Tickling Our Fancy 096: Azmari, Myles Cochran, Richard Von Der Schulenburg, White Ring…
January 14, 2021
A Reviews Roundup/Words: Dominic Valvona

Greetings to regular and new readers alike, the first such revue roundup from me in 2021 features another eclectic spread of curious and choice releases. Albums wise I take a look at the latest Benelux-with-global-reaching-curiosity release from the polygenesis label Sdban Ultra: an Ethiopian, Anatolian, Oriental and Arabian sweeping cosmic odyssey from the Azmari collective. Adroit experimental guitarist and composer Myles Cochran delivers a slow music vision of bluegrass, Americana, soundtrack music and minimalism on his new album, Unsung. Hamburg sonic explorer stalwart Richard Von Der Schulenburg delves into Library Music, with a hint of Bamboo Music and Kosmische, on his debut suite for the label Bureau B; prolific Oxford-based polymath Sebastian Reynolds lets his consciousness unfold on the brilliant electronic EP Nihilism Is Pointless; maverick art-House and electronic music composer Andrew Spackman, under his Sad Man guise, offers another unique Techno-driven album, Music Of Dreams And Panic; and there’s a dark arts of psychedelic and country, doom rock ’n’ roll whisky drenched ruminations from Anaximander Fragment to behold.
On the singles, skits, videos and odd tracks front I’ve included this month the precursor single to the tragic-bound White Ring and their upcoming second album Show Me Heaven, and a blooming lovely single from the Israeli group Mazeppa, entitled ‘Roses’.
Singles/Videos/Tracks.
White Ring ‘Light Hours Linger/I Need A Way’ (Rocket Girl Records)
Arriving two years after their bewitching, if challenging (in the very best way), debut album Gate of Grief, the tragic-stricken and tormented White Ring open up their souls on the equally grieving Show Me Heaven opus. In October 2019 while writing this album, founding member Kendra Malia sadly passed away after an on-off struggle with drugs and schizophrenia. She was slated to be involved but didn’t get the opportunity to contribute before her death. Thematically then, Show Me Heaven focuses on the aftermath of that tragedy, though creative foil and White Ring co-founder Bryan Kurkimilis also explains, “This album is about the consequences of darkness.” Kurkimilis is joined in this acceptance and unravelling of loss by Adina Viarengo, who joined the band back in 2017. In the run up to that second longplayer’s release on the 19th February 2021, the Ring’s label, Rocket Girl Records has made available the first two tracks via Bandcamp. First up is the caustic and dissonant, countered by ethereal vapours and wisped veils, drawing in of the diaphanous outer body light beauty ‘Light Hours Linger’: an allurement towards the rocks, lush dreamscape that disarms the plaint and esoteric moodiness. The second, ‘I Need A Way’, is rockier, more coarse and industrial Gothic, a meeting of NIN and Bowie in sludge doom fuzzy lament. This couplet of tracks bows well for that upcoming full-length album next month. Expect a review sometime in the next few weeks.
Mazeppa ‘Roses’
Out Now
What a really lovely melange of c86/shoegaze 80s period alternative indie pop beauty from the Haifa, Israel band Mazeppa. Featured back in 2020 with their Kabbalah style Patti Smith wafting and lingering around an intoxicating incense of Middle Eastern and Byzantium psychedlica enriched single ‘The Way In’, the quartet now turn to a heady diaphanous gauze of Altered Images via The Breeders and Athens, Georgia 80s scene. Heavenly brooding romanticism has seldom sounded better and lusher: though they always manage to add some grit into that lovely wash. Mazeppa have released the blooming ‘Roses’ in the run-up to a new album (released on the 10th February 2021), which I will review next month. Until then, soak this gem of a single up.
Albums/EPS..
