ALBUM REVIEWS
Dominic Valvona





Easing the boredom of coronavirus lockdown, join me from the safety of your own home on a global journey of discovery. Let me do all the footwork for you, as I recommend a batch of interesting and essential new releases from a myriad of genres, which I hope you will support in these anxious times. With all live gigs and events more or less quashed for the foreseeable future, buying music (whether it’s physical or through digital platforms such as Bandcamp) has never been more important for the survival of the bands/artists/collectives that create it.

From Java, there’s the latest project from the Hive Mind label in collaboration with Indonesian music digger Kai Riedl, a showcase of 2007 recordings from Idjah Hadidjah & Jugala Jaipongan plus a number of reworked transformations from a host of sonic and electronic artists. Various Maghreb artists from the 80s and 90s Lyon café and club scene can be heard for the first time on vinyl with a new compilation from Bongo Joe, the electrified Raï, Chaoui and Staifi K7 Club collection. Formed in London, the combined talents of Senegal singer/songwriter Biram Seck and French guitarist foil Thibaut Remy come together once more under the Awale Jant Band umbrella for another Afrobeat and soul showcase, Yewoulen. I also take a look at the Passepartout Duo of Nicoletta Favari and Christopher Salvito’s amorphous travelogue peregrination through Switzerland, the Caucasus, former Soviet Asiatic satellites and China performances, Vis-à-Vis; available next month on vinyl and digitally.

There’s also the upcoming Mexican cross border fraternization musical odyssey from Sergio Mendoza and his Orkesta, Curandero.

Back in Europe jazz bassist extraordinaire Ville Herrala is doing inventive things as a solo artist with the double bass; releasing his debut experimental LP for the Helsinki label We jazz. Still in a European jazz setting, there’s the debut LP from the disruptive JZ Replacement pairing of Zhenya Strigalev and Jamie Murray; the saxophonist and his drummer foil collide together with a myriad of rhythms and ideas to kick jazz into a new decade. We also have the most recent ambient voyage across graph paper from Moonside Tape’s founder Jimmy W, Midi Canoe.


Idjah Hadidjah & Jugala Jaipongan   ‘Javasounds Vol.1: Jaipongan Music Of West Java’   (Hive Mind) LP/6th March 2020




Borne from a dire situation, Indonesian composer and choreographer Gugum Gumbira circumnavigated the country’s authoritarian ban on rock and roll by creating the traditional infused Jaipongan style. Hidden beneath a hybrid of honest harvesting ritual music and atavistic gamelan lay a more sensual spark that encouraged dancing intimacy and a rapid, galloping rhythm that pushed this musical form towards rock: seen by those who made it and loved it as a rebellious gesture. The authorities seemed to have been unaware of its creator’s motives, as the dynamic sound spread throughout the country, unabated, finding favour amongst both the working classes and more affluent.

Mesmerizing with its quickened, often complicated, rhythms – which either flow constantly like a trickle or tumble in a sporadic fit – and bowed quivers, Jaipongan percussion and undulated metallophones are counterbalanced by untethered vocals of romantic and humbled wooing; sung, in this case, on this new edition of Gumbira recordings by the beautiful aria fluctuating Idjah Hadidjah. Gumbira met his muse in the early 80s, luring the iconic singer away from the Sundanese Shadow Puppet Theatre to join his Jugala Orchestra troupe; a collaboration that would go on to last the decade. They would reunite in 2007, recording at the Jugala Studios in Bandung, Java, backed by the studio’s house band. That session now forms the basis of this new vinyl/digi release from Hive Mind and the Indonesian music evangelist Kai Riedl, who present six original tracks from that reunion and a second disc of ‘reworks’ from a variety of contemporary artists in the field of soundscaping and sonic transformations. Riedl, of the Indo-influenced Macha band, has plenty of experience in this sector having made trips to the island of Java with sound engineer Suny Lyons in the noughties to record everything from solo string players to thirty-member gamelan orchestras, in locations as diverse as a darkly-lit nightclub to off-the-grid hideaways. As facilitators they offer up a showcase of the genre’s most entrancing siren and backing group.

