album of 2019 part one - monolith cocktail


Choice Albums of 2019 Part One: A Journey Of Giraffes to Adam Green


Because we’ve never seen the point in arguing the toss over numerical orders, or even compiling a list of the best of albums of the year, the Monolith Cocktail’s lighter, less competitive and hierarchical ‘choice albums’ features have always listed all entrants in alphabetical order. We also hate separating genres and so everybody in these features, regardless of genre, location, shares the same space.

Void of points systems and voting, the Monolith Cocktail team selection is pretty transparent: just favourites and albums we all feel you, our audience, should check out. Dominic Valvona, Matt Oliver, Brian ‘Bordello’ Shea, Gianluigi Marsibilio and Andrew C. Kidd made all of 2019’s selections.

Spread over three parts, the inaugural selection here runs from A to G, from A Journey Of Giraffes to the Adam Green. Part Two will run from H to P and Part Three from Q to Z.

A.

A Journey Of Giraffes ‘Hour Club’ & ‘Kona’









Two atmospherically evocative peaceable ambient suites from the brilliant lo fi maverick A Journey Of Giraffes (nom de plume for many years of the Baltimore composer John Lane) make this year’s ‘choice’ list. Released earlier in 2019, the Hour Club pushes Lane further than ever away from his previous Beach Boys homage experiments into both deeper, darker recesses and sweeping traverses. From Terry Riley to Sky Records, Hour Club is an often-magical soundtrack, with every track sharing a 7 minutes and 1 second rule.

The second album, Kona, an unassuming love letter to the iconic late Japanese composer Susumu Yokota, was premiered back on the Monolith Cocktail in August. Magically ruminating, offering both the beatific and uncertain, this pagoda dreamt fantasy is an exotic, sometimes ceremonial, Zen like album that evokes the Fourth World Possible Musics of Jon Hassell, Popol Vuh and the higher plain communal glistened zither transcendence of Laraaji. Quite possibly, Lane’s most realized, complete album yet. (Dominic Valvona)

Full review feature…

Aesop Rock & TOBACCO ‘Malibu Ken’
(Rhymesayers)




“Both happen upon a sharp splinter of hip-hop pitching to the left, but not way out left” – RnV Jan 19





Straight off the bat the gaudily sleeved Malibu Ken foresees a tough slog in store, given the respective running through brick walls of these decidedly non-plastic conspirators. Aesop Rock rhymes like a rebooted Max Headroom, TOBACCO activates at the moment where Rock starts glitching as synths home in on your VHS tracking button. Obviously it’s a jerky leftfield match made in heaven, primitive videogame set pieces overridden by one of the underground’s most enduring, levelling out bad trips but still very much needing these cracked, skeletal neon runways to assure his own navigation and empowerment. Take it as post-modern, post-Armageddon, welcome respite from the mainstream etc etc, or the faultless engineering of the technical and the broken, backwater flights of fancy and stranger than fiction truths jamming in a keyboard repair shop. (Matt Oliver)

Armstrong ‘Under Blue Skies’
(Country Mile Records)






Julian Pitt, aka Armstrong, is one of the finest songwriters to emerge from Wales in recent years: a man who has been blessed with the gift of melody that can be comparable to McCartney, Wilson and Jimmy Webb – Yes, he really is that good.

This is an expanded reissue of his first LP, which was originally released as a limited edition cdr, one that I played constantly. Thankfully it’s getting a much-deserved official re-release from The Beautiful Music label. I am so happy this great lost LP has finally got the release it deserves; it is no longer lost just simply Great, one of the finest pastoral pop LPs you will ever hear. (Brian ‘Bordello’ Shea)

Full review…


B..

Babybird ‘Photosynthesis’







What I love about Stephen Jones, aka Babybird, apart from his wonderful songwriting talent and his dark humor and his obvious love of music and its many genres, is that he has so much soul. He has so much love for music in fact that he makes music not just because he may make a decent living from it but because he has no choice, he has to make it like he has to breath to stay alive. He has to create music, create art, he has to experiment with the magic of melody and write such beautiful songs, and Photosynthesis is an LP full of dark beauty and such bloody good songs. A small dark masterpiece, a master class in songwriting. (BBS)

Full review…


Baileys Brown ‘Still Fresh’
(Potent Funk)




“Skimming the scummy but with buckets of fizz and a little soul stardust answering the title’s call, BB keeps the hottest point of the club within striking distance of a couch and headphones combo” – RnV Aug 19





Investing in a gang of absolute mic-snatching hoodlums, bringing the sort of posse cuts where you dial the first two nines in anticipation, just to be on the safe side, Baileys Brown swings the wrecking ball club-wards before looming as a quiet storm presence fuelling dark alley unease. His best work where you can’t see in front of your face – add damp air or a biting breeze for maximum effect – the raw basics of Still Fresh are more than enough for emcees to chow down on (Axel Holy, Datkid, Dabbla), while a certain juju drifts in and out as if it’s not just testosterone at work. Animal instinct floods from a group who have the trousers to go with the mouth (“yeah I’m talking shit, but you’re doing it without flow”); however, a soulful section towards the back end shows Brown can rise above the rough stuff, reaching out towards a bigger stage for something that shouldn’t be skipped on account of what’s gone before. (MO)


Bantou Mentale ‘ST’
(Glitterbeat Records)







A sizzle. A static shock, a charge that most importantly signals something is changing in the musical fabric; a signal of something dynamic but also something dangerous, a mirror image of the real world, the real refugee and migrant experience and chaos. Vivid and fresh being the optimum words as the Bantou Mentale vehicle shakes up the melting pot convergence of Paris’ infamous Chateau Rouge; addressing assumptions/presumptions about their native Democratic Republic of Congo home in the process. Not so much explosive, the electric quartet seem relaxed, even drifting as they channel the soul and spirit of cooperation; opening up aspects of the DRC culture and humility often lost or obscured in the noise of negativity – and the Congo has had more than its fair share of violence and tumult both pre and post Colonialism.

Kinshasa reloaded; Bantou Mentale is a thoroughly modern sonic vision of peaceful cross-border fraternization. Lingering traces of Jon Hassell & Eno, Radio Tarifa, UNCLE, TV On The Radio and even label mates Dirtmusic are absorbed into an electrified subterranean of frizzles, pylon-scratches and hustle-bustle. Above all, despite the subject matter, despite the polygenesis sonic hubbub this is a soulful soundtrack: cooperation ahead of fractious division and hostility. A more positive collaboration for a 21st century chaos. (DV)

Full review…

Bathtub Gin Band ‘From The Old Navy Club’







The Bathtub Gin Band are a duo from my hometown of St Helens, and this there debut LP. A mini LP in fact, recorded live in a local studio, just acoustic guitar and drums and fine songwriting; the sound of two talented musicians enjoying themselves; an LP that recalls the sound of the Liverpool bandwagon club of the early noughties; quickly strummed guitar ragtime blues telling tales of drunken nights out and failed romantic adventures, an album to listen to as you are getting ready for a wild night out or after you have staggered in after one.