Azmari ‘Samā’ī’
(Sdban Ultra) 22nd January 2021
From the polygenesis Benelux label Sdban Ultra another eclectic odyssey of African, Arabian and Oriental cosmic-jazz and Afrobeat, with the inaugural full-scale mirage of an album from the Brussel’s hot-housed Azmari collective. Showing off their internationally-open references and inspirations, the sextet of Arthur Ancion (on drums), Basile Bourtembourg (Keyboards, Saaz and Percussion), Jojo Demeijer (Percussion), Niels D’haegeleer (Bass) Mattéo Badet (Saxophone and Kaval) and Ambroose de Schepper (Saxophone and Flute) have chosen a moniker that translate from the ancient and official Ethiopian language of Amharic as “one who praises”. That name also refers to that region’s version of a West African Griot, or European Bard; a singer-musician of song, story and recount, often accompanied by the one-stringed lute-like “Masenqo” and five or six-stringed, bowl-shaped pentatonic scale lyre, the “Krar”. Within this lineup you’ll find a wealth of instruments and scales being intergrated: from the Saaz to Persian Ney flute and Kaval. Though a penchant to the exotic sounds and wonders of the already mentioned Ethiopia and Eritrea dominate throughout their work.
Offering an expansive, entrancing expansion of their live act and debut EP Ekera (released back in 2019), and with numerous travels under their belts, Samā’ī traverses the group’s immersion in Turkish music (especially from the 1960s) and the camel-laden musical accompaniments of Mali’s Tuareg; following these nomadic bluesmen on the semi-annual trade route between the northern Taoudenni salt mines and Timbuktu.
A promising fantasy of epochs and geography (both real and imagined), the album opens with the shimmery and hazy fluty suffused incipient sun rise ‘Zegiyitwali’: a scene of quivering cymbals and mystical horns that evokes our protagonists waking up in the red desert, dusting off the sand from their blankets. It then hits the Kuti trail on the next flight of fantasy, ‘Cosmic Masadani’: an Afrobeat by way of Hailu Mergia Ethio-Jazz and the dub of Transglobal Underground. The first official reference to a real location, ‘Kamilari’, takes Sun-Ra and Orlando Julius on a playful dance through the Minoan ruins of the Cretan Island – though this Byzantine derived name also means “the one who rides a camel”, and there is a kind of clopping coconuts percussive trot to this soul-funk desert, dreamy hypnotism.
It’s take off from the Ethiopian space agency on the lunar crater endorsed Tardis thrashing cosmic Afro-Jazz ‘Kugler’, and a shrouded, clandestine soundtracked vision of Isaac Hayes in the atavistic historical thoroughfare of Anatolian Chalcedon, on the shuttled, breakbeat and sax circling, squawking ‘Kadikoy’. From the mesmeric and dusky to outbursts of psychedelic jazz and Afrobeat, Samā’ī passes through an esoteric Orient, the mystical desert lands and caravan routes of Mali and Arabia, and the Asian banks of Istanbul. Those with a yearning and hunger for the quality of the Budos Band, Antibalas, Okay Temiz and Mulatu Astatke will soak this borderless odyssey up.
Myles Cochran ‘Unsung’
(9 Ball Records) 29th January 2021

Making good on a run of empirical and refined precursor soundtracks in 2020, the placable Kentuckian guitarist, composer, songwriter and producer Myles Cochran follows up with a broadened canvas of Americana traces and bluegrass reification on his Unsung album. On the outskirts of a recognisable Western panorama Cochran applies misty attentive lingering guitar caresses, vibrations and brushes until his country roots are all but washed out, leaving only a vague gesture and sense of place and time.
Sure, it’s bluegrass…but not quite as we know it. For all the evocations of a Mid-Western homestead and porch, or, a rustic trek across the Appalachians there’s drifts into the semi-classical, the blues, avant-garde, primitive and, even, jazz.
A well-travelled man, some of this effortless embrace of styles is in part down to an absorption of music picked up by Myles as he moved from Kentucky to New York, then, onto the UK – this album was in fact recorded between his new home studio in the UK and one in France. It also helps that he’s quite the prolific collaborator: working for example in recent years with the experimental Celtic and new-folk siren of note, and Monolith Cocktail favourite, Bróna McVittie. Myles brings in the Irish cello maestro Richard Curran and Nashville fiddler Lauren Conklin to add both congruous and stirring layers to his acoustic, electric and steel guitar romanticisms, lingers, mood suites and captured moments of both emerging and fading light, dates and emotions.
Augmented synthesized atmospheres, undulations, strings, a plonking piano and the most minimal of both frame drums and a full brushed, scuffled and shuffling drum kit extend the palette; resulting in a kind of fusion of Ry Coder and Steve Reich. At times there’s a splash, hint of Talk Talk, Droneroom and even Mark Knopfler. And sometimes the pace, rhythm picks up enough to suggest a strange, removed form of boogie-woogie blues grooving.