Transporting the listener towards the gateway of an exotic unfamiliar geography, the resonating chimes, trinkets, gongs and clapping woody undulations, in fits and starts, playfully evoke both the earthy and ethereal in equal measure. Songs like ‘Sanja’ have a rustic, ritualistic vibe, yet the accelerating rhythm and beat suggests the club dancefloor.





Those Javanese intonations and accentuate sounds are transformed with this package’s Riedl instigated ‘reworks’, an extension of his project to open-up access to the music of Indonesia to western musicians. A range of assemblage inventive artists takes the source material on a journey of variously successful experiments: a music that lends itself well to this treatment as it happens. The North Carolina based artists Bana Haffar turns in a slow trance-y skying vision of the tumbling ‘Hiji Catetan’. N.Y. based musician Bergsonist transduces gamelan into signaled code on her dreamy Orbital-esque remembrance transformation, and Indonesian composer, sound-designer Fahmi Mursyid ratchets up the material with a Autechre breakdown of rewiring, buzz saw beats, dropped metallic ball bearings and zapped bass. For the most part these reworks wander in a serialism and ambient fashion of transcendence; the use of Hadidjah’s startling vocals especially lends itself well to these float-y deconstructions: It’s Jaipongan, but not as we know it.

This latest well-chosen project from the label and friends is another enticing, captivating window into a musical world few of us are even aware of: A great discovery eastwards, with more to follow hopefully.





JZ Replacement  ‘Disrespectful’
(Rainy Days Record)  LP/13th March 2020




Positively disruptive rather than ‘disrespectful’ to the fundamentals of jazz, the ‘symbiosis’ (as they call it) pairing of saxophonist Zhenya Strigalev (Ambrose Akinmusire, Eric Harland) and drummer Jamie Murray (Sun Ra Arkestra, Native Dancer) play hard and frantically fast with the genre on their latest union, JZ Replacement.

Crossing paths regularly on the London jazz stage, Strigalev has already made an appearance on Murray’s solo project, Beat Replacement. Pooling that talent once more for a new iteration, the JZ duo flex, bounce and distort an abundance of contemporary influences, from trip-hop to d’n’b, on their debut album. Recording with the very much in demand bass guitar maestro Tim Lefebvre – a member of Donny McCaslin’s troupe that famously backed Bowie on his last curtain call -, who brings yet another eclectic layer of dynamism to the polygenesis stew, the JZ pile full-throttle through off-kilter accelerations, breakbeats, hard-bop and vague Eastern European folk traditions to knock jazz into a new decade.

They’re as connected to Roni Size’s own transformative 90s fusions as they are to both modern North American and European jazz, and the explorative deconstructions of Ornette Coleman; blending in a dramatic, sometimes hardcore, fashion a spiraling vortex of squawking bleats with rattling erratic drumming. The previously featured ‘Tubuka’ is an example of those wide-ranging influences; skulking along as it does to a Massive Attack like broody bass line and a dubby post-punk menace before being harried by Murray’s drums and the spooked elephant heraldings of Strigalev’s saxophone. Wavering between a number of rhythmic and intense step-changes, the duo deftly react with both a rush and relaxed vigor. ‘Marmalade For Radhika’ changes that dynamic again with a sweetened drifting exploration that wafts through lingering traces of Savoy label jazz, the blues and the Cuban. But you’re just as likely to hear staccato jerks, short bursts of no wave Blurt and Liquid Liquid, hovering flange, space echoes and piercing squalls in a suffusion of ever-progressive performances.

Two artists at the height of their imaginative prowess, the JZ show a healthy disrespect for conventions as they blast apart the jazz scene; yet somehow make the intensity and waywardness flow. More please!





