THE PLAYLIST
Dominic Valvona/Matt Oliver/Brian Bordello Shea

All the choice tracks from the last month, plus a few missed ones we’ve corralled from last month, the Monolith Cocktail team’s playlist revue is both a catch-up and showcase of the blog’s eclectic and mind bending tastes. Sitting in on this month’s selection panel is Dominic Valvona, Matt Oliver and Brian ‘Bordello’ Shea

TRACK LIST IN FULL IS:

Junior Disprol Ft. Krash Slaughta  ‘Rotund Shogun’
Deca  ‘Tuning’
Exterior  ‘Orthodox Dreams’
FAST DE  ‘Miss Trutti Finally Found Her Gem’
Pussy Riot Ft. Slayyter  ‘HATEFUCK’
Masai Bey  ‘Stanza X’
BITHAMMER!  ‘Make You Mine’
Flat Worms  ‘Into The Iris (Live)’
Salem Trials  ‘Vegaville’
Walker Brigade  ‘Disease’
Team Play  ‘Sunrise’
James Howard  ‘Baloo’ Adam Walton  ‘Mary Sees U.F.O.S.’
Joviale  ‘UW4GM’
Shabaka  ‘Black Meditation’
Kritters  ‘New York’
Ralph Of London  ‘Lys’
Ethan Woods  ‘Utopia Limited (Cuddly Tie-In)’
Staples Jr. Singers  ‘I’m looking For A Man’
Ramson Badbonez  ‘Rap Bio’
Mr. SOS & Maxamill  ‘War Criminal’
The Difference Machine  ‘Old Men’
Omega Sapien  ‘Jenny’
Mr. SOS  ‘Peace & Prosperity’
Jermiside & The Expert Ft. Tanya Morgan  ‘Crime Rule The City’
Quelle Chris  ‘DEATHFAME’
Wish Master & Billy Whizz  ‘THOUGHTS OF THOUGHTS’
Guillotine Crowns  ‘Killer’ Orryx  ‘Eldritch’
Celestial North  ‘When The Gods Dance’
Henna Emilia Hietamäki  ‘Protesti’
Lucrecia Dalt  ‘No One Around’
STANLAEY  ‘Fluorescent Fossils’
Your Old Droog  ‘Go To Sleep’
Tommaso Moretti Ft. Ben LaMar Gay  ‘A Call For Awareness’
Black Mango Ft. Samba Touré  ‘Are U Satisfied’
Avalanche Kaito  ‘Flany Konare’
Tomo-Nakaguchi  ‘Halation’
Private Agenda  ‘Splendour’
Sebastian Reynolds  ‘Four-Minute Mile’
Chouk Bwa & The Ångströmers  ‘Agwetaroyo’
Misha Sultan  ‘Nyepi’
The Master Musicians Of Jajouka  ‘Khamsa Khamsin’
Gustavo Yashimura  ‘Las Prendas del Corazon’
Stephanie Santiago  ‘Activa Tu Cuerpo’
Gabrielle Ornate  ‘Free Falling’
Black Monitor  ‘Xexagon77’
Borban Dallas & His Filipino Cupids  ‘Too Convenient’
Martha And The Muffins  ‘Save It For Later’
Super Hit  ‘Blink 182’
Reverend Baron  ‘Let The Radio Play’
Alas The Sun  ‘Distant Drone’
Jelly Crystal  ‘I Tryyy’
LINN  ‘Happiness Is Real’
Lenka Lichtenberg  ‘That Monster, Custom’
Brigitte Beraha  ‘Blink’
Vera Di Lecce  ‘Altar Of Love’
Francesco Lurgo  ‘I Am Already Far Away’



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.

PLAYLIST SPECIAL

An encapsulation of the last month, the Monolith Cocktail team (Dominic Valvona, Matt Oliver, Brian ‘Bordello’ Shea and Graham Domain) chose some of the choicest and favourite tracks from February. It may have been the shortest of months, yet we’ve probably put together our largest playlist in ages: all good signs that despite everything, from Covid to the Russian invasion of the Ukraine, artists, bands everywhere are continuing to create.

65 tracks, over 4 hours of music, February’s edition can be found below:

That exhaustive track list in full:::

Animal Collective ‘Walker’
Modern Nature ‘Performance’
Gabrielle Ornate ‘Spirit Of The Times’
The Conspiracy ‘Red Bird’
Cubbiebear/Seez Mics ‘All Friended Up’
Dubbledge/Chemo ‘Itchy Itchy’
Dirty Dike ‘Bucket Kicker’
Future Kult ‘Beasts With No Name’
Lunch Money Life ‘Jimmy J Sunset’
Ben Corrigan/Hannah Peel ‘Unbox’
Uncommon Nasa ‘Epiphany’
War Women Of Kosovo ‘War Is Very Hard’
Ben Corrigan/Douglas Dare ‘Ministry 101’
Sven Helbig ‘Repetition (Ft. Surachai)’
Ayver ‘Reconciliacion Con La Vida’
Lucidvox ‘Swarm’
Provincials ‘Planetary Stand-Off’
Wovenhand ‘Acacia’
Aesop Rock ‘Kodokushi (Blockhead Remix)’
Junglepussy ‘Critiqua’
Tanya Morgan/Brickbeats ‘No Tricks (Chris Crack) Remix’
Buckwild ‘Savage Mons (Ft. Daniel Son, Lord Jah-Monte Ogbon & Eto) Remix’
Che Noir ‘Praises’
Koma Saxo w/Sofia Jernberg ‘Croydon Koma’
Medicine Singers/Yontan Gat/Jamie Branch ‘Sanctuary’
Black Josh/Milkavelli/Lee Scott ‘Die To This’
Funky DL ‘I Can Never Tell (Ft. Stee Moglie)’
Mopes ‘Home Is Like A Tough Leather Jacket’
ANY Given TWOSDAY ‘Hot Sauce (Ft. Sum)’
Split Prophets/Res One/Bil Next/Upfront Mc/0079 ‘Bet Fred’
Nelson Dialect/Mr. Slipz/Vitamin G/Verbz ‘Oxford Scholars’
Immi Larusso/Morriarchi ‘Inland’
Homeboy Sandman ‘Keep That Same Energy’
Wax Tailor/Mick Jenkins ‘No More Magical’
Ilmiliekki Quartet ‘Sgr A*’
Your Old Droog/The God Fahim ‘War Of Millionz’
Ramson Badbonez/Jehst ‘Alpha’
Ghosts Of Torrez ‘The Wailing’
Pom Poko ‘Time’
Daisy Glaze ‘Statues Of Villians’
Orange Crate Art ‘Wendy Underway’
Seigo Aoyama ‘Overture/Loop’
Duncan Park ‘Rivers Are A Place Of Power’
Drug Couple ‘Linda’s Tripp’
Ebi Soda/Yazz Ahmed ‘Chandler’
Brian Bordello ‘Yes, I Am The New Nick Drake’
Psychedelic Porn Crumpets ‘Bubblegum Infinity’
Steve Gunn ‘Protection (Ft. Mdou Moctar)’
Jane Inc. ‘Contortionists’
Black Flower ‘Morning in The Jungle (Ft. Meskerem Mees)’
Jo Schornikow ‘Visions’
The Goa Express ‘Everybody In The UK’
Pintandwefall ‘Aihai’
Thomas Dollbaum ‘God’s Country’
Crystal Eyes ‘Don’t Turn Around’
Glue ‘Red Pants’
Super Hit ‘New Day’
Legless Trials ‘Junior Sales Club Of America’
Monoscopes ‘The Edge Of The Day’
Alabaster DePlume ‘Don’t Forget You’re Precious’
Orlando Weeks ‘High Kicking’
Carl Schilde ‘The Master Tape’
Bank Myna ‘Los Ojos de un Cielo sin Luz’
Park Jiha ‘Sunrise: A Song Of Two Humans’
Simon McCorry ‘Interstices’