Myles is a multi-instrumentalist, but it’s his adroit, carefully (even if he’s greatly influenced by improvisation) place bowed, hovering, fanned quivered guitar renderings that describes and sets the mood throughout this alternative rural soundscape. Most of all Unsung shows Myles’ talent for a lower-case form of amorphous blending; counterbalancing more cutting edge studio techniques with rustic charm and those bluegrass origins. This is an album of slow music that transports the listener to quiet places: a rewarding immersion of gentleness that unfurls its secrets and depth over time.
Sebastian Reynolds ‘Nihilism Is Pointless’
(Faith & Industry) 29th January 2021

If you can recall, back in the year zero of the pandemic epoch the Monolith Cocktail premièred yet another cerebral sonic vision from the prolific Oxford-based polymath Sebastian Reynolds: ‘HAL’s Lament’. The second such mood-piece from Reynolds first extended work of 2021, the ironically entitled Nihilism Is Pointless EP, this prowling counterpoint of increasingly obscured 2001: A Space Odyssey referencing and wallowed, vaporous cybernetics is a warning against the unchecked developments in A.I.: a sonic reification of existential angst; the eventual intellectual superiority of machine thinking over humans. HAL is the ultimate totem and example of that fear: A.I. acting increasingly ruthlessly through a logical conclusion of self-preservation and mission success at any cost. So many theories have been woven, but the red-eyed sentinel machine of Arthur C. Clarke and Stanley Kubrick’s imagination/vision could be said to have overstepped the boundaries: maybe deciding the next evolutionary step in humankind’s transcendence and survival was an artificially intelligent programme/machine; that useless artefact of a body no longer needed, just code.
Joining an equally mind-expanding exercise of thematic electronically crafted tracks, the lamentable HAL fits alongside a myriad of concerning topics on this new EP. Reynolds consciousness unfolds over a quintet of developed, mindful preoccupations you could say. Finding room to breathe and think in an over-indulged online driven society of distractions and fake news being a main one of those concerns: The Pandora’s box is a hub, and it has been opened. Reynolds navigates, finding a way out through spiritualism and meditation. You can find this coping strategy, an investigation of it, on the EP’s counterbalance of semi-classical and dissonance, ‘Diving Board’: As Reynolds says, “deep breath before taking the plunge.”
As to be expected from a sophisticated palette imbued as much by classical music as it is trance, ambient music and trip-hop, you’ll find a composed set of suites on this expansive EP. The underlying sound of which, on the rest of this EP’s trio of tracks, is a convergence of August Pablo and Amorphous Androgynous dub electronica meets Daniel Lanois, Boards Of Canada and Burial. If you ever wanted to hear what the solar winded chill of ‘The Silent Majority’, marooned out in the starry uncertain expanses of a dismissive woke puritanical hostile banishing committee, sounds like, or, how the plaintive loss of someone held dear might be channelled into a sombre yet beautifully composed elegy (‘Mother’s Day’), then Reynolds latest conscious investigating EP will be a good place to start.
Richard Von Der Schulenburg ‘Moods And Dances 2021’
(Bureau B) 29th January 2021

The latest incarnation in a long line of sonic developments for the multifaceted musical explorer Richard Von Der Schulenburg sees the Hamburg scene stalwart venture into Library Music’s golden age: Roughly a point somewhere in the 70s judging by this album’s penchant for Kosmische and early synth productions. More or less a category wide open to include anything from cult composers to brief directed musicians producing incidental, theme music and sonic monikers for commercial enterprises, Library Music also means anything deemed outsider, and is now full of knowing homages, pastiches created by artists in the modern vogue.
Schulenburg since the mid-90s has dallied with the Top Banana Trio and the punkier Soup de Nüll, and also performed organ soirées of Floyd, AC/DC and ABBA songs at one of his many late 90s monthly club nights. He’s also featured in the line-up of Deris Sterne, founded labels and experimented with jazz under the 440Hz Trio ensemble appellation, and in recent years appeared under the abbreviated RVDS initials tag. The latest project is a debut recording of cosmic and worldly analogue and digital traverses and serene imaginings for the Hamburg-based label Bureau B.