Awale Jant Band   ‘Yewoulen (Wake Up)’
(ARC)   LP/27th March 2020




Predominantly imbued by the Senegalese heritage and ‘gawlo’ storyteller tradition of this London-formed polygenesis collective’s songwriter/singer Biram Seck, and by some of its drumming/percussionist circle, the Awale Jant Band effortlessly broadens its musical horizons with another loose fusion of Afrobeat, soft heralded horn section soul and bustled funk. A merger of the Dakar-born dynamic Jant band and French guitarist foil Thibaut Remy’s Awale group, the lilted unison of West African and European musicianship once more leaps into action on the debut follow-up Yewoulen.

It’s a title which when translated from the Wolof people’s language – the dialect that Seck mostly sings in – of Senegal, Gambia and Mauritania encourages a “wake up” call. A unifying wake up call that is, with many of the both expressively joyful and sadder yearns driven by injustice and a need for understanding in a morosely hostile society. First though, there’s romanticism of a sort in the form of the album’s ascendant, snozzled horn and soft rolling, rattled and skipping ‘Sope’; a tender love paean that features a soulful trilling Seck vocally crossing paths with Al Green and Youssou N’Dour – which is handy, as the group’s Senegalese percussionist Medoune Ndiaye was a member of his backing group. Equally as loving, even sweet, is the Highlife with echoes of South America celebration ‘Amandine’; written by Remy as a dedication his first daughter. Staying with the upbeat (musically speaking), there’s what sounds like a busy groove-generated stopover in Lagos with the mellow Kuti vibes funk ‘Domi Adama’; a live feel track with plenty of swirling horns and bobbing sabra drumming action, courtesy of Fofoulah’s Kaw Secka). It’s followed by the Accra vibe and Stax Watts’s horn blasting song of happiness ‘Cubalkafo’.

In the more poignant and societal-political vane, Seck pays a plaintive jazzy lament to an old friend on the two-speed cantaloupe ‘Jules’, and comments on the sensitive issue of ritual circumcision on the African-rock lilted ‘Kassak’.

The message though is one of shared ancestry and a coming together for the benefit of others in an increasingly unsympathetic and dangerous world. This combined force of musicians does it with a real swerve on a groove that is constantly, gently moving between the spiritual and the soulful and funky. The Awale Jant Band turns in another great showcase of cross-fertilized rhythms.




Ville Herrala  ‘Pu:’
(We Jazz)  LP/21st February 2020




The Helsinki label of We Jazz is one that excels in pushing and remixing the boundaries of contemporary jazz; especially the role of the soloist, turning out vividly dexterous breathing experiments in counter-flow looped saxophone with Jonah Parzen-Johnson’s Imagine Giving Up, and now a suite of taut and quivering string and rhythmic slapped bodywork miniatures played using only the double-bass, by the Finnish bassist Ville Herrala.

A mainstay of the much admired Scandinavian jazz scene, the Turku born native has lent his adroit skills to such scene-setters as PLOP, Otto Donner, U-Street All Stars, Jukka Eskola Orquesta Bossa and the UMO Helsinki Jazz Orchestra. Stepping out from the group set-up, the conservatoire graduate goes solo for his debut LP Pu:. Herrala knocks, pads and bends out-of-shape the familiar bass sound to often take on the characteristics of a distressed cello. Consisting of fourteen vignettes split between the bowed and rhythmic, Pu: balances the springy and elasticated with the spindled and ponderous on an album of various moody experiments. ‘Pu:2’ (all the track titles by the way have this suffix) has the sort of quivery sustain intro you might expect to hear on a Hendrix record – hanging on an air-string before launching into a wild psychedelic scream – whilst ‘Pu:6’ has the double-bass almost mooing. In the minimalist, more sound experiment camp, the pendulous ‘Pu:3’ sounds like something scuttling in the attic, and the pitter-patter ‘Pu:5’ sounds like Herrala’s rolling a ball-bearing across the spider-like strings.

