vigüela go to work on their songbook collection.

With a more stripped and pared down accompaniment the first CD of this double album features an accompaniment of bottle-washer rattling percussion, huffing blows from an instrument (think a ceramic trombone crossed with a heifer) I can’t identify and the strange ‘Zambomba’ drum (traditionally used for music at Christmas to accompany chants and carols; played by hand with sticks or metal brushes). The impressive duets, call and response and chorus ensemble vocals are prominent above this backing. From rustic bewailing to robust a capella, these voices are all stoic, pained and even critical: Songs such as the theatrical, wry but joyful ‘Eldemonio El Calderero (The Demon Coppersmith)’ are characterized as a ‘Romance story’, yet you will find a satirical criticism within the lyrics, aimed at the Catholic Church. Raw but beautiful, endurance reigns above all else; the dreams and love trysts of a rural population exquisitely bound up in effortless serenades and Cantina porch sways, Vigüela bring us reverberations of Española, the Arabic Spain, and its overseas colonies in Northwestern and Southern America.

Metaphorical lovers depicted as birds (‘El Pájaroya Voló and ‘Arrímate, Pichón, A Mi’), laments brought back from the frontlines of war in 19th century Cuba (‘Allá En La Habana’) and tribunes to love interests (‘Moreno Mío, Cuán To Te Quiero’ and ‘La Niña De Sevilla’) are given a new lease of life by Vigüela. Straddling eras, blowing off the dust, they inject a bit of energy and dynamism back into the songs of their ancestors.

Taking a slightly different route on the second CD, the guitars are finally unleashed; courtship dances and songs of defiance now feature a fuller, sometimes cantering rhythm and flourish. Those signature trills, crescendos and unfurled castanets now accent or punctuate this songbook, giving it a great deal more volume, yet still subtle enough to accommodate and not override the beautiful chorus of voices.

It’s not integral – though this is every bit as academic a recording as it is an entertaining performance – but the linear notes, which are extensive, provide a providence and go some way to explaining exactly what you’re listening to and how Vigüela personalized it: Take ‘Que Si Quieres, Moreno’, a typical melodic variant from Campo de Montiel en La Mancha de Ciudad Real, it differs from some styles and ways of playing the Fandango by featuring the signature accent on the first beat. It helps to know all this of course to fully appreciate the group’s skill and attention to detail.

Already attracting plaudits in Spanish music circles, Vigüela could always do with finding a wider audience for their sincere interpretations and twists on the traditional music of the regions they research and relive. Hopefully this latest album will help; it will certainly enhance their reputation if nothing else. With a foot in both eras, they bridge the divides and generations to encapsulate the provincially isolated spirit of Spain; reaffirming a joy but also preserving songs previously neglected and forgotten.



Kiddus ‘Crazy You (Video/Single)’ & ‘Snake Girls (EP)’  TBA/Sometime in October

If Drake or The Young Fathers had made a record with the Anticon or UNO label it wouldn’t have sounded too dissimilar to the upcoming EP from the teenage Bristolian enigma, Kiddus. Shifting between hallucinogenic states of listless discord, Kiddus’ cathartic visages melt with languid beauty throughout. Dripping R&B amorphously merges with hip-hop and reverberations of The Gazelle Twin, Chino Amobi and the sort of neo-experimental electronic soul that sits well over at Erased Tapes on every track of this impressive release.

Just like The Gazelle Twin before him, Kiddus transmogrifies his own version of a Prince classic, ‘Crazy You’. The lead single from Snake Girls, this transformation of an early Prince classic replaces the original’s tingling percussion, falsetto and oozing sexuality with something far more sauntering, beat-y and loose. It sounds great: an over-layering acid trip of veiled soulful sadness and sophistication.

That quality of lingering sadness and nuanced encrypted inspirations is spread throughout the rest of the EP’s assuage meanderings. ‘Dreaming In 30 Fps’ and ‘Vapid Me’ (as the title suggests) are as vaporously float-y as they are disorientating. Multiple samples linger and echo in and out of focus, mirroring and articulating the various conflictions and anxieties of the young artist; building into a chaotic crescendo on the Radiohead-esque cyclonic drum fitting ‘ARGH’. Indolently beautiful in a dreamy psychosis, the finale ‘theplumeetwhenuronurown’ features fragmented warnings and a quant sample that disarms a message, perhaps, of terminally drifting off into a never-ending sleep.

Snake Girls is essentially a soul record: a deeply soulful one at that. A recontextualized vision of troubadour soul crooning, lost in a confused hyper-digitized virtual reality, Kiddus’ senses blinker, light up and then dissipate to a 21st century soundtrack of pliable experimentation.



New Music Reviews/ Words: Dominic Valvona




Welcome to Dominic Valvona’s regular reviews roundup. This latest edition of Tickling Our Fancy includes albums, EPs and singles by Stella Sommer, Otis Sandsjö, Yiddish Glory, Yazz Ahmed, Franklin and Qujaku.



In another eclectic edition, with releases pulled together from across international date lines and genres, there’s the beautifully morose Nico-esque Gothic indie solo debut album from Stella Sommer (tipped as one of my albums of 2018 already); a no less striking debut from the Scandinavian jazz saxophonist Otis Sandsjö, who mixes European jazz styles and modernism with the cut-and-paste techniques of hip-hop and electronica in real time on the brilliant Y-OTIS; a remixed treatment EP of songs from Yazz Ahmed’s Arabian jazz suite La Saboteuse; the debut EP, Some Old Tracks, from the polygenesis psychedelic and pool splash electronic sample collage artist Franklin; and an intense dramatic overture like suite of post-punk, drone, Gothic psychedelia and doom from the skulking Japanese troupe Qujaku.

With more serious intentions, shining a light on a lost chapter in WWII Jewish history, I also look at the beautifully produced Yiddish Glory testimony of tragic laments, ballads and elegiac songs written by the Soviet Union’s Jewish community during the barbaric invasion of Russia.


Stella Sommer  ’13 Kinds Of Happiness’ (Affairs Of The Heart)  10th August 2018

 

In the vogue of an age-old central European malady, the dour romanticism that permeates the stunning solo debut album from the German singer/songwriter Stella Sommer is wrapped in a most beautiful gauze of melodious uplift and elegiac heartache.

Artistically, as the results prove, making the best decision of her career, Sommer steps out for a sojourn from her role in the German band Die Heiterkeit. Far from an extension of that group (though band mates Hanitra Wagner and Phillip Wolf both join her on this album), there are of course concomitant traces of it. Sommer however makes louder but also accentuates these traces and lingering relationships; her lived-in, far-beyond-her-years vocal more sonorous and commanding than before.

Possibly as perfect as an album can get, 13 Kinds Of Happiness is an ambitious, slowly unveiling album of diaphanous morose. Pastoral folk songs and hymn-like love trysts are transduced by a Gothic and Lutheran choral liturgy rich backing that reimagines Nico fronting Joy Division, or Marianne Faithfull writhing over a Scary Monsters And Super Creeps era Bowie soundtrack (especially on the galloping Northern European renaissance period evoking thunderous drumming ‘Dark Princess, Dark Prince’; just one of the album’s many highlights). I don’t use that Nico reference lightly: Sommer channeling the fatalistic heroine’s best qualities atmospherically speaking.

Rather surprisingly, especially with the influences I’ve outlined, the torment and caustic swirls of the enveloping ominous fog cloaked dramatic title-track, vocally crosses Nico with Tim Booth of James fame. ‘Collapse/Collapsing’ even sounds a bit late 70s Fleetwood Mac, whilst ‘I Take An Interest’, with its ethereal lulling choruses and cathedral atmospherics isn’t a million miles away from a Holy Roman Empire inspired Beach House – imagine that!

The rest of this album is very much in the Germanic mode of religious drama and mystery. Hidden amongst the cloisters, Baroque drones and dark serious conservatism faith and tradition is brighter pop relief and troubadour, even Dylan-esque, odes on love, loss and anxiety. A perfect example of this serious but lilting, Gothic but often melodically harmonious counterpoint is the mellotron entrancing boat ride across a Kosmische river Styx, as painted by Caspar David Friedrich, ‘Boat On My River’. Following in the grand tradition of river songs, or alluding to Germany’s timeless relationship to the waters that run throughout its legacy, Sommer evokes Neu! and Cluster on this foreboding romanticized voyage, yet shows a certain vulnerability and lightness of touch too. That same vulnerability is also in evidence on the nocturnal, birds-of-a-feather duet with (I think) the lead singer (and fellow compatriot) of Tocotronic, Dirk Von Lowtzow, ‘Bird’s Of The Night’.

A curious Teutonic travail of venerable lovelorn despair and modesty, Sommer’s debut LP will take time to work its magic. But work its magic it will. A tremendous talent lyrically and vocally, serious and astute yet melodically enriching and lilted, her sagacious deep tones are starkly dramatic, but above all, rewarding. 13 Kinds Of Happiness is destined for many end of year lists; I for one, living with it for the past two months, find it one of 2018’s highlights, and one of the best debuts I’ve heard in ages. Here’s to a solo indulgence that I hope long continues.






Otis Sandsjö  ‘Y-OTIS’ (We Jazz Records)  1st June 2018

 

Imbued as much by the complex language of North American and European modernist jazz as those who use it to riff on in the hip-hop and electronic music genres, the adroit Gothenburg saxophonist and composer Otis Sandsjö transmogrifies his own jazz performances so they transcend, or at least amorphously (like liquid) expand into polygenesis soundscapes.

His debut album, released via the Helsinki festival and label platform, We Jazz Records, is a multilayered serialism suite of ideas and experimental visions. All of which, despite that complexity, keep an ear out for the melody.

Y-OTIS reimagines a musical union between Flying Lotus and Donny McCaslin, or better still, Madlib reconstructing the work of 3TM; the flow, if you can call it that, sounding like a remix deconstruction in progress as the rapid and dragging fills and staggered rolls of Tilo Webber’s drums are stretched out, inverted and reversed into a staccato to dynamic bursting set of breakbeats and loops. Mirroring all the various cut-and-paste techniques of the turntablist maestros, Sandsjö and his dexterous troupe of keyboardist Elias Stemeseder, bassist Petter Eidh and the already mentioned Webber sound like a group being remixed in real time, live: And it sounds brilliant, as you’re never quite sure where each of these compositions is going to end up.

Sandsjö’s own articulations as bandleader never grandstand or take precedent, let alone dominate; his saxophone in a constant suffused circular and flighty motion, always there yet often drifting and dissipating. Of course there are occasional bursts of flute-y soloing and more rapid energetic squawking.

Tripping both across space, counterpointing Jerry Goldsmith’s optimistic siren-ethereal Star Trekking with Kosmische, yet also inspired by tribal and soulful earthly vistas too, Sandsjö offers up some surprising musical evocations. The avant-garde snozzling, drum rim-tapping and lumbering funk ‘BOO!’ sounds like Tortoise and a chilled Dunkelziffer, whilst the dreamy merging, of what could be two entirely separate tracks, ‘YUNG’, with its elongated rhythms, could be Coldcut going at a warped Mardi Gras Afrobeat inspired improvisation.

Importantly Sandsjö offers a jazz style birthed from an eclectic melting pot of hip-hop, dance music and even more experimental edgier R&B; reorganized into a fresh exploration. If the ACT label, or ECM ever converges with Leaf and Anticon, Y-OTIS might well be the resulting album. As 2018 shapes up to be another great year for jazz releases, the inaugural album from Sandsjö and his troupe looks set to showcase a great talent, and make the end of year lists: it will most definitely make ours.






Yazz Ahmed  ‘La Saboteuse Remixed’  (Naim Records)  10th August 2018

 

 

Working her dreamy enchanted magic, encapsulating a transcendental, exotic version of Arabian jazz, on last year’s traversing trumpet suffused La Saboteuse LP, Yazz Ahmed calls on a congruous trio of remixers and artists to interpret a handful of peregrinations from that well-received suite.

This new EP of re-contextualized voyages and evocations also features, a sort of, new production hybrid that uses Ahmed and her producer Noel Langley’s self-sampling and deconstructing techniques to refashion a ‘fourth world’ sound collage. Inspired in part by Jon Hassell’s amorphous ‘possible musics’ experiments and the equally polygenesis floatisms and shifting lingers of Flying Lotus, ‘Spindrifting’, as the title suggests, languorously drifts between gauze-y environments and borders; re-placing fragments and textures from the La Saboteuse recordings.

Reflecting a constant unending journey of interpretation, filtered through ‘alternative visions’ and ‘perspectives’, burgeoning South London DJ and graphic artist Hector Plimmer, who released his debut LP Sunshine last year, cuts down and transduces Ahmed’s original lengthy ‘The Lost Pearl’ into a nuanced tropical lilt and itching understated electronic shuffler. Whereas, self-proclaimed ‘Afro-futurist’ beatmaker DJ Khalab, takes the Arabian delights and Tangier trumpet suffusions of the original ‘Jamil Jamil’ into the cosmic ether on his treatment. The Italian DJ undulates that belly-dancing souk vista with moody pulses, kinetic connective beats, vapours and starry space atmospheres.

Originally a tub-thumping percussive and trumpet heralding panoramic meditation, ‘Al Emadi’ is given a buoyant dub wafting veil by the Lisbon trio of brothers and close pal Blacksea Não Mayo. DJs Noronka, Kolt and Perigoso add a bounce and short yelp like punctuations to that vision; moving it closer towards classy electronica dance.

An articulate extension of Ahmed’s original album template, her already traversing evocations are taken on vaporous and often subtle cosmic and dreamy detours by this carefully chosen cast. A parallel navigated piece of escapism rather than enhancement, the remix EP enervates the jazz for a more electronic music feel to guide Ahmed’s 21st century Arabian imaginations across new boundaries and vistas.






‘Yiddish Glory: The Lost Songs Of World War II’  (Six Degrees)  Out now

 

Few albums can stir the soul let alone give a voice to such harrowing anguish as the sacrifices made by the Soviet Jewish community during one of history’s most brutal conflicts – 2.5 million poor souls from this Jewish community would perish in the European territories of the Soviet Union alone. A forgotten chapter, expedient to Stalin and his successors own tyrannical political airbrushing of events, 440,000 Jewish citizens from all corners of the then Soviet Empire enlisted to fight the Nazis during the 1940s.

Though an integral part of the Bolshevik revolution that preceded it decades earlier – the Jews often suffering under the Imperial regime of the Tsars and Tsarinas in countless programs over the centuries; Tsar Nicholas II no better than previous holders of the title, stirring up hatred towards the faith by propagating the most fatuous blood libel and protocols of Zion conspiracies as proof of his own idiotic prejudices and envy -, the Jewish population that survived the second World War soon found themselves the victims of Stalin’s purges.

Despite the paranoia, mistrust and the megalomaniacal politics of one of the most murderous regimes in history, the Jews of Russia have always remained loyal. Even during the enlightened age of Napoleon, with his promises during the misconceived and doomed invasion of Russia in 1812 of liberating not only the population from serfdom but also the Jews (Napoleon having kept his word in freeing the Jews from the various ghettos they found themselves herded into throughout Europe; Venice being one the most famous examples), Russia’s Jewish population remained stoic in their support of the homeland.

Lost in the annals of time then; suppressed, if thought destroyed, the tragic but poetic WWII testaments, made lyrical prose, of just a small cross-section of Russia’s Jews is given the richly evocative and adroit production showcase it deserves by a collective of professors, producers and musicians. Originally unified in an anthology by an ethnomusicologist from the Kiev Cabinet For Jewish Culture, Moisei Beregovsky, alongside colleague Rovim Lerner, hundreds of Yiddish songs written by Red Army soldiers, victims and survivors of the Nazi’s apocalyptic massacres were gathered in the hope of being eventually published and performed. Unfortunately at the very height of the Communist Party’s purges in the decades that followed the end of WWII, both these well-intentioned preservationists were arrested. Subsequently the project was never finished, the work sealed up and hidden away. But as it would later transpire, not destroyed.

Decades later in the 1990s, the Soviet archives now under the ownership of a collapsed Communist state, as the Iron Curtain finally tumbled, librarians from the Vernadsky National Library Of Ukraine found these lost treasures in unlabeled boxes. One of these librarians, Lyudmila Sholokhova, would catalogue these findings – just one of the many cast members in this story. Fast-forward another decade and by coincidence, one of this project’s eventual instigators, Anna Shternshis, stumbled upon these treasured songs whilst visiting Kiev. Highly fragile, deteriorating quickly, these original notes (some handwritten, others typed) opened up a whole undiscovered chapter in Jewish history to both Shternshis and her eventual colleagues on this project, musician Psoy Korolenko (known in his academic life as Dr. Pavel Lion), Al and professor of Yiddish Studies and Director of the Anne Tanenbaum Centre For Jewish Studies at the University Of Toronto Malka Green, and musical director and violinist Sergei Erdenko.

Transcribing these laments and firsthand accounts of endurance (many of which included testament evidence to various Nazi atrocities) would take patience, skill but above all respect. The results of this this most tragic desideratum, entitled Yiddish Glory, are underscored by an Erdenko-led stirring accompaniment ensemble of classically trained instrumentalists   and singers, brought together by the producer Dan Rosenberg.

