Monthly Playlist Revue: October ’22: Muramuke, Marlowe, Voice Actor, Lira, Underground Canopy, Keep Shelly In Athens…
October 31, 2022
PLAYLIST SPECIAL
TEAM EFOORT/COMPILED BY DOMINIC VALVONA
Each month the Monolith Cocktail pool of collaborators search long and hard for the choicest of choice tracks; mixing genres and geography into an encapsulation of the last month on the blog.
That team includes me (Dominic Valvona), Matt ‘rap control’ Oliver, Brian ‘Bordello’ Shea, Andrew C. Kidd and Graham Domain.
You may have noticed since the summer that we’ve started compiling a Youtube playlist version, which includes extra bonuses from the No Base Trio and a seasonal treat from Escupemetralla plus some alternative tunes from the same artists on the Spotify list.
So without further ado, here is the October Revue:
And the Youtube version:
Full Track List:-
Montparnasse Musique Ft. Muambuyi and Mopero Mupemba ‘Panter’
Muramuke ‘Just One More’
Balaklava Blues ‘BEAT UP’
Marlowe/L’Orange/Solemn Brigham Ft. Deniro Farrar ‘Godfist’
Rockness Monsta/Method Man/Ron Browz ‘Beastie Boyz’
BeTheGun ‘Metropolis’
Lee Tracy/Isaac Manning ‘Love Is Everything’
Lee Scott Ft. Sly Moon ‘THE MORE I THINK ABOUT IT, THE LESS I CARE’
Voice Actor ‘Battling Dust’
Juga-Naut ‘To The Table’
Ernesto Djédjé ‘Nini’
Liraz ‘Mimiram’
Mehmet Aslan/Niño de Elche ‘Tangerine’
Underground Canopy ‘Space Gems’
Valentina Magaletti ‘Low Delights’
Carl Stone ‘Sasagin’
Tau & The Drones Of Praise ‘Bandia’
Keep Shelly In London Ft. Sugar For The Pill ‘Don’t Want Your Romance’
Librarians With Hickeys ‘I Better Get Home’
Una Rose ‘Partly’
Carla dal Formo ‘Side By Side’
Derrero ‘Long Are The Days’
Super Hit ‘Donde’
Rahill ‘Haenim’
David Westlake ‘English Parish Churches’
Cormac o Caoimh ‘Didn’t We’
VRï ‘Aberhonddu’
Tuomo & Markus ‘Highest Mountain’
Pitou ‘Dancer’ Dana Gavanski ‘Strangers’
The Zew ‘Come On Down’
Brona McVittie ‘Living Without You’
Brian Eno ‘These Small Noises’
Edouard Ferlet ‘REFLEX’
Rich Aucoin ‘Esc’
Puppies In The Sun ‘Light Became Light’
Short Fuze Ft. Dr. Khil ‘Love Letters To The Lost’
Loyle Camer ‘Speed Of Flight’
Ill Move Sporadic/Tenchoo ‘Amulet Chamber’
Atmosphere ‘Sculpting With Fire’
Ghoster ‘CRAME 4’
Clark ‘Frau Wav (Brief Fling)’
Verbz/Mr Slipz ‘Music Banging Like’
Jester Jacobs/Jack Danz ‘Opportune’
Darko The Super/Yuri Beats ‘Don’t Stay’
Open Mike Eagle ‘I’ll Fight You’ A.G. ‘The Sphinx’
El Gant Ft. DJ Premier ‘Leave It Alone’
Heavy Links/Luca Brazi ‘Complicated Theory’
Fliptrix, King Kashmere/Pitch 92 ‘Primordial Soup’
Shirt/Jack Splash ‘Death To Wall Art’
Smellington Piff/Ill Informed ‘Hard Times’
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.
Our Daily Bread 377: The Four Owls ‘Nocturnal Instinct’
April 24, 2020
Album Review/Matt Oliver
The Four Owls ‘Nocturnal Instinct’
(High Focus) LP/17th April 2020
Even in today’s ease of hip-hop connectivity, a crew from little old England who can call on guests of the calibre of DJ Premier, Masta Killa, Kool G Rap, Roc Marciano and RA the Rugged Man, must be pointing their mic the right way. The Four Owls have taken their time to become arguably the premier UK crew of the utmost reliability; on their current share of the spoils, its testament to their own grind that on fourth album Nocturnal Instinct, you’re here for them and not the draw of their impressive imports.
That said, those that know will probably find that intro a cliché. They’ll further wince at those assuming that these are fourteen gobby posse cuts as well: this is shift work involving hard labour 16s and 32s, up to the mic with a hobnailed step, then retreating with the smoothness and intuition of a relay team where routine, practice hours and making every syllable count are absolute. This is not particularly a discourse in show and prove either – though you’re brave/idiotic should you step to them; it’s a masterclass of self expression – wellbeing, learning from personal pasts, to trust/tame your impulses (and yes, owl-like wisdom) – through four contrasting conduits whose familiarity through a mountain of past solo material and the group’s previous albums (Natural Order and Nature’s Greatest Mystery now stretching the saga nearly a decade) means the Owls ever faltering in full flight is unimaginable.