During various carefully constructed journeys and geographical evocations, our meditative composer (re)envisions the tropical primitive exotica of Les Baxter, the lush dreamscapes of Ariel Kalma, the synthesized Kosmische sound of Klaus Schulze and Cluster, and more cult kooky space music of Pierre Detour: at least that’s what it sounds like to me. All of which are filtered through the kit that’s often referenced in the album’s titles; the most obvious being the opening ‘Mrs Yamahas Summer Tune’, an oceanic bob through some botanical bamboo music set, accompanied by the tonal washes, synthesized drums and the sort of itchy, brushing tight-delayed percussion found on any number of Yamaha keyboards. A more specific reference is made later on to that company’s ‘DX7’ model, the first successful digital keyboard, and biggest selling. Schulenburg uses that keyboard to waltz in space and curiosity on the plaint romantic Kosmische style ‘DX7’s Broken Hearts’.
It’s the spotting tones of a Farfisa, on the Ethio-Jazz riddle, sand dune contoured and solar-wind blowing ‘Flowers For The Farfisa Sphinx’; a Roland synth’s worth of pre-set effects and oscillations, on the serenade through paradise nocturnal wobbling and warbled ‘Rolands Night Walk’; and the German manufacturer Wersimatic and their CX1 rhythm machine, on the blue Hawaiian dreamy ‘Wersimatic Space Bar’.
Showing perhaps a different collector’s hobby, there’s also a couple of references to analogue cameras: the final model in the Yashica company’s unsuccessful camera series, the ‘Pentamatic’ (‘Caravan Of The Pentamatics’), and the Pentax (‘Dance Of The Space Pentax’); the former, musically speaking, a fantasy traverse of Arabia aboard Cluster’s mother ship, and the latter, dances on a spring board of electronic piano notes towards an Eno imagined South American landscape. Playing in a very sophisticated and extremely knowing way with his sources, inspirations, Schulenburg isn’t so much mischievous as adroit in producing a magical, filmic hologram of escapism. With hints of Library Music, but also a heavy Kosmische presence (Cluster, sky Records, Mythos), touches and shimmery saunters of Ethio-Jazz, and more contemporary peers such as Alex Puddu, Air and Jimi Tenor, this album fits perfectly in the cosmology of Germany’s foremost electronic music label Bureau B. And so rather than a passing fancy, homage or even pastiche, RVDS goes deeper to produce a brilliant sonic mirage of ideas.
Anaximander Fragment ‘Wagon Drawn Horse’ (Shimmy Disc)

I last heard of Adam G as part of the extraordinary brutalist and discordant Water Fragment sonic project, which pitched Boston noise artist Art Waterman with the New England music scene stalwart on a torrent miasma of concentrated conflict. That album collaboration was, and still is, a challenging caustic barrage of Swans, Coil and Scot Walker imbued mood music.
Under a new, if familiar, moon Adam’s latest cursed-soul expulsion sees the noise and skronk survivor adopting the solo Anaximander Fragment guise for his latest oeuvre. Originally conceived to a Santa Monica backdrop in 2013, Wagon Drawn Horse was meant to be the middle chapter in a trilogy; filed under just one of three different pseudonyms. Unfinished at the time, but now revived, resurrected, this album now crosses over two creative timelines: refreshed, rewritten as it is for an evolving cycle of despair, anguish and political tumult. And of course, the most worrying development of all, the crisis of the last year, Covid-19, can’t help but rear its ugly head. Again, like many records being released in 2020 and the beginning of 2021, there isn’t any recognisable, obvious reference to the pandemic, the lockdowns, but the often-disturbing post-punk, gothic, industrial, noise and psychedelic atmospheres on this record certainly seem to connect and evoke it. I say psychedelic in that list of genres, but what I really mean is Panda Bear detuned and transformed by Einstürzende Neubauten, or, the Red Crayola jamming with The Telescopes; even Rocky Erikson lost in an industrial grinder.
There’s also a conjuncture of those more doom and caustic merging with a vision of alternative vibrato-guitar led country: imagine in this case, Jason Pierce and Charlie Megira sharing a packet of Mogadon. Yes, a country album, even a sleazed rock ‘n’ roll one. A removed one at that, but it’s all there. Though sometimes it feels like Suicide gyrating with The Jesus And Mary Chain, and a Scorpio Rising leathered-up protagonist jukebox jiving in the company of The Fall.