ALBUM REVIEW/Dominic Valvona
Photo credit: Rafal Wojczal

Trupa Trupa ‘B Flat A’
(Glitterbeat Records) 11th February 2022

With lofty literary metaphors connected to Nabokov’s dystopian ‘puddles’, a tumult of historical oppression and the miasma of Covid bearing down upon them the Gdansk band Trupa Trupa work trauma and unease into a counterpoint of both the abrasive and trippier psychedelic on their new and second album for the magnificent trailblazers Glitterbeat Records.

Working through society’s divisive destruction, anxieties and paranoia, the Polish group excels at composing claustrophobic and propulsive maelstroms of knotted despondency and protestation. That musical scale album title, B Flat A, may well be an indication of the notes, moodiness that’s used to navigate these seemingly dreadful times. Far from a cataclysmic misery however, the mood and music escalate from a gnarly tumult into the languidly psychedelic: If Syd Barrett had declined that last bad acid tab and gone on to front Pink Floyd in the 70s and gone on to embrace the post-punk scene in the 80s then it may very well have sounded something like the flange fanned dreamy ‘Lit’. Actually, the ghost of Syd is strung throughout, wafting in and out of the brilliant halcyon backbeat kooky ‘Uniforms’, and on the George Harrison melodious ‘All And All’

Shades of the Olivia Tremor Control, Jeff Simmons, early king Crimson rub up against Crispy Ambulance, Fugazi, Killing Joke, Mew, Wire and Can on the junction of light and shade; the sinewy taut and drifting. From the more relaxed resignation to growling industrial heaviness Trupa Trupa turn malady, melancholy into an artform. The final lo fi emitted title-track finishes with a suffocating atmosphere of C86 and no wave; the group present but indolently obscured under the smog; distant as if already submerged beneath the oppressive waves.  

Trupa Trupa may very well have produced their best and most complete album yet; already a contender for the albums of the year list in my view. What a opening statement to make in the third year of the pandemic!

In these troubled times, with so much stacked against independent, unsponsored voices, you can help us to continue probing and delivering great new music:

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.

ALBUM REVIEW/Dominic Valvona

Acid Mothers Reynols ‘Vol. 2’
(Hive mind Records) 27th January 2022

Interstellar overdrive time once more as the long-standing Krautrock replicants, torchbearers Acid Mothers Temple join forces with the Argentine avant-garde rock leftfielders the Reynols for a second volume of mushroom incantation space, acid-rock psych and outer limits tripping.

The constantly regenerative Acid Mothers collective, who’s only mainstays, guides are the founding members Kawabata Makoto and Higashi Hiroshi (though it should be noted that one-time Boredoms founding guitarist, the Japanese legend and serial Acid Mothers offender Tabata Mitsuru appears on this invocation of the group), embarked on an extensive tour of the South American continent back in 2017. It was during this sojourn, a year before the Mothers 2018 Reverse Of Rebirth personnel change, that the collective also took time out to record and play shows with the Reynols, whose own haywire provenance dates back decades, with the group formulating their outsider credentials from the outset in 1993; dropping the original ‘Ensemble’ from their name three years later.

The fruits of this kool-aid venture fill up another record of enlivened experimenting, both groups coalescing into what sounds like a barely contained freak-out on untethered lunar surfaces of blancmange: an improvised communion in the light of a melted moonbeam primal soup.   

Acid Mothers Temple fans won’t be surprised to hear that their contributions sound like the creeping stirrings of Phallus Dei era Amon Düül II, a bit of Guru Guru (who they have of course collaborated with in the past), the Cosmic Couriers, Xhol Caravan and Ash Ra Tempel. Meanwhile the Reynols loudest, most obvious contribution comes from Miguel Tomasín’s erratic and excitable, hard-hitting piano improvs. Sharing room on the piano stool with Anton Webren, György Liget, Cage. Mike Garson and Oscar Peterson, the free-range pianist goes to work in conjuring up the avant-garde, Fluxus and crashing chords show time Brecht on Broadway. This is all in contrast to the gravity-less atmospherics, more comfortable rhythm section and mumbo-jumbo mantra vocals on the second jam, ‘Antimatter-Sound Milkshake’ – I’ll order just the one of those please. Chaos is somehow kept together: although the drums occasionally seem to slip timings and lose the feel, preempting where this 18-legged beast is going.

Speedball rushes and highs are the order of the day as whistling shooting stars cross the astral charts and warped guitars provide a shifting mood of cosmic cowboy blues, space bird rock, post-punk, heavy meta(l) and of course Krautrock magnificence.

The Acid Mothers, more than willing to open up the sound and mind to let in this Argentine chapter of the universal acid avant-garde lodge to feast on the cosmic soup, trade blows with the Reynols who offer up piano mayhem, transmogrified flute and obscure sounds to an already fuzzed and gnarled hallucination.

The good folk at Hive Mind (yet to release anything that’s not essential in my opinion) have guided this one to vinyl. So, do yourselves a favour and add it to the psychedelic mind melt section of your collection.

From The Archives:

Acid Mothers Temple & The Melting Paraiso U.F.O. Ft. Geoff Leigh ‘Chosen Star Child’s Confession’  (2020)

Acid Mothers Temple & The Melting Paraiso U.F.O. ‘Reverse Of Rebirth In Universe’  (2018)

Acid Mothers Temple & The Melting Paraiso U.F.O. ‘In C’ & ‘La Novia’. (2018)

In these troubled times, with so much stacked against independent, unsponsored voices, you can help us to continue probing and delivering great new music:

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.