There’s oblique runs up the fretboard, bows across the bridge and saw-motioned tautened frictions throughout an LP that is equally as morose and haunted as it is mysteriously avant-garde. Semi-classical, semi-jazz, semi-minimalist and semi-soundscape, Pu: is an inventive suite of articulations, tones and atmospheres fashioned from a double bass in discomfort; stretched to its limits. Herrala proves a congruous edition to a most explorative jazz label on the fringes of reinvention.





Jimmy W  ‘Midi Canoe’
(Moonside Tapes)  LP/22nd February 2020




Featured recently in the last Tickling Our Fancy revue with his Kirigirisu Recordings enabled Singapore Police Background collaboration with fellow ambient peregrination explorer Dan Burwood, James Wilson is back this month with an equally minimal atmospheric solo under the Jimmy W appellation. Released via his own brilliant limited cassette specialist label Moonside Tapes, his latest ebb and flow traverse, Midi Canoe, flutters and drifts across crackling graph paper. A concatenate collection of vignettes, passages and extracts, Wilson builds a evanescent soundtrack of static fields, snozzled foggy wafts and air flows; pricked by bendy space warbles, metallic shivers and a gliding piano. There’s also a masked twinkled chime that sounds like a marimba, falling like droplets on a bedding of gauzy washes.

Tracks like ‘Unnameable Little Broom’ are given a Casio preset choral effect lull, whereas the poetically surreal evoked ‘It Was Evening All Afternoon’ has an air of early Cluster.

Showing just how well read this ambient composer is, there’s a third-note emphasized chiming mirage with space birdy warbled piece entitled ‘Mr. Cogito’s Last Dream’; a reference to the Polish author-poet Zbigniew Herbert’s philosophical canvas everyman of the title, the protagonist of a number of reflective, questioning dialogues and poems written under the despair of Communism. Getting technical, there’s an overlap of ghostly trailing notes and repeated nice piano motifs piece that refers to the white notes ‘Lydian’ scale. A mode as it were, this particular scale includes all the notes of an F scale without the Bb.

A suffused wash of enervated motorization and dreamy resonance, Wilson’s Midi Canoe is a mysterious voyage of inner meditation and the otherworldly that’s well worth seeking out. And whilst you are at it, take a look through the whole Moonside catalogue, especially the 2018 abstract hand-painted Mhva LP Scend, a concentrated vapour of sublime ambience.





Passepartout Duo   ‘Vis-à-Vis’
(AnyOne)   LP/10th April 2020




A project that sadly now seems inconceivable in the face of a growing coronavirus pandemic, the freely traversing duo of Nicoletta Favari and Christopher Salvito use the sounds and discoveries of a journey they made from Switzerland, via the Caucasus and former Soviet Asiatic satellites, to China. In conjunction with the AnyOne Beijing arts company label and curatorial platform to promote experimental and contemporary classical music to a ‘budding’ Chinese audience, the Passepartout Duo collaboration is a transportive album of scrap-built instruments and synthesized peregrinations, split into two separate seventeen-minute amorphous soundtracks.

The first part of these cross-panoramic sound adventures, ‘Heartwood’, expresses a sense of time passing; the metronome ticking away as the cycles of chimed strikes, sonorous drones and scuttling wooden undulations make way to crystalized gleams, spindled mechanisms and vague echoes of gamelan. The final section of this journey moves through uninterrupted duel divided melodies, glassy tubular drops and low veiled foghorn bass until ending on a trance-y spell.

The titular track begins with a busier sonic language of clanging and mallet metallics, overlapped with what sounds like an avant-garde video arcade of speed shifts, trickles and pattered Orientalism.

You’re never really sure of which terrain you might be passing through at any given time on this exploratory project of neo-classical travelogues, and that’s what’s so magical about it: anticipating what sonic landscape might come next, or where the duo will take us. In the process Vis-à-Vis flows through an undefined geography to create something fresh and different; a soundtrack untethered, if you will, to a particular time and place.