Challenging perceived conventions throughout this magnificent suite of eighteen songs, silencing detractors now as it would have back then, amongst the laments are stirring motivationals that adhere to a long lineage of Jewish and Russian history. Weaving in one of the revered fathers of the Russian classical school of music, Mikhail Glinka’s 1840 ‘The Skylark’ tune with a rousing call for his fellow Red Army comrades to support their Jewish compatriots, Odessa soldier (known only by his first name) Yoshke answers the anti-Semitic propaganda that ‘Jews don’t fight in war’ with his, perhaps not so lighthearted as it would seem from the title, ‘Yoshke Fun Odes’. The accompanying linear notes – featuring the lyrics to all the songs (in most cases) in Hebrew, Cyrillic and English – tell us that Yoshke is himself fighting to ‘avenge his brutally murdered Jewish family’. Though as it would prove, when the survivors of this war returned home, the Jewish population would have to once more fight for their lives, but this time against many of their Russian comrades: tragic when viewed form our vantage point, as many would end up arrested or liquidated on the most spurious and paranoid of charges; Stalin’s position after WWII solidified, clearing the path for his many sweeping purges. Showing every bit as much passion for and attachment to their country and regime as any hardline dye-in-the-wool Communist, songs such as the panoramic ‘Kazakhstan’ – possibly written, we’re told, by one of the 250,000 Polish Jewish refugees that survived the war – could have been ripped from the very soil itself. Two different vocalist versions of this minor opus feature on this album; the one sung by the smoky jazzy and commanding singer Sophie Milman is a personal dedication to her grandmother, a Soviet Jewish refugee survivor in Kazakhstan, but also a wider tribute to the millions of women who were involved in the war effort; the second version, sung by Erdenko, pays homage to the often forgotten Roma community, murdered in great numbers in the ensuing Holocaust.

Nothing could be more heart wrenching than the plaintive ‘My Mother’s Grave’, originally penned by the ten year old Valya Roytlender, a native of Bratslav in the Ukraine. Channeling the loss but also survivor’s guilt, the youngest of the ensemble cast of vocalist (five in total), Isaac Rosenberg, gets the bottom lip quivering and the tear ducts ready to flood with lines as moving as, “Oh mama, who will wake me up [in the morning]? Oh mama, who will tuck me in [at night]?”

Many of the songs are surprisingly violent in retributive prose – a result of Soviet censors adding the revengeful party line to every song; part of the state machinery’s propaganda in stirring up hatred towards their enemies, but also a nationalistic fervor -, the language of dehumanization prevalent throughout: the Nazis often referred to as vermin to be eradicated and shown no pity. Considering the Nazi’s barbarity, but also Stalin’s own ineptitude and grasp of unfolding events, caught by surprise at Hitler’s invasion of the Soviet Union, it’s hardly surprising to find such encouragement in these songs. Yet it often feels, as it turns out, to have been added in many cases later by the state, to be in contradiction to the sentiment. Whilst certainly ready to pick up a machine gun in a heartbeat, going as far as to even taunt on songs like ‘Mayn Pulemyot (My Machine Gun)’, the lyrics often attempt to make sense of what is…well, a senseless brutalism.

An equal opportunity employer in carnage and slaughter, the stoic, hardened women of the Soviet Union feature just as heavily and prominent as the men in these songs: ‘Chuvasher Tekhter (Daughters Of Chuvashia)’, penned by a young Communist League member from Kharkov in 1942, bares testament to those women from the region of the title who were drafted into the Red Army to fight on the frontline; just a small fraction of the 900,000 women who would eventually join the rank and file.

The stars ask me [to speak]: “Tell us!
Who is marching so late at night?”
The answer: “Chuvash daughters
Preparing themselves to go into battle.”

Other songs pay homage to those women working on the production lines. All of which offer words of encouragement to their lovers to fight the good fight.

Firsthand accounts of atrocities appear on both ‘Babi Yar’ and ‘Tulchin’; the first of these harrowing laments and ballads referring to the massacre of the titular ravine near Kiev, where an astonishing 33,771 Jews were shot in 48 hours, in the September of ’41, the second, dedicated to the small Ukrainian town of the title, which lost its entire Jewish community.

Later on though, as if in a chronological timeline, there are songs celebrating the end of WWII; the finale, ‘Tsum Nayem Yor 1944 (Happy New Year 1944)’, featuring the full cast and singing circle, ushers in the New Year and ultimate victory over fascism that would soon follow.

Enough crying over our beloved dead,
The Red Army has the upper hand now.
Hitler can only kill us at night in our dreams.
Woe will be upon him, when we have peace!

Despite the materials obvious harrowing and tragic nature, the music throughout is a dizzying, waltzing mix of Yiddish, Roma, Klezmer, folk and even jazzy cabaret that’s often upbeat. The band does a sterling job in breathing life back into historical testimony; giving voice to those suppressed individuals and the songs that were believed lost forever, destroyed by a regime that would treat its loyal Jewish community, many of which made the ultimate sacrifice, little better than the Nazis they so valiantly overcame.

This is a poignant reminder that we should do more to educate ourselves on lost histories such as this; especially in the times we find ourselves with anti-Semitism once more on the rise and in the news (especially in the UK). Yiddish Glory is not just a reminder however, or even just a revelation, but a beautifully produced performance.






Franklin  ‘Some Old Tracks’  Out now

 

Keeping the brief scant but candid, the artist(s) behind this project create a bright polygenesis EP out of frustration: ‘After a truly terrible session with an artist trying to force me to copy a hook from The Chainsmokers, it was enough for me.’ Bounding back from one too many constrictions, Franklin, in a manner, returns to its youth and the music that soundtracked it. Never able to afford the clearance but carrying on nevertheless, the spark of inspiration that now ignites Franklin, sampling montages and collages, is brought together once more and made into a vibrant psychedelic pool party splash of filtered funk, staccato House and light breeze West Coast hip-hop.

Criss-crossing genres at will over a quartet of tracks on the Franklin debut, tunes and samples, loops and ideas seem to melt and merge harmonically. For instance, the opening track ‘Frankie’ swims along to a fragmented cut-and-paste dance groove of moody breaks, shuffles and a hooting Afro sax honk, whilst the soulful plaintive tropical flavoured ‘Hate Myself’ sounds like a surfing International Pony.

A mysterious French soulstress can be heard meanwhile at the start of the low-rider ‘L’aéroport De Paris’, which in spite of its title evokes a sense of Japonism – J Dilla on a slow boat to Shogun Japan. ‘Clear My Name’ is more in the dance-y mode however; warping bowed and wooden sounding beats and enveloping waves around quasi-80s House.

This debut EP reconnects with the past to go forward. Stripped of hubris and baggage, and restriction, a breath of fresh air, it is beyond being, as the title suggests, just Some Old Tracks, and is instead an exploration of those imbued sounds and what they represent, restructured into a contemporary eclectic psychedelic dance and pop record.




Qujaku ‘Qujaku’  (So I Buried Records)  16th August 2018

 

Occupying both the spiritual and cosmic planes, emerging from the gloom and holy sanctuaries of the dead, the brooding Hamamatsu-based Japanese band Qujaku are back with a second grand opus of Gothic psychedelia and operatic doom post-punk. Gathering together titular EP tracks from the last couple of years and new material, this eponymous entitled epic thrashes, rattles, drones and skulks with sonorous intensity throughout. The opening ‘Shoko No Hakumei’ suite, more an overture, is itself a full on Ring cycle (as conducted by Boris) that is dramatic and sprawling: running almost the entire length of a full side of a traditional vinyl album.

On a very large foreboding canvas, Qujaku build-up an impressive tumult across the album’s nine-tracks of prowling esotericism and galloping drum barrage immensity. Between crescendo-bursting three-part acts and shorter volatile slabs of heavy caustic drone rock, the group often evokes an Oriental Jesus And Mary Chain, Black Rebel Motorcycle Club and Spacemen 3, or Nine Inch Nails when at their most enraged. Psychedelic in the mode of The Black Angels, but also straying at their most languid and navel-gazing towards Shoegaze, Qujaku’s dark spanning cacophony of throbs and trembles bear many subtle nuances and becalmed breaks amongst the masses and maelstroms. A balance between those forces is struck for instance on the dreamy plaintive love-crushed ‘Yui Hate No Romance’ and Spiritualized hymn-like finale ‘Sweet Love Of Mine’.

Vocally obscured by the cyclone of screeching feedback, grinding, spiraling ritual and creepy atmospherics the band’s mix of saddened male sung lovesickness and dystopia, and female ethereal sirens often invoke a ghostly, doomed horror soundtrack: The spirits in communion; floating and cooing, always present.

Though heavy-going for sure, even stifling in places, this ceremony come seething dark alchemy of an album is a brilliant minor masterpiece of Gothic, doom, psych and progressive pretensions. Limited physically to only 500 copies, this cultish group and album will sell-out quick, especially off the back of the band’s upcoming European promotional tour. On an epic scale, dreaming big and intensely, Qujaku perform the most dramatic of daemonic theatre.



Words: Dominic Valvona

COMPILATION REVIEW: DOMINIC VALVONA



Hugh Masekela   ‘’66-‘76’   Wrasse Records,  20th April 2018

Masekela as the exile. Masekela as the trumpet maestro. Masekela as the bandleader. Masekela as the activist. Masekela as the colonial revisionist. Masekela as the angry young man. These are just some of the many faces of the South African titan of jazz and African musical fusions Hugh Masekela that can be found inside the latest essential collection of the late great polymaths’ back durable catalogue, ’66-’76. Put together especially by Masekela and his good friend, producer and collaborator on a number of projects together, Stewart Levine, just before he passed away in January of 2018, this three disc spanning collection features key tracks from many of his most iconic and experimental albums (two of which are included in their entirety). What makes this especially appealing to collectors and fans alike, is that many of these albums were never officially released in the UK and Europe before. Progressing in the chronological order they were recorded, we follow Masekela’s journey not just musically but politically across his most formative decade and his collaborative partnership with Levine.

Originally crossing paths in New York in 1961, a year after Masekela first arrived in the States after narrowly avoiding arrest in his native South Africa for breaking the apartheid system draconian ‘pass laws’, Levine, a Bronx native, met the aspiring horn player as he searched for a decent break on the American east coast jazz scene. They both enrolled that same year into the Manhattan School of Music, sharing a room together. In the years to come this hotbed, an incubator for some of the greatest jazz musicians of the last five decades, would turn out countless additions to Masekela’s changing lineup of recording sessions and live backing groups. But during those initial years, Levine and Masekela would, after graduating, split and go their separate ways, pursuing different pathways: Masekela, emulating the jazz doyens that inspired him to move across the Atlantic, and Levine, choosing production.

Years later, in ’66, and sharing not only a bond of friendship but love of Africana and American music, the pair reunited to setup a production company, the intention being to make records that combined jazz, the dancing Township sounds of South Africa and the grooves and sounds of Rhythm and Blues. This partnership, fortunately funded by seed money from some generous benefactor, quickly moved its operation to the West Coast and L.A. in the fall of that same year. Christened Chisa Records, the inaugural album, The Emancipation Of Hugh Masekela (which starts off this whole collection) featured the hybrid signature sound that the company and Masekela himself would be celebrated for. And as the title makes clear, would not shy away from black consciousness issues and struggles: not only in his native homeland, but also in his exiled home of America.





Dressed up as a smiling Abraham Lincoln on the cover, this quite withheld and effortlessly played album features the ‘working group’ of Manhattan School luminaries of musicians that backed him at club spots in the infamous Watts and on Sunset Strip: Harry Bellefonte’s (who will crop up again in this story, and have much to do with Masekela through the civil rights movement) travelling bass player at the time, John Cartwright, joins congas legend Big Black, drummer Chuck Carter and pianist Charlie Smalls, whose unique and open style of playing brought gospel and a lilt of Brazil to the set up; especially on the opening sumptuous Felicade. Over seven tracks, this live recording soaks up sauntering big band Highlife (Why Are You Blowing My Mind?), calypso via Soweto, trumpet heralding lullaby (Do Me So La So So) and yearned Sun Ra breaks bread with the Last Poets hippie jazz (Child Of The Earth).

Moving on with a rotating cast of players, only Carter on drums remaining an anchor on the next trio of albums, another New Yorker, saxophonist Al Abreu, would come into the fold – a member up until his untimely tragic death in car accident just a couple years later in ’69 – joined by Cape Town pianist Cecil Barnard and L.A. local jazz bassist Henry Franklin on the dynamite live ‘67 Alive And Well At The Whiskey. As the title suggests, lighting up the Sunset Stripe institution, the Whiskey A Go Go, Masekela’s altered troupe –changed after appearing at that year’s Monterey Pop Festival – fused a lively but controlled suite of Savoy jazz meets Motown poetic lamentable peace and love; the two featured tracks here, Son Of Ice Bag and Coincidence posing the chance of a better future.

That same group, and similar theme, appears on the next album, the phenomenally successful The Promise Of A Future. Recorded in less than an hour, the defining lulled cowbell-ringing track on that album, and as it would turn out most popular selling record of his career (more than three million copies; hitting the number one spot on the American pop charts), Grazing In The Grass helped Masekela reach a bigger audience commercially but also ended up hindering him long term; the expectation to follow up its success sending the cold footed doyen of fusion towards the insular and more experimental, refusing outright to repeat the same formula. Sampled excessively by the Hip-Hop fraternity, and so once again made popular for a new generation, the recognizable candour and busyness of this track, featuring the soft yielding licks of Bruce Langhorne, would be avoided on the darker, more direct and politically motivated barbed soul Masekela LP that followed it.





Already unique, incorporating the soul of South African music with jazz, rhythm and blues and South American grooves, The Promise Of A Better Future featured some fine iterations including the tribal Pharoah Sanders spiritual longing of These Are Seeds To Sow, and Caribbean swayed Vuca.

Whilst Grazing In The Grass was enjoying its popularity in the summer of ’68, America’s civil rights movement was hit, literally, with a double tragedy. In April Martin Luther King Jr. was assassinated, mortally wounded on a motel balcony in Memphis, and just two months later, Bobby Kennedy joined the fate of his brother, and was shot dead at the Ambassador Hotel in Los Angeles. Riots lit up across the country and to all intents and purposes it looked like a concentrated effort was being made to off the civil rights leaders and friends, and to top it all the Vietnam War. In this incubator of inflamed passions, Masekela produced an album suffused with the stench of teargas and mace. Certainly angry, yet his statement of protest and succinctly named Masekela album was far from a blistering howl of rage. Closer to his peers own cathartic jazz albums of the same era, a sense of trying to work out just what the hell was going on, it resembles a gospel lament, a bluesy funk and most cooing experiment in despair.

Covering the escalating Vietnam protests (Mace And Grenades), the gold greedy excavating harsh realities and sorrows of the a South Africa miner, and the black majority’s uneasy struggle with the Boer colonists (Gold, Boermusiek), and famous controversial figures from the Black Panther movement (Blues For Huey), Masekela was a commercial failure on its release; spooking an audience familiar with the hit record, which evidently despite its lightness and catchy feel has origins in the townships of Masekela’s native homeland. It led to an amicable but nevertheless a split with the distributors, but allowed the Masekela and Levine partnership the freedom to continue pursuing the agenda they envisioned. It’s a good place to end the first CD on, as the next chapter opens on a move towards spiritual rejuvenation in Africa.





CD number two begins with Masekela and Levine’s 1970 ‘autonomous’ distribution deal with Motown. As part of this deal they’d also record albums with the South African singer Letta Mbulu and the Texas troupe The Jazz Crusaders (also known as The Crusaders). This would prove handy; as both went on to appear on Masekela’s own records.

The inaugural Motown album, Reconstruction, features a varied songbook of Pharoah Sanders spiritual rolling jazz (Salele Mane), languid veldt swooned and sweetly laced balladry (Woza) and the most delicious sounding of earthy soul covers from the Motown cannon (You Keep Me Hangin’ On). Featuring a heavy rotation again of players and backing singers, the album showcases Masekela’s subtleties and eclecticism; merging as he does the music and soul of two continents into a most peaceable fusion.

Keeping the political language conspicuous, if anything Reconstruction concentrates on setting the vibe, the messages echoed in the diverse nature and continuous exploration of his roots.

The next album in this collection brought Masekela together with two of his fellow compatriots, Jonas Gwangwa of the Johannesburg formed Jazz Epistles and the composer and singer Caiphus Semenya. The title says it all: Hugh Masekela And The Union Of South Africa. And the music is, as you’d expect, heavy on these influences. Yet the album features those unshakable R&B licks and southern gospel organ dabs, ala Billy Preston. This is in part down to the inclusion of the Texan soul group The Crusaders, manning the rhythm section.

It’s a beautiful communion between melting funk and elliptic rhythms of South Africa; another successful crossover; rasping yearns accompanied by the snozzled affectionate and caressing trumpet of Masekela, unmistakably South African but enriched with southern funk and soul.