REVIEWS ROUNDUP/Brian Bordello

The cult leader of the infamous lo fi gods, The BordellosBrian ‘Bordello’ Shea has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. His most recent releases include the King Of No-Fi album, a collaborative derangement with the Texas miscreant Occult Character, Heart To Heart, and a series of double-A side singles (released so far, ‘Shattered Pop Kiss/Sky Writing’, ‘Daisy Master Race/Cultural Euthanasia’, ‘Be My Maybe/David Bowie’ and All Psychiatrists Are Bastards / Will I Ever Be A Man). He has also released, under the Idiot Blur Fanboy moniker, a stripped-down classic album of resignation and Gallagher brothers’ polemics.

Each month we supply him with a mixed bag of new and upcoming releases to see what sticks.

Singles/EPs.

Iron Maiden  ‘Stratego’

There is something quite comforting in that Iron Maiden are still releasing music, and that there is still a market for old fashioned Metal as you very rarely see metal fans wandering around the towns in their leather jackets and ripped denim with the name of their favourite band lovingly scrawled somewhere on the jacket, or the latest single by Wasp or Twisted Sister hogging the video jukebox in your local boozer. Yes, this single brings those days of myself and my indie loving friends cursing that The Smiths did not make videos, so would sit pint of cider in hand, our teenage years being soundtracked by ‘Bring Your daughter To The Slaughter’. This single brings all those wonderful days spinning back, so I would class this song a huge success; a song that will appeal to the old and maybe young metalheads out there.

Santa Sprees  ‘Run Wild When I’m Gone’

I love the Santa Sprees. I think they are one of the handful of bands I consider to be equal to my own band The Bordellos (as being one of the best bands currently making music today). A little like how Brian Wilson was influenced by the music of the Beatles pushing him on to greater heights, I feel the same way about the music of the Santa Sprees and the genius songwriter that is Anthony Dolphin. This, the opening single from the forthcoming new album, is a track of pure beauty and is quite simply one of the finest tracks I have heard this year. There is a lump in the throat tear in the eye sadness about ‘Run Wild When I’m Gone’ that is really quite bewitching. It is a rare thing, a song that carries a somber grace that both Nick Cave and Tom Waits would sell their soul to have written.

Ex Norwegian  ‘Thot Patrol’
13th August 2021

I love this single. The new release by the wonderful Ex Norwegian has an unusual air of darkness and fine elegance and eloquence and cleverness that most bands can only dream about. It has a quality that gets under your skin after a few listens and makes it its home; a song for the late summer months and one that promises great things for the album.

Birthday Cake ‘Methods Of Madness’
6th August 2021

On the whole I’m getting a little bored with straight ahead guitar music. It might be my age, in my mid 50s, and heard it all before, but I like this. It has melody and fine lyrics and is well written, and there is nothing not to like, with echoes of The Smiths and even Orange Juice, and the second track has a wonderful woozy feel to it, which is nice. In fact the whole EP has a lovely warm comfort to it which one can wrap around themselves and soak in the pure indie guitar magic Birthday Cake perform so well.

Albums…

Flowertown  ‘Time Trials’
(Paisley Shirt Records)  20th August 2021

If I’m not mistaken I’ve reviewed Flowertown before, saying how much I enjoyed the lo-finess and the boy/girl vocal interaction. And once again, I will repeat, I enjoy Flowertown’s lo-finess and the male/female vocal interaction. I also mentioned that Flowertown are almost bloody perfect and this album is not going to change my opinion as Flowertown have this softly strummed Velvets/JAMC/Mazzy Star lark down to a fine tee, and Time Trials is a fine album filled with songs that lovers of the three aforementioned bands will indeed cherish and hold close to their beautiful lo-fi filled hearts.

The Legless Crabs  ‘Reno’
(Metal Postcard Records)  23rd August 2021

The slabbed-out farce of human existence is hauled over the coals of a tortured soul. Indie guitar mutterings caught on the hop by the sound of a band with vision and cunning, vile style and cut out feedback drones, haunts the summer breeze that flows through the empty unblocked narrow escape of an ex-lover’s phony, pleased to make your acquaintance, smile. The Legless Crabs are back with their own brand of guitar menace. Reno is an album of sublime alternative guitar originality: the Mary Chain and Sonic Youth dipped in the Shaggs vagina juice. This album dips and swerves with sex, humour, and originality. Reno is an album of lo-fi like musical love; it is an album that pinpoints genius. It’s a sleeveless shirt in a shop full of winter coats. It is the coolest thing. It has the most Fall like instrumental ever recorded not by the Fall, and that is called ‘Trinidad weed Boom’, and the track is even better than the title. So how cool is that.

This is an album hipsters wished existed and now does. So if there is any justice in the world Reno will be toping the indie world top ten. This album is worth listening to whilst looking lovingly at your Beach Boys box set or wanking over the thought of the forthcoming Let It Be 5 disc set, for Reno is far more important, as it is new music and contains all the rock ‘n’ roll spirit of Adventure that both aforementioned bands had in spades.

Speed Of Sound  ‘Museum Of Tomorrow’
(Big Stir Records)  17th September 2021

A new album released by Big Stir Records is always a welcome thing, as this always guarantee melodies fine guitars riffs and well-written songs. And this album from Manchester’s The Speed Of Sound is no different; apart from the usual power pop goodness has been replaced by a more chaotic post punk psych-tinged folk cauldron calamity of la la choruses and pure pop. Pure pop that has been bottled shaken and opened with great gusto at an all-night party covering the party poppers in a thick sweetly tasting potion of seduction, melancholy and want. Museum Of Tomorrow to my mind alongside the excellent Armoires album is my favourite release on Big Stir Records, and saying every month I am praising a release or two from Big Stir records shows how enjoyable this album is. Lovers of Kirsty MacColl and John Peel favourites Melys, and the touched by the hand of genius, The World Of Twist, will adore this album as much as I do. Is this I wonder the sound of Big Stir moving to the next level? An excellent release; an excellent album.

Salem Trials  ‘Something Beginning With’
(Metal Postcard Records)  30th August 2021

The twisted sound of the Salem Trials has never quite sounded so twisted and beautiful, and bloody sexy and life affirming. If there is any justice in the world this will be the one to break the Salem Trials, the one to move them to the radio playlists of BBC 6 Music. ‘U’ is a radio hit if I ever heard one, the sound of a young scantily clad Poison Ivy twisting at an all-night bar.