Orkesta Mendoza  ‘Curandero’
(Glitterbeat Records)  LP/10th April 2020




Another crisscrossing romp over the southern border, scion of the Calexico-Giant Sand-Xixa axis of Arizona-Mexican fusions, Sergio Mendoza once more leads his Orkesta out across a fertile musical geography on his new LP, Curandero.

And yet again, Mendoza pays a special homage to the sounds and myriad of styles he heard growing up between his two homes of Nogales, Arizona and Sonora, Mexico on an album that is playful and varied.

With an emphasis on pop, this guest heavy follow-up to 2016’s ¡Vamos A Guarachar! Has a more commercial and light sound. Recorded at a breakneck pace, without much planning. Mendoza and his collaborators go with the flow and mood on a Latino odyssey of reinvigorated musical staples. Songs like the 50s rock’n’roll tonk and cowbell tapping ‘Eres Official’ are meant to evoke the ghost of Buddy Holly, but also stir-up Ritchie Valens. US singer of Latin soul, violinist and fellow Arizona native Quetzal Guerrero makes one of many appearances on this low-rider wolf-whistle of a song. Mendoza says he was thinking about Stuart Copeland of The Police and his loud up the front in production style of drums when recording the bubbly undulated heatwave ‘Head Above Waters’. It sounds though like a jolly trek across the desert with Paul Simon in tow. The strangest flash of inspiration is with the broody love song ‘Little Space’, which features Nick Urata of Devotchka crooning like a mix of the Big O and Chris Isaak. Supposedly starting out like The Jam, Mendoza seems to have instead transformed The Beatles ‘I’m Looking Through You’ with the popular folk tradition of cumbia – a style that has had a renaissance in the last decade; modified, transmogrified to fuse with anything going, including electronica and dance music.

From the rambunctious to sauntering, cumbia is just one of the many Central and South American genres to make this LP. Expect to also hear concertina and raunchy ‘rancho’, blasted and serenaded ‘mariachi’, echoes of Joey Bataan and Andrew Sisters, the ‘boogaloo’ and matinee idol Mexican R&B on this sprawling songbook.

Mendoza is having a great time with all this, as he builds a musical escapism that one minute offers the corney, the next, a Ska like gallop across the border towards the Amazon. It’s a whistle-stop tour of lo fi Casio preset shimmy accompanied cruise ship lounge bars, wistful pining Western savannahs and Tijuana parties; a pop and rock celebration of a multifaceted and inspiring cross border melting pot, with something for everyone.




Various   ‘Maghreb K7 Club: Synth Raï, Chaoui & Staifi 1985-1997’
(Sofa Records & Bongo Joe)   LP/27th March 2020




Music from the North African geography of the Maghreb as you’ve probably never heard it; shimmying with Arabian trinkets, rapid tabbing hand drums and exotic sand dune fantasy certainly, yet made otherworldly cosmic and electro-fied for the burgeoning democratized age of affordable low end tech: welcome to the Arabian expat scene in 80s and 90s Lyon.

From the assured collators Bongo Joe and, on this compilation, their partners Sofa Records a eight-song collection of Casio-preset and synthesized transformed musical poetry and lovelorn heartache from a myriad of Algerian artist’s that congregated around the French city’s North Eastern African café and bar hub. Joints such as the Le But Café, the Croix-Rousse and Guillotière were home to a social network hive of activity for conducting business and booking appearances for weddings, galas and studio sessions.

Musically a crossover of the Oran City folk Raï tradition and Zendari rhythm festive Staifi style from back home, the electrified sounds that emanated from this fertile scene were mostly distributed on cassettes, released by facilitators like Top Music, Édition Merabet and SEDICAV. Extraordinarily, and the reason for this collection, vinyl was discarded for the cheap and flexible culture of tape sharing at the time. The fast turnover, not only in recording these tracks but also in getting them on the market, cut out the middleman and helped foster a thriving local distribution network. Still, the power seemed to be with the publishers who could not only modify the lyrics but tamper with the style itself – adding synthesizer and drums – without seeking consent or even running it by the artists that recorded them. This led to some interesting results, as you’ll hear.