The dynamic vies for your affection like box fresh collectables, yet where you have to the whole collection rather than one lone shelf dweller. Leaf Dog, slightly highly strung and seemingly always on the brink of talking his way into/out of trouble, actually holds a steady head keeping wits about him. Verb T, his telling, elder statesman cadence always one step in advance, has seen it all before and is currently winning at wearing the T-shirt, remaining utterly withering on ‘Dark Days’. Fliptrix, the hydro-powered livewire, excels in street spirituality – case in point, ‘Be Free’, where he shows vulnerability dressed as a normal 9-to-5er. And BVA is just pure no nonsense, acting as the crew’s geezer-ish, collar up, first line of watertight defence. Grab the mic, respect it, rock it, done.
Made for sweaty, beer from a bucket boltholes not knowing the existence of social distancing, Leaf Dog’s beats rock, jump on shoulders, shove their way to the front row and harness one communal head nod as MPC pads bear heavy fingerprints and undercuts of bass test the law of 90s Queensbridge. Then subtly pulling back into reflective, soul-lined ruminations to chew on, full of weathered pianos and reticent woodwinds, strings and rhythms, Nocturnal Instinct is always of a stocky constant. As unofficial Fifth Owl, DJ Premier’s solitary ‘100%’ is by the book Gang Starr-ism – certainly not hired as a showstopper, and whose introducing of the group akin to a big top/prize fight ringmaster will probably be more revered than the actual beat he lays down. In any case, Leaf Dog’s ‘All My Life part 2’ sounds more Premo than Premo himself.
As for the other much-vaunted guests (shout also to Smellington Piff for dovetailing nicely on the opening biff ‘Sound the Alarm’), Masta Killa is pretty much overshadowed on ‘Deadly Movements’. Kool G Rap remains a scoop, and is someone through passing rhyme references on ‘Pioneer’ who has the Owls utmost respect. Roc Marciano is ideally cast as the safe breaker on ‘Dark Days’, ushering in the Owls as unlikely thieves in the night (a tribute to Leaf Dog switching it up on the boards); and RA the Rugged Man shows the sort of elastic circus of rhymes that dominated his own recent All My Heroes Are Dead LP on the uptempo free-for-all ‘Air Strike’. Nonetheless, none of the trump cards bring the house down in a way that shoves the Owls to the side; no being owned on your own shit going on here. It’s not showboating, but there’s a degree of the foursome showing off by telling their guests to wait their turn and play the game their way without feeling they have to go pound for pound with them: there’s the crew’s respect for you.
By rule of thumb, The Four Owls should be back by about 2025, venerable UK hall of famers and distinguished models of quality control and trusting their instincts, day and night.
Rapture & Verse: April 2018: Dr Octagon, Louis VI, A$AP Rocky, Jean Grae and Quelle Chris…
April 24, 2018
MATT OLIVER‘S ESSENTIAL HIP-HOP ROUNDUP
Singles/EPs
By any means necessary, Illaman will ‘Geddit’, rifling through Sumgii’s kitchen sink bass scuttle. No boos when G00se jumps to his desk and welcomes to you the spot-on six track ‘Living Poets Society’, pitching himself against sinuously looped funk so he can give the mic what for with lyrics that “are rejected scripts from The Exorcist”. Harvs le Toad’s ‘Garlic Mayo’ EP is a strong platter of elegant neck warmers, taken away from the fireside by the candour of Kemastry, Vitamin G and Bill Greene. The nimble step ups of Louis VI tip their hat to how ‘Jazz Got Me’, joined by Mick Jenkins for a quiet storm warming the spot just lovely as rhymes dart between licks and plucks.
Westside Gunn continues to fire across the compass with the imposing Mr Green, “FLYGOD Is Good... All The Time” pushing big and dusty drum snaps and that trigger happy, badaboom flow spraying stupidly close bystanders. Off-kilter with a happy, cosmic ending, Blacktop Megaphone’s three track spitball starring Denmark Vessey, DrxQuinnx, Khallee and Angele Anise could only be called ‘Post Reality’. The intense vortex spun by Haleek Maul’s ‘In Permanence’ EP is perfect end-of-days/modern day guerrilla hip-hop, soulfulness and shoots of recovery encased in twisted electronics and blasted with raw-throated verbs. Least subtle muse of the month goes to A$AP Rocky rinsing Moby on ‘A$AP Forever’, a hotchpotch so brazen it’s almost admirable.
Albums
Several false starts after the startling original, Dr Octagon is back doing the rounds, Kool Keith reading a print out from his random scenario generator as his thesis of ‘Moosebumps – An Exploration Into Modern Day Horripilation’ reunites the pimp-practitioner with the screwdriver sonics of Dan the Automator and Qbert. A couple of hardcore/‘I’m Destructive’ moments in the top pocket, it’s otherwise prime time, KK cue card rambling/shopping list recitals to space-staged conspiracies, at least going some way to restoring the good doctor’s name.