Beautifully written and crafted with well-arranged songs performed with verve and vigor, From The Old Navy Club is another little gem for 2019… (BBS)

Full review…


Blu & Oh No ‘A Long Red Hot Los Angeles Summer Night’
(Nature Sounds)




“A mosey across the West Coast to capture the hustles and bustle as a frontline tour guide mapping out all the no-go areas and places to tap into local electricity” – RnV Mar 19




Drawing on both the energy of the locale and when that red mist begins its descent (‘Pop Shots’ feeling the heat to the point of delusion), there’s Blu, unafraid of foregoing any sort of word association for the sake of putting a brick on the accelerator out of Thunderdome – sometimes straight talking will only do when the stakes are high. Then there’s Oh No, performing funky wheelspins between cruising and hot pursuit, capturing all the glamour, glitz, hustle and insanity the City of Angels calls everyday. The pair switch career mode from local big timers to chancers seeing how far their luck will stretch, and A Long Red Hot… is one of the year’s coolest releases; find somewhere where it’s 96 degrees in the shade before throwing on loud, sequenced to directorial perfection so the highs, lows and inbetweens form a logical thread, and where the action-packed comes with composure remaining everything. (MO)


Blue House ‘Gobstopper’
(Faith And Industry)







The fruits of two-years labour, James Howard’s (aka Thomas Nation) latest appearance as principle writer is with the Blue House collaboration; a group that boosts the talents of Ursula Russell (drumming for the brilliant Snapped Ankle, and soon to release music under the Ursa Major Moving Group), Dimitrios Ntontis (film composer and member of a host of bands including Pre Goblin) and Capitol K (the nom de plume of the ever-in-demand star producer Kristian Craig Robinson). Following up on the group’s 2016 acclaimed Suppose LP with another rich mellow empirical state-of-the-nation address, the Blue House’s Gobstopper is suffused with a languid disdain, as they drift through the archetypal bleak waiting rooms of nostalgia and the limbo of benefit Britain.

Gently stunning throughout with hues of a gauze-y Kinks, a less nasal Lennon, a more wistful Bowie and woozy Stereolab, Howard and friends perform a disarming mini opus that soaks up the forlorn stench of an out-of-season postcard seaside pub, air-conditioned gyms and quaint English motorways – ‘Accelerate’ in name only, the speed and candour of a hitched-up caravan that’s more ambling (with the radio dial set to Fleetwood Mac bounce) than autobahn motorik futurism. (DV)

Full review…

Boa Morte ‘Before There Was Air’
(Gare du Nord)







The understated majestic swells of the Irish band Boa Morte don’t come easy, or arrive regularly. Only the band’s third album proper in twenty years, the misty expansive mini-opuses found on the long awaited Before There Was Air are like gentle but deeply resonating ripples from a distant shore. Slow, methodical, every second of these air-y hushed suites moves at a stately pace: in no hurry to arrive, with many of the beautifully purposeful songs disappearing into the ether, out of earshot but forever lingering.

A finely crafted sweeping album Before There Was Air exudes a timeless quality; one that by all accounts has been well worth the wait. (DV)

Full review…

Simon Bonney ‘Past, Present, Future’
(Mute)







Arguably one of the great voices of Australian music over the last four decades, Simon Bonney is nothing if not proficient in taking hiatuses. Emerging from just the most recent one, five years after the release of the last Crime And The City Solution opus American Twilight – itself, the first album by the iconic alienated nihilists turn beatific augurs of country-doom in twenty years -, and twenty-odd years since the shelving of his third solo LP Eyes Of Blue, Bonney has made a welcome return to the musical fold.

Prompted by the decision of Mute Records to facilitate the release of that fabled last solo songbook, the Past, Present, Future collection is both a reminder, featuring as it does tracks from both the 1992 Forever and 1994 Everyman albums, and showcase for six previously unreleased tracks from Eyes Of Blue.

Not new material but a catalyst for projects going forward, this solo collection proves as prescient today as it did back then. Especially the beguiling cover turns homage (in light of Scott Walker’s passing) of the brooding maestro’s stately majestic lament to fading beauty and decadence, ‘Duchess’. Much of the Bonney songbook, delivered with earnest, deep timeless country-imbued veneration, aches, even worships, for a string of muses; an undying, unwavering love to both the unattainable and lost. One such elegiac object of such pathos-inspired yearning is Edgar Allan Poe’s famous ‘Annabelle Lee’ –the metaphorical lamentable figure of the Gothic polymath’s last poem -, who appears on both the eponymous and title tracks from Eyes OF Blue. Lovingly conveyed, even if it marks the death of that lady, it proves symmetry to the album’s profound poetic loss of influence, desire and alluring surface beauty of ‘Duchess’. Eyes Of Blue, which makes up half of this collection, follows on from the previous solo works perfectly. A touch deeper, even reverent perhaps, but every bit as bathed in country suffrage. Salvaged at long last, that lost album offers a closure of a kind. Proving however, to chime with the present, far from dated, this collection is a perfect finish to a great run of epic, though highly intimate, solo opuses; the songwriting as encapsulating and grandiose, earthy as you would expect. (DV)

Full review…

Aziza Brahim ‘Sahari’
(Glitterbeat Records)







Bringing the message of the displaced Saharawi people to the world stage, Western Saharan musician/activist Aziza Brahim follows up both her critically rewarded 2014 album Soutak, and the no less brilliant 2016 serene protest of poetic defiance Abbar el Hamada album with her third for Glitterbeat Records, Sahari.

Imbued as ever with the desert soul of that disputed region, the latest record, with its visual metaphor of optimism in even the most desperate of backdrops and times – dreams of growing up to be a ballerina proving universal – attempts to marry the beautifully longing and heartache yearns of Brahim’s voice to a number of different styles and rhythms: A subtle change towards the experimental. Imbued as ever with the desert soul of that disputed region, the latest record, with its visual metaphor of optimism in even the most desperate of backdrops and times – dreams of growing up to be a ballerina proving universal – attempts to marry the beautifully longing and heartache yearns of Brahim’s voice to a number of different styles and rhythms: A subtle change towards the experimental. Previous encounters have channeled the poetic roots of that heritage and merged it with both Arabian Spain and the lilted buoyancy of the Balearics. Working with the Spanish artist Amparo Sánchez of the band Amparanoia, Brahim has chosen to add a congruous subtle bed of synthesized effects to the recording process: before performing live in the studio, but now recording in various places, the results collected together and pieced together in post-production. This methodology and sound furnishes Brahim’s longing traditional voice with certain freshness and, sometimes, shuffled energy.