This is the sound of a fine band at the top of their game; an album full of strangely commercial and commercially strange songs that bring the golden days of alternative music to the present day. The Salem Trials once again mining their vast array of musical influences but sounding like no one but the Salem Trials.

There is a wonderful New York No Wave feel to a number of the tracks; the outstanding ‘1979 Part 2’ and ‘Climb A Tree’ benefiting from a stray discordant sax: the sound John Coltrane having belligerent sweet nothings hissed into his ear by the one-off vocal styling’s of vocalist Russ.

Something Beginning With is an album that once again proves that the Salem Trials are indeed the finest guitar band currently operating in the UK (as I have said many times). And I apologise to any members of other alternative guitar bands in the UK, but I’m afraid you are just going to have to up your game to reach these heights.

ALBUM REVIEW/Dominic Valvona

Acid Reich ‘Mistress Of The Perpetual Harvest’
(Mental Experience) 14th may 2021

From the bums on a turd ride book of liberal kool aid goofing, and just one of the various acid soaked experiments that birthed a behemoth, arrives a scuzz wreckage of early rambled psych nonsense attached to the founding fathers of Monster Magnet.

Miscreants John McBain, Dave Wyndorf and Tim Cronin, aided by Ripping Corpse’s Shaune Kelly and hellsausage’s Joe Paone would have probably gotten away with this drug-fueled ridiculous echoplex pedaled Floydian slip if it hadn’t been for those pesky crate diggers of such missives as Steve Krakow (aka linear notes provider Plastic Crimewave) and the Mental Experience label.

Past crimes it seems can never be erased; even if the home recorded, privately pressed Acid Reich sessions proved an incubator for what was to come. Unsurprisingly then, this is the first ever proper sanctioned release of this 1989 artifact; a mildly amusing fuzzed up trash can of drudge rock, heavy me(n)tal, krautrock and of course liquid acid tripping. As future (though the wait was mere months) Monster Magnet guitarist McBain nailed the vibe just right: “We sounded like Amon Düül with Uli Jon Roth sitting in.” And before readers start scuttling off to look that reference up, Roth was part of the Teutonic heavyweights Scorpion.

You can add to description a heavy dose of 60s drug exploitation movies (when it wasn’t quite yet passé to have a giggle or seem both provocative and hip to take the piss out of public broadcast bewilderment and paranoia), a Mogadon slipped Hawkwind, stone age primal Rubbles drumming, The Stooges, Deviants, Cream and the debauched mayhem of Leary indoctrination.  

Ironic or in homage, I can’t decide, but this tripping cast of loons channel Surrealist Pillow era Jefferson meets Country Joe and Roky Erickson in covering that Woodstock era reignited borrowed anthem, ‘Amazing Grace’. And yes that really is a second cover version of Floyd’s hallucinatory cosmic psych opus ‘Set The Controls From The Heart Of The Sun’ you can hear: albeit a lot worse that the original by light years.

This is one spiked chalice of an acid album; a maelstrom of heavy riffage, vocals that border on the daemonic, and pummelled beats from the dungeons at the Whisky a Go Go. From beyond the calico wall indeed, all of this is drenched, enveloped in a soup of echo; played on all the right vintage gear (both instrument and amplification wise; and I suspect drug wise too) in a state of languid but devilish fun. Monster Magnet fans will be delighted I expect at the evolution; for the rest of us, well it will turn heads in the “heads” community for sure. It’s a heap of fuzz acid shit: but a great piece of fuzz acid shit!  

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.

Monolith Cocktail Social #52

February 10, 2021

Playlist/Dominic Valvona

The inaugural Monolith Cocktail Social playlist of 2021, the blog’s eclectic/generational spanning version of our ideal radio show, includes the unusual mix of wonders, gems, missives and oddities from across time. With a couple of tracks in tribute to those we’ve recently lost too (including former down ‘n’ dirty Doll face glam puss Sylvain Sylvain and British progressive folk darlings the Trees siren Celia Humphris).

Tracks:..

Grazia  ‘Soyle Beni’

Tiger B. Smith  ‘Everything I Need’
Sylvain Sylvain  ‘Trash’
The Spaceshits  ‘Backstreet Boogie’
Paladin  ‘Third World’
Prince Lasha, Sonny Simmons  ‘Psalms Of Solomon’
Hareton Salvanini  ‘Seios’
Cleveland Eaton  ‘Chitown Theme’
Rotary Connection  ‘The Weight’
Christy Essien  ‘Take Life Easy’
King Tee  ‘At Your Own Risk (Marley Marl Remix)’
Blade  ‘Fade ‘Em Out’
Killa Instinct  ‘The Bambi Murders’
Black Sheep  ‘Yeaaahhh’
Marion Brown  ’27 Cooper Square’
Night Beats  ‘Don’t Be Afraid Of The Dark’
Tucker Zimmerman  ‘Bird Lives’
Anne Briggs  ‘Step Right Up’

Trees  ‘Epitaph’
Sven Wunder  ‘Toryanse’
Jody Grind  ‘Plastic Shit’
Andrew Cyrille  ‘Metamusican’s Stomp’
Colosseum  ‘Take Me Back To Doomsday’
Electric Moon  ‘Hotel Hell’

Rialto  ‘Untouchable’
Made In Sweden  ‘Winter’s A Bummer’
Mythos  ‘Terra Incognita’
Odd Nosdam  ‘Wig 02’
Rancho Relaxo  ‘Sugar For The Devil’
Annexus Quam  ‘Osmose I’
African Head Charge  ‘Crocodile Shoes’
MRR-ADM  ‘11even’
The Auteurs Vs µ-Ziq  ‘Chinese Bakery’

Colin Newman  ‘I’ve Waited Ages’ Martin Dupont  ‘I Love The Lovers’
Ron Geesin  ‘Parallel Bar’
Krohme  ‘Goon Opera’
Azanyah  ‘Let God Come First’
Yumi Arai  ‘曇り空’
Dino Valente  ‘Tomorrow’

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.

Album Review/Dominic Valvona

Mazeppa ‘S/T’
February 10th 2021

Formed four years ago in the atavistic gateway city of Haifa in Israel, with all its connotations and history, the Mazeppa quartet channel both Middle Eastern mysticism and the intense lyrical verses and prose of the Bohemia-Austrian poet Rainer Maria Rilke on their ambitious debut album. Led by the incredible diaphanous siren voice of Michal Pérez Noy, who both invokes a Kabbalah Patti Smith and Siouxsie Sioux, the band follow up on a string of Mazzy Star meets Byzantium incense burning psychedelic and shoegaze enriched singles (both of which, the rallying, enticing hypnotic esoteric ‘The Way In’, and paisley underground ‘Roses’ are included on this album) with an expansive soundtrack of cosmic grandeur.