In the despondent, beaten shadow of James Earle Fraser’s End Of The Trail statue, Adam uses both unguarded and a more cryptic lyricism to denounce the effects of colonisation; lament with sinister connotations about a number of muses, “siren(s)”; and riles against apathetic lethargy. That Wagon Drawn Horse title takes on far more damaging meanings when it proves to be the instrument catalyst for the unseemly, even the genocide aspects of the frontier spirit. The final title-track opus curtain-call thrashes and gallops across a devastation of “stolen land” to make a point with grizzled, haunted passages of poetic distress and doom.
A confliction of both assurance and frightening auguries permeate this album. Through a fog of metallic grinding and steel fibre springs, Adam prays and offers a homecoming on the Silver Apples through a chiselling dissonance ‘Metamorphosis’, and pours a gasoline-strong torrid of trauma on the Iggy fronts Velvets ‘Colonised’.
Almost hypnotised towards the void, yet always pulling away, the Anaximander Fragment demon knows when to throw in a chains-and-leather rock ‘n’ roll hip gyration, and when to ease the industrial tumult. A strong, broody album, Wagon Drawn Horse plays hard with the pioneer myth whilst also brooding and despairing of age-old themes. This somehow makes it an album that chime with current times, drawing from the uncertainty and divisive fragmentation of a pandemic world in freefall.
Sad Man ‘Music Of Dreams And Panic’
(Wormhole World) 29th January 2021

Prolific Techno and potting shed electronic boffin Andrew Spackman has continued to knock out a string of pent-up collections of ennui experiments and sonic collisions during the pandemic. And though nothing on this first burst of energy from the maverick in 2021 makes it obvious, no artist can really avoid the omnipresence, fears, anxiety and uncertainty of Covid-19’s influence and grip. Music Of Dreams And Panic however seems just as much inspired sonically by flights of the imagination and by following improvised pathways: even by just seeing what happens when you take a particular filter, tonal effect to breaking point, or, float, ride on happenstance waves and algorithms. The titles in that regard offer something of a description, inspiration and starting point.
Metal-on-metal, tubular fuel rods and space permeate this album of sophisticated star gate hinge waning and searing mystery. Those often signature colliding beats and breaks are mostly kept in check for something approaching a float, drift in the great expanse. ‘Mugstar’ for example balances moments of Warp Records output and Gescom with 90s Harthouse label Trance on a stellar hyper-driven spectacle in the cosmos: The controlled chaos is still there, with various serial progressions of a sort, throated alien sinister warnings, yet somehow gives way to moments of crystalized serenity. Elsewhere, Spackman (now more or less only running with his Sad Man alter ego) sort of joins together Lynch’s Twin Peaks and Dune on the refraction shinning, whistled high ‘Vin Werski’, and maybe referencing a Heaven 17 meta-inspiration on the static popped percussive, cathedral in the sky, Tangerine Dream turn ‘Seventeen’. Strangest of all, reference wise, is ‘Fra Fra’, which is the colonial name given to a particular number of tribes, concentrated in northern Ghana (also the subject, their funeral songs, of a 2020 Glitterbeat Records album). There’s an odd tweeting of exotic space birds and alien wildlife, but no obvious musical connection.
Still pumping out a transmogrified vision of Techno, Acid, Trip-Hop and Breakbeat, Spackman also crams in some (removed) House Music and Kosmische (a lot of that about lately) too. It seems the despondent guise of Sad Man is producing an ever-expanding range of sonic experimentation. This album in particular seems far less fidgety, though the music is always curiously developing. From garden shed assemblages and synthesized, computerised escapist mind of an art-dance music outsider arrives another unique Techno-driven statement.
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.
Premiere: Sebastian Reynolds ‘Maṇīmekhalā EP’
October 16, 2019
Premiere
Dominic Valvona
Sebastian Reynolds ‘Maṇīmekhalā’
(Pindrop Records) EP/ 18th October 2019
Released in anticipation of the upcoming UK tour of the multimedia Mahajanaka Dance Drama, which starts in November, a second EP of serene devotional music from that production’s score is being shared with our readers two days in advance of its official release date (18th October).