A most fantastic, poetic songbook that will further cement Brahim’s deserved reputation as one of the deserts most serene artists. (DV)

Full review…

Bronx Slang ‘Bronx Slang’
(Fabyl)




“Jerry Beeks and Miggs are more sages than saviours, proving you don’t have to settle for what’s supposedly trending. Proper hip-hop citizenship” – RnV Feb 19




Golden era restoration, true school appreciation…so many attempt to recreate/pay respects to hip-hop’s glory days but often overcook it to the point of self-neutering. Nothing of the sort applies here: Bronx Slang press home the pervading advantage (if you can call it that) of volatile politics, loud and clear messaging deriding the powers that be without resorting to playground tactics. Miggs and Jerry Beeks also know they’re in the entertainment business (‘Well Well Well’ > 50 Cent’s ‘21 Questions’/How to Rob’, Jadakiss’ ‘Why?’), and the baritone-midrange contrast frames the all-important dynamic duo telepathy, catching last breaths should anyone step to them. A box fresh success…and this is before the dirty little secret of the downtown funk hustles being hatched by two UK ringers: one-time big beat ne’er-do-well Jadell, assisted by fellow frat partier and bass house dabbler Fake Blood. Proof therefore of 90s boom bap as international language slash Holy Grail. (MO)


Danny Brown ‘uknowwhatimsayin”
(Warp)




“Still coming through loud, clear and uncouth” – RnV Oct 19



A slight tweak to the Danny Brown experience doesn’t make him any less of a livewire. Q-Tip as executive producer is not an invitation to keep his new, freshly coiffured muse in check, and despite a slightly exploratory start sonically, it’s the same old Danny boy keeping the spirit of ODB alive, quickly into his shit-chatting rhythm and proving that emperor’s new clothes do not make the man. Whether he’d enjoy being tagged as more well-rounded (rather than versatile – Brown’s mind remains pretty much one track in its own strain of ADHD that never misses a beat), the likes of ‘Belly of the Beast’ and the title track pull him in different directions but have that up-to-no-good personality keeping the peace, though he’s a smoother operator than you’d probably give credit for. Short but sweet, like a high sugar soda hit, and still highly strung, but hey – that’s entertainment. (MO)


C…

Nick Cave & The Bad Seeds ‘Ghosteen’





We knew it would come but not when; Nick Cave’s moving concept elegy Ghosteen articulates both the grief and coming-to-terms of the loss of his son Arthur in 2015. And so this often striking, if lamenting, and beautifully poised opus arrives four years later with grandiose expectations.

Often conflicted, Cave articulates despair to a bared atmospheric led Bad Seeds soundtrack of vivid and poetic images and feelings. With a tonal backing of choirs, the afflatus Kosmische of Roedelius and touches of The Boatman’s Call, Ghosteen is a mournful work of pulchritude and grief. It’s also perhaps one of Cave’s best albums in decades. (DV)

Choosey & Exile ‘Black Beans’
(Dirty Science)




“The comforts of soulful Cali ear butter, and rhymes of a valued familiarity, eye a top 10 spot come the end of the year” – RnV Mar 19




“Come and get your soul food”, a wise band once said. Treating Black Beans as an album that brings the family together around the record player, though it’s just as strong as an edutainment pursuit with headphones and your own private enclave, Choosey and Exile are the master cross-section of warm, good-old-days idealism and a voice providing revisions to nostalgia, telling the fuzzy feelings to sit up straight and tucking you in without forgetting that in love and life there’s always a moral to the story. Aloe Blacc’s deployment to send spines shivering on the all-seasons champ ‘Low Low’ is a masterstroke, the blues and soul source material carefully sifted and restored so that heads are set to thinking that maybe, everything is gonna be alright, pausing today’s mile-a-minute trends and attitudes. Grooves and truths set to soothe and move you. (MO)

Clipping ‘There Existed an Addiction to Blood’
(Sub Pop)




“Where no-one can hear you scream in space until its engine room sucks you in and spits you out” – RnV Oct 19




‘Nothing is Safe’, ‘He Dead’, ‘Run for Your Life’, ‘All in Your Head’…there’s nothing like a cult Clipping cakewalk leaving you gasping for breath. Holographic rhymes and reedy synth beats programmed like a doomed ignition sequence, whose sometimes beatlessness is replaced by wailing walls of surround sound hell and empty, nervous atmospherics, it’s the perfect deployment of the textbook pincer movement, peering stealthily around corners before letting the autofire get open until one great ball of fire engulfs everything. Crew commander Daveed Diggs plays on the edge of rogue Andre3000 operative with ambitions of hero decoration, and as blood both pumps and runs cold, the LA crew still manage to get street lifers Elcamino, Benny the Butcher and La Chat to buy into the mission of a burnt out future – game recognise game. Forget West Coast low-riders, these are the men who fell to earth: you’re pleased they just about survived to tell the tale, and something tells you they’d do it all over again, for club and country. (MO)

Cosmic Range ‘The Gratitude Principle’







Guided by Toronto based everyman Matthew “Doc” Dunn the multi-limbed super-group collective of faces from the city’s most recent creative rise to prominence follow up their 2016 polygenesis New Latitudes debut with more of the same: Spotted dabbed slinking sexy spiritual jazz, flute-y Orientalism, snuggling air-y saxophone, wallowing subterranean funk and primal scream therapy peregrinations.

The Gratitude Principle gathers together the Slim Twig’s raging, wild wah-wah licks, the experimental snozzles and spiraling wildly saxophone of Andy Haas, Isla Craig’s ethereal siren vocal and flute duties, Kieran Adams’ drums and tinkerings with electronics, Brandon Valdivia’s congas and percussion, and the keys of Mike “Muskox” Smith and Jonathan Adjemian in a sub-aquatic yearning union of free and Afro jazz and Krautrock. Another trip into the cerebral: a jam session of epic mapping. (DV)


D….

Jack Danz ‘TMIB’
(Blah)




“Entwining the concepts of lo-fi and low life and guaranteed to get under your skin…the voice of someone who’s seen too much but knows exactly what’s going on” – RnV May 19




With rhymes offered as a grunt through what sounds like a prison intercom, Leeds’ Jack Danz is an on-point example of making something cutting edge out of a squalid image – aka, the Blah battalions. Sawn off trap bass, rinky-dink riffs taking on a spectral/lost perspective, and Danz succumbing/thriving while up to his eyeballs, TMIB is the cold light of day after a dive of debauchery: ideal listening for a trashed hotel room or freshly decorated squat riddled with wrongdoing. Danz’ numbness to what are undeniably a set of head nodders (where everything else appears dead from the neck down), makes his flow both out-of-body and trudgingly destructive. If he happens to be in character, it’s a natural role, giving him an impenetrability that means few can answer back to him. Including the engineered ambiguity of the sleeve, this is high power stuff out of sobering surroundings, particularly as there’s definite vulnerability being shown by the album’s end. (MO)

Datkid ‘Confessions of a Crud Lord’
(High Focus)




“On his worst behaviour when ‘Confessions of a Crud Lord’ writes red-top headlines, Datkid bullies the beats of Leaf Dog until he’s administering toilet swirlies” – RnV Apr 19