Enraptured by the highly influential poetics of the widely travelled and sagacious Rilke, Michal and her musical partners Amir Noy (on drums), Elad Bardes (bass) and Asaf Koren (guitar) originally put the band together to incorporate his searching prose into song; prose that is often itself stirred by the many forms of European Christianity (from Lutheran to Orthodox) and by the vistas of his eventual home in Switzerland.

That source material now sits alongside the burgeoning lyrics of Michal and her band mates on an album of various atmospheric mini-opuses and shorter post-punk, C86, psychedelic, alt-country anthems. I say alt-country, but I mean something wholly in keeping with the band’s roots and home; a tremolo like sweeping evocation of the desert frontiers, with images conjured-up of wandering band members seeking spiritual answers, like Biblical characters under the stars in a mountainous, sandy and arid wilderness.

They keep up a richly, deep and entrancing spell throughout, with nothing labored or strained musically or vocally. In fact even in the crescendos, the moments of crashing dissonance, and even when Michal rouses a fighting shout, the playing is always melodious and controlled.

A magik and romantic wanton gravitas of the spiritual, dreamy and the Gothic, permeates this work of considered poise and wispy drifting. It’s a sound that weaves in and out of washes of the Black Angels, Siouxsie’s Banshees, The Velvet Underground, the Besnard Lakes and the more symphonic examples of 90s Britpop. As heavenly as it is steeped in eastern mysticism, Mazeppa’s debut expands the Israeli band’s scope and ambitions: which I say they’ve more than matched. A passionate, thoughtful but powerful esoteric and more earthly-bound songbook, Mazeppa is already among my highlights in 2021.   

Suggested Reading:

Mazeppa ‘Roses’

Mazeppa ‘The Way In’ 

  

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.

Reviews
Dominic Valvona

In this amorphous crisscross of genres and borders I take a look at the latest in the label Night Dreamers ‘direct-to-disc’ series, a dynamic live album of fresh performances from Istanbul’s legendary souk reggae/dub and Krautrock psych legends BaBa ZuLa; Analog Africa delve through the stranger corners of the “B-movie” Colombian label Disco Machuca on their upcoming La Locura de Machuca compilation; and Daniel O’Sullivan explores library music for his latest transformation, a series of instrumental albums in collaboration with KPM.

Two front vocalists step away from their bands to go solo, with Ghent stoner/alt-rock band Wallace Vanborn frontman Ian Clement returning to the fold after many travails with a personal songbook collection, See Me In Synchronicity, and Diamond Thug’s Chantel Van T going out on her own with a debut country blues imbued songbook, entitled Nicalochan.

There’s also a label special, with three recent and upcoming ambient and experimental imbued records from the North American hub Somewherecold Records: an ambitious cosmic suite of Kosmische analogue synth odysseys from Giacomelli, snapshots, threads and lingering traces of esoteric and ether materialised country and bluegrass guitar sketches from Droneroom, and an emotive suite of love-lost movements from Vision Eternel.

BaBa ZuLa ‘Hayvan Gibi’
(Night Dreamers) Album/2nd October 2020

The latest release in Night Dreamer’s “direct-to-disc” series stars the rebellious stalwarts of Anatolian cosmic dub and psych, BaBa ZuLa: a three decade spanning Istanbul group originally birthed from the embers of the band ZeN.

Fusing the folkloric with solar flares of Krautrock, souk reggae, 60s and 70s Turkish psych and cosmic-blues the rambunctious group come on like a Sublime Porte vision of Can’s Ege Bamyasi and Soundtracks albums, only replacing much of the Teutonic legends setup with more traditional instruments like the “oud” and “saz”: albeit electrified and fuzzed up to the gills. That Can reference isn’t so surprising, as the BaBa have worked with the band’s late human metronome Jaki Liebezeit on numerous occasions: his two-way influence felt and inspiration noted on BaBa’s 2019 album Derin Derin. That same 2019 album, like so much of their output, was originally produced for a soundtrack, a documentary about falcons. And this latest “live” and direct special showcase includes a number of such tracks scored for film and stage; it also, like that falcon inspired work captures the materializations, mood, feelings of a menagerie of symbolic animal subjects.

Recorded before lockdown in the pre-pandemic nightmare, Hayvan Gibi (which means ‘to act with the natural grace of an animal’) includes six almost untethered, unleashed vivid performances from the Istanbul mavericks. It’s an album that seeks to fulfil the “live” feel and energy that some fans have commented has been lacking on previous studio albums. Invited to the Artune Studio setting in Haarlem by the label, they were encouraged to freely take-off on a flight of Eastern fantasy; encouraged to also riff on and extend past glories too. “A musician’s dream” as the band’s electric, scuzzy defacto leader and founding member Osman Murat Ertel puts it, this, also challenging, method of recording and cutting a disc from start to finish on one session gives them that energetic impetus. It also showcases each of the band’s talents. On the elliptical rhythmic Can-like dervish ‘Sipa Dub’ (also known as “The Foal”), the group’s braying oud soloist and keyboardist Periklis Tsoukalas gets to shine and sing a kind of spiritual Sufi-imbued emotive intensity on a song about an Aegean coast donkey and its foal. Percussionist virtuoso Ümit Adakale is unleashed unaided on the drilling, rattling and hotfooted breakbeat ‘Nal’ (or “Horseshoes”).

Old favourites like the ‘Çöl Aslanlari’ (“desert lion”) composition, originally made for Antonie de Saint-Exupéry’s stage production of The Little Prince, go off on a long improvised peregrination of clopping psych-rock and shimmering cymbal washes, whilst the group’s earliest groove, ‘Tavus Havasi’ (which furnished the soundtrack to the Tabutta Rövasata film) assails close to the mooning of Guru Guru and a Turkish Bar dance.

A let loose BaBa ZuLa is a most incredible experience; a scuzzed, scuffed, trinket shimmery, rippling and blazing rhythmic energy and dynamism both intense and yet also a mirage of reggae and dub imbued Anatolia mountain gazing. It’s also a reminder of what we’ve been missing in these dragging pandemic restrictive times.

Further Reading…

BaBa ZuLa ‘Derin Derin’  here….

BaBa ZuLa ‘XX’  here…

Various ‘La Locura de Machuca: 1975 – 1980’
(Analog Africa) Album/16th October 2020

Quite possibly the kookiest oddity so far in the Analog Africa catalogue, this distant outlandish relative to the label’s Diablos Del Ritmo: The Colombian Melting Pot 1960 – 1985 compilation from 2012 is the sort of “B-movie” discovery you’d expect Finders Keepers to release. From the same international Colombian gateway of Barranquilla as that collection’s purview, La Locura de Machuca: 1975 – 1980 features a similar spread of Afro-Colombian saunters, scuttles and scratchy percussive funk as that record, yet finds a twist: a kink.