Based on the stories of the venerated Jataka, one of the oldest collections of mythological texts in the world, the theme of this interpretive dance, music and visual production is taken from the Mahajanaka, a moralistic chronicle of Buddha’s previous lives, which describes the future guru’s birth as the prince of that title. Prince Mahajanaka, we’re relayed, is usurped by a ‘wicked uncle’. During exile he becomes a merchant so he can gain the fortune he needs to regain his kingdom. Of the many travails the prince experiences, there’s one that appeals especially to the artist and collaborators behind the leading peregrination of this EP: Mahajanaka’s rescue from a shipwreck by the guardian of the seas, the goddess Maṇīmekhalā – who as it transpires, very important to the story, only saves the lives of the virtuous. The man behind this project’s visceral soundtrack, Oxford-based polymath Sebastian Reynolds, composes a most diaphanous ascendant theme to that deity; the leading transcendent evocation from this new EP is a subtle, resonating vision of blissful devotion that softly (angelically even) transforms the rich sounds of Southeast Asian traditional music to produce a dreamy lofty cloud gazing homage.
The musical, dance and artful direction of this production and its score can be found in Thailand. Sparked, in part, by Reynolds’ arts-funded trip to Bangkok in 2016, the reedy sound of the native Pi-Nai instrument, which he recorded during his time there, can be heard permeating the goddess saviors theme. You may also hear the accentuated and understated tonal drones of German cellist extraordinaire Anne Müller woven into the effortless fusion of veneration tradition and the contemporary ambient. Müller of course recently released a debut LP, but has collaborated with Reynolds on a number of albums and performances, most notably the triumvirate of experimental chamber electronica, the Solo Collective, with both Reynolds and German virtuosi Alex Stolze.
The EP’s accompanying track, the lively bamboo skittering South Seas ‘Cherd’, features an attentive cascading mallet bouncing regal dash performance from the Thai piphat troupe, The Jongkraben Ensemble; a performance that was originally specially commissioned by Reynolds. Continuing with the many Thai connections, one of the two remixes on this EP is by the Thai producer, musician, composer and project collaborator Pradit Saengkral, who expands Reynolds original Maṇīmekhalā theme into a both expansively dreamy and more seriously intense journey of caressed piano, pondered bass guitar notes and mysterious atmospherics.
As I’ve already said, a collaborative affair, The Mahanjanka project from which this latest EP derives, was conceived and put together by Reynolds, the contemporary dance company Neon Dance and the award-winning Thai dancer and choreographer Pichet Klunchun. Taking their source material and inspirations extremely serious, not only by spending time abroad absorbing and working with an array of Thai talent, Buddhist scholar and author of the Penguin Classics translations of the Jataka, Dr. Sarah Shaw, was on-hand to lend support and monitor this special interpretation.
Closer to home, cult producer of the moment, Capitol K offers a brilliant transportive and sophisticated ‘psytrance’ pumped exotic treatment of The Jongkraben Ensemble’s wooden mallet dash to nirvana, ‘Cherd’. Of which he opines:
“From playing the Goat Herder album out live I found myself recently developing more ambient long form dance floor tracks, focusing on the low midrange and kick frequencies in particular. In conversation with a producer friend recently we were discussing the merits of the much maligned idea of psytrance in a festival context, I don’t think this remix quite makes it to psytrance but I felt that in remixing the ancient and complex scores of piphat, the only way I could be humble with my illiteracy to the form was with my own take on a trance remix.”
A most beautifully conceived vision that fuses tradition with the subtlest of electronica, ambient and trance, this multi-disciplined performance is worth experiencing in the flesh. You can catch the UK leg of the tour at the following venues and on these dates.
Mahajanaka Dance Drama – UK Tour November 2019
13th – Jacqueline du Pré, Oxford
14th – Pavilion Dance, Bournemouth
16th+17th – British Library, London
20th+21st – The Library Presents, Cambridgeshire
Plus a talk and excerpt performance event at the Multi-Faith Centre, University of Derby, on 19th November.
Until then, enjoy the second EP of congruous spiritual evocations from that captivating project.
Quarterly Revue Playlist 2019: Part Two: Apparat, Cairo Liberation Front, Tinariwen, Sampa The Great, Seba Kaapstad…
June 25, 2019
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 Valvona, Matt 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.