Goaded by 16 South Westerly beats that’ll have you nodding your way into an MRI scan – your neighbours will love being trolled by the bottom ends – from the moment the word ‘Crud’ stinks the title out, Datkid has it all his own way. An ambassador for UK hip-hop’s rise of the footsoldier, this Bristol blitzkrieg bop is detailed with the confidence of someone thinking they can take on the whole pub and exit with barely a scratch. Suffice to say it’s a relentless baseball bat swing of not giving a monkeys, loving to pounce on out-of-towner weakness in a heartbeat, and whose purity of show and prove, go hard or go home, is enough for guests Westside Gunn, Conway the Machine and Roc Marciano to show support. Once upon a time this would’ve been slapped with an ASBO, but the Crud is strong with this one: “what’s the point of living if you’re just surviving” shows that Datkid really knows where it’s at. (MO)

Graham Domain ‘Fragments Of Light’
(Metal Postcard Records)







Graham Domain is an acquired taste I suppose. Why, I do not know as everyone needs some dark weird music in their drab lives, an ideal cross taste cannon submerge of Tom Waits, Bela Lugosi and Brian Cant naked massaging the tears out of a neglected and abused cabbage patch doll. Stray keyboard drifts beautifully over simple drum beats whilst duetting with the memory of a long lost lover’s memories of tasting your alcohol on her lips and tongue, the ghost of her naked form haunting the side of the bed that once belonged to her.

This mini album, as has been the other two Graham Domain releases this year, is a really must be heard LP that sadly are not being heard. Why, I really do not know. Maybe they are just too strange or just too emotional or simply people are not getting to know or hear about them. So if you are reading this review give it a listen and tell your friends. (BBS)


E…..

Callum Easter ‘Here Or Nowhere’
(Lost Map Records)







One of those dreamy disarming albums that creeps up on you, the Edinburgh-based Callum Easter’s poised and indolently profound debut, Here Or Nowhere, is a sparse affair of the heart. Often lyrically succinct, saying a lot with few words, Easter shifts tonally between the heavenly and more moody. Songs such as the South Seas charmed and swimmingly ‘Fall In Love’ offers the dreamy, whilst the enervated industrial strikes and gritty Scottish bur narration of ‘Fall Down’ offers something grittier.

After a late conversion to music, the self-taught afflatus voiced troubadour leaving a career in professional football behind him at the age of 21, Easter adopts a number of well-travil(ed) and dragged over musical influences. Somehow he makes them sound new, especially on the wonderful Southern echo-y bar room piano rock’n’roll blues hymnal ‘Only Sun’. There’s also a channeling of Charlie Megira, Alan Vega and The Legendary Stardust Cowboy on a range of beautifully poignant songs, and hints of a lot of 2000s Canadian and American indie.

Despite some of the wry mistrust and resigned despondency, Here Or Nowhere is a spiritual pop album suffused – for the main part – by choral angelics, reverent glissandos and a touch of the afflatus. It’s also an album of singles, with every track standing alone and separate in its own right away from the album as a whole: Nothing short of a marvelous alternative pop and gospel triumph. (DV)

Eerie Wanda ‘Pet Town’
(Joyful Noise Recordings)







The lost sounds of childhood summers, the finger clicking bliss of a Joe Meek hit, the beauty of the lost rainbow in an angels wish, this LP by Eerie Wanda makes me recall all this. Pet Town is a fine album indeed, at times it gives me the same feelings of joy I have when playing The Beach Boys much-underrated classic Friends; songs wrapped up in the power of the pureness in being alone.

This is simple in its beauty and the beauty is its simpleness, the vinyl etchings of acoustic nights wrapped in your ex’s arms soundtracked by a lovingly compiled mixtape of the Marine Girls and Holly Golightly’s softer moments.

Summing up, this is an LP to wrap around you to keep you warm in the coming winter months and the LP to play as you walk in the summer sun remembering how happy sad life can be. A stunner. (BBS)

Full review…

Ethnic Heritage Ensemble ‘Be Known Ancient/Future/Music’
(Spiritmuse Records)







From the doyen of the Chicago scene and alumni of that city’s famous hothouse of talent, the School of the Association for the Advancement of Creative Musicians, drummer/percussionist and bandleader Kahil El’Zabar is still exploring, still connecting five decades on from forming the spiritual jazz troupe Ethnic Heritage Ensemble.

Kahil and the current troupe of Corey Wilkes (trumpet), Alex Harding (baritone saxophone) and Ian Maksin (cello) together celebrate a prestigious 45-year career whilst also, and always, looking forward on the latest collection Be Known Ancient/Future/Music. Spanning live performances, recordings and even a track from the 2015 documentary that forms part of the title of this LP, Dwayne Johnson-Cochran’s exploration Be Known, the ensemble once more channel the ever-developing Chicago rhythm that has marked this city out for its unique, often raw, take on R&B, Soul, Dance Music and of course jazz.

Less cosmic than Sun Ra, and less out-of-the-park than the Art Ensemble Of Chicago, Kahil and the EHE tread a different path towards enlightenment; spreading the gospel of positive Afrocentric jazz to ever more dizzying and entrancing heights. Spiritual music with a message doesn’t come much better than this, the EHE showing no signs of waning after 45 years in the business. I’m off to hunt down and digest that lengthy cannon now and suggest you do too. (DV)

Full review…


F……

Frog ‘Count Bateman’
(Audio Antihero/Tape Wormies)







Frog are a kiosk by the sea, on a suburban beach. The essence of their work is gathered in a search for intimacy that is expressed in DIY and lo-fi passages; a very successful sound universe touched by Bon Iver, Daniel Johnston and other such sacred monsters. Their flame is lit on Count Bateman.

The new album in fact captures the peak of a clear path and placed lo-fi sound. The interweaving of stories on this record are a safe place that puts us at peace and in dialogue with the idea of Frog’s music.

Frog are like Matisse, painters of windows and fixtures that open in an expanse of neighborhoods, cities and stories. Count Bateman is an open window from which air enters and often there is also a hurricane breeze; in fact the second part of the record is full of unusual sounds and more driven, electronically, for the duo. (Gianluigi Marsibilio)

Full review…


G…….

Mike Gale ‘Summer Deluxe’







Escaping the short days and dreary dampness of an English winter, the Hampshire-based polymath Mike Gale (notable for his work with the Americana imbued Co-Pilgrim) suns himself in the dappled rays of lilted surf pop on his new solo album, Summer Deluxe.

Liberally splashing about in the efflux surf of The Beach Boys the much-prolific Gale (this is his fifth album alone in just five years) hides a certain sorrow, longing and yearn under the most colorful and dreamy of melodious harmonies.

Dazed and hazy, a hushed mirage of summer, the leaf-turning breeze of autumn is never far away, its arrival denoting all the connotations and metaphors you’d expect, that fleeting optimism of the summer masks and makes all our woes seem far less burdening. Summer Deluxe is swimmingly brilliant in its indie slacker charm with hints of Sparklehorse, Animal Collective and McCartney; a scion indeed of that Beach Boys spirit. (DV)

Full review…

Nicolas Gaunin ‘Noa Noa Noa’
(Hive Mind Records)







This is included because it sounds unlike anything else I’ve listened to in 2019. Originally put out in 2018 on the obscure Artetetra Records label, Nicola Sanguin, under his barely concealed appellation alter ego Nicolas Gaunin, strange exotic minimalist Noa Noa Noa LP has found a new home on the Brighton-based imprint Hive Mind.