Returning to his jazz roots, and once again emulating two of the artists that first inspired him, Masekela’s next record would take a pause and lean heavily towards the romantic Savoy and early Blue Note jazz of Horace Silver and Art Blakey. The Home Is Where The Music Is LP is only represented by one track. But what a track it is! With Larry Willis, another Manhattan School of Music luminary, invited to add virtuoso piano; South African jazz great Dudu Phunkwana brought in on alto saxophone (Masekela especially moved operations for this record to London, home of this South African exile at the time) and future Bill Evans band member Eddie Gomez on bass, this consummate set-up created fertile ground for a diaphanous and deep suite of romantic and thoughtful jazz meditations.

Lifted from that album, Minawa showcases the cascading flow and gestured pianist skills of Willis (a member of Masekela’s first group in ’65; featured on the live album, The Americanization Of Ooga Booga), who carries the deft track for some time before Makaya Ntshoko’s tumbling and staggered drums appear and Masekela’s lilting accentuate trumpet fluctuates over the top. Gradually it builds with motion and increases in tempo and volume until striking home; the busyness calmly retreating and pace, intensity dissipated.

His next album would be very different however. Another change in direction (of a Sort), the jazz fading for a more African feel. Bound for a ‘spiritual journey back to Africa’ after spending thirteen years in America, Masekela travelled from Guinea to Liberia and Zaire searching for inspiration and the musicians that would back him on his next musical adventure. Preempted by fate, an invitation from Nigeria’s Afrobeat progenitor and lifetime ruler of the self-invented Kalakula Republic, Fela Kuti, brought Masekela to Lagos in the spring of ’73. Though enjoying his time at Kuti’s compound kingdom, he accomplished little creatively. A tip from Kuti about a must-see act, a perfect fit for Masekela’s brand of African fusions, the Ghanaian-based Hedzoleh Soundz, did however pay off.

Joining his Nigerian guide, who brought a cortège of his wives with him, Kuti took Masekela to Accra to see for himself this adulated young outfit. Catching a midnight killer set at The Napoleon Club, he was instantly hooked. And so began a congruous collaboration between the two that would last in varied formats across the next three albums.

Introducing marked that initial dynamism; Masekela channeling what would be a month-long partnership, the South African virtuoso playing with the Soundz every single night. Kuti arranged a recording session for them both at the E.M.I. studios back in Lagos in the summer of that same year. The results of which, featured in their entirety on the second CD of this collection, combine the lilting soul of South Africa with the busy tribal percussion of West Africa: The atavistic talking drums, floating flute and relaxed but tight percussion traversing Afro funk and roots music brilliantly.

Wowing those back in the States, the group would be brought over for a special tour, beginning with a performance in Washington D.C. in January of ’74, finishing with a sold-out fortnight at the famous Troubadour club in L.A.





The final section of this triple CD set opens with Masekela’s ’74 album I Am Not Afraid. Recorded immediately after the successful stateside tour with the Soundz, the cross-pollination was once more mixed up with the inclusion of Crusaders Joe Sample and Stix Hooper: Invited in to mix their infectious Texan R&B and jazz lilt with the Soundz soulful funky tribal percussions to make, what would become, a great pop record.

Included in its entirety (the second of only two such privileges), I Am Not Afraid is considered by Levine to be one of the highlights of his time producing Masekela’s most formative albums. And he’d be right. Encapsulating all the various strands thus far, the album is both a fearless but beautifully accessible work of art. The highly popular grassland hymn, come sweeping grand minor jazzy-soul opus, Stimela, is just one highlight from what is a bright African odyssey. Setting moods perfectly, following on from a theme and location that has been used time and again by all the titans of jazz, Masekela transports the listener to mysterious nights in Tunisia, the bustling kaleidoscopic ‘market place’, and tempts us through a the meandrous jungle. The swansong, Been Such A Long Time Gone, is almost a reprise of all the previous songs; a connecting final lyrical geographical journey in the sweltering heat through history, one that takes in the sight and sounds of North and West Africa; ending up drifting down the Nile towards the Fertile Crescent.





In the same year, 1974, Masekela and Levine set up the famous musical jamboree to celebrate Ali’s titanic grudge-match with Foreman in Zaire. Part of a campaign and African revolution in directing their own affairs, with now more or less every former colony of the European powers independent, the pair were, with good intentions, drawn into a feverish Zaire renaissance. The abhorrent truths of some of these regimes, notably Zaire’s own Mobutu, would years later put paid to the general optimism, but at the time in striking a coup with hosting one of the most anticipated clashes of the century the country’s capital of Kinshasa became the hottest ticket on the global stage. The same label behind this compilation also released the fruits of Masekela and Levine’s musical stage show, the Zaire ’74 soundtrack, a while back: a collection with the emphasis on the all too forgotten African acts who performed at the three day extravaganza, previously overshadowed by the stars of America, such as James Brown, and all but erased or featured sporadically in subsequent documentaries.

Returning to the states in the fall of ’74, temporarily settling in the capital, Masekela hit the ground running, assembling his new African band; first recruiting two Hedzoleh Soundz members, percussionist Asante and bassist Stanley Todd, his drummer brother Frankie and fellow Ghanaian, shekere player Odinga ‘Guy’ Warren. Recent arrivals from Nigeria, O.J. Ekemode, Yaw Opoku and Adelja Gboyega and another Ghanaian, conga maestro (famous for his turn on The Stones’ Sympathy For The Devil) Rocky Dzidzornu boosted the already dynamic and highly talented ranks. Taking this new troupe out onto the road in ’75, wowing audiences wherever they went, Masekela was soon lined-up for another recording session. Old pal and boss of the then new label Casablanca signed them up after witnessing one of these infamous performances; making them the label’s inaugural signing. The Boy’s Doin’ It is the result. Serious but funky, given a Casablanca label sheen, yet still rustically bustling and earthy, there is some very bright serenading going on: especially on the lilting homage to Mama. Masekela, as an aside, would open for the funk progenitor George Clinton on his ‘insane’ tour: the sounds of the motherland going down well with those fans of the Funkadelic and Parliament icon.

Dressed as the captain, mocking the European explorers that stamped their name and ideals on the ‘so-called’ new world, on the cover of the last album in this three-disc spanning collection, Masekela intelligently and ironically channels the Colonial Man of the title. Musically crisscrossing the slave routes from Africa to the Americas, he takes his intrepid troupe (now assembled under the OJAH moniker) on a tropical sauntered voyage.

Hardly a raging post-colonial diatribe or resented seething tide of angry protest, the album was still seen as high risk, though Casablanca gave it their blessing. Commercially it bombed. Yet it is a fantastic album. Certainly, and quite rightly, the themes of colonization, enslavement and stripping a country’s wealth had until recent times been missing the victims and poor unfortunates experiences. A vocal activist on both sides of the Atlantic (though he believed that unlike South Africa, the black population in America would always struggle for parity whilst the population was majority white European; he had more optimism for overcoming apartheid in his native homeland, returning there in the 80s), Masekela eases through the themes on this most sophisticated, longing album.

From the salty sea foam lullaby sauntering of making it ashore on the Brazilian coast (A Song For Brazil) to liltingly cutting a passage through the interior of Africa, following in Dr. Livingstone’s footprints, weaving in the ivory trade and Conrad’s Congo (Witch Doctor), this fusion of continents is a clever, poetic purview of colonization. It is the perfect end to a great collection.





Probably by now much of the material has become available in some format or another, yet for fans and casual interested parties alike it proves a wonderful, enlightening compilation; and in the wake of Hugh Masekela’s death earlier this year, a brilliant tribute to one of the greats. Not to do a disservice to his dear friend, label co-owner, producer and partner on many projects together, this is also a welcome reminder and celebration of Stewart Levine; the guiding force behind so many of Masekela’s richest albums. 66-76 will prove to be both an essential collection of a most creative period, and a great introduction to those who are not so aware of this great legacy.

 

Dominic Valvona

ALBUM REVIEW  WORDS: DOMINIC VALVONA

 

Modulus III  ‘ST’  February 2018

 

Laden with experience, each individual member of the Modulus III trio has a worthy CV of solo and ensemble work under their belts. It’s no surprise that the Bristol traversers of Steve Reichism, Krautrock/Kosmische, free and futurist jazz have picked up a few tricks in their expansive adventures and scored or collaborated on soundtracks for the film, TV and games industry.

An eclectic bunch of individuals, playing alongside such diverse artists as Anna Calvi, Adrian Utley of Portishead fame, and Will Gregory’s Moog Ensemble, the Modulus III lineup of multi-instrumentalists Dan Moore, Drew Morgan and drummer Matt Brown channel many of these previous explorations and more on their self-titled debut LP.

 

Obviously talented and trained – Drew is a former contemporary classical student of the Royal Academy Of Music in London and dab hand at drawing abstract vistas and sound effects from the cello – the trio’s multi-textural improvisations are meant o be read, partially, as a reaction against ‘virtuosity for virtuosity’s sake’. A problem in the jazz community especially, much of the contemporary scene features abundant skills and technical approach, but is bereft of sparking innovation and excitement: Competent yet far from interesting or fresh. And so this live performance, broken up into three tracks, recorded in the trio’s hometown, sounds at times free of aloof intentions and indecipherable musical language. The signposts are all there all right, from Sun Ra to Popol Vuh; from Bitches Brew and IOW Festival 70 Miles Davis to UFO era Guru Guru. And that rich smorgasbord of influences can all be detected and heard within the perimeters of the opening Waiting For The Network suite alone, without mentioning the album’s other two equally well-traveled improvisations.

The synthesized meets cello, Fender Rhodes and an articulate constantly moving drum patter on each of the album’s cleverly played and spontaneous evolving and ever-developing performances. Building from a primordial soup of whale song, Kosmische wilderness and prog-rock sci-fi, that opening fifteen-minute adventure takes a Donny McCaslin like trip towards the celestial before working the stop/start drum shuffles and probes into a cyclonic trip-hop rhythm. A stained-glass implosion Rhodes piano interplays with a cranked-up generator and brassy cymbal reverberations as the track takes shape and ends on a ‘close encounters of the third kind’ atmospheric like dissipating climax.

Shorter in length but no less dense with ideas, Diego Says Hello is a track full of anticipation, as the trio scuttle and poke at a Sun Ra procession across a Balkans/Central European soundscape. A similar length, Joyce could just as easily evoke the Outback as the deserts of the Middle East, on what is a free form jazz crosses Steve Reich avant-garde classical voyage into the unknown – the instruments move more like a mist. Slinking and fizzling, lamenting and mysterious, this final amorphous interplay receives a round-of-applause; until this moment, you could forget there was even an audience present; such seems the Modulus III concentration and serious atmosphere.

Immersed rather then flittering on the fringes of each inspiration, Modulus III navigates their myriad of inspirations and influences with aplomb. Strapped in, ready to lock into each other’s intuitive nature, it’s hard to deny that this cosmic adventure in improvisation would sound a mess, or mere appropriation without that virtuoso talent the trio want to break free from. However technical, and dense with intricate musicianship, it may be, this is a most brilliant, atmospheric and expletory of recordings. DV




CHOICE  ALBUMS/EPS  OF  2017  PART  TWO:  M – Z
SELECTION/WORDS:  DOMINIC  VALVONA, MATT  OLIVER and AYFER SIMMS




M – Z : Mazzi & SOUL Purpose to Msafiri Zawose.

Welcome to part two of our mega ‘choice albums/EPs of 2017’ feature. If you haven’t already checked it out, have a good perusal of part one, as the second part is a continuation, carrying on in an alphabetical order from where we last left off.

The decision making process: 

Continuing to shy away from fatuous rating systems and ‘best of lists’, the Monolith Cocktailendeavors to offer a more eclectic spread of worthy ‘choice’ picks, with no album dominating or holding any particular numbered position – unlike most of our contemporaries lists stuck with the ridiculous task, for example, of explaining why one album is more deserving of their fatuous number 32 spot than another.

Lined up in alphabetical order then, our favourite new and reissued albums and EPs from 2017 are of course considered to be the most interesting, vibrant and dynamic of the year’s releases. But the best? Granted, to make this list you have to have made some sort of impact, but we’d never suggest these entries were categorically the best albums of 2017, even if that might be true. Instead our list is an indicator of our amorphous tastes, rounding up a year in the life of the Monolith Cocktail, and we hope, introducing you to titles and artists/bands that may have dropped below the radar or got lost in the noise of more commercial better promoted releases.

M.

Mazzi & SOUL Purpose  ‘The Building’  (SOUL Purpose)

“A towering B-boy document gives familiar samples new life and piles banks of bricks and mortar beats and rhymes you can always back to do the business”.  RnV, Feb 17

The Building by established New Jersey movement Mazzi & SOUL Purpose is built on two levels and ends up a skyscraper, to a specification of telepathy that works from close range or miles away. Mazzi as emcee rhymes his ass off for fifteen tracks without leaving you behind (“love what you’re doing and you’ll never have to work a day in your life”) and not without addressing the state of the world, relationship complexities and being prepared to fight (with the listener playing the twelfth man).

The SOUL Purpose movement begins with a mash-up of every essential hip-hop break known to man, going on to cover cavernous, fusionist swells of sound, B-Boy skippers, deep cover gangster business, and samples found in Boots adverts/Sugababes singles and on Madonna tours. That the album was also helping do its bit for good causes added an extra layer to the album’s complete package status. Matt Oliver


Nicole Mitchell  ‘Mandorla Awakening II: Emerging Worlds’  (FPE Records)

Taken from a 2015 live performance commissioned by the Chicago Museum of Contemporary Art, the erudite American jazz flautist, composer, bandleader, educator, scion of Afrofuturism, former president of Chicago’s Association for the Advancement of Creative Musicians and a founder of The Black Earth Ensemble, Nicole Mitchell’s outstanding Mandorla Awakening II: Emerging Worlds conceptual suite, straddles two evocatively imagined contrasting worlds: the tumult of a patriarchal world, called The World Union, in decay against the egalitarian desire of the advanced utopia called Mandorla, where technology and nature, freedom and tolerance are in ultimate synchronization.

Set in the year 2099 this multimedia project, which includes a short novella, blurs the line between philosophy, mysticism, modern art, science fiction and radical political critique on what is both a diaphanous and moody groundswell soundtrack of contorting confusion and beautiful flute accompanied polygenesis magic. To suggest this album of instrumental peregrinations and odysseys and poetically conscious soulful lectures and passionate, Last Poets meet Pharaoh Sanders, declarations – courtesy of Avery R Young – can be simply classed as a jazz is to ignore how amorphous the musicality of Mitchell and her reconfigured Black Earth Ensemble is in transcending the genre. With an expansive range of instruments and sounds, including Kojiro Umezaki on shakuhachi, Renée Baker on violin, Tomeka Reid on both cello and banjo, Alex Wing on electric guitar and oud, Tatsu Aoki playing bass, shamisen and taiko, and Jovia Armstrong handling percussion, the paradise versus dystopia exoticism of the ‘awakening’ simultaneously evokes orientalism, fantasy, nature, the classical and the atavistic.

At its heart, articulating the nervous but adventurous, pinning but diaphanously elevating characteristics of the narrative, Mitchell’s flute performances are stunning and spiritual throughout, even gracious. And the direction of travel is never quite certain, but always impressive and questioning.

As a frame for this conceptual suite, Mitchell asks: “What would a world look like that is truly egalitarian, with advanced technology that is in tune with nature?” We may never know, but the tumultuous journey towards it certainly sounds magnificently ominous and beautifully experimental. Dominic Valvona


N.

Nolan the Ninja  ‘Yen’  (Left of Center)

“Aggressive, eyeballing rhymes to get you bouncing, and beats strategically picking their punches”.  RnV, Oct 17

In his bid “to retire before I’m 35” and “trying to see a million before I go to sleep”, Nolan the Ninja absolutely busts a gut to get his rhymes hurrying up his pension plan. Landing haymakers on dosed up vintage Queensbridge and clatters of muddy kicks and snares that can call up a posse from miles, the Detroit dragon slayer also knows that living by an all-or-nothing mindstate means every single syllable has to have the clarity to rightfully shatter ciphers.

Getting Royce 5’9” to guest on Calisthenics is a smart move in seeing whose chest is first to tighten, and Chess is the least civil checkmate recorded as everything threatens to spin of control. The album actually decelerates – or likelier, gives the music a chance to catch up – to show that the go-for-mine Nolan can manage the throttle when soulful drops start clearing the debris.   MO


O.

Open Mike Eagle  ‘Brick Body Kids Still Daydream’  (Mello Music Group)

“Maintaining his rightful place in the line of ghetto superheroes”.  RnV, Aug 17

Two tracks define the multi-talented emcee’s latest intricacies and humour, cosmopolitan accessibility and underground elusiveness. Open Mike Eagle draws himself from his shell by completely rewriting the rules on what it means to be hard in hip-hop on No Selling. Despite the Dark Comedy compère being a nostalgic peacekeeper for a lot of Brick Body…, capable of bringing up an argument about which condiment is king of the kitchen to prove a greater point, the album’s political piece de resistance, My Auntie’s Building, fights for what he believes in with tangible rage, a housing project held close providing the album with an explosive conclusion that might have got lost further up the album sequence.

We disagree that “everything is better when you don’t know nothing” – everyone needs Eagle in their corner – but can certainly vouch for the confirmation of “I promise you, I will never fit in your descriptions”. MO


P.