Our Daily Bread 332: Solo Collective Part Two
June 12, 2019
ALBUM REVIEW
Words: Dominic Valvona
Sebastian Reynolds with Anne Müller and Alex Stolze ‘Solo Collective Part Two’
(Nonostar Records) 7th June 2019
Gathered together once more in union under the Solo Collective title, the Anglo-German musical partnership of virtuoso performers and composers Sebastian Reynolds, Anne Müller and Alex Stolze is back with a second volume of evocative neo-classical stirrings and soundscapes.
Part One of this interconnecting project shared the material evenly between the trio, with each artist represented by two of their own original tracks, rearranged and fashioned to accommodate their new foils. This time around the compositions on Part Two are all attributed to Reynolds. Re-performed the Oxford polymath’s selection of both back catalogue and, until now, yet to be fully realized tracks are transformed with the most delicate and tactile of touches. Well, mostly that is until you reach the centerpiece (as it were), the live recorded performance of ‘Ripeness Is All’; a disorientating vision of harrowing confusion that feeds a narration of the sobering death of Snowden passage from Joseph Heller’s iconic tragic-comedy Catch-22, through a JG Ballard meets Philip K. Dick dystopia. Literary gold, Heller’s WWII bomber crew are uprooted and transported to a haunting polygon warning signal blazed soundtrack that borders on Cabaret Voltaire and Throbbing Gristle. As dark and jarring as it is – and it is the most discordant, violent composition on this and the previous volume by a mile – ‘Ripeness Is All’ sits well with the more serene and beautifully classical lamenting explorations and mood pieces. It’s also the most glaring example of digital effects manipulation on an album that is intentionally built around Reynolds concept of blurring the boundaries between instrumental, more natural, performance and digital processing: Part Two being an album that explores Reynolds various working methods, each track demonstrating this theme, whether that’s a performance or series of performances later transformed and re-edited in the studio, or fragments of sound stitched together to form a coherent soundscape collage.
Talking of a certain calculated ambiguity, the homemade concrete recordings that make up the ghostly sounding ‘Midenhall’ obscure the source material well, with only the piano and clock-like chimes acting the part of a recognizable guide in a vapour of oscillations, speed shift effects and supernatural atmospherics.
The deft quivery resonance of Reynolds two foils can be heard more distinctly on the remainder of this album. The waning and pizzicato plucks of Müller’s cello and Stolze’s violin, for instance, can be heard on the achingly beautiful Oriental-evocative opening suite ‘One Year On’, and even on the amorphous-sounding plaintive ‘For Hazel’ – a track that molds a number of performances and recordings from various locations and time to produce an ethereal lament. Tender throughout, both add refined sighing articulation and emotion to Reynolds mostly piano-centric arrangements: subtle but integral, especially on the elegantly filmic and moving ‘Holy Island’; a song that has become a sort of standard for the trio, this being the second version of the original scenic classical wash to appear on the project’s moiety of albums.
A change in scope with the emphasis shifted towards Reynolds music and techniques, Part Two is still a group effort (an even greater extended cast of enablers are credited in the album’s liner notes) even if those contributions are intentionally more blurred this time around. Released on Stolze’s brilliant burgeoning Nonostar label, this latest volume can be seen as a showcase for three of the most interesting and talented artist-composer performers of the contemporary classical and experimental electronic music scenes in Europe – though arguably all three straddle an eclectic field of styles both traditional (the Eastern Jewish music of Klezmer for one, the influence of which permeates the songs ‘By The Tower’ and ‘At Nightfall’) and new.
Superb in every way, the triumvirate of Reynolds, Müller and Stolze in any form can’t be recommended enough by me (the previous volume even made this blog’s albums of the year features). And Part Two is another essential considered and aspiring work from the trio.
Quarterly Playlist of 2017: Part Three: Tony Allen, Chino Amobi, Liars, Nicole Mitchell…
September 28, 2017
PLAYLIST
Selection: Dominic Valvona, Matt Oliver and Ayfer Simms
An encapsulation of the Monolith Cocktail’s tastes and a showcase to reflect our very raison d’être, the ‘quarterly revue playlists’ feature an eclectic selection of tracks from artists and bands we’ve enjoyed, rated highly or believe have something worthwhile to offer. Chosen by Dominic Valvona, Matt Oliver and Ayfer Simms this latest collection includes both recordings featured on the site, and a few we’ve either missed or not had the room to include.