With vague hints of Krautrock legends Embryo’s more percussive experiments in Africa, the dreamy mysterious invocations of Le Mystere Jazz de Tumbautau, Radio Tarifa, Ethno-jazz at its most untethered and Analogue Bubblebath era Richard James, Sanguin’s fantastical experiments mix vague sounds of thumb-piano, Serengeti and jungle wildlife, bamboo glockenspiel, clacking wooden and bass-heavy hand drums and nuanced workshop Techno.

Noa Noa Noa is indeed a thing of curious evocation; a searing balmy transduced soundtrack worth investigating.

Full review…

Gawd Status ‘Firmamentum’
(Tru Thoughts)




“Militant pride that’ll uproot those sitting on the fence, it’s a saga that must run and run. Absolutely boomin’” – RnV May 19



When the Big Bang wiped everything out first time around, Gawd Status saw it as an opportunity, in which Kashmere’s Strange U spaceship nosedives into the jungle, moondust dementia still sputtering from its exhaust, and Joker Starr swaps the battle arena for the cannibalistic, kill or be killed lawlessness of the Firmamentum outback. The Gawd Status is a complicated one, seriously heavy at a skinflint eight tracks long (even in the current age of artists finally getting album length right, 28 minutes is a bit of a choker), fiercely standing up for itself in articulation of black rage and examination of conspiracy theories, and revelling in The Iguana Man’s thick doomsday fog. The event completed by some utterly bumping soul sisterhood from Fae Simon, its arrival at Tru Thoughts is a slight surprise. Nonetheless it’s a work of art that burns bright like a brilliant, tumultuous dream. (MO)

The Good Ones ‘Rwanda, You Should Be Loved’
(Anti-Records)







Finding the most earthy of uncluttered soul in the most inhospitable and traumatized of environments, global renowned producer/facilitator Ian Brennan once more sets up the most minimalist and unobtrusive of recording sessions; capturing the raw, natural magic of Rwanda’s The Good Ones for posterity before it dies out.

Though moving slowly past the scars of the country’s genocide, the glorious encapsulating and whistling voices that make up this collective live a bare sustenance, eking out a meager life as farmers in the remotest of landscapes.

Recorded at guitarist and vocalist Adrien Kazigira’s hillside farm, Rwanda, You Should Be Loved Place is as poignant as it is hearty; a songbook of lilting lullaby’s, forewarnings and lament. Not that there presence is needed, but a cast of Western artists – Kevin Shields, Corin Tucker, Tunde Adebimpe and Nels Cline – lend support on a number of these beautiful songs.   (DV)

Adam Green ‘Engine Of Paradise’
(30th Century)





Meandering through the modern world of incessant tech-babble and validation cult, the former Moldy Peach turn left banke troubadour Adam Green once more traverses the boulevards and Greenwich Village hangouts of a more simpler, connected time on his wonderful folksy songbook, Engine Of Paradise.

Channeling a homage of Lee Hazlewood, Burt Bacharach, Harry Nilsson, Ian McCulloch, Jim Sullivan and Father John Misty our romantic and candid swooner delivers Midnight Cowboy like cocktail ruminations on love in the context of a society in the grip of an ever intrusive and alienating social media. Nostalgic certainly…but all the better for it. (DV)

PLAYLIST
Compiled: Dominic Valvona/Matt Oliver
Art: Gianluigi Marsibilio









From an abundance of sources, via a myriad of social media platforms and messaging services, even accosted when buying a coffee from a barristo-musician, the Quarterly Revue is expanding constantly to accommodate a reasonable spread that best represents the Monolith Cocktail’s raison d’etre.

As you will hear for yourselves, new releases and the best of reissues plucked from the team – me, Dominic ValvonaMatt Oliver, Brian ‘Bordello’ Shea, Andrew C. Kidd and Gianluigi Marsibilio (who also put together the playlist artwork) – rub shoulders in the most eclectic of playlists, with tracks as geographically different to each other as Belem and Palermo.

Digest and discover as you will, but we compile each playlist to run in order so it feels like the best uninterrupted radio show or most surprising of DJ sets.


Reviews Column: Dominic Valvona




Back after a short hiatus, my eclectic spread of recommendations and reviews features, as ever, a bumper edition of recent releases. There’s a suitably seasonal solo album from a Beach Boys imbued Mike Gale that wallows in the scorching rays, called Summer Deluxe; some live action from the Ottoman/Edwardian imbued period fusion of Arab and English music hall Brickwork Lizards, who’s new EP features a quartet of live recorded tracks from the St. Giles sessions; there’s a trippy psych peregrination hard sell from the Submarine Broadcasting Company in the form of a GOATS (not that one, this is another group entirely) cassette tape called Far Out; the latest beautifully, if despondently, articulated songbook from Oliver Cherer, I Feel Nothing Most Days; the musical suite in all its glory from Bethany Stenning’s multimedia conceptual art film The Human Project, released via the artist’s Stanlaey alter-ego. I review the fruits of a congruous union between Glitterbeat Records instrumental imprint tak:til and the ‘21st century guitar’ American label VDSQ Records, a new nocturnal hour suite from Chris Brokaw called End Of The Night; and there’s new album from the Benelux specialists Jezus Factory, the cathartic Wilderwolves rocker Inhale, Increase The Dose.

I also take a look at the latest album from the elasticated electro-pop and neo-Kraut Cologne-based Von Spar and friends, Under Pressure, plus singles from two afflatus acts, the Indian-imbued Society Of The Silver Cross (‘Kali Om’ and ‘The Mighty Factory of Death’) and Book Of Enoch, Judaic inspired John Johanna (‘Children Of Zion’).



 

Mike Gale ‘Summer Deluxe’

May 2019

Once more escaping the short days and dreary dampness of an English winter, the Hampshire-based polymath Mike Gale (notable for his work with the Americana imbued Co-Pilgrim) suns himself again in the dappled rays of lilted surf pop on his new solo album, Summer Deluxe.

Liberally splashing about in the efflux surf of The Beach Boys the much-prolific Gale (this is his fifth album alone in just five years) hides a certain sorrow, longing and yearn under the most colorful and dreamy of melodious harmonies. Sometimes it’s just the one Beach Boy who springs to mind when listening to this seasonal paean: Dennis Wilson, who flits about with McCartney and The Animal Collective on the breezy but deeply felt ‘Barecaraa’, and a filtered version of Pet Sounds era Brian – via Sparklehorse and the little known She Sells Seashells Expo homage project by the lo fi American artist John Lane. There’s even a hint of Surf’s Up noir Brian Johnston echoing around the tranquil summer abandon of ‘You Have A Way’. But you get the picture: that Beach Boys influence is prominent; something that is impossible to pull-off unless you have the talent, which Gale obviously has and proves here, no matter how unassumingly he does it.