Hermeto Pascoal  ‘Viajando Com O Son (The Lost ’76 Vice-Versa Studio Session)’
(Far Out Recordings)

Thankfully surfacing forty odd years after the fabled ’76 sessions at Rogério Duprat’s São Paulo Vice Versa studio, the extemporized jazz performances of Hermeto Pascoal and his impressive Paulo troupe sound every bit as fresh and dynamic as the day they were recorded.

Held in high esteem, in the upper echelons of experimental traversing exotic jazz pantheon, anointed by a hyperbolic Miles Davis who called him “the most impressive musician in the world” after catching him play live, Pascoal’s transcendent voyages from Brazil have become the stuff of legends. Crate-diggers and jazz or indeed even world music aficionados have always salivated at the prospect of such material being found and released, and the missing Viajando Com O Son session is up there with the most desired.

Unburdened by such trivialities as time and composition, this four track suite shimmers with the celestial as it dreamily saunters through a tropical rainforest groove on the opening Dança do Pajé; quacks and quivers through a percussive bending bright organ peregrination on Mavumvavumpefoco and mysteriously and surreptitiously explores an exotic landscape, tip toeing and lovingly serenaded by magical flutes, on Natal. However, the main, twenty-six minutes long, expansive highlight, Casinha Pequenina, follows on from the previous tracks with similar leitmotifs played out and taken into ever more experimental directions: from Miles Davis to Guru Guru.

The Lost ’76 Vice-Versa Studio Session is a lush tropical jazz odyssey from the Brazilian maverick and genius that’s well worth every penny. DV


Piano Magic  ‘Closure’  (Second Language Music)

Calling time on a twenty-year career with one last swansong, the Anglo-French Baroque indie dreamers Piano Magic echo the sentiments and themes of their 2000 song No Closure on their final majestic and profound album, Closure.

Drawn to a despondent melancholy, a most diaphanous one at that, the sagacious founder member and songwriter Glen Johnson is aided in his last ever enterprise by Franck Alba (guitars), Jerome Tcherneyan (drums, percussion), Alasdair Steer (bass) and the band’s original drummer from their debut gig at the infamous Wag Club, Paul Tornbohm, now providing keyboards. Wounded and troubled as ever by the lingering traces and ghosts of past relationships and liaisons, Johnson’s resigned poetics attempt to meet head-on those feelings he just can’t seem to lay to rest: as Johnson calls it, the “mythical formal conclusion”, the need to “move on” from broken relationships is not so easy. And so he croons, “Let’s get this thing sewn up” on the Morricone meets Ry Cooder cinematic title track, knowing full well that “…you never get closure.” The supernatural echoes of a lost love, channeled through a dusty answering machine message séance, on Landline leave the singer’s voice paled and weakened; lamenting loss form the far side of the ether. Marooned as a passive onlooker to the goings-on in the backstreets of his southeast London neighbourhood, a voyeuristic, removed Johnson (in Talk Talk mode) vanishes almost completely before our very ears. The song’s sad lyrics it must be said are a most beautiful kind of misery.

Magnificent in their despair, the musicianship poised, purposeful and subtly stirring, Piano Magic’s last ever fling is one of the band’s most accomplished, and definitely one to savour. As near perfect as any Piano Magic suite can be, Closure proves that you can perhaps after all find a satisfactory ending. DV

Full review…


R.

Reverse Engineer ‘Elusive Geometry’  (Floored Music)

Both in the moniker by which the Edinburgh-based ‘sonic experimentalist’ Dave House is known by, and deduced from the title of his latest album, Elusive Geometry, we can view the sound-artist’s music as a restructuring of sounds and mechanics.

House unravels, strips and inverts his apparatus of field recordings and sampled instruments to reconstruct new, often mysterious and at times foreboding soundscapes; some of which recall Jon Hassell’s Fourth World Musics explorations: a trace of the Javanese or Malay can be heard like a veil hanging over the uneasy densely packed traverse of cascading crystal droplets, marimba and tubular echoed Proto, and a similar, familiar yet obscured sense of place can be heard on the bamboo shuttling Insider, which also features the bobbing and dipped percussion and tablas of sound-designer and producer Pete Vilk.

A transformation of House’s themes of ‘transition, self (re)discovery and moving on’, the precise chemistry of his compositions and use of collaborators – the already mentioned Vilk is joined by the jazz vocalist Matty Eeles, harpist Esther Swift and BAFTA award-winning cellist Atzi Muramatsu – sends these explorations off into numerous nuanced, but untethered, atmospheres. Masked looming leviathans, honked saxophone like probes, coils and springs, stone and vegetation, the odd guitar strike drift over or interweave through sophisticated minimalist beats and breaks – the most abstract and discordant drum break of which features on the hallucinatory Decoherence -, with the mood fluctuating between both controlled uncertainty and more deconstructive chaos.

Elusive Geometry will tease out and reveal its textures and intricacies slowly, each listen drawing your attention to some other interesting interplay and sparse sound. House has in short created a brilliant album of thoughtful, moody transitions and discovery. DV

 Full review…


S.

Miles Cooper Seaton  ‘Phases In Exile’   (Ascension Hall Recordings)

This music is a cinematic poetic recitation, an eloquent art object; sticking to the blurry lines of your shadow while you float through this existence, this street, this town-deserted-or this day, mundane. That dreamy music with the aura of a long lost ocean is the sound of the beyond: you will see, in a cloud, half stunt postures of people trying to deal with mourning. Their eyes wide open yet unsure of how to breathe. And while they exhale, the music pours as if descending from a kind heaven, nested in peace, cooing for drenched figures of the earth.

Miles Cooper Seaton is the ghost who reaches out, entrusting us with a sensation of hope and relief, tranquility, a loophole, mindfulness. Forgive and forget. In the morning dreamers try to get a hold of their visions, trying to catch a glimpse of that faint reality; Miles’ music is lingering too. It tinkles and echoes with a slowness. This is how the rhythm goes, lingering among a field of green, yellow barns, with an horizon of blue and grey shades, some drops sweep the face of a child who understands it all. The clamorous pearls are just from the fierce-y wind. Inside he is all right. The album is dense and tortured. Inside he is all right; the child has grown, and given us these notes. Ayfer Simms

Full review…


Sentidor  ‘Am-Par-Sis’  (Sounds And Colours)

A most congruous if challenging futuristic Rio de Janeiro psychogeography remix of sounds and ideas, built around the transformed cut-up samples and influence of one of Rio’s most famous sons, Tom Jobim, and his post-bossa nova peak leftfield experiment Passarim, fellow compatriot and burgeoning experimental music star João Carvalho creates one of the year’s most haunting and magnificent lush ambient suites, Am-Par-Sis.

Synonymous and celebrated for bringing bossa nova to the world, Jobim’s explorations outside the genre had gone largely unnoticed. Under his alter ego, Sentidor, Carvalho sheds new light on the legendary artist’s innovative experiments whilst also drawing on the drone, ambient, trance, funk carioca, classical and plunderphonics styles to create a uncertain multi-textured augur for future generations to ponder over.

On, what is the most traversing of ambient and collage concept albums, he poses a number of questions, such as: How would Jobim’s record be interpreted by a new generation whose connection with the past and the rest of the world has been cut? How would the record be used in creating new rituals? How can art be reorganized and rebuilt democratically? It also questions the very ideas of what constitutes as the public domain in the modern world and whether something sacred should be preserved or rather gather dust and slowly turn into something else.

Via the power of a seamless, amorphous soundtrack of ethereal pulchritude, cascading veiled piano, ether Panda Bear like voices and song, atmospheric manipulations, transmogrified melodies, whispery winds, Neu! boat trips, reversed samples and magic Carvalho sets out to mull over and articulate these questions. DV

See exclusive track feature…


Shadow  ‘Sweet Sweet Dreams’  (Analog Africa)

For the first time branching out towards the Caribbean Islands, Africa Analog turn their attention to one of Trinidad & Tobago’s most enigmatic music stars, Winston Bailey, better known as Shadow.

Previously marooned on a desert island of obscurity, panned by critics at the time and failing to sale, Bailey’s bouncing scintillating Soca-boogie and Calypso hybrid lovesick dance floor tracks were ahead of their time. Unlike anything coming out of the islands at the time, these often bright, swaying pop love spurned and springy ballads took the island’s sound into the cosmos.

Bailey started out in the mid 70s reinvigorating the Calypso genre, adding a slick production to the atavistic roots sound that made its way across the Atlantic via the slave trade, and giving it panache and a slinky radiating candour. Though originally used as a tool for social commentary, the synonymous rhythm of the Caribbean is channeled into a number of space age love songs. But despite the lamentable aspects, Bailey’s vocals are sunbaked with ripe swoon and lilting soul, fit for the dancefloor.

A missing masterpiece waiting to be (re) discovered, Sweet Sweet Dreams is simply a beautiful pop album. DV


John Sinclair & Youth  ‘Beatnik Youth Ambient’  (Ironman Records)

Synonymous for steering and kicking out the jams in his short role as manager of Detroit’s renowned rebel rousing motherfuckers The MC5, renegade poet, scholar, activist and establishment rattler John Sinclair is also remembered for his free radical zeal and dalliances with the law – leading to a short spell in the slammer. Keeping his hand in so to speak, but taking up residency in Amsterdam – a much safer bet -, the beatnik jazz sage continued, and as you can hear on this latest recording, continues, to record and perform in a host of setups with a multitude of contributors and backing bands.

The appropriately (in every sense) entitled Beatnik Youth Ambient mini LP is a foretaste, and as the title implies, ambient treatment version of material from a full-length album, released a couple of months later. The “Youth” of that title refers of course to the Killing Joke bassist turn in-demand producer Martin Glover. Arguably one of the most consistent producers over the last few decades in the UK, Glover, under his Youth alter ego, has taken on more or less most forms of music and worked on both commercial and underground experimental projects. He now provides Sinclair’s “literary synthesis” with a suitable “beatnik ambient” soundtrack: a serialism quartet of turmoil, turbulent jazz and dreamier trance.

Running through a vivid purview of postwar counterculture, bringing to life the energy and excitement that writers such as Kerouac (who gets referenced a lot) captured when seeing the Bebop jazz revolution and its great proponents perform, Sinclair delivers a magical enthusiastic experience on another track, evoking Thelonious Monk’s 1957 LP of the same name, Brilliant Corners. Titans of American beatnik and psychedelic literature lineup, Burroughs, Ginsberg and Neal Cassady (“…had the ability to park a car anywhere”, just one of his talents alongside his status as the “human bridge between the 50s and 60s.”), rubbing shoulders with jazz music’s new guard Lester Young, Byrd and Gillespie; immortalized by Sinclair to “head music” cosmos of jazzy lamenting woe, ghostly squawking and hooting saxophone and swirling mirages.

If anything, Beatnik Youth Ambient leaves the listener pining for a lost age; Sinclair’s evocative prose and delivery lifted (and cradled at times) by Youth’s congruous seething tensions and floaty dream-like production, which enthrall me to once again get stuck in to the “beat generation” and spin those Savoy label jazz totem recordings again. A prompt for the present times, the zeal of the postwar “baby boomers” (those with a soul anyway) counterculture not necessarily translating to generations X, Y and Z, even if it is needed; Sinclair’s language is nevertheless just as powerfully descriptive and energizing now as it was over forty years ago. DV

Full review…


Širom  ‘I Can Be A Clay Snapper’  (tak:til/Glitterbeat)

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

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

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

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

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

Full review…


Solo Collective  ‘Part One’  (Nonostar)

Gathered together in a congruous union under the Solo Collective umbrella, the Anglo-German partnership of virtuoso performers/composers Anne Müller, Seb Reynolds and Alex Stolze take turns in the spotlight and provide supporting roles with a cast of additional collaborators on the chamber pop meets traversing evocations suite Part One.

An interconnected triangle of familiar themes and musicality, with each musician also individually experimenting and creating their own solo pathway, in their respective field, all three artists have crossed paths and worked together previously on a variety of projects; some of which, in alternative neo-classical stripped versions, appear on this album. For instance, the original pizzicato acoustic-electronic Don’t Try To Be, from the violinist Stolze’s 2016 EP, Mankind Animal, now features Müller’s yearning emphatic cello, and is striped of its synthesizer electronics in favour of woodblock percussion and doleful low bass notes to create a more tragic and sad version.

A showcase for a particularly harmonious partnership of individuals with a pan-Europa vision of collaboration and crossing sublime musical boundaries, Part One – of what I hope will be a continuing venture – proves to be a stirring neo-classical ambient collection of solo and ensemble performances; each artists sharing and pooling their obvious talents to find a common interplay and a bond to create a challenging but mostly beautiful album. DV

Full review…


Sparks  ‘Hippopotamus’  (BMG)

Bombastically pitched as a “comeback” album, unseasonal followers and those not so familiar with the maverick siblings Sparks career may have been under the impression that the much-hyped Hippopotamus marked some kind of return from an imagined sabbatical, a retirement or an emergence from the wilderness. It was nothing of the sort of course, their last official Sparks albums may have been released in 2008 (Exotic Creatures Of The Deep) and 2009 (The Seduction Of Ingmar Bergman), yet they also went on to collaborate with Franz Ferdinand in 2015 for the mighty team-up FFS. Three albums in seven years isn’t bad, considering the rate most groups knock out records these days, and considering Ron Mael is in his early seventies and brother Russell is only a few years behind.

Maybe what the media meant was a return to form. Admittedly – apart from FFS, which made our albums of the year in 2015 – the music hasn’t quite matched the quality of their 70s output or indeed the 2002 triumph Lil’ Beethoven and the 2006 follow-up Hello Young Lovers. Hippopotamus I can thankfully say is very much Sparks at the top of their game.

The Gilbert And Sullivan of cerebral pop music takes the form to ever-new intelligent heights of absurdity and revelation. Daring to merge intellectual ideas and themes into an art form; yet never laborious, condescending or aloof, every song on this latest theatrical rock and pop suite features an infectious melody, satirical but heartfelt clever lyricism and the usual Noel Coward piano witticisms (updated for the modern age of course).

Communicating both the frankly bizarre and the almost insignificant of contemporary foibles (from the middle class anxiety of stylish furniture design, on the Kierkegaard ponders Scandinavian Design, to the difficult to usually rhyme with anything in any song, surreal assortment of metaphorical, or very real, items and figureheads tormenting Russell in his room on the title track), the Mael Brothers frame all their ditties within a melodramatic often plaintive setting of levity.

Minor concertos and pop triumphs abound, as Sparks use the usual assortment of figureheads, including Edith Piaf and an ambiguous French film director auteur, to articulate their feelings on an assortment of theatrical and operatic (the almost aria style domestic imaginings of The Macbeths on the Living With The Macbeths duet) anthems – though of course, Piaf “always said it better”.

Cleverly creating social and political satire and commentary without the rage, finger wagging and virtue signaling, Sparks remain one of the most consistent bands – or duos if you like – in music history; five decades on and still producing epic pop, the likes of which has seldom been equaled. DV


Strange U  ‘#LP4080’  (High Focus)

“#LP4080 has a deftness that allows it to be daft; a first class bizarre ride to and from the far side”. Our Daily Bread 234, Feb 17

It’s always fun and games when King Kashmere/The Iguana Man/Lord Rao starts spraying jocular, juvenile sci-fi syllables and delirious, crowd-pleasing hooks at will. When he hits hyperspace, he’s an unstoppable force of nature few can compare to – “you enjoy buying trainers, a person like me enjoys firing lasers” – though his intergalactic court jester act belies the wicked yarns he spins about our alien overlords and fantastical set-plays (environmental health, relationships, politics) that are closer than you think.

Helming a future primitive craft with Dr Zygote, mechanic to an 8-bit jalopy with head knocks and funky splutters aplenty, Strange U float through the cosmos as an entertainingly erratic two-man crew. Despite being recorded in a studio far, far away, LP#4080 has got its head screwed on with attention to the fundamentals – the MC-producer combination, prime beats and rhymes, a concept that works, and a spectacle promising multiple revisits. MO


T.

Tamikrest  ‘Kidal’  (Glitterbeat Records)

Still without a homeland, though liberated from their draconian partners, the Tuareg are once again left, as wanderers in their own lands, the unofficial guardians and custodians of the Saharan wilderness. For now only a dream, best realized and protested through music, the rock’n’roll Bedouins Tamikrest emerge once more from the barren landscape with a message of “power and resistance”, on their fourth, equally entrancing, album Kidal. Paying homage to the strategically and spiritually important cultural trading town of the title, the highly-acclaimed (and rightly so) Tamikrest exude both the sadness and suffering of the dispossessed people who cling to the southwestern Saharan hub that is Kidal: a town which has seen its fair share of fighting, fought over, conquered and reconquered over time, it remains a symbolic home to the Tuareg. This is after all the town that nurtured them and where it all began.