For the first time ever, the Maghreb K7 Club LP makes available a smattering of tracks on vinyl; tunes like the Arabian milky way swish ‘Maliky a Malik’ by Zaidi El Batni – which has a strange intro; someone’s footsteps walking through a cheap echo-chamber effect and some slapping – and the bandy, slinky liquid pop mirage with soothing female sighs ‘Goultili Bye Bye’ by funk-disco maestro Nordine Staïfi. Nordine gets two bites of the dancefloor glazed cherry on this album; his second feature, the infectious whistle-and-clap ‘Zine Ezzinet’ is a standout highlight – imagine an Arabian Nile Rodgers mixing down an Orange Juice funk.

Elsewhere, 808 rattles and harmonium merge with spirited song, whilst heavy accentuated Algerian romanticism is augmented by a Miami soundclash of electro beats. Though the most blatant use of that synthesizer influence is found with Salah El Annabi’s Francophone ‘Hata Fi Annabi’, which unexpectedly drops in a whole chunk of Jean-Michel Jarre’s famous ‘Oxygene’ to the mix.

The 90s sourced tracks in this collection are for obvious reasons more polished, but there’s a certain innocence and fuzzy sheen that I quite like about those older, 80s recordings.

Worth a punt just to own ‘Zine Ezzinet’ – fast becoming one of my favourite, essential movers of the year -, this compilation from Bongo Joe and friends is a wonderful platform to discover another bit of ear-opening musical history.



The Monolith Cocktail is now on the micro-payment donation site Ko-Fi:


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


Videos/Singles/LPs
Dominic Valvona




In quick succession, following last week’s inaugural roundup of 2020 of perused singles, videos, previews and the odd album that threaten to overload our inboxes, another selection of releases that you need to know about. This week’s honors go to Tony Allen & Hugh Masekela, Brona McVittie, Ippu Mitsui, Verses Bang and JZ Replacement.


Tony Allen & Hugh Masekela  ‘We’ve Landed’
(World Circuit Records)  Preview Video


 

This is one convergence of talent worth ‘rejoicing’. Arguably two of the most important motivator/instigators in the development of African music over the last 50 years, Afrobeat progenitor, drummer extraordinaire Tony Allen and his foil trumpet virtuoso, bandleader, activist and South African national treasure, the late Hugh Masekela, finally crossed paths in 2010 to record this sublime swinging and lilted atmospheric album: an album that had been in the making since the two central figures in Afrobeat and Afrojazz first met in the 1970s. However, those original sessions were put on hold until last year.

With renewed resolution, Allen and producer Nick Gold, with the blessing and participation of Hugh’s estate, unearthed the original tapes and finished recording the album last year at the same London studio where the original sessions had taken place. Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians including Tom Herbert (Acoustic Ladyland/The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.

Rejoice is set to drop on the 20th March 2020; until then here’s the loose Francophone swinging jazz announcement ‘We’ve Landed’ to savior: every bit as effortlessly cool, bouncing and smoky as you’d expect. Look out for a full review on the site in the next month or so.

Links of interest from our archives

Hugh Masekela ’’66-‘76’

Tony Allen ‘The Source’

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


JZ Replacement  ‘Tubuka’
(Rainy Days Records)  Single/Now

Introducing the new dynamic fusion project from saxophonist Zhenya Strigalev (Ambrose Akinmusire, Eric Harland) and drummer Jamie Murray (Sun Ra Arkestra, Native Dancer), the first single to drop from the JZ Replacement moniker duo is the off-kilter acceleration of moodier Massive attack prowls, lurching breakbeats, d’n’b and vortex squawking contemporary jazz with blasts of hard bop, ‘Tubuka’.