A beautifully articulated songbook throughout, the best is saved until (almost) last with the hymnal-turn-diaphanous upbeat chorus of bubbly-synth and wafting saxophone anthem ‘Every Cloud Has A Cloud’. A comfort blanket wrapped around the repeating plaint of “You feel like nothing’s really working out”, this final vocal track sounds like the weight of the shoreline is burdening a wistful Gale as he plunges into the ocean depths to escape.

Dazed and hazy, a hushed mirage of summer, the leaf-turning breeze of autumn is never far away, its arrival denoting all the connotations and metaphors you’d expect, that fleeting optimism of the summer masks and makes all our woes seem far less burdening. Summer Deluxe is swimmingly brilliant in its indie slacker charm; a scion indeed of the Beach Boys spirit.










 

Von Spar ‘Under Pressure’

(Bureau B) 10th May 2019

Finding it all a bit much, in a society the Von Spar have coined as “surveillance capitalism”, the Cologne-based “modular system” (their description not mine) convey delusion and anxiety on their first LP in five years, Under Pressure.

Far from dour, defiant and angry the Von Spar and guests lift the miasma and mood with a most classy soulful electro-pop and neo-Kraut dance album; a sophisticated affair that even opens with a two-part dream sequence, the first part, featuring the float-y hushed coos of the Japanese singer/songwriter Eiko Ishibashi drifting to a House music rewired vision of Tony Allen drumming and bouncing refracted polygons, the second part, brings in the familiar enervated falsetto soul of Canadian polymath Chris A. Cummings with a more gliding Italo House beat; the plaint sentiment of both being “all is well until it is not”. Cummings sweet malaise and wistful tones as principle vocalist can be heard on a quartet of equally chic dance tracks; the Yellow Magic Orchestra synth Orientalism drifty ‘Happiness’, winding spiraled prog-suspense mirage ‘Better Life’, and Duran Duran meets bubbly cosmic synth ray ‘Not To Forget’.

Adding an effortless lifetime of sassy dub and reggae scholarship to the Slits-in-chrome and Grace Jones stalking ‘Boyfriends (Dead Or Alive)’, the grand dame of music writing and post-punk Vivien Goldmine characteristically turns vulnerability into a strength, dismissing a string of exes in the process towards self-realization. Other notable doyens and cult figures include Stereolab’s iconic Kosmische siren Laetitia Sadier, who liltingly adds her signature float-y tones to the motorik electro-pop ‘Extend The Song’, and prolific idiosyncratic lo fi genius R. Stevie Moore, who turns in an anguished Laurie Anderson as A.I. psychiatrist performance (an inquisitive “should I worry”, becomes ever more agitated) on the Jah Wobble goes arpeggiator, feeding the consumer machine, ‘Falsetto Giuseppe’.

On an album that spans and twists so many genres, it is the closing shifting-shards panoramic turn rhythm tumbling instrumental, ‘Mont Ventoux’ that travels the furthest, moving from progressive West Coast psych folk to shades of Popol Vuh, Cluster, Vangelis and video-nastie synth soundtrack: A epic, reflective way to finish.

Under pressure maybe, but it doesn’t show as the Von Spar and friends produce a constantly evolving sophisticated dance album of soulful yearning.







Chris Brokaw ‘End Of The Night’

(tak:til) 24th May 2019

Representing a union between Glitterbeat Records experimental international instrumental imprint tak:til and the equally expletory American VDSQ, two tactile delights from the “21st century guitar’ label’s catalogue have been given a European-wide release for the very first time. Both released at the end of May, Chuck Johnson’s 2017 Balsams album will be available for the first time on CD, whilst the nocturnal inspired Chris Brokaw suite End Of The Night is an entirely new album of attentive and placable musings.

Review wise, I’ve only had time to peruse the latter, a swoozy, atmospheric accompaniment to the Codeine and Come band members various moods, reflections and observation, framed within the pitched idea by VDSQ label boss Steve Lowenthal as the “existential” pondered ideal “last record of the night” – the results of Brokaw and Lowenthal’s late night record listening sessions. Taking up the offer, to record that perfect twilight hour album, Brokaw collected ideas for years until the opportunity arose to finally put thoughts to tape.

Joining him on these various traverses and nuanced concentrations is an ensemble of congruous musicians, some recommended by Lowenthal. Appearing in a myriad of combinations, from duo to trio and quartet, is the “Chet Baker” redolent trumpet-player Greg Kelly (Chet being a big influence on Brokaw), violinist Samara Lubelski (who’s briefly played with, like Brokaw, Thurston Moore), viola player David Michael Curry, cellists Lori Goldston and Jonah Sacks, bass-player Timo Shanko and on drums, Luther Gray.

Channeling many of the artists he’s worked with, Thurston Moore, Evan Dando and Stephen O’Malley, as he deftly picks out descriptive notes and builds up a swell of resonance, Brokaw both dreamily and moodily drifts through gestures of jazz, post-rock, grunge, tremolo-echo-y country and on the reverb-heavy vapour drift, ‘Blue Out’, a cosmic kind of blues music. Suspense, even mystery and narrative are handled with descriptive poise, with the guitar-playing evoking traces of Jeff Buckley, Jonny Greenwood and on the hushed brushed drums, dipping motion ‘His Walking’, the results of melding Chris Isaak with J Mascis.

Meditative and lingering for the most part, End Of The Night counters somnolent reflection with cerebral ponder to create the desired nocturnal atmosphere; at least a great record to finish any session on, if not quite the “perfect” one.




Oliver Cherer ‘I Feel Nothing Most Days’

(Second Language Music) 26th April 2019

An artist most lyrically out of time, full of removed observations, set to the most relaxed and wafting of stripped accompaniments, a wistful Oliver Cherer exchanges the part fact/part fiction Victorian Forest of Dean folkloric diorama of The Myth Of Violet Meek for the vague resonating traces of the 1980s on his recent despondent entitled I Feel Nothing Most Days album.

The third such impressive songbook from the prolific Hastings-based earnest troubadour to be released under his own name (previous alter-egos have included DollBoy, Gilroy Mere, Rhododendron, The Assistant) in as few years, this often dreamy affair, originally conceived decades ago – a very young Cherer putting his burgeoning ideas on to a Yamaha 4-track cassette recorder in 1983 -, is imbued by the lingering articulated drip-fed and amorphous cycles of The Durutti Column, but also a wealth of similar ethereal artists, borders on shoegaze from the late 80s epoch of 4AD.

Attuned to the Durutti first time around no doubt, Cherer, by some cosmic-aligned luck, found that he owned Vini Reilly’s Fender guitar (the one used on Morrissey’s first solo LP, Viva Hate as well). Put to good use then, as Cherer reprises his early 80s (what was left of them; when salvaged from the attic and played on a modern cassette-player that two of the original quartet of tracks came out at half-speed, the remainder, in reverse) recordings, the mood of this album is gauzy memory; music pulled from another time, an ether even – some of this down to the harmonies, choral and often atmosphere-setting guest vocals of an apparition cooing Claudia Barton and Riz Maslen.