Preserving an increasingly endangered ancestral culture and language, Tamikrest’s cause cannot be separated from their music. Yet, rather than protest with bombast or angry rhetoric, they articulate their woes with a poetic, lyrically sauntering cadence. Oasmane Ag Mosa’s earthy lead vocals resonate deeply, even if his timbre maintains a stoic dignified pitch. Backed by Aghaly Ag Mohamedine and Cheick Ag Tiglia on backing and duets, a lulling sweetness transcends, which on occasions adds a certain romanticism to the impassioned struggle. Swaying effortlessly between the meandering and up-tempo, the accentuated dynamics of Mosa and Paul Salvagnac’s entwined, untethered and contoured guitar work, Mohamedine’s “gatherer” Djembe rope-tuned goblet drumming, Nicolas Grupp’s askew backbeats and Tiglia’s smooth, free-roaming bass lines transport the listener to the mystical topography of the desert.

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

Full review…


Tanzania Albinism Collective  ‘White African Power’  (Six Degrees Records)

In so many respects a “spiritual follow-up” to the acclaimed producer Ian Brennan’s Grammy Award-nominated Zomba Prison Project and follow-on from the equally evocative and raw Hanoi Masters sessions, White African Power attentively and respectfully draws out the repressed voices of the Albino community in Tanzania. Brennan’s productions often serve as a kind of hands-off form of creative counseling and healing; helping people to overcome trauma, such as the survivors of Pol Pot’s genocide in Cambodia. He’s renowned for being the most inconspicuous of in the field and on location producers, letting the atmosphere and elements, the moment if you like, and even serendipity bleed into the performances he captures for posterity. And the production methodology used for this latest project, recording the songs of the Standing Voice Community of Ukerewe, is no different.

A safe haven, Ukerewe, where Ian travelled to in 2016 to document their plight, is the largest inland island in Africa, only reachable by a four-hour ferry ride. Its community is, hardly surprising, haunted by their experiences. Self-conscious, avoiding eye contact, it proved a difficult task for the producer to encourage his subjects to open up. But open up they did, and the results are often surprisingly melodious, poetic, and diaphanous if raw and emotional. Far from a harrowing catalogue of despair and pity, the 23 recordings on this collection prove illuminating.

Fitting no obvious style, these amorphous performances do however resonate both with the delta blues of Louisiana and the stark, stripped down and earthy blues of South East Asia. Touches of raw African dusty tradition do appear, ascending and descending alongside gospel and soulful voices, naturally echoed, sighed and open-heartedly sung with a pure vulnerability. They’re accompanied either by stark lo fi electric guitar performances, that range from scratchy, straggly proto-punk to slower scrabbly emotive twangs, or an acoustic backing of rubber-band and bottle shaking percussion. Standing out production wise though is the classical – imagine Brahms on harpsichord transferred to East Africa in the 80s – reverberating cradling deep soulful ballad, Never Forget The Killings.

Ian Brennan coaxes another startling, eye opening, set of recordings from the victims of trauma; one that proves every bit as impressive as it does plaintive and sad. The collective will astonish, if not surprise listeners, those suppressed voices, thankfully released and given an international platform, sound emotionally honest and revelatory. DV

Full review…


Terry  ‘Remember’  (Upset The Rhythm)

The disarming world-weary punk and quirky pop touting quartet of Melbourne scenesters, banding together under the ubiquitous Terry moniker, follow up a prolific run of 2016 EPs and their debut LP with another acerbic witted, snappy melodious release of profound disenchantment and wistful “wish fulfillment”.

Continuing with the shared girl/boy dynamic of lulling, placeable idiosyncratic vocals and flexible punk, country and new wave bubblegum backing, Terry look to expand their repertoire on Remember. The combined musical savvy and experiences of band members Amy Hill (of Constant Mongrel and School Of Radiant Living), Al Montfort (UV Race, Dick Diver, Total Control), Zephyr Pavey (Eastlink, Russell St Bombings and also Total Control) and Xanthe White (Mick Harvey, Primo) push the quartet into all kinds of nonchalant mischief. The gang embraces nonplussed French new wave chanteuse vibes on the brilliant breezy, mosey country lilting, Toy Love meets Serge Gainsbourg Take Me To The City (one of the tracks of the summer), and snappy, bouncy indie synth pop on Rio. At their most raucous, rough and ready to tumble, Terry softens the edges of The Damned on both their keystone kops rave-up Start The Tape and spiky frazzling Give Up The Crown.

Suggesting nothing more rebellious than a cheeky smoke behind the bike sheds, the group’s knockabout catchy hooks and charm cloak a personal profound response to the political and personal anxieties and dramas of the times. And they do this with a certain aloof coolness and adroit ear for a great tune, making this 2017’s most melodious and catchy album of knowing pop slanted punk. DV

Full review…


Vieux Farka Touré  ‘Samba’  (Six Degrees Records)

 

A studio recording with a difference, played out and developed live in front of just fifty lucky people in Saugerties, N.Y., Vieux Farka Touré’s latest album blurs the boundaries between performance and the processes of making an album.

Ever the consummate maestro and backed by an equally accomplished band of musicians, there was some initial apprehension on Touré’s part about allowing an audience into the studio. Though we have the finished product, free of any mistakes, restarts and disagreements, it seems this audience far from unnerving the band, egged it on, with the results sounding effortless and natural. There were overdubs of course and one of the songs was recorded back home in Mali – the calabash driven Ni Negarba. But far from cutting corners or relying on the back catalogue, Touré has fashioned an entirely new songbook of vocal and instrumental material for Samba. Some of which amorphously touches upon unfamiliar influences, including reggae on the unapologetically roots-y swaying Ouaga.

Touré is as the Songhai title of his new album Samba translates, the second son of the late Ali Farka Touré, a doyen of the Mali music scene himself who left an indelible mark. If we expand on the title’s meaning, “Samba” is a byword for “one who never breaks”, “who never runs from threats, who is not afraid”. It is even said that those adorned with the name are “blessed with good luck.” Inspired by his ancestry, imbued with three generations, Touré’s album is suffused with special tributes to his family. Outside the family sphere, Touré confronts both Mali’s recent Jihadist takeover – only stopped and defeated by the intervention of the country’s former colonial masters, France – on the radiantly rippling, chorus of voices, funky blues number Homafu Wawa, and environmental issues on the dexterously nimble-fingered bluesy rock, Nature.

The almost never-ending efflux, the constant lapping waves of textures that Touré plays, which offer a cyclonic bed on which to add the deftest licks, have never sounded so sagacious and free flowing. This ain’t no Saharan Hendrix at work, this is something else entirely, and better for it. This is the devotional, earthy soul of Mali, channeled through a six-string electric guitar. DV

Full review…


V.

VVV   ‘Bozo Boyz’  (VVV)

“The trio take apart prowling club beats powered by the high beams of an 80s sportscar”. RnV, Nov 17

Preceded by Apocalypse Trent poking fun yet completely understanding modern hip-hop’s rules, the Nottingham trifecta of Vandal Savage, Cappo and Juga-Naut are a heavy rotation of individual voices.

Rhymes and word associations – pop culture, mind’s eye observations, opaque battle bars covered in enough 80s hairspray to tear the ozone layer a new one – jut out at free-flowing, at times unworkable angles, yet are held together by undeniable dope infused with a carried over drop of cheek.

Flicking VVVs at club beats, a slim line 80s synth chassis is rolled out to maximum effect (an evolutionary eye-opener for East Midlands rap fans – this won’t be their usual milk and two sugars). Both chilled and chilling, sonically Bozo Boyz lives an alternate life of soundtracking a slasher movie making a wrestler’s entrance to the ring. One of the more idiosyncratic hip-hop picks on this list, it’s VVV for victory. MO


Various   ‘Hidden Musics 4: Abatwa: Why Did We Stop Growing Tall?’
(Glitterbeat Records)

Ian Brennan, yet again, probing the furthest, most inhospitable and outright dangerous places in the world to record marginalized voices, journeys to the post genocide borderlands of Rwanda on the fourth volume of Glitterbeat Records illuminating Hidden Musics series.

Taking the unmarked, haphazard, road (less traveled) to the edges of Rwanda, avoiding the animosity and embers of vengeance that still burn and remain between the country’s minority Tutsis and majority Hutu communities, Brennan visited and recorded for posterity the Abatwa tribe’s seldom heard lament, anger and incredible soulful, if raw, blues.

The Abatwa name remains mostly unknown outside Africa, that’s because, due to their limited growth, we know them better as the ‘Pygmy’. A derogatory name loaded with infamy, yet preferred by the very people it derides, the tribe rather that put-down than (as Brennan puts it) “the official PC mouthful/post-genocidal replacement: The people who were left behind because of the facts of Rwandan history.”

What you get from this community is battery powered electronics and rusty, ramshackle dusty instruments coming together in hybrids that evoke ritual, the ceremonial but equally the blues, soul and hip-hop; all played with an undeniably emotional Rwandan verve and lilt. Make no mistake; this is performance in its most deconstructive raw form. Devoid of embellishments and overbearing production, recorded in situ with only the rudimentary elements and atmosphere for company, and it sounds great. It is nothing short of revelatory; field recordings of hope and recovery created in the face of despair. DV

Full review…


Various  ‘Pop Makossa: The Invasive Dance Beat Of Cameroon 1976-1984’
(Analog Africa)

The latest in a tenure adventure of excavating lost treasures from the African continent; Analog Africa’s main man Samy Ben Redjeb once more digs deep, sifting through a daunting mountain-size pile of records and recordings as he draws the spotlight on Cameroon’s Makossa scene of the 70s and 80s.

Originally the traditional rhythm and funeral dance of Cameroon’s Sawa and Essewé peoples, later transformed in the country’s cities as it collided with everything from merengue and rumba to Highlife and disco, Makossa, which means, “to dance” in the Cameroon Douala language, is a highly loose and adaptable style: as you will hear on this twelve-track collection of hits and rarities from the golden era of pop makossa.

Honing in on the period when makossa rubbed-up against funk and disco, this balmy dance beat compilation’s pulse is luminous and fluid and most importantly, funky. This is in major part down to some of the most smooth, bouncing, slick and relaxed but constantly busy of bass lines – Cameroon’s bass players rightly revered as among the best throughout the world – and the constantly shuffling hi-hats, tom rolls and splashing drums.

Every bit as “invasive”(and infectious) as the extended album title suggests, the classy pop massoka sound – once considered the unofficial national sound of Cameroon – is waiting to be rediscovered and let loose once again. In what seems like a recent shift in direction at the Analog Africa label, with the emphasis on the late 70s and 80s – from last year’s Space Echo collection from Cape Verde to reissues of Trinidad & Tobago star Shadow’s Sweet Sweet Dreams and the Benin solo singer Vincent Ahehehinnou’s Best Woman – this latest survey continues to unearth musical treats from the same era, albeit in different geographical settings, yet sharing many of the same production and trends traits. In short, another classy sun-basking exposé of the most sauntering, scintillating African pop from one of the top labels in the field. DV

Full review…


Vukovar  ‘Puritan’  (The Brutalist House)

Following in the tradition of their three-syllable sloganist album titles, Vukovar’s fourth LP drums home the Puritan mantra and analogies; a cleansing if you will of the status quo, a year zero, and perhaps also a return to the roots and communal deliverance of protest in music – not, I hope, the ‘puritanical’ steeple hat and buckle shoe wearing bible bashing of zealots, burning heretics at the stake, nor the bloody zeal of so many badly turned-out revolutions that end up creating just as terrible a reign of tyranny. The only fires here are the metaphorical kind; a funeral pyre of mediocrity, a bonfire of vanities, the-bland-leading-the-bland towards a conversion of raw intensity, dangerous, shamanistic performed anarchistic rock’n’roll: well I think that’s the idea.

As the band’s previous album, Fornication showed, Vukovar have at least listened to many of the right bands; released at the start of the year, this amorphous, transmogrified covers style collection featured reconfigured homages to a host of iconic luminaries including David Sylvian, Coil, The Monks, The Birthday Party and Neu!. Cultish in a manner, the band’s influences and manifesto statements of propaganda intent, plus allusions to cultural regicidal and ability to shrink from publicity – even self-sabotage any signs of success or promotion – suggests a band that takes itself very seriously. Yet even with countless references to history’s outsiders, philosophers, discontent mavericks, revolutionaries and demons throughout their previous trio of albums, and the elegiac resignation that shadows them, they waltz sublimely (for a majority of the time), rather than rage in romanticized contempt, as Olympus slowly grumbles.

Between the Gothic skulking and crystalline rays of shared 80s synth new romanticism Vukovar wander transfixed in a nightmare state of both despair and indolent antagonism; with stark lyrics more descriptively visceral than forced down the listener’s throat. Donning the vestiges of the Puritan, the front man, an amalgamation vocally of both Ian Curtis and Bernard Sumner, sets the scene (“I am a sinful man, yet an honest man”) to a backing track of slung low growled bass, Jesus and Mary Chain’s bastardize Spector drum death knells and the miasma threat of Nick Cave’s Bad Seeds on the opening inflicted and gradually ascendant Nietzsche propound Übermensch.

The most complete and best produced encapsulation of Vukovar’s sound and venom yet, balancing both their experimental raw and ritualistic live performances with melancholic post-punk, and even brooding new romanticism pop, Puritan offers a travail through the dirge and gloom of our (end) times with all its sinful and cleansing, often biblical, connotations and language. Though it also often sounds like some kind of personal tortured Nick Cave love requiem, unfolding in the midst of chaos, looking over the edge into the abyss, the heretics taking over the asylum. DV

Full review…


Y.

Your Old Droog   ‘Packs’  (Fat Beats)

“Working a number of hustles and stakes-high dice games, with a penchant for humour and words to the wise on a varied album with no time to waste”.  RnV, Mar 17

Your Old Droog’s crowning glory pays the utmost attention to album constructs. Packs is 11 tracks all vying to be the jump-off, featuring skits that help rather than hinder, and guests like Danny Brown and Edan giving the action a hot cameo.

In running his own Grand Theft Auto route through New York (if there’s ever a Baby Driver sequel, or Marvel need a new street hero, surely Droog’s your man), storylines find time to dispense worldly wisdom that you’d be foolish to leave unheeded, and punchlines show that firing from that borderline meh mouth of his, is always smarter than letting off a few from the trigger finger. A 30 minute car chase always in complete control, cool with wrenching the steering wheel off-road before resuming its day-to-day cruising, and whose crucially compact composition makes it a red letter day for the rewind button. The Nas comparisons are now ancient history. MO


Z.

Msafiri Zawose  ‘Uhamiaji’  (Soundway Records)

Handing on the baton, so to speak, to another generation, the late great Gogo Tanzanian musician Hukwe Zawose’s equally talented son Msafiri takes up the reigns on his latest album for Soundway Records, Uhamiaji.

From the heartlands of Tanzania, Msafiri in collaboration with the much-respected Santuri platform – enablers and promoters for a much neglected East African music scene – and SoundThread’s Sam Jones has created a vibrant and sauntering, drifting adventure in dub and Afrofuturism jazz from the gogo traditions. Building to a degree on his father’s own 2002 experimental collaboration with ambient electronica producer Michael Brook, on the album Assembly, Msafiri takes his heritage into new and expansive sonic territories whilst intrinsically sounding African.

Buzzy, bright, hypnotic and at times trickling like watery vibes, this amorphous album is an odyssey of the lilting, danceable, meditative and peaceable. A peregrination of mystery, a journey across acoustic and electric frontiers musically and vocally, Uhamiaji is both a most beautiful and imaginative album. DV


CHOICE  ALBUMS/EPS  OF  2017  PART  ONE:  A – L
SELECTION/WORDS:  DOMINIC  VALVONA  &  MATT  OLIVER





The decision making process: 

Continuing to shy away from fatuous rating systems and ‘best of lists’, the Monolith Cocktail endeavors to offer a more eclectic spread of worthy ‘choice’ picks, with no album dominating or holding any particular numbered position – unlike most of our contemporaries lists stuck with the ridiculous task, for example, of explaining why one album is more deserving of their fatuous number 32 spot than another.

Lined up in alphabetical order then, our favourite new and reissued albums and EPs from 2017 are of course considered to be the most interesting, vibrant and dynamic of the year’s releases. But the best? Granted, to make this list you have to have made some sort of impact, but we’d never suggest these entries were categorically the best albums of 2017, even if that might be true. Instead our list is an indicator of our amorphous tastes, rounding up a year in the life of the Monolith Cocktail, and we hope, introducing you to titles and artists/bands that may have dropped below the radar or got lost in the noise of more commercial better promoted releases.

 

The Context: An Age Of Hysteria. Dominic Valvona

The silent majority to the wrath and often derision of a mouthy, louder, minority carried on defying and surprising the establishment on both sides of the political divide in 2017. The ‘outraged’ of Tunbridge Wells in the letters pages of yore has been replaced with the ‘outraged of social media’, as the year’s unofficial collective anxious end times tagline #losingourshit replaces moderation, distance and analyses: comment before taking it in fully and reading without prejudice.

Context is thrown out the window when the instant gratification of outrage surfaces.

Despite the rolling news miasma of events feeding into the social media vacuum that has now, more or less, become impossible to ignore or leave; despite the encroachment on every facet of our daily lives by technology and the progressive zealots augurs of a complete matrix like synchronization with our gadgets and tech, the fact that people can be bothered to release music on vinyl still, let alone cassette tapes, is heartening, even if the naysayers bemoan that it’s a gimmick, mostly repackaging old material and reissues or an excuse to charge a lot of money for the tactile and physical. The death of everything physical – from books to newspapers, vinyl to CDs – has always been exaggerated; fueled in hope more than actual demand by the camarilla of Silicon Valley.