With an already enviable providence as both a performing duo in their own right and with a host of luminaries on the scene, Strigalev and Murray look further afield to develop and challenge their sound. As part of that challenge, the duos upcoming new LP, Disrespectful (due to drop on the 13th March 2020) was recorded with the increasingly in-demand L.A. bass master, Tim Lefebvre (who played with the Donny McCaslin led troupe that backed David Bowie on his swansong album, but also such notable talent as Wayne Krantz, Elvis Costello and Mark Guiliana). On the evidence of this precursor single, the album promises to be a ball of exploratory jazz and grooves.


Verses Bang  ‘The Eagle Has Landed’
Single/Video/January 2020


In case you missed one of the UK’s most burgeoning talents on the Hip-Hop and beyond music scene, the ever sartorially sharp Verses Bang drops a reminder single and new video from last year’s high anxiety deconstruction of an addicted personality, Cardigans & Calories, ‘The Eagle Has Landed’. From his own mission control, Verses’ convergence of rap, grime and trap lurks menacingly on this unsanctioned Apollo flight into the shadows.

Verses name drops idiosyncratic references to British culture and TV and tongue-in-cheek digs at the varnished validation culture of many of his more puffed-up peers on social media, with the pressures of trying to make it whilst battling those addictions. One to watch for sure in 2020.


Ippu Mitsui  ‘Break Through 50 Watts’
(Pure Spark Records)  LP/23rd January 2020


Always in a state of developing and reworking, Tokyo electronic composer and label boss Ippu Mitsui draws breath with an album of rerecorded, remasterd and in some cases, alternate visions of his back catalogue on Break Through 50 Watts.

Delivered via his very own burgeoning experimental electro and dance label, Pure Sparks Records, Ippu hurtles and careers through a miscellaneous of tracks from 2017, including a freshly coated twitch-house take of the opening 32-bit, dial-up tone skittish collage ‘Bug’s Wing’s’ (taken from his L+R LP for the Edinburgh label Bearsuit Records) and a sophisticated shadowy airy refresh of the cruising ‘Rotation’ (taken from his Shift Down EP for Submarine Broadcasting Company). Ippu watchers might also recognize remasters of the E Noise EP’s breakbeat thriller ‘Chromium’ and the Resonance EP’s re-Warp busy percussive ‘Biorhythm’. Scattered amongst these are a host of equally cybernetic and machine code engineered techno treats: the dulcimer chiming timepiece soundtrack ‘Recovery’, melodic childlike piano downtempo ‘Playground’ and the strange putting-robots-to-sleep deconstructive techno number ‘Sea Slug In Love’ being some of the more interesting and diverse tracks on offer.

New to the charms and exploration of Ippu Mitsui, then this collection would be a grand starting point to a one-man electro and techno industry.

Links of interest from our archives

Ippu Mitsui  ‘L + R’


Brona McVittie  ‘The Green Man/Eileen Aroon’
(Company of Corkbots)  Single/20th January 2020


In anticipation of the ephemeral harpist and diaphanous lulled singer’s second solo album this year, Brona Mcvittie releases a couplet of fluttery yearnings that pay homage to Celtic imbued contoured landscapes. Brona’s magical, lingering, self-penned ode to the atavistic ‘The Green Man’ (a song idea that “literally grew out of the trees visible from my living room window”) and beautifully sang version of the Carroll O’ Daly 14th century paean ‘Eileen Aroon’ (a song in which the protagonist of that tale espouses his love for Eleanor Kavanagh, daughter of the Leinster chieftain, comparing her to a “flower of the hazel glade”) continue the harp-led evocations and trip-folk cinematic landscaping of the debut LP We Are Wildlife (which made our albums of 2018).

Producing melodies and phrases that often feel like a breath or just the merest presence of the harp and voice, Brona amorphously pushes the often-ancient feelings and geography towards John Martyn and Bert Jansch one minute, towards the Incredible String Band or Boards of Canada the next.

Be sure to keep an eye out for a future review of that upcoming album.

Links of interest from our archives

Brona McVittie  ‘We Are Wildlife’

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