Despite the drifting, mirror-y visage of washed troubadour, Talk Talk, C86, shoegaze and even Yacht-rock, a barely concealed rage at the divisionist-driven tensions that have sown so much caustic discord in recent years; throwing a proverbial, sacrificial “baby” out with the bath water to the wolves on the veiled Robert Wyatt-esque ‘Weight Of The Water’, in what could be a denouncement on Brexit, and the sophisticated rock with hints of The Pale Fountains ‘Sinners Of The World’ is no less gently scathing.

Elsewhere Cherer moons on the wistfully enchanted French fantasy, ‘Seberg’, a lamentable swaddled delight r-imagination of a scene, played out to a reference heavy lyricism about the aloof, Gauloise smoke cool New Wave cinema icon Jean Seberg (Cherer playing an unlikely role of Jean-Paul Belmondo), and pens a magically sad, Laurel Canyon, swoon to dementia, fading memory and age on ‘An Unfamiliar Kitchen’.

Beautifully articulated throughout, the shifting memories of time assembling just long enough to provide a vaporous soundtrack, I Feel Nothing Most Days is despite the malaise, anguish and sense of injustice a lovely, soulful songbook; another essential Oliver Cherer release.







Stanlaey ‘The Human Project’

(Stanlaey Art) May 2019

Two years after the premiere of Bethany Stenning’s ambitious multi-media The Human Project, the full-on immersive audio soundtrack from that film arrives in the form of a debut album; the first under Stenning’s amalgamated pseudonym of Stanlaey through her own imprint label. Featuring a cast of over seventy artists, actors/actresses, videographers and of course musicians, Stenning’s plaudit-attracting opus is heavy on the themes of both duality and juxtaposition; the myriad of twists and turns as the polymath artist studies our chaotic modern relationship with nature, symbolized visually and musically over a number of concept-driven performances.

Creating an alternative pastoral fairytale world, Stenning brings us a highly experimental beguiling soundscape that is often as bewildering as it is diaphanous and melodious. Untethered throughout, weaving amorphously between Earth Mother folk, jazz, R&B, Tricky-like trip-hop and the avant-garde The Human Project is in a constant state of movement as it attempts to articulate and phrase the seven elements that underpin it. Stenning’s distinct voice is itself difficult to pin down, fluctuating, soaring, meandering as it does in giddy childlike innocent wonder one minute, a ghost the next: Joanna Newsom, Bjork and Janelle Monae wrapped into one woodland sprite.

A quartet of conceptual video tracks from the album have already been drip-fed in the run-up to its release as an audio only experience – which works equally without its visual moiety as a whole new immersive experience -; the earthy winding Ghostpoet-esque ‘The Mountain Collector’, the bowl-pouring nod to antiquity’s poetic titan and striving yearn to escape an “Iron Age of destruction” for one of gold, ‘Ode To Ovid’, the breathy ethereal with Tibetan wind chimes metaphorical encapsulation of fluidity (elegantly portrayed by the harmonious display of acro-yoga in the video) ‘Properties Of Ice’, and the gauzy anguished forest spirit turns wild and intense lament to a brought-to-life mannequin wanting to escape their constraints, ‘Wooden Womb’, have already been doing the rounds.

This leaves the silvery moon pool serenade love song between a werewolf and ‘The Moon’, the Lamplighter meets Erased Tapes, dub-y ponderous flood of consciousness ‘Eldor’ (which features the rapping of Pedro DG Correia), and sonic splashed, undulated interpretation of water (its healing properties as much as a backdrop to Stenning’s emotions) ‘Aquarium’. There’s also, as a sort of extra unveiling, the angelic wafting through a void spell of ‘Orbs’, which originally was used to play out the end credits of The Human Project film.

Neither art, performance nor purely a soundtrack, this album is captivating and distinct, working on all levels: sound and music so often fails when brought into the conceptual field of creative arts, but Stenning has pulled it off wonderfully.







 

Brickwork Lizards ‘Live At St. Giles’

(Vyvyfyr Records) 17th May 2019

Plucked from the era of top hat and tails tea dances and the more rouge-ish double entendre romantically swooned crooning gin joints, the Ink Spots via Sublime Porte imbued Brickwork Lizards seem to have been lifted from an old His Master’s Voice label shellac record. A meeting of musical mind, the Oxford based troupe merge co-founder Tom O’Hawk’s penchant for clipped vocal harmony and the swing of the roaring 20s and early 30s with his musical foil Tarik Beshir’s romanticized and longing sounds of Turkey and the Orient to create a unique fusion.

Enjoying the spotlight that shines on this Arabic jazz ensemble, off the back of two albums (the second of which, 2018’s Haneen, was given the thumb’s up by myself on this blog) and joint-jumping live performances, the group’s vocalist, oud player and instigator Beshir was invited to work as a musical consultant on the new Disney Aladdin reboot; members of the Lizards even formed part of the Sultan’s palace house band.

It is the live performance quality of the band that is celebrated for posterity on their latest release, a four-track EP recorded in front of an audience at the Oxford Jazz at St. Giles showcase. All new, even if they sound nostalgic, the St. Giles quartet of vocal and instrumental maladies, swoons and bounding dances features both original-penned compositions and re-imaginings of Ottoman bohemia, and an even older Arabic love poem They begin with one of these homage transformations, the Anatolian Tango suspense turn Balkan-rush treatment of the legendary Ottoman composer Tanburi Cemil Bey’s turn-of-the-20th century sweep of the bay ‘Nikriz Longa’ instrumental. On the final performance, Beshir yearningly improvises with an Arabic love paean to a weepy and complicated, but effortlessly played, 10/8 beat accompaniment on the Mowashah tradition inspired ‘Sama’I Waltz’.

With one foot in the Bonzo Dog Doo Dah Band camp, the Lizards pay respect to the racy sincerity of the doo-wop harmony group the Ink Spots on the jazzy crooned ‘I Want To Spend The Night With You’. And on their ‘Dream A Little Dream Of Me’ evoking serenaded idyllic punt down the river ‘Roses’, you can easily imagine the Lizards lounging on the Sultan’s palace rug, wistfully sighing sweet nothings to their muse.

With certain élan and flair, not forgetting a real commitment to their form, the Brickwork Lizards refine and reinterpret their nostalgic inspirations to produce a re-electrified fusion that transcends both its Ottoman and quaint Edwardian music hall legacies. Going by these St. Giles recordings they prove a great band to catch live in the flesh.




 

GOATS ‘Far Out’

(Submarine Broadcasting Co.) 16th May 2019

As if there weren’t enough Goat orientated bands already to contend with, here’s another. This collective rabble (not to be confused with that equally tripping, but African-imbued, lot from Sweden) of moonlight acid and experimental pseudo daemonic cult mind-bending is led by the brilliantly-named maverick Alan Morse Davis, with Jorge Mario Zuleta, Dec Owen and a list of pseudonyms to back him up.