Still, streaming is fast becoming the most popular model, even though hardly anyone is benefitting – even Spotify, whose business model is particularly hostile towards the artist, is branching out into other industries, including makeup, because though their value is constantly marketed as high, they have failed to make a profit. Soundcloud, running ads now, is constantly teetering on the edge of folding. And the high expectations, glossy launch of the artist love-in Tidal has failed likewise in changing that model, currently languishing way behind its rivals. Bandcamp meanwhile remains the best choice for artists at present, and gives more control to those who use it. Yet, Bandcamp have recently moved into marketing those who frequent its site, writing roundups and blog posts, moving into a promotional critic’s role. How far this will go is anyone’s guess, I’m a little uncomfortable myself with its implications, its method of choosing the worthy from its vast catalogue, and what incentivizes them. How any of these platforms will hold-up going into another uncertain year politically and economically is anyone’s guess, yet despite the constant harping and expectancy of one of these sites and many like them to close, they’ve all managed to limp on regardless.

A teetering stasis between the physical and the digital exists for now. Writing anyone off at this stage would be foolish.

 

History is a marvelous scholarly pursuit. Yet anything past the year dot of social media’s conception is either revised to fit contemporary fashions or discarded totally. And so a sense of perspective is needed more than ever, especially up against the worrying diplomatic and military developments taking place throughout the Middle East, Europe (both at the very heart of the EU, including Brexit and with the unfolding independence row in Catalonia, but also Russia’s continuing moves and baiting in the Ukraine), Central and South America and Asia.

We also have the march of the robots and automation to consider, the impact of which will take a little time to filter through but will eventually change all our lives, not necessarily for the better – the most repeated mantra that it will only replace the most monotonous, labour intensive and under resourced job roles shtick is evidently untrue, as automation, bots and the programs being designed and rolled out are coming not only for the middle class occupations but all our creative roles too.

Unsurprisingly much of the music that has been released in the past year reflects the ‘fake news’ obsessed, Trumpism, post-postmodern era in which we find ourselves, some brilliantly, others whining and melodramatic – the cyclone of #metoo and the mounting charge sheet of sexual assaults and misdemeanours stacking up against men in, it seems, most industries is live, but yet to filter through yet on record (well there are few exceptions of course). Not many artists offer answers, certainty or solutions though. And some would say that we’re missing the venom, bite, and the rebellious streak that defined the spirit of rock’n’roll, punk and hip-hop.

And so below, the albums and EPs chosen by myself, Matt Oliver and Ayfer Simms reflect the concerns, protestation, lament of the times in which we live: for better or for worse. And not just from the myopic view of the UK, Europe and North American music scenes, but also from Africa, South America, Australasia and Southeast Asia. The Monolith Cocktail has always done its utmost to draw our readers attention to what’s happening outside the Western dominated music industry, and this year’s two-part feature includes artists as diverse as the entrancing Algerian/Tunisian Bargou 08 and Moroccan Gnawa legend Maalem Mahmoud Gania.

So without further ado…here is the first part of this year’s ‘choice albums’ feature. Part two will follow in a week’s time, and our final Quarterly Revue Playlist the week after that.

A.

Yazz Ahmed   ‘La Saboteuse’   (Naim Records)

Encapsulating the dreamy enchantment and exotic peregrinations of her Bahrain heritage with the polygenesis jazz scene of her London home, soloist, collaborator and composer extraordinaire Yazz Ahmed takes us on an evocative, transcendental at times, voyage with her new album, La Saboteuse.

Working with everyone from Radiohead – who’s Bloom track is covered by Yazz on this imaginative Arabian suffused suite – to These New Puritans, from Lee ‘Scratch’ Perry to Amel Zen, trumpet virtuoso – though she seems to be proficient with most wind and brass instruments, including the flugelhorn – Yazz steps out to lead her own small troupe on her first solo album since 2011’s Finding My Way Home. With Shabaka Hutchings on bass clarinet and Naadia Sheriff on Fender Rhodes piano, she lingers in an entrancing and often mysterious world of magical brooding vistas and dusky silhouetted sand dunes.

Isolated trumpet lingers and wafting meditations and traverse style vignettes are placed between longer performances of spiritual and Miles Davis sublimity, as Yazz guides us under the starry skies of Arabia and beyond. Dominic Valvona


Tony Allen  ‘The Source’  (Bluenote)

The divine rhythm-provider to Fela Kuti, trustee of the Afrobeat groove, Tony Allen has, and not before time, been recognized for his ability to transcend the style he’s rightly venerated for. Hardly surprising to find him furnishing the jazz tastemakers choice label, Blue Note, with an impressive hybrid album of both – though arguably Afrobeat and jazz have influenced and inspired each other over the decades.

Releasing a four-track homage earlier in the year for the same label, a nod to one of his inspirations, Art Blakey (A Tribute To Art Blakey And The Jazz Messengers), Allen traverses that Blakey swing and the sound of the Savoy label via Lagos and the Parisian joints of the city he has called home for years on the polyrhythm elasticated The Source. Joining him on this enterprise is a band of Paris jazz musicians and the Cameroonian guitarist Indy Dibongue providing the licks, as well as the odd guest spot, including Damon Albarn’s low key contribution to the heralding Kuti funk Cool Cats – a reference no doubt to ‘Sir’ Victor Olaiya’s highlife band of the same name that Allen was hired to play claves for in his early career.

As I say, it has the swing, it has the funk, it has the jazz, and most definitely it returns to the source. Allen bends morphs and pushes those rhythms beyond showboating to produce a remarkable fusion and synergy. DV


Chino Amobi  ‘PARADISO’  (UNO)

Looking out from the balcony of a crumbling civilization, reciting a chilling poetic melodramatic transmogrification of Edgar Allan Poe’s The City In The Sea, as tumultuous storms and waves, the sound of seagulls, the crashing of towers fallen into the sea and gargling howls conjure up all manner of Chthonian trepidation, Chino Amobi’s displaced stark and bleak electronic collage soundtrack PARADISO begins as it means to go on.

The Richmond, Virginia artist has dropped his Diamond Black Hearted Boy moniker in favour of his own name for this expansive plunge into the void. And what a dark world it is to discard masks and alter egos in.

A co-founder of the NON collective of African artists, and of the diaspora, Amobi’s remit is focused on ‘using sound as’ the ‘primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power. The exploration of ‘non, prior to the adjective gives intel into the focus of the label, creating sound opposing contemporary canons’.

This translates in the short concatenate serialist style vignettes and passages of worrying trepidation, heavy thumping, bleak, chilling and uncertain twisted minimal electronica, concrete, post punk, Foley sounds and experimental dystopian vistas. A long list of NON collaborators make appearances on this disturbing, at times violent, end times suite, whether it’s through narrated passages, occasional erratic and gauze-y raps or radio show interjections.

A contorted reality awaits, a world without end. Are we circling the void or already in it? Meanwhile crows feed on the flesh, heralded fanfares sound and bestial cyclones blow us off course from Paradise Lost into a sonic chaos. Yet, we’re not so lost as to be totally incapable of redemption; and the ill effects, as the glimmers that do appear allude and Amobi himself has suggested, are reversible. DV


Austra  ‘Future Politics’

Imbued by, amongst others, the work of Nick Srnicek and Alex Williams and their manifesto for the end of capitalism tome, Inventing The Future, which calls for and envisions better days for all of us – an escape from the toxic neoliberalism that has defined that last twenty years -, the Canadian synth siren Katie Stelmanis creates a most encapsulating, pining and beautiful glossy synthesizer pop opus on Future Politics.

Written before the Trump victory of 2016 and the spiraling decay of both political and societal moderation that followed in its wake, Stelmanis, under her Austra persona, has inadvertently synchronized her angelical and suffused dreamy pop swooning airs, arias and coos to the anxious end times.

Stelmanis excels, as you will hear for yourselves, in evocative and cool glimmer-of-hope dreamy minimalist electronica pop. She strips away any excess this time around, going further than usual in producing a starker but highly melodious, trance-y and vaporous swooning melodrama fit for the club and heart. DV


B.

Bargou 08  ‘Targ’  (Glitterbeat Records)

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

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

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

Full review…


Beans  ‘Love Me Tonight’  (Tygr Rawwk Records)

 

Returning after a short hiatus with a highly prolific fervor, the founding member of the legendary Anti-Pop Consortium leftfield hip-hop troop Beans has made a sort of triple album comeback; putting out a triumvirate of bold, salacious, congruous and provocative records all within a few months of each other. It’s hard to choose but preference dictates that it is the middle of that trio Love Me Tonight that edges it.

A futuristic gleam of eeriness and trepidation hangs over proceedings as Beans travails Cliff Martinez meets Daft Punk club, torture chamber chiming gloom, Super Mario jazz acceleration, Exorcist organ and female led R&B. Changing moods convincingly each and every time, you think you’re getting a Kanye West style dancefloor disco rap album one minute, the next, a dystopian cerebral hip-hop ride into the abyss.

Reading out prose, narratives, scripts and passages like a rap ‘beat poet’ (as well as recording Beans has also released his debut novel, Die Tonight, this year) Beans spit is almost like abstract narration; lyrics broken down into compounds like chemistry and descriptive soliloquy.

In keeping with rap music’s provocative of featuring a roll call of collaborators and guests, Elucid and the Kid Prolific chide in on the hiccup scratching, “that dream is over”, – and perhaps my favourite track of Beans – dark chiming Waterboarding, and the darkwave R&B artist Prince Terrence adding the right soulful yearning tones to the Talons love-in, and pep to the club pumped opener, Apeshit.

Passing lyrical dexterity and abstract thoughts on all the ills currently spinning round in the tumult vortex of 2017, but also carrying on a theme of domestic abuse through a number of tracks, with a running forensic detailed commentary on a father and son crime scene on the disturbing V.X., Beans Love Me Tonight seems like a cry for help, or at least an attempt to make sense of it all. Though at times the lyrics are outright schlock pornographic, and accent hardly plaintive. In a manner it’s a tease, attracting certain condemnation as well as respect. DV


Big Toast & Ill Move Sporadic  ‘You Are Not Special’  (Starch Records)

“Blocking today’s culture of aspiration with dollops of common sense; a specialist subject for this year’s UK curriculum that won’t fail you”. RnV, Aug 17

In these troubled times we need assurance and support more than ever. Big Toast and Ill Move Sporadic are not the knights in shining armour the situation requires, rerouting British bulldog spirit by mapping out modern reality more genuine than a million so called keep-it-realists. With one of the great voices to dwarf the mic on his way to becoming his own protest march, Big Toast hammers home the black and white of life ten times over, a dismissive totem who won’t budge for anyone and will battle any life aspect until it’s crying back to its casting couch.

IMS has the cheek to throw in a couple of slow jams to tuck you in when Toast is tucking you up, otherwise coming out swinging from the first bell and landing tooth-loosening one-twos. Anti-motivational speakers who will get your arse in gear, and what the youth of today should be listening to. Matt Oliver


Black Angels  ‘Death Song’  (Partisan Records)

If you were looking for a creative musical reaction to Trump and the anxious times we live in then The Black Angels beautiful apocalyptic Death Song must be one of the most anguished and daemonic of responses. The Austin psych-rocking overlords first album in four years was written and recorded during the miasma of the US elections after all: and doesn’t it show!

An emotionally charged despair and anger with moments of catharsis, carried out to a Byzantine flavored soundtrack of esoteric Amon Duul II and Far East Family Band psych, a vortex of 80s Goth inspirations – including The cult and Siouxsie and the Banshees – and the tolling chimes of doom and drone, Death Song is, as the title suggests, a heavy, but most excellent trip.

Brooding romantically in Gothic tragedy as the world continues to turn, undaunted by the prospects of universal uncertainty, The Black Angels spread their wings magnificently on what is, perhaps, one of their best albums yet. The leviathans of the psych-rock scene have learnt much and after a recording hiatus return with something sharper, refined but just as mystical and hallucinatory. DV

Full review…


The Bordellos  ‘Love, Life And Billy Fury’  (Recordiau Prin)

Prolific, if haphazardly, dropping albums upon the unsuspecting, and quite frankly undeserving, public at a whim, St. Helen’s greatest dysfunctional family bring us one of their most ambitious collections of cynical derision and honest yearned anxiety yet: a kind of Joy ‘de vive’ Division.

More or less The Bordellos love songs collection, this latest lo fi affair – that makes even The Fall sound professional – is a raw opening of the heart, and in some cases, the veins. Transmogrifying Spector’s voices of the beehives (The Crystals to The Ronettes), the Spacemen 3, The Cure and, of course, The Velvet Underground, The Bordellos eulogize the nearly man of British rock’n’roll, Billy Fury, craft (perhaps) one of their most beautiful ballads, Starcrossed Radio, and pen a “speeding train” metaphor themed ode to breakups.

Romancing the stoned, the life, loves and failures of rock’n’roll are laid bear and as usual, ignored by an unsympathetic, disinterested public. But despite mostly alluding recognition and validation (because that seems to be all that matters in the social media age: affirmation from the echo-chamber of peers), The Bordellos mope and grind on, producing some of the most important diatribes and, in this case, scuzzy, dirge-y and primal garage band spirited love-pained grievances. DV

Full review…


Brother Ali  ‘All the Beauty in This Whole Life’  (Rhymesayers)

“A triumph of crowd gathering words to the wise meets devil’s advocacy, guaranteeing end of term honours”.  RnV. May 17

In these troubled times we need assurance and support more than ever. Comparing two of 2017’s most prominent protesters, Joey Bada$$ (on All Amerikkkan Bada$$) got you to show your colours while keeping it funky. Brother Ali on the other hand was there so a circle could form around him when handing out affirmative rhymes that wouldn’t sound out of a place around a campfire, promising the “type of love you can’t type with your thumbs”.

Without detracting from the former, it’s the latter’s warmth that makes him sound like he’s talking to you one to one, and where a rapt audience will follow, that gets the nod; a soft, grit-speckled delivery assuring everything’s gonna work out even when he’s recounting history lessons to the contrary. To a backdrop of blazing suns starting to dip and winter huddles taking shape thanks to great cleanse and polish from Atmosphere’s Ant Davis, it’s confirmation you should always put faith in Brother Ali’s hands. MO


C.

Dr. Chan  ‘Southside Suicides’  (Stolen Body Records)

Like some obscure French exchange garage band of students – the kind you’d find if it existed, on a European version of the Teenage Shutdown! compilations – hanging out in the 80s L.A. of plaid shirt and paisley bandana fatigue wearing skater-punks, Dr Chan are an abrasive and coarse mix of renegade petulant inspirations.

Essentially powered by garage rock and all its various manifestations, the group from the south of France hurtle through an up tempo and raging backbeat of The Chocolate Watch Band, The Standells, The Rationales, Black Lips and Detroit Cobras. The difference here is that they also throw in a miscreant Molotov of thrash punk, courtesy of Fidlar, and “death rap” – cue Florida’s $uicideboy$ and their dollar sign typeface indulgence – into the riot on their Southside Suicides protest. It gives the Chan’s brand of garage band mania a different intensity and drive: more screaming in a ball of flames spikiness than tripping psych.

Riled and obviously pissed about the current state of affairs both at home and overseas, Dr Chan’s rage and insolence is in keeping with the primal spirit of rock’n’roll: fun, fun, fun! It’s a blast. DV

Full review…


Oliver Cherer  ‘The Myth Of Violet Meek’  (Wayside & Woodland)

Set in the Forest of Dean, this lamentable concept album (billed as ‘part-fiction’ ‘part fact’) from the man behind Dollboy, Oliver Cherer, weaves the dreamy folkloric story of the tragic protagonist Violet Meek (a play on words of ‘violence’); mauled to death or not by the dancing bears of a visiting circus troupe in the twisted and, musically alluded ominous maybe magical, tree thickened woods. Based we’re told on a vaguely real event that happened in the 1880s, Cherer’s story isn’t just a vintage walk in the past and melodic indictment on the cruelty of Victorian society towards women, but draws parallels with the continuing issues of inequality, chauvinism and mistreatment still prevalent in our own times.

This is an unforgiving unflattering portrayal of England, a nascent nostalgic one with little room for equality and the presence of outsiders, but every bit as revealing about our present. As lovely, often dreamily so, as the music is the 70s pastoral accompaniment is often trembling and quivering, the fiddles distressed and bewitchery, enticing us into a esoteric psychogeography that features a languid brushed backbeat and Morris Dancers like flourish around the maypole on one song, but finds evil in the idyllic scenery on another.

In short, it is a most stunning, ambitious and beautiful minor opus. For those who like their folk and pastoral eerie and esoteric. DV

Full review…


The Church  ‘Man Woman Life Death Infinity’

To infinity and beyond, Australia’s stalwart alternative rock and pop guitar romantics The Church, nearly thirty years since their inception continue to breathily produce quiet masterpieces; continue to experiment and explore new sonic textures. Travelling into the ethereal, the sagacious Man Woman Life Death Infinity is a suffused glide and traverse of air-y vapours and misty mystery; beginning with the opening, soaring minor opus Another Century, sustained throughout, with each song materializing out of the ether.