Though we try to offer the best listening experiences, ordering tracks in a certain way for highs and lows, intensity and relief, we don’t have any particular concept or theme in mind when putting these playlists together. Yet by accident we have selected quite a few moody, meditative and often contemplative tunes this time around; from the most brilliant (corners) exposition and vivid experimental jazz suite and beat poetic descriptions of John Sinclair and Youth‘s recent Beatnik Youth Ambient team-up, to the Slovenian peregrinations of Širom. We also include however more upbeat, if in protest, Afrobeat flexing from the Chicago Afrobeat Project (featuring the original rhythm provider legend Tony Allen, who as it happens appears twice on this playlist, on both the Chicago collectives What Goes Up collaboration and on his own solo album debut (proper) for the illustrious Blue Note label, The Source); and at opposite ends of the spectrum, the cool kids aloof post punk of Melbourne’s mini supergroup Terry. We also include tracks from the sauntering laxed smouldering grooves of Africa Analog’s Bro. Valentino reappraisal Stay up Zimbabwe, Hive Mind Record’s debut re-release of Maalem Mahmoud Gania‘s Colours Of The Night, and a host of ‘choice’ hip-hop from The Green Seed, Skipp Whitman, The Doppelgangaz and Tanya Morgan.
Circumnavigating the globe and beyond, the third playlist of 2017 is as eclectic as ever and also features music from India, South America, West Africa and Sweden. See below for the full tracklist and links.
TRACKLIST –
Chicago Afrobeat Project & Tony Allen ‘Race Hustle’ Review
Golden Teacher ‘Sauchiehall Withdrawal (Edit)’
Msafiri Zawose ‘Chibitenyi’
Tony Allen ‘Moody Boy’
Bro. Valentino ‘Stay Up Zimbabwe’
Hypnotic Brass Ensemble ‘One Hunit’
Chino Amobi ‘BLACKOUT’
Nosaj Thing (ft. Kazu Makino) ‘How We Do’ Review
Beans (ft. Elucid, That Kid Prolific) ‘Waterboarding’ Review
The Green Seed ‘Revolution Ok’
Tanya Morgan ‘Truck Shit’ Review
Skipp Whitman ‘Downtown’
Room Of Wires ‘Game Over’ Review
Sad Man ‘Birman’ Review
Tyler The Creator (ft. A$AP Rocky) ‘Who Dat Boy’ Review
Open Mike Eagle ‘My Auntie’s Building’ Review
The Church ‘Another Century’
Co-Pilgrim ‘Turn It Around’
Martin Mânsson Sjöstrand ‘Waiting’ Review
Vukovar ‘The Clockwork Dance’ Review
Liars ‘Cred Woes’
Candice Gordon ‘Nobody’ Review
Hajk ‘Magazine’ Review
Gary Wilson ‘You’re The Girl From The Magazine’
Terry ‘Take Me To The City’ Review
Pale Honey ‘Get These Things Out Of My Head’
Trudy And The Romance ‘Is There A Place I Can Go’
CHUCK ‘Caroline’ Review
Modern Cosmology (ft. Laetitia Sadier) ‘C’est Le Vent’
Diagnos ‘Reflections’ Review
Sebastian Reynolds (with Anne Muller, Mike Bannard, Jonathan Quin and Andrew Warne) ‘Holy Island’
Teonesse Majambree ‘Umuyange’
Maalem Mahmoud Gania ‘Sadati Houma El Bouhala’ Review
Nicole Mitchell ‘Timewrap’
Clutchy Hopkins & Fat Albert ‘Mojave Dervish’
Širom ‘Just About Awake’ Review
Deben Bhattacharya ‘Raga Bageshri In Teentaal’ Review
Yazz Ahmed ‘Bloom’
Hermeto Pascoal ‘Casinha Pequenina’
John Sinclair ‘Sitarrtha’ Review
A Lover & Cairo Liberation Front ‘Level 1’
The Doppelgangaz ‘Beak Wet’ Review
Ill Move Sporadic & Big Toast ‘Do Wat Sunshine?’ Review
The Menagerie (Professor Elemental & Dr Syntax) ‘Only A Game’ Review