Astral planning the nonsensical, channeling a wealth of acid-rock, hippie folk, Kosmische, Krautrock and avant-garde inspirations, these Holy Mountain(side) goats chew on the most lethal of intoxicating hallucinatory strength grass. Following up on their previous self-titled LP – which I’m told did some impressive sales – the GOATS latest wheeze, appropriately entitled Far Out, is one continuous forty-minute exploratory track of spliced sections, released on that most revived and limited of formats, the cassette tape.

Setting off through a reversal-heavy drug-y drone daze our navigators on this trip meander through an ever-changing soundscape of Incredible String Band commune ditsy childish folk, indigestion-hampered throat singing, early period Amon Duul II Gothic chorus of angels and Germanic myth, caustic confusion noodling, Spacemen 3 go baggy go Velvets psych-garage lo fi, and harmonium bellowed Indian fantasy mirage. That’s without mentioning the vortex sucking sample of The Creation’s ‘How Does It Feel To Feel’, the doodling melting evocations of the Acid Mothers Temple and the blown-out wafts of Kraut-jazz trumpet that get thrown in to what is a most experimental soundtrack; equally in search of hippie nirvana and free love aboard the Hawkwind mothership as amorphous fuckery.

Far Out is an often-ridiculous collage built around a few more thrashed-out, almost conventional, song ideas and meanderings. As ‘head music’ goes the GOATS have sown together a mind-melting rich peregrination of sketches, passing fancies, the afflatus and out-right weird to create their very own disturbed vision; a release that is more ennui, hard come-down Gong communing with Popol Vuh than Faust Tapes.







Wilderwolves ‘Inhale, Increase The Dose’

(Jezus Factory) 29th May 2019

From the Benelux alternative and experimental rock specialists Jezus Factory, and featuring a heavy-guitar rotation of guests and collaborators from the Angels Die Hard, Broken Circle Breakdown and Eriksson/Delcroix triangle of bands from that region, arrives the second LP of sincere anxiety and travail from the Wilderwolves. A vehicle for the songwriting of Alain Rylant, who also sings and plays guitar, the Wilderwolves lean towards introspective rage on the finely produced Inhale, Increase The Dose; though there’s a certain ambiguity in the lyrics, waiting to be decoded, and a lot of violence (metaphorical or not) meted-out and suffered in a number of moody love tussles.

Pitched then as an album about love, though with a side caveat that “it’s about everything” and “it’s about nothing”, all seen and experienced through the self-medicated haze of lethargy; Rylant attempts to rattle the listener (and himself) from a resigned stupor.

Full of the wrangling, sinewy, angulated and sometimes caustic guitar shapes we’ve come to expect from the label’s roster, the various cast of musicians on this album work their way through grunge, stoner, post-rock, Britpop and Americana. On the desperate sinking ‘Smoked’ and bloodied sinister ‘Tooth And Claw’ they brush-up against Placebo at their more refined, and on the post relationship fall-out of ‘Your Scars’ it’s a combination of Alice In Chains and Grant Lee Buffalo. The more relaxed, ambling ‘Underwater’ however, reminds me of an Arcade Fire song I’ve long since forgotten the title of.

A personal, candid offering that taps into the current need to share the sort of woes, stresses and anxieties usually left on the psychiatrist’s couch, in hope that it will somehow help, Inhale, Increase The Dose is a great cathartic indulgence that rocks.







Singles

John Johanna ‘Children Of Zion’

(Faith & Industry) Out Now

Ahead of a new biblical-inspired album in July, the first holy revelation from John Johanna’s upcoming Judaic apocalyptic Seven Metal Mountains opus is the lilting, cymbal resonating heavy, but deep, ‘Children Of Zion’.

Slightly lighter of touch, though just as steeped in religious liturgy, the latest single from the Norfolk artist once more traverses the Holy Land with a call-to-service melt of desert-blues, post-rock and psychedelic folk. Conceptually built around the ancient apocalyptic work laid down in the Book Of Enoch (the protagonist of that cannon being Noah’s grandfather, who’s visits to heavenly realms and augurs of doom are presented through visions, dreams and revelations), Johanna’s Seven Metal Mountains symbolize “the world empires that have successfully oppressed and controlled mankind”.

‘Children Of Zion’ has Johanna adopting a faux-reggae Arabian gait to deliver a message of worshipful defiance; throwing the moneylenders out of the temple, bringing down the towers of Babylon so to speak: “No politician gonna heal me/Only love and self control.” A return to Zion it is, the most venerated of sites; a return to the garden, Johanna has found his calling once more.

For those wowed and won-over (I previously included Johanna’s previous Afro-blues, gospel and rustic Americana rich mini LP, I’ll Be Ready When The Great Day Comes in last year’s ‘choice albums’ features), prepare yourself for another divine communion.







Society Of The Silver Cross ‘Kali Om’ and ‘Mighty Factory Of Death’

Both out now

Nothing less than a clarion call for an “awakening to the universality of all people and things”, the second single of enlightened cosmic pathos from the matrimonial Seattle band once more merges a spiritual penchant for India with grunge and the Gothic. The afflatus Joe Reinke and Karyn Gold-Reinke couple behind the dramatic sounding Society Of The Silver Cross have shifted their musical tastes and inspirations in recent years after travelling; taking a hiatus to the Indian subcontinent after the break-up of Joe’s Alien Crime Syndicate. Fully imbued, bringing not only the message but also the stirring sounds of holy innovation with them back to Seattle, the couple have embraced the use of the Indian autoharp (known as the “shahi baaja”), bellowed harmonium and a droning inducing bowed instrument called the “dilruba”.

Far more Gothic, darker even, than anything you’d hear in the divine rituals of those Indian inspirations, this conversion is often full of daemonic stirrings and gauze-y mists of shoegaze and grunge. ‘Kali Om’ being the second such mix of these influences is a song that once more features an effective if succinct message and musical leitmotif in it’s opening chimes that signals a continuation of their debut single, ‘When You’re Gone’. ‘Kali”, the great redeemer, “Om”, the universal sound of consciousness, is a suitably atmospheric evocation; rich with dreamy mantra, spindled and lush tones, hints of Moorish Spain and of course, the ethereal lingering voice of Karyn.

Following in its ebb and flow, the group’s third single offers a more stark, morbid outlook through its ‘The Mighty Factory Of Death’ title, yet is no less lush and ethereal, when it does break from its gong-sounding harrowed majesty and doom. From the pages of The Book Of The Dead, this Egyptology-ringing acceptance of the fates levitation-towards-the-light breaks from its heavy veil to find heavenly relief. Indian veneration communes with Cobain’s Nirvana and The Velvet Underground, the Society Of The Silver Cross magic up an evocative enough message with both their recent singles.

The debut album, 1 Verse, is due out at the end of June.








Words: Dominic Valvona

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