Reflecting but an unconscious inspiration, The Church’s founding member Steve Kirby calls this album the group’s “water record”. Though all the characteristics of water, trickling chords, cascaded dripping notes and a sense of floating are all correct, this dreamy pop and transient songbook seems to leave the ocean floor and rivers for something more astral. Songs such as Submarine for instance seem imbued with a spirit of the Kosmische. Yet fans of the group’s staple of pop guitar swan songs and subtle psychedelic 80s lovelorn classics will love Before The Deluge and I Don’t Know How I Don’t Know: both of which show traces of that college rock meets garage riffage that arguably inspired or was picked up by The Stone Roses.

Still writing timeless anthems without lazily reverting to the back catalogue, still pushing forward after four decades, The Church can still illuminate and surprise. This, there 26th, album is anything but jaded. If anything it seems that The Church are still very much in the game, and able to balance familiarity with discovery.  DV


Clap Your Hands Say Yeah  ‘The Tourist’

Inimitably jump-starting a cerebral indie-pop scene in the mid noughties with his unique off-kilter melodies and quivered, yodeled vocals, the fiercely independent, Alec Ounsworth created major ripples with his nom de plume, Clap Your Hands Say Yeah’s self-released debut in 2005.

Ounsworth stumbles and ponders through a “post factual” strewn world of challenging emotions trying to make sense of it all on The Tourist. At times the album title could even be said to act as a metaphor for the artist’s own estranged and removed soul-searching: a tourist in his own country. Despite some sad and profound pathos heavy lyricism, Ounsworth’s “purging” of thoughts is meant to be a cathartic experience. The anxieties of our times can’t help but leak from every other line, yet this album is a fairly warm, jangly surprise package of lolloping and anthemic songs.

Building and soaring to an emotive brightened crescendo of sweetness and yearning on The Vanity Of Trying; contorting and bending guitar textures in a Robert Fripp fashion on the psych-pop gnarled Down (Is Where I Want To Be); and, up close and personal (every breathe audible) to the mic, driving through an 80s nocturnal rock ballad on Better Off, the inimitable Ounsworth careers through a full gamut of moods and chaos in the most natural and energetically purposeful way.

Clocking in at well under the forty minute mark (bands and artists take note) The Tourist is an unlabored, near-perfect melodious album. It says all it needs to and more; free of indulgence, and despite its bombast, sophisticated suffused layering is incredibly lean and brisk. A most enjoyable if poignant experience, this album already sets the benchmark in 2017, and is without doubt one of CYHSY’s best. DV

Full review…



Anna Coogan  ‘The Lonely Cry Of Space & Time’

Not the easiest of bedfellows, difficult to love and often (rightly) condemned as indulgent and overblown, but the worlds of rock and opera do occasionally overlap in a congruous union. The unquestionably talented Anna Coogan for instance, mixes the two majestically, using her finely trained 3-octave soprano and classical background to offer fluttering siren-like arias that seem to surreptitiously manifest from, what is, an ever-changing metamorphosis of musical styles, on her latest album, The Lonely Cry Of Space & Time.

Inspired by scientific discoveries, a “childhood listening to Puccini’s La Boheme”, the fateful poet Sylvia Plath, the tumultuous grave mistakes of intervention in the Middle East and, no surprises, the 2016 US elections Coogan’s ambitious suite of songs and instrumental evocations is far from lofty and classical.

Spanning country, Ry Cooder desert meditations, Anna Calvi like trembled sensual emulations, PJ Harvey and even bubbly synth pop, Coogan together with musical collaborator Willie B – offering atmospheric Moog bass line undertones and drums – produces a ‘wave’ fixated lamenting and balletic travail and a surprise highlight of 2017. DV

Full review…


D.

Daniel Son  ‘Remo Gaggi’  (Crate Divizion)

“Toasting the high life and low lives, gangster rap bearing honourable intentions”. RnV, May 17

Canadian slick talker Daniel Son is the front for this, one of many Giallo Point heists that the UK producer ran during 2017. With the authentic mob experience evident in such titles as Flat Tyers, Car Seizures, Strippers Den etc and the kingpin adoring the sleeve, it’s instantly noticeable how dry GP’s noir-ish production is; sharply tailored loops of muted house band jazz that has seen nefarious comings and goings, but are gagged by confidentiality agreements and the fear of loose lips sinking ships.

Potent in what it doesn’t disclose, display one bead of sweat and you’re in trouble. Before you know it Daniel Son – “we the reason that the yacht insurance be going up” – has decked you with a leg sweep before disappearing back into the night. While it’s easy to apply Godfatherly stereotypes to Remo Gaggi, the style of this international union contrasting brash and diligent, compellingly separates the best from the rest. MO


Dope KNife  ‘NineteenEightyFour’  (Strange Famous)

“An absolute battering ram of four wheel drive blasting through the boggiest of boom bap. Big Brother would think twice about listening in”.  RnV, Feb 17

We’re not trying to discredit Dope KNife by saying that NineteenEightyFour is an almost unfashionable antidote to tween trap, happily, mercilessly fanning the flames of the very 2017 argument of what constitutes real hip-hop between upstarts and originals (and if there’s an argument abound, it’s only right that Sage Francis is tagged in as well). Far from an Orwellian vision yet probably something of a dystopia to some as he walks with an intimidating shadow, DK comes slathered in dirt, ready to punch you in the ear with a splattered larynx.

As a one-man steamroller on beats and rhymes it’s not an exact science, but that’s absolutely fine with us, the battle-hardened, bitter-as-blasé (yet also able to reference the Fresh Prince theme tune) Georgia emcee leaving competition standing (“I can’t help being a damn cynic, this damn planet got a fucking lot of wack in it”). MO



The Doppelgangaz  ‘Dopp Hopp’  (Groggy Pack)

“A drop of ‘Dopp Hopp’ a day will keep the haters away; will creep up on the button marked ‘repeat’ until it progresses to heavy rotation”. RnV, Jul 17

Despite the sub-Gothic sleeve looking like the NY pair are auditioning badly for a death metal gig, Dopp Hopp ranks high on this year’s list on the strength of its smoothness alone. “Live by the cloak, die by the cloak” say The Ghastly Duo; but the mystery ends once their views from West Coast low riders, developing a smoky lens that’s intoxicating but never fuggy, embrace the inevitable sunshine.

Also readymade for reminiscing as on E.W.W. and Strong Ankles, the ‘Gangaz have set themselves the relatively easy task of riding the vibes properly, and they oblige with a natty turn of phrase prepared to shift towards the nearest street corner at their leisure. Dopp Hopp is another feather in a cap looking more and more like the crown jewels. Beats and rhymes guarantee return visits to golden-edged climes, where you simply have to rewind the boast that “if ‘Dopp Hopp’ was a beer, it’d be an IPA”. MO


75 Dollar Bill  ‘Wood/Metal/Plastic/Pattern/Rhythm/Rock’
(Glitterbeat Records)

This album could have rightly qualified for last year’s feature, but re-launched, repackaged for Glitterbeat Records’ burgeoning new imprint tak:til, 75 Dollar Bill gets another shot: mainly because it slipped under most radars on its maiden voyage in 2016. Now in 2017 with a hopefully wider global release it will shine.

Adhering to Jon Hassell’s “fourth world music” blurring of the division between futurism and tradition the 75 Dollar Bill duo of NYC-based musicians Rick Brown and Che Chen, traverse the psychedelic desert rock and trance of the Maghreb, avant-garde, jazz and even swamp boogie delta blues in a most indolent but listless transient manner on W/M/P/P/R/R. Motivated by an interest in “compound meters” – meter involves the way multiple pulse layers work together to organize music in time; a compound essentially dividing the beat into three equal parts -, but playing in a fashion that feels natural and organic, the follow-up to 2015’s more “forward momentum, stomping and shaking” style Wooden Bag is a nuanced clever exploration of interconnected tonality and tactile responses to a wealth of harmonics and melodies from a pan-global array of influences: from modal jazz to Arabic modes and eastern scales.

What they produce is an often adumbrate, repetitive experience that builds gradually, slowly releasing various tangents of interplay between the principle duo and their extended backing group of friends; traversing genres and moods to evoke new expletory musical spaces. DV

Full review…


E.

Ester Poly  ‘Pique Dame’  (Ikarus Records)

Experimentally rocking the cantons of their Swiss home for a while in their respective separate outfits, Béatrice Graf and Martina Bérther unite as an unholy drum and electric bass alliance under the Ester Poly (a scramble of ‘polyester’ of course) banner.

Pitching generation X(er) Bérther with Y(er) Graf, this rambunctious vehicle for the duo’s feminist protestations and irony is hardly hampered by the limitations of their chosen drum and bass instrumentation, and hardly comparable to any of the many such similar combinations plying their trade. Instead, Ester Poly use a stack of effects and distortion tools to widen their sound spectrum; evoking hints and obvious homages to post-punk, art school, Jazz, doom rock, heavy metal, no wave and Krautrock in the process.

Recorded in more or less one-takes, both combatants facing off against each other in the studio with no headphones or click track, Pique Dame captures not only the lively, hostile and enraged but also the humour (even if it is dark and resigned) of this energetic union. Despite the raging tumults, dynamism and soundclash of ideas, this album is a steady and even showcase of festering ideas and moods. It’s also quite brilliant and encapsulates the ‘pique’ perfectly; arousing, curious and irritated! DV

Full Review…


F.

Faust  ‘Fresh Air’  (Bureau B)

Still banging the cement-mixer drum and manning the barricades after forty odd years in the business, the Jean-Hervé Péron and Werner “Zappi” Diermaier duo version of Faust – at its most base drummer/percussionist and bassist-come-tormentor of sound – and their latest protestation Fresh Air is a sort of art-provocateur road trip of the USA, featuring an abundance of locals and internationalist artists and musicians, picked-up on the way through New York, Texas and California: A counter-cultural agitation travail from coast to coast.

Featuring the usual Faust totems and that workmanlike methodology of extracting sounds and evocations from machinery, found objects, debris and the architecture – even Péron’s front door hinges from home make an appearance – Fresh Air is an urgent gasp for relief from the polluted, choked, environment. It’s also a highly convoluted attempt at transforming geometrical forms and abstractions into a sonic score. Three of the tracks on this album take their inspiration from a faux-workshop at the highly regarded California Institute of the Arts. A session that includes the loony 23-second vocal exercise symphony Partitur – defined loosely as “a sort of Dadaist choir, a musique impressionniste” by Péron –; the loose Slits do souk jazz, camel ride Chlorophyll, which features Barbara Manning “sneaking” in word association sketches alongside Zappi’s own strange utterings; and the saxophone squalling, motoring Lights Flicker, which again features Manning, bridging the role of Laurie Anderson and Patti Smith, repeating an agitated mantra over a quasi art-dance backing.

Continuing with their signature agitation, often menacing, call-to-arms whilst also sonically turning the abstract into something audible, Péron and Zappi can still be relied upon to create provocative statements, five decades on from when the original Faust dynamic barraged audiences with the most confrontational and experimental sound ideas. Struggling like the rest of us, but finding a comradely with another generation of artists and musicians, they look for hope in the miasma. DV

Full Review…


Craig Finn  ‘We All Want The Same’  (Partisan Records)

Occupying a rich postmodern American literary landscape, channeling such celebrated chroniclers as Bruce Springsteen and Vic Chesnutt, former The Hold Steady, and prior to that Lifter Puller, front man Craig Finn has in more recent years carved out a career as a successful solo artist. In true Springsteen style, though with far less guttural bombast, Finn brings a certain levity and importance to the lives of America’s “ordinary folk”, building a highly erudite diorama to stage the unfolding, and to outsiders, the often inconsequential dramas that are acted out across the States on a daily cycle.

Subtly tapping into the “liberal” creative psyche of America, one that’s still in a state of shock, but also the so-called “blue collar” America that put Trump in the White House, Finn doesn’t so much point fingers or berate as reflect the resignation of a cast on the peripherals of society.

Enriched with the graceful subtle presence and soaring vocal harmonies of Caithlin De Marrais and singer/songwriter Annie Nero, the keys of Sam Kassirer, swaddling and lifting horns maestro Stuart Bogie and longtime contributor from The Hold Steady, guitarist Tad Kubler, the musical backdrop is a mix of rolling Warren Zevon piano psychodrama, bluesy rock’n’roll and Ashbury Park period E Street Band brass. A solid performance and assiduous edition to the modern American songbook, Finn’s third solo album shows a full-bodied, sagacious artist at his pinnacle. DV

Full review…


G.

Maalem Mahmoud Gania  ‘Colour Of The Night’  (Hive Mind Records)

Maalem Mahmoud Gania, the near-exulted star of the Moroccan honed Gnawa – a style of traditional Islamic dance, music and poetry with roots spread across the sub-Saharan crescent of Africa; considered by many to be one of the origins of the “blues” rhythm – and artisan of the genre’s key instrument, the camel-skin covered three-string lute like “guimbri”, released an extensive catalogue of recordings for labels such as Tichkaphone, La Voix El Maaref and Sonya Disques.

Choosing such a revered icon with which to launch their inaugural new imprint Hive Mind Records, the Brighton outfit’s inaugural baptism is the legend’s final studio recording, the afflatus, entrancing Colours Of The Night. What makes it special is that this is the first solo release by the artist outside his native homeland to be released on vinyl.

Stringy, wiry, occasionally a tone or two lower and played like a quasi-bass guitar, Gania’s playing style is raw, deep and always infectious: from blistering solos to slower and lighter ruminating descriptive articulations; this is equally matched by his atavistic soulful voice and the chorus of swooning, venerated female and male voices and harmonies that join him on each track.

Colours Of The Night is a highly hypnotic collection of performances both magical and transcendental, beautifully traversing Arabia and desert blues traditions. DV

Full review…


Golden Teacher  ‘No Luscious Life’

Seeming to just follow wherever the groove takes them, whether it’s ESG uptown/downtown Boho Noho Soho New York, electro Afrobeat, the griot traditions of West Africa or 80s Chicago House, the polygenesis influences of Glasgow’s sonic multilingual Golden Teacher sextet seamlessly entwine to produce the most solid of on-message dance music.

Flexing and limbering to a hip 80s heavy melting pot of sounds and references, the Glasgow troupe move like liquid through a soundtrack of polyrhythms, acid and tight drum presets, oscillations, clean and not so clean futuristic galactic house funk. Not many groups can inaugurate and move between both the Senegalese griot matriarch Aby Ngana Diop and Cabaret Voltaire on the same album, but such is the myriad of musical backgrounds, and they encompass every kind of genre you can think of, of the band members that make up this loose collective, you’re never quite sure what you might hear next.

Though rhythmically and melodically, pumping and sonically doing all the talking for them, there are succinct, atmospheric vocals from Cassie Ojay and Charles Lavenac to give either a certain sway and louche entrancing quality or, as on the opening Afro-funk meets pumping House Sauchiehall Withdrawal – a reference to one of Glasgow’s most, famous and popular main thoroughfares, with everything from the Glasgow School Of Art and CCA art hub of venues and galleries to shopping and nightclubs on its mile and a half long strip – a soulful austerity groundhog day political context: dutifully working the daily slog and for what?!

Moving to Glasgow, from about as far south of the border as you can go, a couple of years ago, one of the first gigs I saw was a sort of impromptu, diy style, performance from the group at The Old Hairdressers in town. Improvised to a degree they caught the wide-eyed excitement and dynamism of an earlier time as if it was fresh and new. A must-see live turn, the group has, unlike so many others before them, captured that free spirit and looseness on record. Yet production is really slick.

The city has always enjoyed a reputation for the eclectic, and Golden Teacher more than most, encapsulate that cross-pollination, borderless approach to absorbing music from across the globe – from The Levant to Compass Point – and making it funky. DV


H.

Happyiness  ‘Write-In’  (Moshi Moshi)

Ah…the sound of a band embracing the heartfelt warmth, accentuated dazed melodies and special feel of such 70s fare as Randy Newman, Harry Nilsson and Big Star, Happyness evoke the hazy fond memories and subtle sophistication of these and other complimentary artists on their brilliant album Write In.

The opening Falling Down gambit, with its radiant phaser guitar, conjures up the Scottish indie supremos (and fellow Big Star acolytes) Teenage Fanclub, whilst the pastel-shaded saddened tone of The Reel Starts Again sounds like a lost, ghostly remnant of a George Harrison and Jeff Lynne malady. A touch of the Brighten The Corners era Pavement permeates the band’s weary slacker muffled Uptrend/Style Raids, but by the time we reach the halfway stage of the album the lads are back to thrashing out a languorous grunge-y grind on Bigger Glass Less Full.

Subtle and confident, Write In is a halcyon, beautifully executed album with real depth and personality. Happyness have found their flow with loose but perceptively well-crafted gentle pop songs of a timeless quality: to be played as the “credits roll forever”. DV

Full review…


Here Are The Young Men And Uncle Peanut   ‘This Is Standard Life’
(Musical Bear Records)

Unceremoniously released almost on the sly, though because we are inundated with 100s of releases every week it could be we missed this one, the brilliant cut price, and with far more humour, authenticity and irony than the Sleaford Mods (as if scribbled by David Shrigley) Here Are The Young Men & Uncle Peanut are back with a load more broadsides leveled at life’s most cunty personalities and foibles.

