The Quarterly Playlist chosen by Dominic Valvona, Matt Oliver and Ayfer Simms



A reasonable assessment of the last three months, the Quarterly Playlist features an eclectic selection of ‘choice’ tracks from the Monolith Cocktail team. From across the musical spectrum, songs from the far east sit alongside glittering pop; traversing meditations share room with hip-hop and the Kosmische.

The inaugural revue playlist of 2018 features Plastic Ono Band sultry protest pop from U.S. Girls, fragmented reeling breakbeats from Cut Chemist and friends, Motorik mooning from Station 17, electrified dance jazz from Hailu Mergia, mystical cosmic cumbia from Sonido Gallo Negro, a cappella paean to Nelson Mandela by the Afrika Mamas, direge-y garage rock from the Moonwalks and 38 other equally interesting and varied tracks from across the globe.


Tracks in full:

‘Incidental Boogie’  U.S. Girls (review)
‘Look At Your Hands’  Tune-Yards  (review)
‘Well Who Am I’  Band Of Gold
‘Die Cut (Theme)’  Cut Chemist feat. Deantoni Parks  (review)
‘(((leapfrog)))’  MC Paul Barman  (review)
‘Addis Nat’  Hailu Mergia
‘Ein Knall’  Station 17 feat. Harald Grosskopf and Eberhard Kranemann  (review)
‘The Timeless Now’  Nonpareils
‘1001 Nights’  Ouzo Bazooka  (review)
‘Fresh Product’  Awate
‘Anything Goes’  Andy Cooper feat. Abdominal  (review)
‘Efrati’  Fadaei
‘Black Sambo’  Skyzoo  (review)
‘Kingz & Bosses’  Slim Thug feat. Big K.R.I.T.  (review)
‘That Jazz’  Coops  (review)
‘Cumbia Ishtar’  Sonido Gallo Negro
‘A Casa De Anita’  Camarao
‘All That We Are’  Brickwork Lizards  (review)
‘Hlala Nami’  Hot Soul Singers
‘Le Château’  Fishbach  (review)
‘Into Space’  Sailing Stones
‘Illogical Lullaby’  Hatis Noit  (review)
‘Also’  Astrid Sonne  (review)
‘Reptile’  Soho Rezanejad  (review)
‘Remain Calm’  Tony Njoku
‘Air Rage’  Lukas Creswell-Rost  (review)
‘Embers’  Flights Of Helios  (review)
‘And The Glamour Fell On Her’  Brona McVittie feat. Myles Cochran and Richard Curran (review)
‘Same Old, Same Old’  The Cold Spells  (review)
‘Winter Bound’  Hampshire & Foat  (review)
‘Vidsel-Sthlm, Enkel’  Bättre Lyss  (review)
‘Akokas’  Tal National
‘The Border Crossing’  Dirtmusic  (review)
‘I’ll Be Ready When The Great Day Comes’  John Johanna
‘Diego Says Hello’  Modulus III  (review)
‘Communion’  Park Jiha  (review)
‘De Roda’  Rodrigo Tavares  (review)
‘You Get Brighter’  John Howard  (review)
‘Tata Madiba’  Afrika Mamas  (
review)
‘In Between Stars’  Eleanor Friedberger
‘No Place Like Home’  Life Pass Filter’  (review)
‘I Don’t Wanna Dance (with My Baby)’  Insecure Man
‘Israel Is Real’  Moonwalks  (review)
‘Men Of The Women’  Peter Kernel  (review)
‘We Have Always Lived In The Palace’  Sunflowers  (review)

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ALBUM REVIEW – WORDS: AYFER SIMMS



Ouzo Bazooka  ‘Songs From 1001 Nights’   Stolen Body Records,  Available Now

This is the music of our mothers and fathers, I mean, if you are Turkish and were born around the 70s. If you were, then you were probably melancholically eyeing the crowd of that gathering: wedding, circumcision ceremony, wedding, circumcision, wed…etc. looking for the perfect match. You were not rich – they danced to ‘European valses’- but whatever you did your heart was already bleeding, call it a social mal- être linked to poverty and the inevitable dreamy state that comes with it, when you do what you can do and be yourself and survive without even thinking about it (and your elbows have patches and your carry that Victor Hugo-esque honor in your soul).

 

This is the music of the millions who poured in a city not equipped to receive a great many, the crushing hope that the injustice will be made obvious one day, the rage, the thirst that comes with the hardship of coming to the shores of the Bosphorus and try, with olives, bread and endless teas to set up a “good life” for yourself. This is the music that entertained the masses for the growing monster of a city. The music of the workers chanting while pushing the wheels, while they fall in love, and gather in yellow lit rooms, hunched over their glasses of raki, drowned, dispersing a million tears, laughing of a million laughs while getting married.

 

It is not surprising that these melodies have stayed with a whole generation, inspiring bands from here and there. These tracks are not how our fathers heard them: they are how some of the next generation have dreamed of hearing them, with a psychedelic twist scented with freedom, this is the music of their dream come true – we buried them and their fathers already-but we shed a tear every time the nostalgia strikes. Ouzo Bazooka has managed to restore that vibe.


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