For all the familiar traces of that folkloric electrified Cumbia, the Caribbean-African-Colombian hybrid Champeta Criolle, and Congolese rumba (to name just a few styles), the music that flourished from the Colombian underground is…well, different. Much of this is down to the genius and bizarre mind of the former tax-lawyer turn record company executive Rafael Machuca, who wowed and seduced by the Barranquilla music scene jacked in the day job to set-up and sit behind the control desk as the producer of his own label enterprise, Disco Machuca. This was the heady mid 70s, an age in which Colombia’s music scene was thriving with the sounds of imported nuggets and blasts from the African continent. Though native dance styles such as Bolero and Vallento still rocketed up the charts, the fervor was for a spread of Afro prefixed sounds that proved popular at the neighbourhood sound-system joints, known as “the picos”. The locals would in time add more traditional flavours, including the already mentioned versatile Cumbia, but also more modern influences such as psychedelic music and disco.

Machuca channeled that exciting dance mix with his unique label of specially put-together one-offs and more established mavericks; the often experimental and kitsch productions of which is described as the “B-movies of Colombian music” by the label’s stalwart recording engineer Eduardo Dávila. Some of that self-depreciative description is warranted for the label’s roster of artists and acts, but also for Machuca’s habit of just creating from scratch a studio band to front one-off singles and albums when he couldn’t find the right band to realize whatever vision he had leaping about in his head. Two of which, the mono skiffley itching and squiggly, Stylophone like buzz and gargled organ Samba Negra and the bongo rattling, carnival lolloping space age garage band El Grupo Folelórico, lasted only the time it took to enter the studio and press stop on the recording desk. Both of these outlets feature heavily on the compilation. Though the El Grupo Folelórico’s binary data zapping Afro bustle ‘Tamba’ qualifies as the closet of these tracks towards that B-movie status.

The label could accommodate such fancies with the money they made from more established and popular stars; such as Alejandro Durán (left off this more unconventional comp) and Aníbal Velásquez (who does feature with his slightly unhinged belly laughing and hurried Cumbia track ‘La Mazamorra del Diablo’). “Fringe artists” like La Bande Africana, King Somalie, Conjunto Barbaco and Aberladro Carbono were able to cut loose off the back of those hit-makers. The first of those names lends the collection a salacious boy/girl hush and sigh of Gainsbourg meets Bollywood in a Colombian coastal town, with their coquettish and playful ‘Te Clavola…Mano’. King Somalie meanwhile riffs on the “funky monkey” with a talky Afro-boogie and turns in a sexy fun conversational on ‘La Mongui’.

Personal favourite of mine is The Grupo Bela Roja, or to be more exact their both swooning and jaunty lead singer who channels a young Miriam Makeba on the beachside ‘Caracol’.

There’s much to discover from this sometimes-unhinged label, yet nothing so avant-garde or “loco” as to neglect an essential rhythm or hypnotic good groove. Samy Ben Redjeb’s decade-long-in-the-making project unearths some mesmerising rarities from the stretched-descriptive scenes of Afro-Caribbean and Afro-Colombian music, throwing in some curveballs and raw 45s.

For those looking for a fresh perspective and for something strange, the La Locura de Machura compilation will fill that need. Ad for everyone else, this is just a great vibrant mad world of South American sounds that deserves space inside your noggin.

Further Reading…

Analog Africa Tenth Anniversary Special  here…

Various ‘Jambú e Os Míticos Sons Da Amazônia’  here…

Chantel Van T ‘Nicalochan’
Album/23rd October 2020

Stepping out on her own from the South African dreamy space-indie Diamond Thug, the country blues and folksy lilted voiced Chantel Van T makes a boldly intimate and vulnerable statement on the debut solo songbook Nicalochan. Via a Danish solstice and summers spent contemplating at the shoreline’s edge, the hushed and swooned songwriter/singer opens up in a considered, soothed and sometimes creeping fragile manner over gently sweeping Dylan-esque Western soundtracks, mountain songs, the knowing enchantment of Lee Hazelwood, and lush morning dew yearn of Catherine Howe.

With a maturity and depth beyond her years, the often sadly but constantly dreamy Cape Town artist seems to channel a country twang that evokes shades of Emmylou Harris, Bonnie Dobson, and on the prohibition era Appalachian Lomax ‘Bittersweet Absolute’ a touch of Josephine Foster. Chantel has a voice deep, diaphanous, ached, resigned, and drifting, yet at times almost fatalistic.

An introduction to Chantel as much a candid therapy and chance to let all those thoughts and philosophically poetic questions on what reciprocated love really means (and how far it can be taken), the growing pains of womanhood and childhood.

A suffused accompaniment (all recorded with the Danish producer Anders Christopherson and a small intimate ensemble of musicians) of wallowed brass, softened string caresses, gauzy tremolo twanged and acoustic rhythm guitar, and patted toms and splashes of cymbal provide a subtle stripped backing track. One that sometimes can’t help but meander into Dylan’s ‘Knocking On Heavens Door’ on the leading, waning beauty travail single ‘Rumble And Crawl’, and a 50s yuletide mix of Rosemary Clooney and bobby-sox Spector on the album’s early punt at a seasonal number, ‘Christmas’.

Full of pining, searching affairs of the heart Nicalochan is a most hazy and beautifully executed testament of timeless country blues imbued vulnerability from an artist going it alone: A great debut of understated wisdom and inquisitive questioning songwriting, which I can see making many of the end-of-year lists, including my own.

A Somewherecold Records Special:

Vision Eternel ‘For Farwell Of Nostalgia’ Out Now
Giacomelli ‘Cosmic Order’ 9th October 2020
Droneroom ‘Blood On Blood’ 16th October 2020

All three released via Somewherecold Records.

From the highly prolific online magazine/shop-front and facilitator of various underground electronic and experimental artists, a trio of recent refined and concept-bound releases has drifted onto the Monolith Cocktail’s radar: Just three from an exhaustive roster that’s updated weekly. Extensively a soundboard and platform for composers and mavericks alike from both sides of the North American border, Somewherecold Records offer up the intimate and ambitious, depth and the translucent, peregrinations and wanderings with their most recent spread of albums.