Not so much poetic, not really rap in the true sense of the word either, they make observational snatches of overheard misnomers, condemnations and Estuary patois on the modern toss life of a pissed-stained mattress society. Modern life isn’t so much rubbish as depressingly shite, as the group transmogrify a sort of Daft Punk ‘Teachers’ style litany of great influential bands into a council estate, backroom punk paean to the spirit of punk and good music; safe in the knowledge that Mark E Smith Is Still Doing The Fall, even after a hundred years!

Diatribes on outsourcing, hipsters (the Day The Hipsters Stole Our Look; those penny-farthing riding tossers), lads banter (“yes mate, yes mate, standard”), gentrification, “nobbers” (who are “fucking everywhere!” on the Underworld goes punk song of the same name) and pop stars abound, and there’s even collaborations with Art Brut’s inimitable Eddie Argos (on the and Billie Ray Martin (of S’Express and Electribe 101 fame).

It’s nothing short of fucking brilliant, short and anything but sweet. The use of swearing alone is commendable. A sort of vitriolic, generation X middle-aged series of rants on what we’ve lost, what we are set to lose and what we could do without. DV


I.

Ifriqiyya Électrique  ‘Rûwâhîne’  (Glitterbeat Records)

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

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

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

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

Full review…


J.

Jam Baxter  ‘Mansion 38’  (High Focus)

“Half cut, whip smart. Ultimate, grungy outlaw hip-hop, putting the trap in trapdoor”.  RnV, Mar 17

UK crown rulers High Focus reached new levels of cult when Mansion 38 became that creepy house at the end of the road that may be good for a heart-in-mouth laugh at Halloween, but not somewhere you’d venture to acquire a friendly cup of sugar.

Recorded and produced in Bangkok, Jam Baxter’s quotable cynicism is of an emcee breed that gets caught in a landslide escaping reality in a bid to keep himself amused, but whose focus is actually doing overtime. Seeming nonsense suddenly swoops down at you with lethal intent, most notably on the shrewd consumerist commentary on offer For a Limited Time Only. He of The Gruesome Features squats on Chemo’s production, and where there’s no such thing as a wrong turn, it’s alien, exotic, and worryingly comforting at once, slowly beginning sinkhole formation, and with Dumb demanding you take cover while running in slow-motion. Bugged out, bug-bombed, brilliant. MO


Jehst  ‘Billy Green is Dead’  (YNR)

“Showing the sort of word association and plain English penmanship that has long made him the UK’s premier emcee”. RnV, Jun 17

Whether the eponymous subject of Jehst’s sixth full-length is man or myth, a reflection on society or the High Plains Drifter letting his imagination run wild while disclosing clues from his own personal memoirs, you’ll be hanging on Billy Green’s every move, tic and confession.

It’s the album’s lost, tired soul trying to keep the walls from closing in, but then seeming to be at peace with any pending doom. It’s the human element, from the debilitation of an everyday Joe to referencing the Kardashians and when the most important decisions can sometimes boil down to choosing “the Snickers or the Mars, E&J liquor or the six-pack of the Stella Artois”. It’s Jehst’s delivery that even when close to succumbing to heat exhaustion, finds a reserve from deep down that’s of an improbable, impeccable sharpness. It’s the simmering sphere of wax and wane production whose highs and lows run a perfect parallel. ‘Billy Green is Dead’, long live Jehst. MO


Jonwayne  ‘Rap Album Two’  (Authors Recording Co)

“Personal struggle both poignant and unapologetic for showing its hand…watch its humble humanity become the choice of the open eared this year”.  RnV, Feb 17

 Rap Album Two approaches that long-standing hip-hop (and society in general) elephant in the room: the refusal to admit vulnerability. In laying crises on the line, Jonwayne becomes his own therapist and subsequently an outlet for the hesitant and anxious to claim as their own. At his most lo-fi, the times to think become deafening and don’t necessarily mean there’s a clean pathway to redemption.

It would take a kingsized about-turn for Jonwayne to become self-destructive on record, but it’s the legitimacy of his 20/20 vision and the potential of the what-ifs that sit kindly. Particularly on the beautifully dejected/accepting Out of Sight and Afraid of Us, bearing the powerful “look at these people, counting on me when I can’t even count on myself”, you can hear him fighting for his very survival. Also behind the excellent Black Boy Meets World by Danny Watts (who features here), Rap Album Two bridges the gap between cult hero and everyman icon. MO


K.

King Ayisoba  ‘1000 Can Die’  (Glitterbeat Records)

Sounding the klaxon call in defense of his native Ghana, and Africa at large, on his inaugural LP for Glitterbeat Records, the striking, lively King Ayisoba, from the roots up, uses his guttural earthy howl and atavistic kologo lute to great effect in demonstrating not only a raw anger but also a deep love for a much misunderstood continent.

From the very outset Ayisoba and his contributors Wanlov da Kubolar & Big Gad – just two of the many guest appearances on this album – rap, sing and stamp a slogan sentiment on the opening Africa Needs Africa of, “Let’s fight for Africa/Africa needs us.” Covering the North African diaspora, the boat people’s sorry saga, the colonial past and umpteen other issues that more or less shape the image that those observers from outside the continent believe is the only side to Africa – between a misplaced sentimentality and outright ignorance. There is protestation and indictment, but also a lively focus on the positives too; finding solutions through the medium of music and culture.

In-between the fiery, bordering on punk, clatter of guluku, dundun and Djembe drums and rambunctious electronic phasing beats there are more plaintive, yearning stripped-back moments: Grandfather Song, a toiled from the soil of tragedy lament, offers a more intimate knee-jerk from the full-on band sound, and Dapagara is sent off into a sweeping, wafting vista by the Nigerian legend Orlando Julius’ traversing, reedy accentuated saxophone.

Raw from the heart, highly evocative and rebellious, King Ayisoba’s songs of rage and vitality actually offer a kind of hope in the face of adversity. The future of Ghana’s music scene is in good hands at least. DV

Full review…


L.

L’Orange  ‘The Ordinary Man’  (Mello Music Group)

“An evocative performance capturing a concerto producer whose trick-from-sleeve ratio remains visionary”.  RnV, Nov 17

Another 12 months of might and magic on Mello Music Group, including must-checks from Oddisee and Mr Lif and Akrobatik as the reconvening Perceptionists. However, it’s the beatsmith with the knack from Nashville building up quite the back catalogue where Tenneseein’ is Tennebelievin’. Loosely based around the sleight-handed history of when illusionists were the rockstars of their day – on premise alone, L’Orange is out by himself – the mostly instrumental The Ordinary Man is described as “vaguely reminiscent of RJD2’s ‘Deadringer’”, where loops slip off straitjackets and straight up gallivant.

Reserving the mic for only a handful of guests after a starry stack of collaborative LPs, L’Orange offers jazziness with a spring in its step, even when its grainy monochrome quality appears to be suffering (perhaps reflecting his own personal health issues). Covered in a sweet patchwork of samples, the headnodding will rock your neck stiff (Cooler than Before soars like the plane on Raekwon’s Criminology), while placing it delicately upon a pillow. MO


Liars  ‘TFCF’  (Mute)

The confusing soundtrack to a musical divorce, the enduring creative partnership behind the Liars, Angus Andrew and Aaron Hemphill, finally fell apart after the release of Mess. Though confounding fans and critics alike on every release, the now streamlined version of the Liars sees Andrew at the helm of, essentially, a one-man band, churning up and lurching through what should by rights be another ‘mess’ of ideas to produce something quite vivid and experimentally sharp.

Chronicling what he felt was akin to a musical marriage, Andrew sitting miserably slumped in a wedding dress, left holding the bouquet on the cover of TFCF (Theme From Crying Fountain) charts a deteriorating relationship, with dysfunctional material – some of which was marked for the next Hemphill & Andrew Liars album – spun into a brilliant sulky, miserable melodrama of electronic, new wave, punk and cerebral pop.

Leaving L.A. for his native home of Australia, a dethatched Andrew transmogrifies those American influences into acoustic, labored drum break lamentable sneers (The Grand Delusional), Love style Mexican psych flare crossed with Medieval courtship (Cliché Suite) and disjointed daggered, The Knack meets Beck, lurches (Cred Woes).

Often resigned, hurt, pranged with pity throughout, it hardly sounds appealing, yet TFCF is full of reinvention, experimentation and lyrically, both dreamily and petulantly opprobrious. DV


Al Lover Meets Cairo Liberation Front  ‘Nymphaea Caerulea’  (Hoga Nord)

A meeting of exotic minds, San Francisco producer/remixer Al Lover (The Brian Jonestown Massacre to Goat) and the Tilburg collective Cairo Liberation Front set out on an evocative mesmerizing flight of escapist fantasy on the extended Nymphaea Caerulea EP.

 

Continuing a partnership with the Hoga Nord label and following up the previous Zodiak Versions, Al and his collaborators merge psychedelic dance music with a spiritually mysterious imagined vision of Egypt: Nymphaea Caerulea being the Latin name for the blue Egyptian lotus, a flower of the Orient.

Over six ‘levels’ they traverse and evoke entrancing Egyptian flute led feverish ritual, mysticism, sweeping desert winds, ancient kingdoms, belly dancing and cyclonic Afro-Futurist beats.

References to a new sonic deliverance, a musical Arab Spring, infuse the six instrumental tracks with a certain levity and theme. But rather than bang the drum of rage and protest in the land of the Pharaohs and old gods, Al and the Cairo Liberators create a moody mysterious, veiled soundtrack fit for the dancefloor. DV


Our Imaginary Radio Show Playlist
Selected By Dominic Valvona 





In danger of repeating myself, but for newcomers to the site here’s the premise of my playlist selections. Previously only ever shared via our Facebook profile and on Spotify our regular Monolith Cocktail Social playlists will also be posted here on the blog itself.

With no themes or demarcated reasoning we pick songs from across a wide spectrum of genres, and from all eras. Reaching a sort of milestone edition, selection #30, chosen as always by me, Dominic Valvona, features one of our favourite troubadours, Michael Chapman, all manner of explosive, spiritual and traversing jazz and soul from Arthur Lee, The Rwenzori’s, Abdou El Omari, Bobby Callender and Wayne McGhie, plus golden era Hip-Hop treats from The Jungle Brothers, KMD and D-Nice, and a tribute to the late great Holger Czukay who sadly passed away recently. Intermittent amongst that lot are tracks from The Hunches, R. Stevie Moore, The Brian Jonestown Massacre, East Of Eden, Jade Warrior and many more.


Tracklist:

Norma Tanega  ‘Treat Me Right’
Michael Chapman  ‘Landships’
Vanusa  ‘Mundo Colorido’
Paulo Diniz  ‘Piri Piri’
East Of Eden  ‘Ain’t Gonna Do You No Harm’
Arthur Lee  ‘Love Jumped Through My Window’
Arrogance  ‘Peace Of Mind’
Jade Warrior  ‘Telephone Girl’
Byard Lancaster  ‘Dogtown’
The Rwenzori’s  ‘Handsome Boy (E Wara) Parts 1 & 2’
Rene Costy  ‘Scrabble’
Idrissa Soumaoro et L’Éclipse de L’lja  ‘Nissodia – Joie de l’optimisme’
Abdou El Omari  ‘Raksatoun Fillall’
Jungle Brothers  ‘Tribe Vibes’
Intelligent Hoodlum  ‘Back To Reality’
D-Nice  ‘Crumbs On The Table’
KMD  ‘Who Me? (With An Answer From Dr. Bert)’
Metropolitan Jazz Affair  ‘Find A Way’
Lion  ‘You’ve Got A Woman’
Denis Mpunga & Paul K  ‘Funyaka’
El Turronero  ‘Las Penas – Las Canas’
Holger Czukay  ‘Cool In The Pool’
T. Rex, The Reflex  ‘Light Of Love (The Reflex Revision)’
Charles Earland with Freddie Hubbard and Joe Henderson  ‘Warp Factor 8’
Koen De Bruyne  ‘And Here Comes The Crazy Man’
The Knights  ‘Precision’
The Hunches  ‘Swim Hole’
R. Stevie Moore  ‘The Bodycount’
The Brian Jonestown Massacre  ‘Open Minds Now Closed’
Bobby Callender  ‘Shanta Grace’
Wayne McGhie  ‘Take A Letter Maria’
Little Ed & The Soundmasters  ‘It’s A Dream’


PLAYLIST
Selection: Dominic Valvona, Matt Oliver and Ayfer Simms





An encapsulation of the Monolith Cocktail’s tastes and a showcase to reflect our very raison d’être, the ‘quarterly revue playlists’ feature an eclectic selection of tracks from artists and bands we’ve enjoyed, rated highly or believe have something worthwhile to offer. Chosen by Dominic Valvona, Matt Oliver and Ayfer Simms this latest collection includes both recordings featured on the site, and a few we’ve either missed or not had the room to include.

Though we try to offer the best listening experiences, ordering tracks in a certain way for highs and lows, intensity and relief, we don’t have any particular concept or theme in mind when putting these playlists together. Yet by accident we have selected quite a few moody, meditative and often contemplative tunes this time around; from the most brilliant (corners) exposition and vivid experimental jazz suite and beat poetic descriptions of John Sinclair and Youth‘s recent Beatnik Youth Ambient team-up, to the Slovenian peregrinations of Širom. We also include however more upbeat, if in protest, Afrobeat flexing from the Chicago Afrobeat Project (featuring the original rhythm provider legend Tony Allen, who as it happens appears twice on this playlist, on both the Chicago collectives What Goes Up collaboration and on his own solo album debut (proper) for the illustrious Blue Note label, The Source); and at opposite ends of the spectrum, the cool kids aloof post punk of Melbourne’s mini supergroup Terry. We also include tracks from the sauntering laxed smouldering grooves of Africa Analog’s Bro. Valentino reappraisal Stay up Zimbabwe, Hive Mind Record’s debut re-release of Maalem Mahmoud Gania‘s Colours Of The Night, and a host of ‘choice’ hip-hop from The Green Seed, Skipp Whitman, The Doppelgangaz and Tanya Morgan.

Circumnavigating the globe and beyond, the third playlist of 2017 is as eclectic as ever and also features music from India, South America, West Africa and Sweden. See below for the full tracklist and links.


TRACKLIST –

Chicago Afrobeat Project & Tony Allen  ‘Race Hustle’  Review
Golden Teacher  ‘Sauchiehall Withdrawal (Edit)’
Msafiri Zawose  ‘Chibitenyi’
Tony Allen  ‘Moody Boy’
Bro. Valentino  ‘Stay Up Zimbabwe’
Hypnotic Brass Ensemble  ‘One Hunit’
Chino Amobi  ‘BLACKOUT’
Nosaj Thing (ft. Kazu Makino)  ‘How We Do’  Review
Beans (ft. Elucid, That Kid Prolific)  ‘Waterboarding’  Review
The Green Seed  ‘Revolution Ok’
Tanya Morgan  ‘Truck Shit’  Review
Skipp Whitman  ‘Downtown’
Room Of Wires  ‘Game Over’  Review
Sad Man  ‘Birman’  Review
Tyler The Creator (ft. A$AP Rocky)  ‘Who Dat Boy’  Review
Open Mike Eagle  ‘My Auntie’s Building’  Review
The Church  ‘Another Century’
Co-Pilgrim  ‘Turn It Around’
Martin Mânsson Sjöstrand  ‘Waiting’  Review
Vukovar  ‘The Clockwork Dance’  Review
Liars  ‘Cred Woes’
Candice Gordon ‘Nobody’  Review
Hajk  ‘Magazine’  Review
Gary Wilson  ‘You’re The Girl From The Magazine’
Terry  ‘Take Me To The City’  Review
Pale Honey  ‘Get These Things Out Of My Head’
Trudy And The Romance  ‘Is There A Place I Can Go’
CHUCK  ‘Caroline’  Review
Modern Cosmology (ft. Laetitia Sadier)  ‘C’est Le Vent’
Diagnos  ‘Reflections’  Review
Sebastian Reynolds (with Anne Muller, Mike Bannard, Jonathan Quin and Andrew Warne)  ‘Holy Island’
Teonesse Majambree  ‘Umuyange’
Maalem Mahmoud Gania  ‘Sadati Houma El Bouhala’  Review
Nicole Mitchell  ‘Timewrap’
Clutchy Hopkins & Fat Albert  ‘Mojave Dervish’
Širom  ‘Just About Awake’  Review
Deben Bhattacharya  ‘Raga Bageshri In Teentaal’  Review
Yazz Ahmed  ‘Bloom’
Hermeto Pascoal  ‘Casinha Pequenina’
John Sinclair  ‘Sitarrtha’  Review
A Lover & Cairo Liberation Front  ‘Level 1’
The Doppelgangaz  ‘Beak Wet’  Review
Ill Move Sporadic & Big Toast  ‘Do Wat Sunshine?’  Review
The Menagerie (Professor Elemental & Dr Syntax)  ‘Only A Game’  Review


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