A collaboration sure to put a knot in the shorts of fanboys everywhere, ‘Czarface Meets Metal Face’ pretty much delivers on comic book and underground hip-hop hype. Inspectah Deck plays a controlled, governing hand. Esoteric will battle anybody, and doesn’t care who you tell. DOOM is even more aloof when staring the cataclysmic dead in the eye. DJ 7L is a threat throughout on the beats with a succession of meaty blows. Plenty to dissect then; in proper comic book style, this boat race battle will run and run.
Nowadays it’s a boost to your credibility, maturity and back catalogue to take a trip to the opera house. Nas is the latest to dig out his dicky bow, his Kennedy Center performance of ‘Illmatic’ from top to bottom with the National Symphony Orchestra, caught for posterity. The prodigal son of the projects now has America’s amphitheatres in his pocket, thief themes now a grandiose, surround sound spectacle. If you think it’s superfluous, Nas not dropping a single note in the spirit of the original is worth putting your top hat and tails for.
Strong on the basics with one foot in the club, Del & Amp Live coast out of ‘Gate 13’ with shiny beats that indulge in P-funk boogie without over-flossing, nor complying to trap 101. Del’s customary wordery successfully challenges itself to come off the top without reaching for the moon, despite the occasional Amp Live nudge into Deltron 3030 colonies. Don’t let this one slip under the radar.
You believe Jean Grae and Quelle Chris when they declare ‘Everything’s Fine’, an album full of contrasting textures and combinations from the power couple. Lo-fi to highly charged to deeply underground, socially aware to conceptual to off the wall, unyielding to free and flowing and far reaching (including cameos from Nick Offerman, Hannibal Buress and Your Old Droog). Casual listens are strictly off limits.
For when you’re kicking back but still scheming, Maxo’s ‘Smile’ grins through gritted teeth, all bleary neo-soul beats and off-the-chest, mind working overtime assertions. Once Cavalier opens up his ‘Private Stock’, you’re prey to fuggy funk – Iman Omari with the lion’s share – and easy-on-the-streets style you can’t help but fall back to. “Your recipe depend on your prowess” forces opposition to cook the books. Stepping in the right direction ‘On Their Way’, Dillon and Batsauce flow through highs and lows (see ‘Splash’ drowning its sorrows segueing into the Greg Nice upper ‘Come On’) with turn of phrase and funkiness of lick, wisdom to throw wide open and also crumbs of comfort to keep to yourself. “As long as we get fed, then nobody gets hurt” – so do yourself a favour and throw them a bone.
The best of Wretch32 and label mate Ocean Wisdom, Coops runs the graveyard shift to deal with the grey matter of ‘No Brainer’. Over a bedrock of deep watery keys and sultry atmospheres jamming on the low, Coops’ clutch flow is perfect for seeing situations through to daybreak, mixing the kinetic and lullabies both cradling and on the creep. Uncomplicated and concise, let it take hold as shadows lengthen. British bulldog spirit ignorant to minding Ps and Qs, Smellington Piff – “the definition of a drunken scholar, living in squalor” – is the school of seven bells graduate forcibly removing those in his way. ‘No Fixed Abode’ is an energetic knuckle sandwich full of big, thoroughly well produced head nodders and sabre-truth rhymes as the Piff hits the stand towards the top of the UK brat pack.
Live from the doss house, Cult of the Damned’s squalid ciphers come so solid on “Part Deux: Brick Pelican Posse Crew Gang Syndicate”, the all-star suicide squad wearing a “Burger King crown with your queen feeding me”. Def/undead rhymes tilt the balance of lopsided boom-bap phantasms, probably done the old fashioned, wet-finger-in-plug-socket way. Not far behind, Wundrop and Kemastry are ice cold in their provision of ‘Frosty Raps’, hammering out a reality while surroundings start reddening eyeballs. Forging ahead against the smother of midnight, the pair achieve the fine art of making the squalid sound like a super sharp shooter.
Poseur exterminator Big Toast continues to spray society’s roaches on ‘Call It On’, joined by Jack Diggs showing a spite-concealing jazz hand on the beats, and stepping to the mic with equally indignant gusto. Focus mode on full alert and guaranteed to end in blood, sweat and tears, the pair pile in as the pints are poured. The human condition analysed in that cold up North flow, Savvy aka Asaviour takes risks and expands outside of his bread and butter in ‘The Battle for Hearts and Minds’, with extensive, well rounded theatre addressing the state of the world.
A splice of soul gold, Kuartz’ ‘Kuartz FM’ is most debonair on the dials, heading down the highway with wind in hair and song in heart. Determined to make the sun put its hat on, instrumentals create a love zone playlist with the right amount of kick-snare slap to it. For those who enjoyed Calvin Valentine’s ‘Plush Seats’, make room for the addition of ePP supplying vocal garnish and taking care of the source on the free upgrade ‘Chrome Seats’.
Mixtapes
(Pulitzer prize winner) Kendrick Lamar rhymes over Dr Dre beats. Wipe that drool away and rejoice that DJ Critical Hype has got his wondrous sewing machine out and impeccably stitched together a capital Compton grey album so high grade, it’s ‘The Damn Chronic’, to the sound of a million hip-hop messageboards imploding.
https://audiomack.com/embed/album/dj-critical-hype/the-damn-chronic
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