The first of these is the grand Kosmische analogue spanning opus from Silicon Valley composer Steve Giacomelli; a triple CD expansive series of cosmic ordered suites that traverse the astral plane, new age transcendence, various thermos, gases and topographic ebbs and flows. Giacomelli’s fourth such album of cosmic ambient minimalism for the label, this celestial and evolutionary mined impressive ARP Odyssey (portable) synth birthed work of thirty-six scales into deep space, refractions of light play, pulse and gravitas uses a number of techniques to accomplish an overall sound of forgotten Sky Record maestros, Tangerine Dream, early Cluster, Tomat and Vangelis. This synthesised vision – that can sometimes err towards the ominous forebode and mystery of Kubrick – synthesis of the abstract, deep space, the inner mind, nature and the heavenly is accomplished with an apparently limited pallet and the use of counterpoint sequences, the generative and a method, favoured by Frank Zappa, called “xenochrony” – that is the extracting of a solo or other part from its original context and placing it into a completely different song/composition.

A three-hour journey through the imaginings of Giacomelli’s inner and outer star-guided mind, compositions vary between the beautiful cathedral-in-the-sky heralded ‘Cosmic Fanfare’ and the Klaus Schulze-rescores-Zardoz forebode and deep space hum of ‘The Best Laid Plans’; from the 8-bit orchestral manoeuvres of ‘SMPTE Of The Universe’ to the heavenly choral-blowing space fantasy ‘Diplodicus Green’, and the tubular generator, dash communicating ‘Remembrance Petition’.

No matter where he guides us, Giacomelli fashions a most diaphanous and mysterious epic. The Cosmic Order is a grand project, nothing short of immersive and starry.

The second of this trio of albums and EPs from the label takes us into the Kosmische-cowboy experimental soundscaping world of the Louisville-based artist Blake Edward Conley. Trading, moseying and meandering under the Droneroom alter ego, Conley pulls together a number of tracks and ideas from compilations for this transformative and transduced album of layered resonating guitar soundtracks and pauses.

A “two-lane blacktop” drive across the imagined travails of an alternative strung-out country and bluegrass accompanied America of gas station stops, mechanical breakdowns, and side road excursions, Blood On Blood gathers those “stray tracks”, threads and “snapshots” to meander through an evocative if distant landscape. Whether inspired by or in their finished state sailing close to, a number of these drowsed post-country instrumentals are dedicated to Conley’s fellow compatriots, and both explorative and old testament liturgy guitar imbued artists: The Tennessee psalm fanning Joseph Allred and folk artist Cole Morse to name just two.

Some of these sonic-thoughts-out-loud ruminations and traverses are more country than others. A certain cowboy swoon can be plucked from the lingering traces of ghostly country blues and bowing vibrato of ‘Truckstop Déjà vu’, and there’s an air of a Lynchian vision of Ry Coder on the galvanized steel gate stick rattled and didgeridoo like drone mysterious ‘And On The Last Day The Land Did Sing Me’. A removed form of Americana, with the tremolo wanes and quivers and spirit all there but veiled by the Baroque, Latin, cosmic and supernatural, ‘Let The Bluegrass Hold My Head’ is anything but. However, the dreamily acid ‘The Coyote Adrift In The Unfamiliar’ evokes a more Kosmische and Krautrock influence; sounding like an esoteric ripple in the fabric by Ash Ra Temple. In fact there’s a lot of spacey spectral leanings, an otherness, even alien, from beyond the ether: There’s even a supernatural enough transmission from that void in the shape of ‘Ghosts For Sale’.

Another impressive if unassuming album for the label that does something different, out there with its source, Droneroom’s Blood On Blood is an incredibly strange album of guitar experimentation that warrants discovery: A cult album in the making.

Back towards the ambient spectrum, the final release in the special is a most emotively drawn and purposeful EP of intimate mood music by the Montréal-based Vision Eternel. Coining the phrase “melogaze” to describe his lush “emo” brand of majestic and caressed swirling feelings, heartbreaks and loves, the band’s founder Alexander Julien soundtracks a love lost affair with a most swaddled suite of ambient music, shoegazing, and semi-classical longings.

Over a quartet of channeled “movements” (rain, absence, intimacy and nostalgia), Julien charts this affair-of-the-heart with a both cinematic and melodious touch. The EP though is a greater conceptual work that even arrives accompanied by a short story and plenty of poetic, stirring baggage. Lingering reminisces pour from this composer’s light yet deep vaporuos yearnings.

On the cover itself, Julien is painted as some kind of Left Banke thinker meets Graham Greene Third Man and shoe-string Marlowe; a riff on 50s and older covers of that vogue. And so nostalgia is certainly evoked on this almost timeless EP of abstracted emotionally pulled memories made tangible. It’s actually a most lovely, touching trembled and graceful encapsulation of the themes; beautifully put together. It’s also entirely different and like all three of these releases pushes experimental, ambient music in different directions, yet never loses sight of taking the listener on those same sonic journeys into the cosmic, imaginary, and intimate.

Somewherecold Records is proving a catalyst and platform for some of the most interesting and ambitious of under-the-radar artists. Expect to see plenty more or their releases on the Monolith Cocktail in the future.

Ian Clement ‘See Me In Synchronicity’
(Cobraside Records) Album/October 2nd 2020

All the better for it, full of sagacious yearning, frontman of the Ghent stoner/alt-rock band Wallace Vanborn, Ian Clement makes a welcoming return to the musical fold with his second solo album See Me In Synchronicity. After many travails and a series of breakdowns, Clement opens up with a songbook collection of musings on troubled romances, escaping, intimacy and more mystical, metaphysical queries on the altered states of consciousness: a subject that stems from the earnest singer/songwriters interest in mysticism and the spiritual, and its place in an increasingly secularized, atheistic Western culture.

Further, as Clement himself illuminates, “mysticism and madness touch each other, even in ordinary life. The daydreamers whose hope lies in love and fantasy or in loneliness or madness, is something that everyone can relate to.” And there is, at least, some of that title’s “synchronicity”; as also reflected on the album cover’s dream state alpine juxtaposed with cityscape and beret fitted beachcomber meandering below a seductive muse collage artwork.

Though far from mystical sounding or esoteric, this is a solid songbook with just enough edge to set it apart from the well-worn tropes and sounds found in most alt-rock of a similar persuasion. For Clement traverses not only hard rock but also country (verging on Americana), indie, post-Britpop and, even, new wave (chugging away tot the dashboard emotional pulling pop motor pop of The Cars on the “consciousness” imbued ‘Turtle & Crow’). And so you can expect to hear a subtle pallet of influences and sounds prompting this brooding but often mature and wise album.

Vocally Clement evokes a touch of Jeff Buckley (via Blackbud’s Joe Taylor) and Mark Lanegan, whilst the mix of blazing rock guitar shadings and hooks leans towards Bends period Radiohead, post-punk and early noughties Bowie. However, the most surprising humbling and yet bittersweet romantic song, ‘Bliss’, strays into the Floydian. There’s also a dappled gospel-tinged organ that keeps popping up throughout the album; a kind of low-key Muscle Shoals vibe.

Making sure this all gels, and offering some of that edge, is the luminary German producer Renė Tinner, who knows a thing or two about pushing the envelope and finding that important synchronicity between the commercial and experimental having worked with such polar opposites as Can and George Harrison. This culminates in a production and sound with depth, soul and a few surprises. Clement unloads his pains and intimate resolutions on a most sophisticated, hard-fought and lyrical work: A brave work at that.

Daniel O’Sullivan ‘Electric Māyā: Dream Flotsam And Astral Hinterlands’
(VHF Records/KPM) Album/23rd October 2020

The latest in a long run of explorative transformations for Daniel O’Sullivan, of both Grumbling Fur and This Is Not This Heat fame, sees the London-based musical polyglot traversing the “library music” oeuvre.

Although often the preserve for lovers of cult mavericks and the kitsch, library music is infinite in scope and varies considerably in quality. Often, because of its very nature dismissed as either a pale imitator of the sound and music it’s trying to ape, or void of true artistry and depth: produced in many cases as a background soundtrack and cheap off-the-shelf filler. Of course this is all bullshit, the label itself now so diverse and overused as to include some truly gifted composers alongside one-offs and obscure unknown peddlers of lo fi and unassuming skits. Essentially though, it is seen as music that fits specific criteria or commission, as O’Sullivan puts it, music made “more for functionality than sonic self-portraiture”.

It also includes, in more recent years, an increasing number of artists-in-the-know appropriating library music’s guilty pleasures and forgotten acolytes: Not so much as pastiche but rather in the mode of homage and mining ever more obscure sounds. And so a very much “knowing” O’Sullivan in collaboration with those purveyors of such rediscovered treasures, KPM, invests a lot of time and effort in producing an 18-track suite of sophisticated redolent library music gestures, sweeps, memories and fleeting incipient soundtracks on the first of a trio of such albums. The challenge however is in creating a fully-realised composition with a start, middle and sort of conclusion in short form: every track on the album being more or less under the 3-minute mark.

Delving into the cosmology of the elaborately psychedelic entitled Electric Māyā: Dream Flotsam And Astral Hinterlands you’ll find a full body of atmospheres, inner spaces, emotions, sciences and supernatural elements articulated by a diverse pallet of sounds and instrumentation. O’Sullivan caters for every occasion, from beatific meditation Eastern transcendence (‘Adoring Solitude’) to emerging from a mysterious mist-clearing landscape (‘Butterscotch Broth’) and Tomat evoked celestial cathedrals-in-the-sky (‘Eagle Ears’). And that’s all within the first five tracks: the mystical, the ambient unveiling of inspired scenery and the cosmos. Elsewhere there’s deft evocations of the sort of tender Italian pianist-driven soundtracks of the 70s favoured by Greg Foat (‘Flashbulb Memory’), a bird’s eye view from above wispy, translucent clouds (‘Feathered Earth’), a kooky burbled and steam-post-punk merger of Kraftwerk, Bernard Estardy and Jon Hassell (‘Gray’s March’) and haunted monastic dream muses (‘Sybil’).

From the sublime to the strange, ethereal to the earthy, most bases are covered on this expansive album of the vapourous and gazing. Most of which is beautifully produced and entrancing. Mixing semi-classical with ambient music, avant-garde and electronica, O’Sullivan has created an inspiring sonic journey through library music’s most lunar and traversing, stirring highlights without reverting to that pastiche and lazy homage. It is nothing short of a great piece of instrumental work, the soundtrack to a most wondrous ambitious movie.

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.

PLAYLIST/Dominic Valvona





Welcome friends to another one of Dominic Valvona’s eclectic/generational spanning playlists; the Monolith Cocktail’s imaginary radio show. In practice this amounts to Dominic picking whatever he sees fit, including tributes to fallen idols and tracks from recent reissues, even newish releases. Joining him in on this journey, volume XLVIII, are Stained Glass, Jackson Heights, Irish Coffee, Suburban Lawns, William Shatner with Canned Heat, Pekka Pohjola, Mosses, Chiha, Renegade Soundwave, King Cesar, Foetus and 25 other eclectic, cross-border, cross-generational tunes.

Listen how you choose, but each playlist is curated in a special order.

As usual, for those without Spotify (or boycotting it, pissed with it, or whatever) you can find a smattering of videos from the set below the track list.



That full track list:::

Stained Glass  ‘Soap And Turkey’
Wanderlea  ‘A Terceira Forca’
Jackson Heights  ‘Maureen’
The Troll  ‘Satin City News’
Irish Coffee  ‘Hear Me’
Primevil  ‘Hey Lover’
Suburban Lawns  ‘Intellectual Rock’
Cold Blood  ‘Watch Your Step’
Darrow Fletcher  ‘What Is This’
Los Datsuns  ‘Ritmo y Movimiento’
William Shatner/Canned Heat  ‘Let’s Work Together’
Pekka Pohjola  ‘Armoton Idyli – Merciless Idyll’
Franco Battiato  ‘Beta’
Cavern Of Anti-Matter  ‘High Street Spasm’
Mosses  ‘Tall Bearded Iris Speckled’
Ashanti Afrika Jah  ‘Ntoboase’
Freedom  ‘Cry Baby Cry’
Tucker Zimmerman  ‘Left Hand of Moses’
Cass McCombs/Steve Gunn  ‘Sweet Lucy’
El Alamo  ‘I Cry’
Dana Gavanski  ‘Catch’
Doug Firebaugh  ‘Only A Dancer’s Dream’
Kikagaku Moyo  ‘Ouchi Time’
Chiha  ‘Healing’
Renegade Soundwave  ‘Probably A Robbery’
Bacao Rhythm & Steel Band  ‘My Jamaican Dub’
The Natural Four  ‘This Is What’s Happening Now’
Lee Stone  ‘What Is Life’
Dan Penn  ‘If Love Was Money’
The Goats  ‘Do The Digs Dug (Todd Terry Remix)’
Dream Warriors  ‘Are We There Yet – Medley’
King Cesar  ‘Bloody Knuckles’
Foetus  ‘Calamity Crush’
Pigmaliao  ‘Banzo de Muri’
The Devil’s Anvil  ‘Besaha’
The Ousmane Kouyate Band  ‘Miriya’


Video Selections::::

 

 

 

 

 

 

 

 

 




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.

%d bloggers like this: