THE MONTHLY DIGEST INCLUDES A CLUTCH OF ACCUMULATED NEW MUSIC REVIEWS; THE SOCIAL INTER-GENERATIONAL/ECLECTIC AND ANNIVERSARY ALBUMS CELEBRATING PLAYLIST; AND CHOICE PIECES FROM THE ARCHIVES.
____/THE NEW
Annarella and Django ‘Jouer’
ALBUM (We Are Busy Bodies/Sing A Song Fighter)
Born from the Senegalese imbued and inspired hub built around Sweden’s Wau Wau Collectif, another cross-cultural project that embraces that West African nation’s (and its neighbours) rich musical heritage. Fusing the roots, landscape and themes of Senegal with those of Europe, the partnership of Swedish flutist Annarella and the Malian born ngoni master Django absorbs the very atmosphere of that westernmost African republic, transposing and transforming age old traditions with a hybrid of contemporary musical effects and influences and guest list of diverse musicians and voices.
But before we go any further, delve deeper into this partnership’s debut album, a little background information/ context is needed. A key member of Karl Jonas Winqvist’s Wau Wau Collectif gathering since 2016, making the motivational trip to Senegal that more or less inspired that group’s sound, network of collaborators and friends – a trip that also planted the seed for Winqvist’s Sing A Song Fighter label, a partner in the release of the this album alongside We Are Busy Bodies -, the Örebro born flutist Annarella, believe it or not, trained as a psychologist. Honed on woodwind, but able to play a variety of instruments, Annarella has chosen a more playful approach to her craft: an eclectic one at that.
Annarella’s musical foil, meanwhile, was born in Mali and brought up in the ancient griot tradition of storytelling. The family tree of which is impressive. His cousin was the late and great kora (a 21-string long-necked harp-like instrument crafted out of a gourd, covered in cow skin) virtuoso Toumani Diabaté, who famously partnered with another legend, Ali Farka Touré, for a duo of Grammy Award winning albums. And his uncle was the master balafon (one of Mali and Western Africa’s most recognised sounds, the balafon is a gourd-resonated xylophone) player Kélétigui Diabaté. It’s no surprise then that Django picked up the ngoni, a (normally) animal skinned wrapped canoe-shaped lute instrument synonymous for accompanying the griot storyteller: A tradition that, some say, dates back to the Malian Empire of the 12th century. Django however upped sticks and made the move to Senegal and the capital of Dakar many years ago. It’s a city that is abstractedly threaded into the very fabric of this album: immortalised alongside Annarella’s hometown on the album’s first single and this debut album’s third track.
Whilst on tour together as part of the Wau Wau, they found themselves wiling away the downtime hours by jamming. A spark was ignited. A project formed. But for a time, both musicians had to return to their respective homes, where it seems they set to work on composing and laying down tracks for each other, ideas and prompts to riff on.
The sphere of influence grew further, as both participants in this international peregrination invited in several musicians and artists to carry the music into articulate and more atmospheric new spaces. Joining the duo were of course Winqvist, as co-producer and a member of the filled-out rhythmal section that also includes Lars Fredrik Swahn and Pet Lager, the renowned Swedish folk musician and multiple instrumentalist Ale Möller, who provides not only trumpet but the Jew’s harp, accordion, melodica and the double-reed shawm, and Django’s wife, Marietou Kouyaté, on harmonical vocals.
Altogether, this circle of impressive talent conjures up an atmosphere of the willowy, mystifying, hazy, rhythmically shuttering, dreamy, ached and yearning. Because whilst uniting two cultures together in a most congruous sounding, melodious and beautiful union, there are both musically felt and more obvious appearances of social and economic protestation to be found.
After the fluted leafy pastoral airs and light nimble twine of the intro, the gentle hi-hat claps, Arabian-like shawm, whistles, chuffs and fluty blows of the Francis Bebey motion ‘Aduna Ak Asaman’, and the near Malian Turag camel drive with bird-like woodwind and Chet Baker mirage trumpeted ‘Dakar-Örebro’, there’s a short tunning-like, freely and spiritual jug carrying backed snippet of the American economist Richard David Wolff besmirching the virtues of capitalism on ‘No More’. A noted Marxist economist, part of the Rethinking Marxism movement, Wolff’s words chime with the rampart, unforgiving nature of what I would call a twisted form of capitalism; the ill effects felt no more so than on the scarred, mined lands of Africa and its people. Picking up the ‘Megaphone’, the style is more African with a soft Dirt Music backbeat, the voices more reminiscent of Amadou & Mariam. That vocal partnership can be heard again on the longed and languid sand dune contoured, flighty and reedy trill fluted ‘Sarajalela’.
Django’s home environment and the outlier around it seeps into and materializes like a dreamy haze across all the album’s tracks, as evocations of the classical, of jazz and the blues mixes with the local stew of diverse languages. Tracks like ‘Degrees of Freedom’ are more mystical sounding, near cosmic, as the band saunter like gauze under the moon and across the desert’s sandy tides. There’s the Arabian, the African, the otherworldly and fantastical all rolled into a seamless hover and spindle of enchantment and mystery. ‘Hommage á Dallas Dialy Mory Diabate’ however, is just a pretty, sentimental passage of loving tribute – the tune is very familiar, but I’m kicking myself to place it.
Jouer, which translates from the French into “play”, is just that, a lovely stirring union of the playful that seamlessly entwines the two musician’s respective practices with sympathy, respect and the earthly concerns of our endangered societies and world. Hopefully this collaboration will continue and grow over the years; there’s not been a better one since Catrin Finch teamed up with Seckou Keita.
Peter Evans ‘Extra’
ALBUM (We Jazz) 25th October 2024
A meeting of avant-garde minds to savour, the union of Peter Evans with Koma Saxo and Post Koma instigator and bassist Petter Eldh and New York downtown experimental rock and jazz drummer pioneer Jim Black is every bit as dynamic, explosive, torqued, moody, challenging and exciting as you’d imagine.
Heading this trio and making his debut on Helsinki’s We Jazz label-festival-magazine platform (one of the best contemporary jazz labels in the universe, certainly quality wise and highly prolific with it), the New York-based musician and noted improviser synchronizes and leads a constant movement of breakbeat drums and wood stretched, thumbing and busy bass on his small, higher octave pitched, piccolo trumpet.
A crossroads of separate entangled influences and backgrounds, legacies, with all three practitioners in this Evans-fronted project and their CVs stretching back a few decades, the avant-garde rubs up against the blues, hard bop, atmospheric set scores, hip-hop style breaks, the electronic and classical. By using both the piccolo and flugelhorn on this album, some passages sound like Wynton Marsalis playing over Mozart, or Alison Balsom lending classical airs to an Alfa Mist production.
The classical brass is however adopted and adapted to stir up a wind and tumult of uncertainty as to what’s coming next. For the action, the rhythm and direction is as tightly wound as it is loose and slowed down: the ‘Nova’ passage, this album’s shortest track, seems to lurk in a strange otherworldly atmosphere of mysterious thriller piano prompts and vibrated percussive and cymbal shivered resonance. The following track, ‘Movement 56’, starts off with the brass sounding like it’s being played through a cone, before buzzing and expanding, contouring a cosmic calculus performance of the alien, unsure, spatial and lunar. It finishes with a bended generator motored ripple and signal that wouldn’t sound out of place on a Bernard Szajner record.
Elsewhere the action blows and gallops between moods and intensity. The opening ‘Freaks’ has a busy rhythm section, yet tampered, the nearly skims along (imagine Ben Riley circa ‘The Bridge’, a recognisable sprouting of Art Blakey, and touch of Mingus) that evokes 60s NYC skylines (but no swing) and the downtown happenings of the 80s with something quite bluesy but very of the moment. Meanwhile, Evan’s short and longer cyclonic trumpet breaths recall Ralph Alessi, Tomasz Stańko and Miles Davis. On the staccato fashion prowl of ‘Boom’, it’s Chet sharing room with Kirk Knuffke over a slightly less erratic and menacing Last Exit.
There’s so much to love about Extra. A combo that has worked together before I believe, shows how to find a perfect challenging balance of the dashed, of action and the more tactile and explorative without losing that essential breakbeat and woody stretched body resonating and pulled spring bass rhythm and movement: that movement always being ever forward. Never dwelled on, nor really repeated, this feels like an improvised session without the need for analysis or instruction from its leader Evans. Possibly one of the best jazz albums you’ll hear all year, with a spot saved for the choice albums of the year lists, Extras is a thoroughly inventive and exciting dynamism of contemporary luminaries at the height of their skills and knowledge.
Yaryu ‘For Damage’
ALBUM (Ramble Records – AUS/ Centripetal Force – US/ Cardinal Fuzz – UK)
25th October 2024
Eclectic Japanese collective Yaryu, birthed just a couple of years ago, invite a host of peers and influential teachers from the country’s acid, psych, cosmic and astral scenes to sprinkle some magic on the new album, For Damage.
Led by bulb-note and caressing soulful electric pianist, wafted and concertinaed melodica player, atmospheric stirring autoharpist, synthesist and percussionist Hyzo, the group play host to members of Sundays & Cybele, Dhidalah and the freak out titans of the form, the Acid Mothers Temple. In all, at least seventeen participants, playing everything from the instruments of a conventional band set-up to woodwind, traditional Japanese and brass. Some of which also lend various forms of vocalisation, from the mewling to folky, strange and supernatural.
Fanning out and expanding the range of spiritual and emotional influences, the album starts out with a seamless continuation of elemental waters (trickles, pours, running streams to more settled, light refracting twinkles), the leafy and blossoming, diaphanous and glittery. The gentle opening introduction of ‘Up The Creek’ is a beautiful guide to this magical, enchanted, but simultaneously mystical and mystery balance of tranquilly and the otherworldly; sounding at times like Mythos connecting with Hiroshi Yushimura and Meitei, and existing in the same realms of Kankyō Ongaku, or “environmental music”. ‘Asobe’ (which I think means “not working”, but spelt slightly different, could be a reference to the Shinto priestesses that performed rituals that appeased the souls of the dead during the Heian period) drifts towards dry bone rattled, ceremonial caravan of Alice Coltrane, Bernie Maupin and Pharoah Saunders vibes.
But though keeping in that relatively subtle direction, ‘Nagare’ seems a little jazzier and more soulful as it follows the currents of running water. It features a cornet-like trumpet, some soft whistles, a near wafted Hawaiian guitar – think Makoto Kubota – and hand drums in the mode of Curtis Mayfield as it sets out some idyllic castaway plane. ‘Utena’ floats close to the Far East Family Band, but with a Fleetwood Mac bassline, constant metronome like ticking away and shimmering cymbals. But by the time we reach the atavistic sounding ‘Gandhara’ (the ancient Indo-Aryan civilization centred in what it is today present northwestern Pakistan and northeastern Afghanistan), the mood is far more mystical and shrouded; a Japanese Gothic-psych visitation from the psychogeography of the wailed and ghostly. ‘Sacrifice’ is noirish in comparison but begins with a sort of Cluster-like synth-pop rhythm, before shimmering and soulfully gliding into Greg Foat territory. It evokes sun-lounging attendees at the shrine on one of Japan’s most exotic, paradise island borders.
The album finishes on what in old money vinyl terms would be the whole side of an album, and the near twenty-minute “melody” suite ‘Shirabe’. A wilderness of trees and roots and creaking, croaking bird life is converged with tranquil jazzy evocations, woodpecker knocks, soft and low inviting sax blows and subtle funky guitar. As the peregrination continues, that sax goes into Donny McCaslin mode, and connects to the weird and cosmic.
Another name to add to the rich legacy of cult, psychedelia, folk, esoteric and cult sounds emanating from Japan, Yaryuand their distinguished guests connect with the elements, the spirits and sprites, and the roots of their magical astral plane on several levels to create a both earthly, supernatural and spiritual daydream. Tending the garden whilst offering up mysticism and languid stirrings of the elements.
The Tearless Life ‘Conversations With Angels’
ALBUM (Other Voices Records) 27th October 2024
Both a transference of souls from the now cremated – or laid to rest, depending on your choice of metaphorical ritual death – Vukovar plus a host of orbiting “other voices”, the make-up of The Tearless Life remains relatively, and intentionally, shrouded, obscured.
What we do know is that this new entity is a meeting of minds that have spent the last decade ploughing their own unique vision of hermetic, esoteric alchemy of synth-pop, industrial, post-punk, darkwave and a form of neo-new-romantism influences. And whilst they remained criminally overlooked – sometimes due to their own self-sabotage – they attracted such acolytes and luminaries of the genre as Rose McDowall, Michael Cashmore and the late Simon Morris, all of whom proved worthy foils on various Vukovar-headed collaborative releases.
Taking a while to materialize, The Tearless Life’s debut opus is both the announcement of new age, but also a bridge between this latest incarnation and the former Vukovar invocation – they are in essence, a band that continues to haunt itself. Old bonds remain, sound wise and lyrically, but with a new impetus of murky, vapoured, gossamer, mono and ether effected solace, tragic romanticism, pleaded and afflatus love, spiritual inspired yearning and allegorical hunger.
The void needs to be fed in a Godless world as they say, as addictions, troubled relationships, the longing for a special someone who remains aloof, untouchable and beyond reach, and the metaphysical coalesce with an all-consuming passion.
Talking to angels, conversing with both the seraph and the fallen, the daemons and spirits of the alchemist’s alternative dimensions, the group transduce the writings of that most visionary seer John Dee, the opium eater Thomas De Quincey, William Blake, and the far more obscure Samuel Hubbard Scudder, who’s 19th century, fairy-like, Frail Children of the Air: Excursions Into The World Of Butterflies publication of philosophical essays lends its title to a song of tubular airy manifestations, distortion, wisped spiralling piques and beautified touching emotional anguish.
Atmospheric at every turn, swilling around in the shrouds, a Victorian music box and toll of peeling bells can evoke the creeping, the mysterious and tormented. Psychological trauma, and physical pains roam the wards of a mental hospital; stained-glass rays anoint lovers; death’s touch is never far away; the talking of tongues and language of the shriven invokes fantasies; and the spectre of morose dines on the unfortunates to create an esoteric banquet.
Some of these songs will sound familiar to those missing Vukovar, but The Tearless Life seem to have integrated a duality of harmonies and vocals much better. The music is itself at least attempting to find the light at the end of the tunnel, touching upon snatches, vague influences of Nature And Organisation, Death in June, Jarboe, Brian Reitzell, the Pale Fountains, Scorpion Wind, Les Chasseurs De La Niot, Alan Vega, and on the pump organ-like remembrance of darkened soul mates, ‘The Mistress’, a combination of Purple Rain era Prince and Ultravox!
My only disappointment is in the production, which could be so much more dynamic and clearer, instead of being so murky. I think it loses some of its impact. But this is minor in comparison to the depth, quality and atmospherics of such an ambitious undertaking. For this album transfers poetry, the writings and fiction of the hermetic and the dreamers wonderfully, if plaintively. If the world was indeed not so bereft of celestial beings’ wisdom and advice as it is, it would rightly receive the critical acclaim it deserves. Conversations With Angels is epic; the first step in, what I hope, will be a fruitful conversation to divine enlightenment, curiosity, psychological and philosophical intelligent synth-pop.
i4M2 ‘Shut Up’
ALBUM (Drone Alone Records)
Whilst eliciting feelings of grand, sometimes overbearing, landscapes and a sense of movement from granular gradients, frazzled fissures, currents under the he didnt appellation back in the summer, the shrouded Oxford-based producer, guitarist and musician now ventures out under the new guise of i4M2.
Although similarly charged with electricity, white noise, static and magnetic filings Shut Up is a very different record indeed. Gone are, for the most part, the blocks of drones for a tubular metallic coursing of melodic music, found sounds and field recordings of captured voices from a city environment, and the mysterious near supernatural at times: or perhaps more unknown, hard to figure out, and maybe alien. Whilst recognisable glimpses of overheard and taped conversations, of a company of choral singers, and wobbled broadcasts of a kind suggest humanity, there’s much machine coded, synthesised and cybernetic surface noise and unnerving drama to be found.
Inspired in part by the “…pirate-radio noise the kids play on their mobile phones at the back of the bus in London.” And by the energy of all those “…cool beats and ideas”, this debut album channels those sparks of inspiration into a sophisticated construction of techno, electronica, the metallic, buzzing and fizzled. Beats arrive in the form of the rotor-bladed, the wing flapped, corrosive, spun, padded and sizzled. Together with those passages and undulations of melody and tune, it sounds like a mix of Nik Colk Void, early Tresor, The Pyrolater, Aphex Twin, Carter and Tutti, Oberman Knocks and Boards of Canada.
Both forms of the London scenester dropped in rural Oxford are great, but for me, I think this latest alter ego just about edges it. Seek it out.
Suumhow ‘5ilth’
ALBUM (n5MD)
You could consider the fifth album from the Belgian experimental duo of Suumhow as a sonic companion piece to i4M2’s ‘Shut Up’ (see above); fizzing as it is with electrical charges, frazzles and sculpted, purposed distorted crunches and metal filings, but balanced by a certain sensitivity and pull towards hazy, gauzy light forces. For there is melody, a tune to be found amongst the bristled blizzard effects and slabs of static buzzing, the corrosive and outright “filthy”. That last one being especially prominent in both the language and text used to promote this album, and in the distorted joy of sonic bombardment and bracketed vibrated grimy, glitchy drilling.
5ilth is by nature a counterpoint of distressed post-industrial techno, the leftfield, the pneumatic and ricocheting, which then opens out into calmer, more reflective ambient passages and square waves; sometimes floating or maybe drifting above the clouds, and other times, ascending towards the light. Far from brutal, despite the rasping scrunched beats, and chain clinked synthesized percussion, the mood is mostly mysterious and dreamy, with some parts akin to gliding in the stratosphere – see the obliquely, not giving anything away, entitled ‘F’. Like rips and tears in the fabric, yet somehow harmonically compatible, the duo’s work craftily spins a harsh, ratcheted and crackled abrasion of sounds and effects with ambient stirring evocations of thought, quite wanderings and reflection.
I hate to repeat myself, but as with the last review, I’m hearing Aphex Twin, but this time in the company of Petrolio, Room of Wires, Emptyset and Forest Swords. Which I think is a very inviting proposition.
Rich God ‘Unmade’
ALBUM (Somewherecold Records) 31st October 2024
The third such album of static-charged dissonance and fizzles, sculpted to and rendered to provide the sound, score and expression of the concrete this month, the pairing of Blake Edward Conley, who regular readers will recognise as the droneroom, and Jason T. Lamoreaux, who goes under The Corrupting Sea appellation, will appeal to those who like to read the abstract messages and gauge a sense of place, time and mood from industrial noise and corrosive electricity.
Mainstay and founding artist of the experimental label, Somewherecold Records, Jason teams up with one of his most prolific label singings to sculpt meaning from the frazzled generated noise, crunched barrages of drums and the sifting, fizzled and warped rhythms. Conway’s usual signature of minimal alt-country and drone cowboy electric guitar tracings, brushes, hovered notes and sun-cooked melting vistas is absorbed and sometimes crushed almost by Jason’s industrial effects and mettalic needling.
With nothing to go on, theme wise or explanation wise to the album’s seven titles, it is left to us the listener to make what we will of this union. But my reading is a transmogrified vision of post-industrial rust belt horror and trauma. There’s certainly prompts in the use of samples taken from broadcasts, perhaps the TV – which often sounds like a flickering portal set to the paranormal and Fortean -, with some guy’s diatribe against the banks or stock exchange/Wall Street (“If money is evil, then that building is hell!”) and a radio phone-in exchange about some horrific psychosomatic condition (the words murder scene and suicide both pop up).
In what sounds like a psychogeography of old machinery, the apparatus of production and a troubled society, Unmade whips up a blizzard of crickets on a sweltering day on the road towards a run-down and foreboding field of decay; conjures up the empty silos, rusted conveyer belts of a desolate wrecked farming community; and uses the needle scratches of a polygraph test and the resonance of steel mill saws to channel a recognisable fear.
Whipped and industrialised, yet also showing less harsh and abrasive fragments, pauses in the rippled tears of the bestial, spooky, alien and caustic, Unmade is like a distortion of Bleaeck, Raime, Atsushi Izumi, Cabaret Voltaire and IDM influences. Not the easiest of listens, and certainly challenging, but worth the effort, as two experimental artists combine their signature qualities into a heavy loaded sonic statement for the times we find ourselves in.
Andy Haas ‘For The Time, Being’
ALBUM (Resonantmusic)
Time has never sounded so warped and amorphous, bereft of reference in a space that morphs into serialism, the surreal, the painful, the otherworldly, paranormal, conceptual and indescribable. Yes, once more the experimental saxophonist Andy Haas ventures into sonic territories seldom explored with his latest (I believe either 19th or 20th release for the Resonantmusic label) album of abstract trauma, avant-gardism, playfulness, and physicality. For this album is indeed a physical experience, focussed as it is on the Andy’s unique method of strapping a small tremolo box to his leg so that he can control the depth and the rate of extreme panning whilst playing the sax, and manipulating slowly spun vinyl records.
The discombobulating, shrieking, sonorous diffusions and effects hit hard at times, leaving a real sense that the soundwaves have penetrated the listener’s body and senses: To get the full effect, Andy stresses that For The Time, Being is experienced best on a system with better low end response: laptop speakers just won’t cut it.
Out on the fringes for at least five decades (and counting), with a brief period of commercial success as a founding member of the Canadian new wave band Martha And The Muffins (leaving the group after three albums to pursue more adventurous pathways in the New York underground scene of the early-to-mid 80s) , Andy’s original sparks of inspiration and catalysts for picking up the saxophone (his first instrument being one he rented for $5 a month in the 70s) were jazz avant-garde supremos Anthony Braxton and Evan Parker, who he witnessed playing together in concert at an early age back in the 70s. Both icons of the form permeate much of Andy’s work, including this newest experiment. But you can add a channelling of such diverse company as John Zorn, Marc Ribot, Zeena Parkins, Ikue Mori, Thurston Moore, Keiji Haino and Fred Firth, all artist’s Andy has worked with since the 80s, to that sound palette.
In more recent times, during the late nineties and the noughties, he’s collaborated with stringed-instrumentalist Don Fiorino on three extraordinary albums (American Nocturne, Don’t Have Mercy and Accidentals), toured and recorded with the Plastic Ono Band-esque reinvention of Meg Remy’s U.S. Girls, and been a member of Matt ‘Doc’ Dunn’s The Cosmic Range. Again, feeding into an already expansive field of influences.
But here, in solo mode, the perimeters, experiences are all reset and transmogrified into an intense, frightening and sometimes near cartoonish world of spatial manipulation and hallucination. This is jazz at its furthest boundaries, the avant-gardism of Fluxus, of Monty Young, Alan Sondheim (specifically T’ Other Little Tune LP), Richard Maxfield, David Tudor and Takehisa Kosugi combining with the dry, bristled and trilled raspy reedy blows, plastic tube-like sucks, flapped air and wind, the hinging and the movement of valves and atonal resonance, and the more melodic flutters and mizmar-like drones of Braxton, Parker, Roscoe Mitchell, Ornette Coleman, Marshall Allen and Oliver Lake.
Each track varies between unseen sources of accelerating motors, hovering drones overhead, the disorientating, the wounded, the near sci-fi and triggered, with signals and codes manipulated like slowing and speeding reel-to-reel tapes. Reality is questionable and the sense of time (although there is a parenthesis “nocturne” reference on one track) akin to a fever dream. Andy produces a unique physically effective sound experiment that is impossible to define; his saxophone simultaneously recognisable and yet parping, droning and in a cycle that pushes that instrument towards the tactile and spatial.
___/PLAYLIST: THE MONOLITH COCKTAIL SOCIAL VOLUME 91
The Social Playlist is an accumulation of music I love and want to share, tracks from my various DJ sets and residencies over the years, and both selected cuts from those artists, luminaries we’ve lost and those albums celebrating anniversaries each month.
Running for over a decade or more, Volume 91 is as eclectic and generational spanning as ever. Look upon it as the perfect radio show, devoid of chatter, interruptions and inane self-promotion.
First up the LP anniversaries, starting with 50th nods to Sparks Propaganda (in my estimates, the double-acts’ best 70s album), Redbone’s Beaded Dreams Through Turquoise Eyes, Yumi Arai’s Misslim, and The Rolling Stones It’s Only Rock ‘n Roll – see below in the archives section for my little summary, if dismissive, piece on the album.
Released this month forty years ago, there’s tracks from The Fall’s The Wonderful And Frightening and Cabaret Voltaire’s Micro-Phonies. Jumping forward another decade, and I’ve also included a track from the Digable Planets’ 94’ released Blowout Comb. Another leap forward and I’ve chosen to also mark the tenth anniversary of Scott Walker’s collaboration with Sunn O))), Soused – you can read my original piece on the album in the archive below; one of my finest hours I reckon.
Whilst the Monolith Cocktail’s Monthly Playlist is all about the newest music, I miss things or just don’t have room to feature everything. And so, the Social offers room to some of those newish, recent releases that missed out. This month there’s choice tracks from Heyme, Waaju and Majid Bekkas, The Bordellos, Reverand Baron and Calvin Love, and Paten Locke.
You’ll also find, from across the decades, borders and genres, a smattering of musical choices from Heltah Skeltah, Lowlife, Samuel Prody, Gilli Smyth, The Sun Also Rises, Michel Magne, Debile Menthol, Lita Bembo, Art Zoyd, Tudor Lodge, Tommy Keene, The Silver Dollar, Vince Martin & Fred Neil, Yoch’ko Seffer, Male and Mahjun.
TrAcKlIsT iN fUlL
Michel Magne ‘Cine qua pop’
Debile Menthol ‘Tante Agathe’
Samuel Prody ‘She’s Mine’
Tudor Lodge ‘The Lady’s Changing Home’
Tommy Keene ‘My Mother Looked Like Marilyn Monroe’
The Rolling Stones ‘Dance Little Sister’
Cabaret Voltaire ‘James Brown’
The Bordellos ‘King Of The Bedroom’
The Fall ‘2 X 4’
Male ‘Bilk 80’
The Jazz June ‘Silver Dollar’
Mahjun ‘L’un dans I’autre’
Art Zoyd ‘Alleluia’
Yochk’o Seffer ‘GONDOLAT’
Waaju and Majid Bekkas ‘Fangara (Live Edit)’
Yumi Arai ‘On the Street of My Home Town’
Lita Bembo ‘Muambe’
Digable Planets Ft. Guru ‘Borough Check’
Paten Locke ‘Widdit’
Heltah Skeltah ‘Clan’s, Posse’s, Crew’s & Clik’s’
Redbone ‘Cookin’ with D’Redbone’
Heyme ‘Downtown Train’
Reverend Baron & Calvin Love ‘Famous Feelin’’
Scott Walker & Sunn O))) ‘Brando’
Lowlife ‘Again And Again’
Citymouth & People’s Palms ‘Singlecycles’
Gilli Smyth ‘Shakti Yoni’
The Sun Also Rises ‘Wizard Shep’
Vince Martin & Fred Neil ‘Morning Dew’
Sparks ‘Bon Voyage’
/ARCHIVES_____
This month, I’m reviving my archived pieces on The Rolling Stones It’s Only Rock ‘n Roll, which is fifty years old this month, and the late Scott Walker’s unholy alliance with Sunn O))), Soused, which reaches its tenth anniversary in October.
Relax, It’s Only Rock ‘n Roll. The Stones ’74 LP is 50 this month. (Appearing originally in my four part potted history of the group).
The basic premise of the Stones 12th album was to give their critics, especially the punctilious music writer Lester Bangs, the bird-finger.
Bangs’ condemnation at the paucity and profligate decline of the group was particularly scathing – quite justified in some respects – and only increased with each new release.
Incredulous at the growing derision and, as they viewed it, over-the-top analyses of their music, this album makes no bones about its regression back into the rock ‘n roll womb: albeit a version of that initial scene performed by a languid miscreant bunch of lolloping posers reprising oldies from the blues-R&B-r’n’r cannon.
The self-titled track and single from It’s Only Rock ‘n Roll (And I Like It) was strangely – so it’s claimed by Richards – conceived by a testy Jagger and recorded with his new “soul mate” Bowie as a rough demo. Such was the internal drift between the Stones creative partnership that Jagger often composed and thrashed out ideas away from his Glimmer Twins foil. During this break in communications, Richards was hanging out with The Faces lead guitarist and crow-haired sporting Ronnie Wood at his London studio. Wood had begun recording a solo LP and had asked along both Richards and Mick Taylor to add a touch of sleazy blues. Whilst at one of these relaxed sessions, Jagger dropped in and cut a version with Woods and, Small Faces/Faces drummer, Kenny Jones, but also produced another version with his comrades at a later date (Woods again played on this, contributing the rhythm guitar part on the 12-string). Regardless of who had their paws on it, It’s Only Rock ‘n Roll (And I Like It), is a stereotypical Stones pruning swaggered anthem, one that leans very heavily upon the strutting glam-rock pout of T-Rex.
Geographically separated, and as usual, sabre-rattling with the establishment, the band pushed-on, even though by now Richards’s increasing drug-fuelled skirmishes looked certain to scupper any attempts to successfully record.
To top it all, Taylor’s growing resentment at the lack of credit and acknowledgement for his contributions set the ball in motion for his resignation from the band a year later. Yet despite his disgruntlement, Taylor hung-on in there, playing on a majority of the albums ten-songs but not the title-track single; even though he appears in the video.
Without their due-diligent and overseeing producer, Jimmy Miller, the production fell to the aggrandising pairing of Jagger & Richards. Miller, a stalwart member of their inner circle and sometimes sobering force for good, had finally succumbed to his drug habit (picked-up whilst working with the band) and left, leaving the pair to take control for the first time since Their Satanic Majesties Request. And we all know how that turned out!
Scott Walker + Sunn O))) ‘Soused’ – Harrowed by thy name.
The usual rolled-out cliché of criticism that always greets every Scott Walker release, charts the enigmatic artist’s pop light to experimental morose career arc; from the teen swoon idol heady days of the Walker Brothers, via monastic alienation and Jacques Brel inspired crooner of esoteric idiosyncrasies, to existential avant-garde isolation.
Inhabiting the darkest recesses of humanity and history for at least half of that time, we should be used to this morbid curiosity, worn with earnest pride by Walker, who peers into the abyss on our behalf. Confronting with a meta-textural style the barbarity and failings of humanity for at least thirty odd years then, any developments in the Walker peregrination, shouldn’t really surprise anyone: at least the critic.
In what was met with certain trepidation or surprise by many, his unholy union with the habit adorned disciples of hardcore drone Sunn O))) is actually a very shrewd and congruous partnership; a 50/50 immersive experience, with both parties seemingly egging each other on. Walker for his part lyrically less cryptic, the Sunn chaps pushed to produce one of their most poetic and nuanced beds of sustained drones yet, and on this occasion, even cracking out various wild shortened, punctuating and unyielding riffs – verging on full metal and heavy rock riffage. Letting rip with a resonant field of sustained one-chord statements and caustic stings that bend or longingly fade out into a miasma, trying to find a meaning in these drones is akin to an Auger interpreting symbols and signs from the entrails of a wretched, just slain sacrificial beats. Yet it does work, and the bare minimal, fuzzy and wrenching bed of murmuring, primal guitars perfectly set up the intended atmosphere.
Once again, Daemonic forces have conspired. The result, a five act guttural opus, entitled Soused – in this instance the title is to be taken as a plunging or submersion into liquid or water, rather than a slang for hard liquor intoxication (though if it were, the brew on offer would be hemlock!).
What starts out and continues as a sort of proxy chorus (the nearest you’ll ever get to one on a Walker outing), the introductory crystallised, even dreamy, sense of melodic relief that introduces the album’s first musical tome, ‘Brando’, is soon corrosively despoiled by the menacing first strikes of a signature Sunn O))) chord and bullwhip.
A rather odd theme for Walker to build a threatening tower of misery from, the song alludes to the obligatory sacrificial martyrdom of the title’s Marlon Brando. Whether as self-flagellation, Brando had a penchant for taking on or even bringing (off his own back, so to speak) the act of taking a brutalised beating to his roles: from vigilante beatings in The Wild One to feeling the sharp end of a Elizabeth Taylor horse whipping in Reflections In A Golden Eye. Brando’s fatalistic characters were either the naïve well-intentioned disaffected (Terry Malloy in On The Waterfront) or assassinated disenchanted mavericks (Colonel Kutz in Apocalypse Now). The repeated lashings of a bull whip in this instance, however, refer to his role as the conniving bank robber Rio in the western One Eyed Jacks; one of the movie’s most memorable scenes being when Rio is administered the whipping of his life by a disgruntled and wronged former criminal partner, Dad Longworth (played by Karl Malden), in front of the towns people.
Perhaps this series of observations, first set off by watching One Eyed Jacks, from Walker is over-played, but it is remarkable as you play back through the actor’s movie catalogue and find a connective theme of taking the blows and even death on the chin. Probably reading too much into now and Walker does have a history of wry and acerbic wit, but Brando could be said to be offering his body up to the mortal sins as a punch bag (taking method acting literally) or was just masochistic (Last Tango In Paris M’lud). You decide, it makes for one reason or another a most apocalyptic soundtrack, mixing as it does, doom with Walker’s almost uplifting, visionary vocals to a flaying cycle of whip happy bullies.
Biblical in more ways than one, the standout mega-bestial centrepiece must be the harrowing ‘Herod 2014’; an atavistic disturbing chapter from the Roman occupied Middle East, it alludes to, what many historians say, is a wholly fictional tale of King Herod’s decreed infanticide of his kingdom (allowed by the Roman occupiers to reign over Judea and surrounding areas). Bathed in a sonorous reverberation of fearful discordance and a distressed unworldly cry of danger, this twelve-minute opus is stalked by the harangued forces of malcontent and revved-up torturous drones. The conceptual allusions, which can’t help but echo through time to the present, are far bigger than this baby cull, the region has, after all, always been awash with both the fabled and all too real episodes of death and misery for thousands of years. Yet despite this, the song is itself one of Walker’s best and even most melodically poetic, sitting happily with the material on his last two albums, The Drift and Bish Bosch.
Lyrically traumatic, but almost beautifully hewn from the English language, the opening lines bellow a nuanced scene-setting intellect, more novelistic pyschogeography than song: ‘She’s hidden her babies away. Their soft gummy smiles won’t be gilding the memory.’ In setting up the horrid event and psychological primal emotions that resonate with his audience, Walker goes on to mention two of the most famous painters to depict this crime, Nicolas Poussin and Rubens, who both fashioned their own (setting it in their own time) Massacre of The Innocents.
Herod 2014 straddles the LP like a monolithic titan. A real horror show, both wrenching yet also surprisingly compelling.
You would perhaps be fond of some relief after sitting through all that, but Walker won’t let you off that easily; summing another Sunn 0))) crackled, anvil- beating, industrial chorus of esoteric dread. ‘Bull’ is fraught with tension, languidly striking with stabbing guitars and post-industrial riffs one minute, sinking into the mire of silence and emerging like a troubled crooner monk the next. Heavy and brooding with mechanical timepieces, crowing shadows and subterranean spirits moving amongst the low buzzing presence of a pant-messing sustained drone, the Bull is unsettling to say the least, like a game of tag in the Labyrinth of the Minotaur. And the song with the longest outré of all; Walker finishing off his cryptic lines halfway through, leaving the last four minutes to his comrades to play out.
‘Fetish’ as it may already suggest is a sadomasochistic affair. A soundtrack set to some cannibalistic or serial killer shocker, where the action is carried out entirely on a Mona Hatoum barbed wire bed in a meatpacking factory. Thrashing around and violently piqued by a harassed beak like attack, the backing is a maelstrom of dentist drills, panting shakers and eerie hanging silence, until it breaks out with the album’s first drum break and rhythmic holy chorus. Throughout, Walker swoons in resignation, dropping lines like, “acne on a leaper”, and “glim away little brute”, in a disjointed narrated sombre tone that gets more dangerous as the song churns to its climax. A ritualistic metaphor, the song’s central tool of terror, the blade or scalpel, is held as an abstract reference point to gleam some meaning, whether it pertains to the cosmetic, life-threatening surgery, torture, the sexual or even tattooing, Walker and Sunn O))) build a nuanced layer upon layer of industrial buzzing queasiness to a trope.
Be under no illusion with the finale to this Dante inferno, the ‘Lullaby’ tones on offer here in no way promise a good night’s sleep. This is after all Walker’s crooned eulogy to assisted lullaby suicide, and the sound of death’s hallucinatory vibrations, gradually taking hold.
Interpreting the song in her own enigmatic way, Ute Lemper bravely grappled with the song for her 1999 album, Punishing Kiss, but Walker now takes back what he at first giveth, converting it into an even gloomier anthem with his monastic brethren.
You can almost hear the percussive ticking of a Newton’s cradle: the mortal clock running out as the drugs take effect; comfort is not an option. The whole thing sounds like a seething hotbed of psychological thrillers and horror, played out remorsefully until the final bleep of the life support signals the end. Walker never nails home his own social or political solutions, and so this, very much a topic debated in recent years and ongoing, is more a diorama set piece, which neither condones nor condemns assisted suicide.
Disturbing throughout, this unnerving suite is obviously not to be recommended to those already on the knife-edge or for those who stay clear of the news or anything that may remind them of human suffrage. You also need stamina and plenty of nerve to sit through this uncomfortable 49-minutes of music at its most challenging. Not so much hostile as shredded by a repeating rotor blade cutting action that piques and prods, even the quietest passages are threatened by an unseen presence of danger. Hell knows (literally) how this album would go down live, the option tentatively hanging in the air, depending on its reception; a possibility that could see the maverick auteur and theatrical seven-day avant-gardist performing for one of the first times in eons.
Both parties in this experiment prove their mettle, reinforcing their reputations but producing an album that is not only accessible to the devotees and followers but also those who’ve previously skirted around taking a walk through the catacombs of the bleakest recesses of a conflicted mind.
The Monthly Playlist For June 2024
June 28, 2024
CHOICE TRACKS FROM THE LAST MONTH, CHOSEN BY DOMINIC VALVONA/MATT OLIVER/BRIAN ‘BORDELLO’ SHEA
That was the month that was: June 2024. Representing the last 30 days’ worth of reviews and recommendations on the Monolith Cocktail, the Monthly Playlist is our chance to take stock and pause as we remind our readers and followers of all the great music we’ve shared – with some choice tracks we didn’t get room or time to feature but added anyway. Thanks to Dominic Valvona for curating, and for choices from Matt ‘Rap Control’ Oliver and Brian ‘Bordello’ Shea.
Homeboy Sandman ‘Win Win’
Pastense & Uncommon Nasa ‘The Ills’
Party Dozen ‘Wake In Might’
The Lazy Jesus ‘Smok’
Sis ‘Mother’s Grace’
Yea-Ming And The Rumours ‘Ruby’
Neutrals ‘The Iron That Never Swung’
Hungrytown ‘Another Year’
Herald ‘Hydrogen Tide’
PAV4N, Sonnyjim, Kartik, M.O.N.G.O., Pataka Boys ‘Bappi Lahiri’
Sans Soucis ‘If I Let A White Man Cut My Hair’
Fat Francis ‘BCMW’
The Bordellos ‘Tastes Like Summer’
Swiftumz ‘Fall Apart’
SCHOOL ‘N.S.M.L.Y.D’
E.L. Heath ‘Cambrian’
Beak> ‘The Seal’
Jennifer Touch ‘Shiver (Robert Johnson)’
Ocelot ‘Sun Silmillia’
L’etrangleuse ‘Les Pins’
QOA ‘LIPPIA ALBA’
Mark Trecka ‘Spirit Moves In An Arc’
Cas One ‘No Deer Hunter’
Bill Shakes ‘Don’t Be A Menace To Blackburn While Drinking White Lightning On A Council Estate’
Guilty Simpson, The Alchemist & Kong The Artisan ‘Giants Of The Fall’
Depf & JClean ‘Wasted’
Ivan The Tolerable ‘Cedars’
Charlie Kohlhase’s Explorers Club ‘Tetraktys’
Staple Jr. Singers ‘Walk Around Heaven’
Head Shoppe ‘Parque De Chapultepec’
The Nausea ‘Nil Inultum Remanebit’
Saccata Quartet ‘Oh OK’
Simon McCorry & Wodwo ‘By Spores’
Neuro…No Neuro ‘Story Time’
Cumsleg Borenail ‘Todays Facade For New Environment’
Joey Valence & Brae Ft. Danny Brown ‘PACKAPUNCH’
NightjaR Ft. Pruven, Vast Aire & Burgundy Blood ‘Piano Heights’
Your Old Droog ‘Roll Out’
Conway The Machine, Method Man, SK Da King & Flee Lord ‘Meth Back!’
Our Daily Bread 620: John Howard, SWIFTUMZ, MAbH…
June 21, 2024
BRIAN ‘BORDELLO’ SHEA’S REVIEW SECOND REVIEWS ROUNDUP OF MAY – INSTANT REACTIONS.
UNLESS STATED OTHERWISE ALL RELEASES CAN BE PURCHASED RIGHT NOW
SCHØØL ‘N.S.M.L.Y.D’
(Géographie)
Baggy drumbeats from the late eighties and shoegaze guitars, are we watching Snub TV? No it seems that the past is once again the present in this ever-evolving circle of not evolving at all. N.S.M.L.Y.D is actually a pretty catchy little number with a nagging keyboard riff that elevates it from the good to the quite good stakes. If this was the late eighties/early 90s it would have a good chance to making the bottom end of the top 40 and a fleeting appearance on the Chart Show.
John Howard ‘Currently/ I am Not Gone’
5th July 2024
The new single from John Howard is a beautiful thing. Two songs that take you back to the days when songwriters used to write simple melodic songs that would appear magically on the radio and brighten your day. The days when you could pick up the song you heard on the radio from your local record shop, or the record department from one of the bigger stores like Boots or Woolworths, on 7-inch vinyl; and you would not have to sell your grandma’s China to be able to afford it. Ah those where the days we of a certain age remember with a tear in our eye. And why am I babbling on about memories from old you may ask, and not writing beautiful prose about the new John Howard single? Well I am, because that is the beauty and magic John has, the power to weave with his music. He has the bewitchery to take one back on a melancholic magic carpet ride to the days of record store dust and memories of old friends and lovers and celebrate the bittersweet beauty of still being alive and finding wonder in the simple everyday things we in younger years would not have noticed. Hopefully people of all ages will find the simple pleasure and wonder in these two rather touching ballads.
Yea-Ming and The Rumours ‘I Can’t Have It All’
(Dandy Boy Records)
For some reason I thought I had already reviewed this fine album, but I have not; it must be the latter stages of middle age setting in. Either way this album by Yea-Ming and The Rumours [not to be confused with Graham Parker and The Rumours] is quite a lovely steeped-in-summer indie pop album with beautifully constructed pop songs all lushly strummed acoustics and some quite lovely twangy guitar lead lines. Lovers of the Gentle Waves and bands of that ilk will indeed find this album extremely appealing: as do I.
Neutrals ‘New Town Dream’
This is splendid stuff, an album of supreme guitar jangle, of well written and catchy songs about life in a small town that at times musically reminds me of early Wedding Present and The Pastels with such wonderfully British lyrics; although I wonder when “Travel Agents Window’s” was written as he mentions buying a bag of chips for 50p, when was the last time you managed to buy a bag of chips for 50p? Maybe life in this small town isn’t as bad as the Neutrals think. I do love this album though. I love the romance of everyday life songs, like little mini Kitchen sink dramas filmed in grainy black and white. This is quite a gem of an album.
SWIFTUMZ ‘Simply The Best’
(Empty Cellar) 14th June 2024
I recently had the misfortune to hear the new Jesus and Mary Chain album; an album that lacked their normal magic: in fact it was quite dull. It was missing what this album has in troves, which is sparkling guitar pop songs, songs that jangle and chime with a wild abandon and ballads that are sincere and quite beautiful, like ‘Second Take’, a Sparklehorse like treasure of a track, or the Alex Chilton like ‘For Bucher’.
Simply The Best is a prime example of the magic that can be achieved when making Bedroom Pop. It has a warmth and invention, which when done well cannot not be matched for heart and soul, and SWIFTUMZ does it very well indeedy.
MAbH (Mortuus Auris & the Black Hand) ‘Wolves, Windows And Curtains’
(Cruel Nature Records) 28th June 2024
From your mother’s cunt to the coffin is an experience we all have. An experience filled with laughter, tears, love and heartbreak; of times of pure and utter despair to times of great happiness. And if we are lucky, the good will outweigh the bad.
In times when we are living, or at least surviving, through the bad, the good times can seem like they have never happened: just a brief dream someone else has told you about. It’s like they have never happened to you, and sometimes the happy memories just drive the nail into your skull, into your heart kicking you between the legs, telling you, taunting you just how shit life is at this time. We have all been there: if you haven’t, then you have never experienced life in its all so tragically naked beauty. MAbH has experienced this, and through this dark work of spoken word tonal poems lets you into the black precipice he currently resides.
Score ‘Temporary Arrangement’
(Cruel Nature Records) 28th June 2024
This is an enjoyable instrumental romp through the sounds of a distance past. Instrumental tracks that bring to mind the drunken early mornings of watching Ceefax and job finder, awaiting for the oncoming treat of sleep or to the soundtrack to some straight to video bad movie. This fine album captures all that is magical from the instrumental glory that is a cheap Casio keyboard, guitar, bass and a fertile imagination.
Brian Bordello and The Bordellos newest album compilation, The Lo-Fi Psych Sounds Of The Bordellos, is available now on Bandcamp and Spotify, via Metal Postcard Records.
Bandcamp Link
THE MONTHLY DIGEST OF ACCUMULATED NEW MUSIC; THE SOCIAL INTER-GENERATIONAL/ECLECTIC AND ANNIVERSARY ALBUMS CELEBRATING PLAYLIST; AND ANNIVERSARY PIECES FROM THE ARCHIVES.
THE NEW\___
boycalledcrow ‘Kullau
(Mortality Tables)
A musical atmospheric hallucination and psychedelic dream-realism of a roadmap, the latest transduced-style album from Carl M Knott (aka a boycalledcrow) takes his recollections, memory card filled photo albums, samples and experiences of travelling through Northern India between 2005 and 2006 and turns them into near avant-garde transported passages of outsider art music.
Escaping himself and the stresses and anxieties that had been plaguing him since adolescence, Knott chose to pick up the road less travail(ed) after graduating; making new friends along the way, including the artist (known as James) who provided the album’s image.
If you are aware of the Chester-based composer’s work under numerous labels, and his experiments with weird folk music and signature revolving, splayed, dulcimer and zither-like guitar transformations then Kullu will – albeit more psychedelic and mirage-like – fit in nicely with expectations.
Place names (that album title refers to the village, an ancient kingdom, of ‘Kullu’, which sits in the ‘snow-laden mountain’ province of Himachel Pradesh in the Western Himalayas), Buddhist self-transformation methods (the extremely tough self-observation process of “non-reaction” for the body and mind known as “Vipassana”), Hindu and Jainism yogis (the “Sadhu”, a religious ascetic, mendicant or any kind of holy person who has renounced the worldly life, choosing instead to dedicate themselves to achieving “moksha” – liberation – through meditation and the contemplation of God) and language (the localized distinctive Kullu dialect and syntax of “Kanashi”, currently under threat) are all used as vague reference points, markers in this hallucinatory grand tour.
These captured moments and memories are often masked. It’s the sound of Laaraji stepping across such dizzying spiritually beautiful high altitudes and descending into the valley below; the brief sound of tablas and an essence of reverberating Indian stringed instruments suddenly taking on abstracted forms or reversed and melted into a hazy dream cycle. Nothing is quite what it seems; the imagination reminiscing freely and taking source recordings off on curious tangent. And yet it all makes sense, and somehow quantifies, soundtracks a landscape and period we can identify and experience. You can even work out that much of that plucked, cylindrical, pitch and speed-shifted string sound is coming from the £27 guitar that Knott bought whilst on those same travels (picked up in Dehradun to be specific).
But as with all of Knott’s peregrinations, queries, unrestricted gazes, the sound is very much his own. If you would like some idea of what we are dealing with, maybe Walter Smetak, Land Observation in colour, Fabbrica Vuota, Gunn-Truscinski Nace, and with the playfully strange psychedelic ‘Tuktuk’ ride, a merger of Tortoise, Yanton Gat and Animal Collective. Mind you, the vague echoes of piped church music on ‘Bear River’ (which “bisects” the valley region in which Kullu sits) are closer to the spiritual new age and kosmische – perhaps a hint of David Gasper. If Knott’s soundboard is anything to go by he did indeed find that much needed replenishment of the senses and escape from the mental and health pressures of stress that handicapped his progress. He’s created dreamy encapsulation of a time without burden and restriction; an experience totally free of worry and the strains of the material world out near the roof of the Earth. The results of which can be heard to have clearly been beneficial artistically. Kullu is another magical, strange and explorative soundscape/soundtrack from an independent artist quietly getting on with harnessing a unique sound and way of capturing the impossible.
Amy Aileen Wood ‘The Heartening’
(Colorfield Records)
Not in the literal sense, but the award-winning drummer, multi-instrumentalist, composer and engineer Amy Aileen Wood takes centre stage on her new album for the Colorfield Records label.
The supporting foil on a range of albums and performances with such notable names as Fiona Apple (more from her later), St. Vincent, Tired Pony and Shirley Manson, Wood was initially approached by Colorfield instigator Pete Min (the imprint that’s run out of Min’s Lucy’s Meat Market studios in L.A.) to lead her own solo outing. And although Wood’s stand-out tactile feels and descriptive drumming skills maybe on show and at the forefront, the L.A. based polymath, whilst also playing a wide worldly range of instruments, invites a number of in-demand session players and artists to collaborate, including Apple. An unsurprising choice seeing as Wood’s was not only a member of the recording band on Apple’s Fetch The Bolt Cutters album but also its co-producer. From that same circle, the “veteran” bassist Sebastian Steinberg provides pliable and subtly effective upright bass parts to a majority of the tracks on The Heartening. Apple, for her part, offers cooing “dadodahs” and assonant light dreaminess on the album’s opener, the womb-breached submersed turn Can Unlimited Klezmer ‘Rolling Stops’, and both sighs and giggles of ‘self-love’ on the gamelan cascaded self-help indie-wonk ‘Time For Everything’. Another one of the various guests’ spots goes to Kelsey Wood (relation?), who coos and ahs on the kinetic Alfa Mist-esque ‘Slow Light’.
The Heartening is essentially, if removed and discombobulated or enhanced by a palette of different styles and influences, a jazz album; especially with the addition of the L.A. based saxophonist (amongst other talents) Nicole McCabe, who pushes those personalized thematic exploratory performances and freeform expressions towards flashes of Ivor Pearlman, Alex Roth, Donny McCaslin (I’m thinking especially of his cosmic dissipations), Dave Harrington (funny enough, referenced in the PR notes) and Savoy label era Yusef Lateef.
But the musicality is far reaching, hopping around and landing at one point in Java, the next, in Eastern Europe (those stirring closed-eyes arches, sighs and solace style strings of the renowned Daphne Chen reminding me of Fran & Flora and Alex Stolze’s Galicia classical sympathies). You could also throw in breakbeats, the downtempo, the no wave and various fun fusions into the mix; everything from J Dilla to NAH, TV On The Radio, Arto Lindsay, John Zorn and Lucrecia Dalt.
Wood’s own style of drumming (though as I mentioned, the multi-instrumentalist, true to that title, plays everything from nostalgic iconic midi synths and drum pads to the West African balafon and twines flicked kalimba) is halfway busy and halfway intuitive: a mix of Valentina Mageletti and Emre Ramazanoglo.
Wood is certainly a talented player and full of ideas, as the action moves constantly between the natural and improvised. With a mix of trepidation and “intrigue” Wood’s proves an able leader and catalyst. I’d say this solo venture was the successful start to a new pathway and adventures.
Virgin Vacations ‘Dapple Patterns’
From a multitude of sources, across a number of mediums, the concentrated sonic force that is Virgin Vacations ramp up the queasy quasars and the heavy-set slab wall of no wave-punk-jazz-maths-krautrock sounds on their debut long player. With room to expand horizons the Hong Kong (tough gig in recent years, what with China’s crackdowns on the free press and student activists; installing authoritarian control over the Island) ensemble lay out a both hustled, bustled and more cosmic psychedelic journey, from the prowling to the near filmic and quasi-operatic -from darkened forebode to Shinto temple bell-ringing comedowns that fade out into affinity.
Operating in a liminal realm between the ominous and more mysteriously idyllic; changing mood, sense of place and the sound on every other track; the ensemble channel everything from the Hifiklub, Angels Die Hard and The Pop Group in a wail of bugle horns post-punk jazz (ala Blurt and a vocal-less Biting Tongues) to ‘Gomorrha’ CAN, the Dead Kennedys, film-score Sakamoto, Hawkwind and the Holy Family. That’s of course when they’re not orbiting the celestial jazz of Sun Ra merged with Herbie Hancock on the heavenly spheres and alien evoked ‘Jupiter’: even this track grows into a manic nightmare of broken distorted radio sets.
The trip is a cosmic range of ideas, some driven others far more dreamy, psychedelic and even erring towards the orchestral – there’s plenty of bulb-like note-twinkled glockenspiel to go around too. It begins with a krautrock expulsion of dark materials and ends on a Tomat-like – in union with the Acid Mothers – dissipation of enveloped interplanetary temple vibrations. This only touches the surface however, and Virgin Vacations take flights of fantasy regularly whilst maintaining a heavy-pulsation of uncertainty. Energy is channeled in the right direction, with a force that manages to tap into the anxious and radical whilst finding air to breathe and dappled patterns spread of the title.
he didnt ‘nothingness manifested’
(Drone Alone Records) 24th May 2024
Granular gradients, frazzled fissures and currents appear in the thick set wall of drones emitted by the Oxfordshire-based electronic musician, guitarist and producer’s new numerically demarcated album.
Reading into the monolithic slab sided scale and ambitions of he didnt’s manifestations, these, mostly, long walls of whined, bended, looped, abrasive and sustained guitar and electronic waveforms elicit the feelings of landscape: one that can feel simultaneously overbearing, grand but in motion. Metallic filaments or the pitter-patter of acrid rain, ‘nothingness manifestations III-V’ builds a sonic picture over its duration of some almost alien atmospheric enveloped weather front – reminding me of Hans Zimmer’s bits on Blade Runner 2049, His Name Is Alive, Fiocz and a venerated Tangerine Dream. ‘nothingness manifestations II’ is similar with its alien evocations yet near bestial and slithery too – I’m hearing vague signs of Faust, Sunn O))) and even Spaceman 3 for some reason. Perhaps picking up inspiration from one previous support slot, he didnt channels The Telescopes, minus Stephen Lawrie’s drudgery vocals, and a touch of the J&MC on that heavy meta hewed opener.
But there’s holes too in what is more like a mesh block of wielding drones, with a glimmer, a movement of light audible in the grainy textured fabric around the self-described “void”. In short, something from nothing, materialisations from patterns in the sonic concrete that may just evoke something much bigger.
Ziad Rahbani ‘Amrak Seedna & Abtal Wa Harameyah’
(WEWANTSOUNDS)
Vinyl reprisal specialists WEWANTSOUNDS, in-between reviving and offering remastered runs of cult music from Japan, Egypt and elsewhere, have been picking their way through the back catalogue of the Lebanese polymath Ziad Rahbani (musician, composer, producer, playwright, satirist and activist).
Following on from the crate diggers’ choice 80s Middle Eastern disco-funk-balladry-soul-jazz-Franco-Arabian classic Houdou Nisbi (released by the label in 2022), the Amrak Seedna & Abtal Wa Harameyah combined moiety of congruous theatre play soundtracks offers a generous helping of performance choruses, instrumental theme tunes, ad spots and variations of the main signatures.
Whilst the ongoing sectarian driven civil war (between 1975 and 1990) raged, there was a surreal duel existence of stoicism, the Lebanese people carrying on with life in the face of religious rivalry, unprecedented violence, and infamous acts of massacre (a 150,000 fatalities, maybe more). Importantly Lebanese artists, musicians continued to create – some from abroad as part of a mass exodus (estimates are that a million citizens left the country to escape the horror during that period). Disarming as the musical motifs, dancing rhythms and messages was, cultural idols like Ziad (famously the scion of the feted musician and national star Assi Rahbani and the legendary celebrated siren Fairuz) were fervently political. And among his many talents, Ziad would collaborate with the most vocal of them, including the pioneer singer-songwriter of Arabian political song, Sami Hawat, who appears alongside a whole cast of other notable vocalists on this double helping of stage performances.
Written by fellow Lebanese playwright and actor Antoine Kerbaji, the main acts and catalysts for Ziad’s inspired fusion of the Occidental and Middle East, speak of the times in which they were created. Originally released on the Beirut-based cult label Relaxin in 1987, the emotions run high as the streets outside were paved in bloody retribution along the lines of not only religion (the Christian minority’s rule of decades, and elitist nepotism finally coming to a crashing head as the country’s demographic shifted to a Muslim majority, inflated by two migrations and expulsions from Israel of sizable Palestinians populations in the late 1940s and 60s) but also Cold War divisions. The passion is evident in the various cast or male/female led choruses of yearning expression and more swooning allurement – sometimes almost reminding me of Bollywood, and the dance or romance, courtship between a male and female lead.
Musically however, this is a mixed assortment of near classical piano motifs, Arabian stringed instrumental segments, the new wave, disco and funk fusion and movie soundtrack influences. Glaringly an obvious steal, there’s the recurring use of John Barry’s 007 signature score across a large slice of these tracks. Adopting that most famous iconic mnemonic and its variations, Ziad seems to pinch it back from its own Western takes on the music from his country and the wider region. Marvin Hamlisch dabbled in this area for The Spy Who Loved Me – although his take was on Egyptian disco -, as to did Bill Conti – a mix of Med sounds for For Your Eyes Only. So much of this reminds me of both those top rate composers, especially the near thriller style production and clavichord MOR funky fusion sounds of ‘Al Muqademah 1 (Introduction 1)’. Later on it sounds like Ziad riffs on Hamlisch’s score for The Sting on the relaxed jazzy vaudeville saloon barrel organ reminisce ‘Kabbaret Dancing’.
Away from the 007 themes there’s hints of John Addison and Michael Legrand on the Franco-Arabian boogie musical number ‘Al Piano’, and Richard Clayderman on the beautiful romantic-esque flourish of piano scales, runs and lucidity ‘Slow’. The music slips into the Tango at will, or transports the listener back to the noir 1930s. Although, ‘Mashhad Al Serk’ is a strange one, resembling funky calypso transmogrified with reggae and the new wave. I’m at a loss on occasion to describe what it is I’m hearing, as the palette is so wide and diverse. But in summary, both albums offer a cabaret and theater conjecture of fluidity that takes in the Middle East and fuses it with Western classicism, movie and TV themes, funk and 80s production signatures. Previously only ever released in the Lebanon, WWS have done the decent thing and revived these stage play soundtracks, offering us all a chance to own these expressive and enlightening recordings.
THE SOCIAL PLAYLIST VOLUME 86\____
The Social Playlist is an accumulation of music I love and want to share, tracks from my various DJ sets and residencies over the years, and both selected cuts from those artists, luminaries we’ve lost and those albums celebrating anniversaries each month.
Running for over a decade or more, Volume 86 is as eclectic and generational-spanning as ever. Look upon it as the perfect radio show, devoid of chatter, interruptions and inane self-promotion.
In this edition I’ve chosen to mark the 50th anniversaries of Sparks Kimono In My House, Bowie’s Diamond Dogs, Slapp Happy’s Self-Titled – but referred to as Casablanca Moon, after the opening track -, and Popol Vuh’s Einsjager & Siebenjager albums. A decade closer, and into the 80s, I’ve included tracks from my favourite French new wave spark and cool chanteuse Lizzy Mercier Descloux and her Zulu Rock LP of ’84, plus a slightly different performance of Echo & The Bunnymen’s ‘The Killing Moon’ (the original single also included on the Liverpool’s band’s Ocean Rain of course). Another leap closer, and its 30th anniversary nods to the Beastie Boys ambitious double-album spread Ill Communication, Jeru The Damaja’s The Sun Rises In The East, and The Fall’s Middle Class Revolt. The final anniversary spot this month goes to our very own Brian ‘Bordello’ Shea, or rather the whole Shea brood and their might lo fi cult vehicle The Bordellos. The group’s summary of the world and music industry, Will.I.Am, You’re Really Nothing, is ten years old this month.
We lost even more iconic mavericks and leaders of the form this last month or so. Grabbing, quite rightly, the most attention is the loss of Steve Albini. The legacy is ridiculous, and to be honest, far too many people have already dedicated the space for me to now chip in – I will be frank, where do you start? And so I have chosen to give him a mention but not to pay the homage due. We also lost the last remaining member of the motor city five, Dennis “Machine Gun” Thompson, who pummeled and, quite literally, kicked out the fucking jams. I’ve already made note and selected tracks from their catalogue when poor old Wayne Kramer passed just a few months back, and also their manager – for a time between drug busts – John Sinclair. The Detroit misfits are no more. What a sad state of affairs.
I have however chosen to mark the passing of UK rap icon MC Duke and king of twang, and one of the most important, influential guitarists of all time, Duane Eddy.
There’s a couple of “newish” selections – tracks that I either missed or didn’t get room to include in the Monolith Cocktail team’s Monthly Playlists (next edition due in a week’s time) – from Masei Bey and Martina Berther which I hope will prove intriguing. The rest of the playlist is made up of a smattering of tracks from Tucky Buzzard, Prime Minister Pete Nice, The Bernhardts, Nino Rota, It It, Clive’s Original Band, The Four King Cousins and more.
TRACK LIST________
Sparks ‘Barbecutie’
Tucky Buzzard ‘Time Will Be Your Doctor’
Haystacks Balboa ‘Bruce’s Twist’
David Bowie ‘1984’
Masei Bey ‘Beat Root’
Beastie Boys Ft. Q-Tip ‘Get It Together’
Jeru The Damaja ‘You Can’t Stop The Prophet’
Prime Minister Pete Nice Ft. Daddy Rich ‘Rat Bastard’
MC Duke ‘I’m Riffin 1990 Remix’
Helene Smith ‘Willing And Able’
The Bernhardts ‘Send Your Heart To Me’
Tala Andre Marie ‘Wamse’
Lizzy Mercier Descloux ‘Dolby Sisters Saliva Brothers’
Orchestre regional de Segou ‘Sabu Man Dogo’
Slapp Happy ‘Casablanca Moon’
Nino Rota ‘L’Uccello Magico’
Duane Eddy ‘Stalkin”
Dreams So Real ‘History’
Echo & The Bunnymen ‘The Killing Moon – Life at Brian’s Version’
The Bordellos ‘The Gospel According To Julian Cope’
The Fall ‘Middle Class Revolt’
It It ‘Dream Joel Dream’
David Bowie ‘Rock ‘n’ Roll With Me’
The Bordellos ‘Straight Outta Southport’
Clive’s Original Band ‘Oh Bright Eyed One’
Jodie Lowther ‘Cold Spell’
Martina Berther ‘Arrow’
Fursaxa ‘Poppy Opera’
Popol Vuh ‘Wo Bist Du?’
The Four King Cousins ‘God Only Knows’
ARCHIVES\_____
When gracing the Monolith Cocktail with his very own column of reviews was still years away, Brian “Bordello” Shea was featured for his own music as part of the mighty lo-fi malcontents The Bordellos – Brian one of the co-founding Shea sibling forces behind that celebrated cult outfit. Still for my money one of their finest moments on record, the group’s Will.I.Am, You’re Really Nothing (released at a time when that annoying, talentless opportunist was all over the telly and in the charts in the UK) diatribe is ten years old this month. To celebrate, reprise that essential songbook, I’m once more sharing my original review from 2014. Every word of it still, unfortunately, still holds today.
The Bordellos ‘Will.I.Am, You’re Really Nothing’
(Small Bear Records) Released 31st May 2014
It was Blur, in one of their only true flashes of inspiration, who came closest to summing up the times with their dejected conclusion that, “modern life is rubbish”. That was the early 90s, but depending on how long in the tooth, worn-down and jaded you are, every age can be viewed with the same disappointing sigh of resignation.
Yet, surely the present times take some beating, at least to us, the self-appointed custodians of the past, who remember an age when the culture seemed…. well, at least exciting, linear and comprehendible, instead of appropriated without thought or context, screwed-over and manipulated for largely commercial results, and slotted in to a handy off-the-peg lifestyle choice. Pop has eaten itself, with the lifecycles of trends and music becoming ever shorter.
It is with all this in mind that The Bordellos set out their manifesto. Leveling their criticism at commercial radio and TV especially, they aim their guided missile attacks at the harbingers of the Ed Sheeran topped Urban/Black music power lists, and what seems more and more like the UK publicity wing of conservatism, the BBC. The St. Helens, via a disjointed Merseybeat imbued lineage, family affair replace the “happy-go-lucky” lightweight and deciding suspect womens rights champion, totem of Pharrell Williams, Will.I.Am and all his partners in floppy platitude pop, rock and folk with the arch druid of counter-cultural esotericism and miscreant obscure musical sub-genres (Kraut to Jap via Detroit rebellious and experimental rock) Julian Cope. Grinding out a dedicated epistle to Cope, the trio’s sermon ‘The Gospel According To Julian Cope’ prompts a road to Damascus conversion to the spirit of rock’n’roll, in all its most dangerous guises.
De facto idol, Mr.Cope, pops up again on ‘My Dream Festival’, which as the title suggests is a list of the ideal, once in a lifetime, free festival lineups of lineups; read out in a quasi-Daft Punk ‘teachers’ style bastardized litany to an accompanying Casio pre-set drum track and watery effects. The Casio rhythm pre-sets and occasional sound bites come in handy again on the jaunty, deadpan disco jolly, ‘Elastic Band Man’ – a transmogrified Human League meets John Foxx – and on the broken-up, Robert Wyatt emotional drudge, ‘Between Forget And Neglect’.
Despite going at it hammer and tongs on their anvil-beating Cope Gospel, The Bordellos latest long-player protestation is a forlorn and intimate downbeat record. They can still be relied upon to rattle off a list of grievances and opprobrious pun harangued song titles: from the LP’s play-on-words adopted The Smiths song, reworked to accommodate a big fuck-you to that irritable twat, Will.I.Am, to name-checking another hyperbole anomaly of our Youtube, Google, Facebook, Twitter masters’ bidding, the no less frustratingly lame ‘Gangnam style’ viral – joining the call from last year’s Bring Me The Head Of Justin Bieber EP, for another public execution.
But it’s with a certain lamentable introspection that they also tone the vitriol down to attend to matters of the heart: The kiss-me-quick, misty-eyed ballad to love on a northern coast seaside town, ‘Straight Outta Southport’, and the Hawaiian slide guitar country rock ode, ‘The Sweetest Hangover’, both, despite their tongue-in-cheek titles, bellow a fondness for lovelorn adventures and plaintive break-up regret; proving that despite the bellicose calls for the corporal punishment of the foppish elite and its commercial pop music stars, there is a tender side to the group.
Sounding like it was recorded on an unhealthy dose of Mogadon, Will.I.Am, You’re Really Nothing is a composed grumble from the fringes of a battered musical wilderness. A last cry if you will from the pit-face of rock’n’roll.
Also this month, Bowie’s repurposed Orwellian theatre production Diamond Dogs reaches its 50th anniversary.
David Bowie ‘Diamond Dogs’
(RCA) 1974
“As they pulled you out of the oxygen tent, you asked for the latest party…” And with that the future dystopian, biota canine, leapt from its slumber “onto the streets below”: howling for more.
Bowie never really wanted to be a musician as such: or at least not wholly a musical act. His destiny lied with the grease paint of theatre and allure of cinema. Diamond Dogs of course allowed him to create a spectacle, melding the two disciplines together.
Fate would force the original concept to morph into the achingly morbid and glam-pop genius we’ve now come to love: a planned avant-garde, ‘moonage’, treatment of Orwell’s revered novel 1984 was rebuked by the author’s estate.
Still those augural references to state control and totalitarianism are adhered to throughout – both lyrically and in the song titles –, but attached to visions of a new poetic hell!
The loose, all-encompassing, metaphysical language may promise melancholy and despair, yet it also knows when to anthemically sound the rock’n’roll clarion call too.
Decreed as the leading highlight’s of the album by the majority –
Diamond Dogs (single), Rebel Rebel (single), 1984
Pay attention to these often overlooked beauties –
Rock’n’Roll With Me (single), Sweet Thing
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.
A ROUNDUP OF NEW MUSIC REVIEWS BY CULT INSTIGATOR OF THE NO-FI, AND SIBLING BAND MEMBER OF THE MIGHTY BORDELLOS, BRIAN SHEA.
Arab Strap ‘Strawberry Moon’
Arab Strap are back with a fairly funky poetic delight of dance beats and dour poetic yearnings of life. And watching the very enjoyable video of vampires and werewolves, this is indeed a song to get your teeth into.
Jesus And Mary Chain ‘Glasgow Eyes’
(Fuzz Club)
The New JAMC album, Glasgow Eyes, is upon us, and to be honest it is not a bad album: but it is not a good album either. Its quite beige in fact – maybe it shall go down in history as the Beige album. I am sure it will sell well and reach the top end of the album charts for a week, after all the Shed 7 album did ok, and that speaks volumes: that I am writing about the Mary Chain in the same sentence as “Shed 7”. Mary Chain fans will go out and buy the album the first day of release but how many will play it after the first week is open to debate.
On this album they have moved away from the guitar and have tried something new, concentrating more on keyboard and synths. And that works well in parts. I’m all for bands experimenting and trying something new, and at times this experiment reminds me of Suicide, which is indeed a good thing. But it is just lacking in good songs: the lyrics sound forced like they actually have nothing to write about or say, and the melodies are not strong enough to take the focus away from the quite bad lyrics – they reminded me at times of a sixty year old trying to dress like they did in their twenties and end up looking foolish. Maybe its not the JAMC’s fault that they cannot write the sublime pop songs they once did as we all have a sell by date, but I don’t think the JAMC have quite reached theirs yet: As a live act they are a band still worth seeing. But I feel on Glasgow Eyes they are struggling for inspiration; maybe they just haven’t got anything left to say and everyone has to make a living and this is what the album sounds like they are doing: a job putting on their work clothes that do not fit like they used to.
House Of All ‘Continuum’
The second album by the House Of All is quite a pleasing little thing. At times sounding like the Fall – which to be honest is no surprise as we all know that they were all one-time members of the legendary band -, and at other times not sounding like them at all. The first single ‘Murmuration’ is quite a moody alternative pop rock number with a melody not dissimilar to the Bongwater gem ‘I Need A New Tape’, and ‘Gaudy Pop Scramble’ an upbeat, I am sure, future radio BBC6 favourite, as will be the ‘Cuckoo In The Nest’ with its slight Mark E Smith vocal influence coming through.
There is a definably 80s indie rock feel to Continuum, which will no doubt be adored by all of us old 80s indie rock veterans looking for something not too taxing on our ears to soundtrack our middle aged lives.
Legless Trials ‘Get Yer Wah Wah’s Out’
(Metal Postcard Records)
The artful persuasion of the well executed guitar riff is alive and well, and is for all to see or hear even on this rather marvelous rock ‘n’ roll opus of magnificence; an album of Iggy and The Stooges meets the New York Dolls and Public Image, with a touch of the c86 guitar madness of ‘Someone Is Getting Paid’, which would no doubt be a alternative radio airplay hit if not for all the “motherfuckers” in the quite excellent lyrics, or the dark velvet like closer ‘If I Knew Your Name’. There is just something so life affirming brilliant about the Legless Trials that should be bottled and injected into the arses of the lesser guitar bands currently attempting to plough the same path of the one offs that are the Legless Trials.
The Bordellos ‘I Promise Not To Make Art Again’
(Metal Postcard Records)
What you have here is the reason The Bordellos – after being around and existing for over 20 years – still remain a cult underground band.
This compilation is made up of 15 tracks taken from our long and extensive catalogue; every song a diamond but an uncut rough diamond still hidden under layers of dirt and years of life in the underground. Songs that have such subject matters as dealing with the pain and anguish of being a Gary Glitter fan (“Gary Glitter”, the version included here was our radio mix – yes because we all know DJs are queuing up to play songs about Gary Glitter, a sure fire radio hit). Songs that deal with the ridiculous nature of the music business/industry and some of the people who live, work and thrive in that crazy mixed up industry – “Lloyd the Anti-Christ”, “The True Meaning Of Record Store Day”, and “For A Hit”. Songs of life in decaying run down northern towns – “Cuts” and “My Speeding Train” – alongside songs of love and depression.
We even have a song for nursery teachers to sing to their nursery children explaining the history and importance of the 1976 Punk Rock Revolution – “The Slits”. Yes indeed, fine songs all; not recorded in the luxury of Air conditioned studios and mastered in Abbey Road by someone who once farted in the same studio Paul McCartney whistled a merry tune but on old tape 4 tracks and hand held digital 8 tracks and ghetto blasters and mp3 players and clock radio cassette players, and Ant Bordello’s living room and bathroom. So hopefully you my dear friends will find something of interest to write about or play on your radio show or just enjoy, or annoy your significant other or children with.
Nights Templar ‘Half The Year’
(Paisley Shirt Records)
Anyone who has the penchant for early 80s sounding post-punk music should really enjoy Nights Templar‘s Half The Year album; a prime example of how bewitching DIY music can be. A steady simple drum machine beat, early Cure like bass and synths, single string guitar lines and Ian Curtis like echo drenched vocals. All very becoming, so much so that I might dig out my old long black coat and borrow somebody’s hair and style it in a Ian McCulloch type way: Or in fact, just borrow Ian McCulloch’s hair.
Rockin Horse’ ‘Yes It Is’
(Think Like A Key Music) 26th April 2024
I don’t usually write reviews of rereleased albums: there is Mojo, Uncut, Shindig and Record Collector about to do that. I usually like to draw attention to new releases, but there is always an acceptation to the rule. And this is mine, a rereleased ltd CD release of the underground classic power pop album from 1971, the wonderful Yes It Is album by Rockin Horse, a band formed by the legendary cult Liverpool Songwriter Jimmy Campbell and his friend Billy Kinsley (onetime member of the 60s hit makers the Merseybeats and The Merseys).
Yes It Is is the best mid 60s pop guitar album made in 1971: and I would say maybe the whole of the 70s. This album is up there, and in fact, could be superior to the much-lauded first two Big Star albums. It really needs to be heard by all lovers of the confusing genre that is called Power Pop or any lover of great guitar based pop. The magic of this album lies in the slight sadness and melancholy of the lyrics (which Jimmy Campbell was a master of) and the pure joy and downright catchiness of the melodies. There is something quite life affirming about this album it has the unique X factor – whatever that is. Sadly this is the only album Rockin Horse ever made; Billy Kinsley went on to have chart success later in the seventies with the excellent Liverpool Express whilst Jimmy Campbell released his third and final solo LP a year later, the beautifully sad Jimmy Campbell Album that sank without trace. Campbell vanished into the world of obscurity, and the 9 to 5 life. The man should have been a star.
I would advise anyone who has not got this album in their collection to treat themselves to this sadly ignored at the time classic and marvel at this example of songwriting artistry.
Filalete ‘For Family’
(Cruel Nature Records)
Fragility of the first touch, the silent escape of the flake of indifference that flows from the opening of the can of snow you keep for special occasions, the one that is a closely guarded secret closeted in the small pocket inside your heart, one that can only be awakened by the outpouring of both love and grief for you can only feel true grief if you have been fortunate to feel true love, for you cannot grief for something that you have not loved or still love. Which is why I am filled with grief when this beautiful album of short piano pieces reaches its conclusion. An album ideal for soundtracking both that love and grief; recommended listening for the quieter more reflective times in one’s life.
Picture Box ‘Mobile Disco’
(Gare Du Nord)
Picture Box‘s Mobile Disco is a very British sounding album, an album steeped in nostalgia lyrically – “a bag of 10p’s will get you nowhere” – and musically, drawing on the influences of Syd Barrett and The Television Personalities and early Blur, XTC and at times Luke Haines. There is a sad English melancholy and dark humour that runs throughout the album, the sort I always tend to find appealing. And I do find this album appealing. In fact, I think it’s a bit of a gem.
The Monthly Playlist Revue: January 2024
January 30, 2024
CHOICE MUSIC FROM THE LAST MONTH
THE INAUGURAL MONTHLY PLAYLIST FOR 2024: Tracks chosen by the Monolith Cocktail team of Dominic Valvona, Matt Oliver, Brian ‘Bordello’ Shea and Graham Domain that represent the eclectic and international tastes of the blog, the Monthly is our chance to remind our followers and readers of the last 31 days (we may have added in a few late entries from December too) in aural delights on the site, with music from review sections and posts, plus the odd track we might not have had room to feature, all compiled into one epic playlist.
TRACKLIST:….
Brion Gysin ‘Sham Pain’
George Demure ‘Wishful Thinking’
Donita Sparks ‘Sliding Through Life On Charm’
MIZU ‘Pavane’
Hesky ‘Dandelion’
The Bordellos ‘Running Back To You’
Bound By Endogamy ‘Nothing’
Rhys Bloodjoy ‘Vividsection’
Lynx 196.9, Arturo Banbini & Kool Keith ‘Wild Cowboys’
Shottie, Farmabeats & Skam2? ‘Organizized Confusion’
Black Josh, Sly Moon & Lee Scott ‘Council Pop’
K. Board & The Skreens ‘Mystery Magoo’
Vilmmer ‘Mauerkipp’
Kreidler Ft. Khan Of Finland ‘Loisaida Sisters’
Nehan ‘Ocean Side – Edit’
Park Jiha ‘Pink Lakes’
Neuro… No Neuro ‘A Day With Focus’
Cumsleg Borenail ‘Tsdtenhyilnm Sdhco Kiiwya U-‘
Sad Man ‘Go Egg’
King Kashmere, Cuth ‘Door Of Truth’
Essa, Yungun, Devise ‘What Eye See Pt. 2’
Oldboy Rhymes, Sage Francis, Rituals Of Mine, ALXNDRBRWN ‘Master Cleanse’
Tammy Faye Starlite, Barry Reynolds ‘The Ballad of Lucy Jordan’
divr ‘Tea High’
Charles Lloyd ‘Defiant, Tender Warrior’
Corduroy Institute ‘Say Something Gentle’
FANALI, Vera Di Lecce ‘I’ll Be Your Mirror’
Kiledjian, Sako Wana ‘Shaadu’
Lina ‘Cancao’
Che Noir, Your Old Droog, Evidence ‘Junior High’
Eda Diaz ‘Sabana y Banano’
Matthew “Doc” Dunn ‘My Love’
Letters From Mouse ‘Habitual Joy’
Nino Gvilia ‘Raspberry Hands’
Elea Calvet ‘Sinuous Ways’
Anni Kiviniemi Trio ‘Tiu Dropar’
C’mon Tigre ‘Nomad At Home’
Walter Kemp 3 ‘Defacto (Live)’
RELEASES ON THE RADAR FROM THE LAST FEW MONTHS & A METAL POSTCARDS LABEL SPECIAL/REVIEWED BY WRITER-MUSICIAN GRAHAM DOMAIN
Letters from Mouse ‘Clota’
(Subexotic Records) – Vinyl LP and Digital DL
Steven Anderson (Letters from Mouse) returns with a beautiful album of ambient dreamscapes played with a lightness of touch using modular synthesisers.
In Celtic mythology, the Goddess Clota was patron of the River Clyde and brought purity to the natural landscape. The album pieces reflect the beauty of nature and how nature evolves and changes, both with the day and with the changing of the seasons.
The album begins with ‘Frogspawn’, which sounds like new life emerging. A red sun high in the sky, watercolours smudged by the brightness of the day.
‘Juniper’ sounds like beautiful winter landscapes illuminated by a low winter sun. Wonderful.
‘Bowling Greens and Tennis Courts’ sounds like the sun coming out as the last remnants of a summer storm fade. It’s late in the evening but still light, as the sun has one last boastful appearance before the end of the day.
‘Piglet’ employs electronic harp and sounds very playful. It puts me in mind of summer, very early morning as the sun rises, rabbits and small animals appear, foraging for food, the dawn chorus of birds mixes with the hum of insects in flight, busy for the day ahead.
‘Cosm’ sounds like swimming under water, the sunlight getting stronger, shining through the water as you approach the surface.
‘Habitual Joy’ sounds like the warm morning sun, life affirming, awakening to the joy of a brand-new day.
Altogether it’s a beautiful album that deserves to be heard by many. It is also a great ambient album for meditation or creative work such as painting. Wonderful.
Various ‘The Faithful: A Tribute to Marianne Faithfull’
(In the Q Records / Bandbox) – Vinyl and Digital Download
As the name suggests, this is a tribute album to Marianne Faithfull with all benefits going to assist her in her recovery from long Covid.
Marianne has had a checkered career with numerous labels and her voice changed and became more ‘lived in’ as she struggled with severe bouts of laryngitis and addiction. This has not given her body of work a consistent identity. However, her struggles with addiction, illness and health problems have never stopped her working. After losing her voice, her last album was spoken word poetry backed by Warren Ellis (of the Bad Seeds). Marianne is an intuitive survivor!
Most of the songs on this tribute album were not written by Marianne. Her forte being in the way she sang and interpreted the songs of others. While not having great commercial success after the 1960s, she was always appreciated by other singers, musicians and music critics. Her most well known album Broken English often being name checked by other artists. Thus, we get 19 appreciative artists covering the songs of MF. The standout tracks are ‘Working Class Hero’ by Iggy Pop and Cat Power, ‘Why’d Ya Do It’ by Shirley Manson and Peaches, ‘Broken English’ by Joan As Police Woman and ‘Love, Life and Money’ by Lydia Lunch. Hopefully, it will make enough money to help MF in her darkest hour whilst also creating interest and investigation of her colourful back catalogue, with maybe some reissues. Get better soon you husky voiced inspiration.
C’mon Tigre ‘Habitat’
(Intersuoni) – Vinyl and Digital DL
This is the fourth album by international music collective C’mon Tigre featuring, amongst others, Seun Kuti, Arto Lindsay, Xenia Franca and Giovanni Truppi.
It’s a beautiful menagerie; a wondrous sound fusion underpinned by Brazilian and African rhythms. The essence is always danceable and the album becomes more and more fascinating with each play, incorporating elements of jazz, electronic, funk and a subtle blend of influences from all around the world. Both Tricky and Sly Stone are in the mix.
Standout tracks include ‘The Botanist’, ‘Teenage Kingdom’, ‘Nomad at Home’, ‘Na Danca Das Flores’ and ‘Sixty-four Seasons’, but to be honest all the tracks are excellent.
If you are open to innovative music or want to insert something different and exciting in your DJ set, then this is a great album to check out.
A METAL POSTCARDS LABEL SPECIAL::
The Bordellos ‘Nobody’s Listening’
ALBUM – Digital DL
As Bill Fay said ‘life is people’ and here we have thirteen songs about the ups and downs that make up peoples’ lives. The themes are universal, the culture – survival in a world where the outgoings are more than the income. The highlights are many.
‘Running Back to You’ is a ‘standard-in-waiting’, ready-made for covering. Indeed, it may be that time of the year, but with a few Christmas bells added and a video with white snow parkas (a la East 17) it could be a Christmas smash!
‘Brief Taste’ has all the warped charm of an Eels track, with the refrain ‘Seduction ain’t that much of a hobby when you ain’t got that much of a body.’ Brilliant!
‘Soundtrack to getting your end away’ sounds like New Order jamming with Bob Dylan. Great lyrics and supernatural melodicism. Poetry for the soul!
‘Marianne’ is part Pixies, part The Fall, part Ted Hughes. Wonderful!
‘Tom Waits Blues’ has the melancholy atmosphere of a rainy day spent scouring shops looking for your favourite bands’ new album only to find no one has it in stock! Soaking wet and missed your bus, but there’s always tomorrow!
‘Soft Get Smile’ is a true anthem. A sing-a-long for the disenchanted. Hope among the ruins.
This is another perfect ‘slice of life’ album from The Bordellos. If all they had was a pair of spoons and a cassette-recorder, they would still be driven to record these hazy snapshots of life, in the same way that L S Lowry splashed his canvas with the daily drudgery and drama of the northern working-class. Was anyone paying attention to Mr Lowry at the time? No! But today there are hotels, theatres and tree-lined streets named after him. (Even Bowie was one to acknowledge the match-stalk painters genius titling his best album Low)!
No one (sic) may be listening to The Bordellos today but one day… recognition will be theirs! (Bordellos Night on the X Factor anyone)?
Tim. M ‘Turn This Thing Around’
Single – Digital Down Load
This is the second solo single from Tim. M (the Aliens singer). A piano based ballad, it falls into the space somewhere between James Blunt, Harry Nilsson, Crowded House (Neil Finn), Karl Wallinger (World Party) and the New Radicals.
The song grows on you with each play and after a few plays I knew all the words. Orchestrally it reminds me of Bowies ‘Life on Mars’, leading me to sing Bowie-voiced backing vocals on the chorus of ‘Listen to me now…yeah yeah’. If he stays with the piano and keyboard sound, I want to hear more.
Andi Roti (featuring Oti Soe) ‘Shazam Me At the Beach Bar’
Single – Digital Down Load
This is a great chilled dance record destined to be played in many air-conditioned beach bars around the globe. The bass line sounds very Chic-like, while the funky guitar is underpinned by warm keyboards and bongos. When it starts it reminds me of a Thom Bell production from the 70s. Topping it off are soulful Indonesian vocals from Oti Soe. Already an underground classic – make sure you ask for it on your next night out! Stone Cold Electric! #Shake that Leg Thang!
K. Board and the Skreens ‘Beauty Lies Everywhere’ and ‘Mythical Creature’ Singles – Digital Down Loads
Two singles released in rapid succession.
‘Beauty Lies Everywhere’ sounds like Sultana by Titanic deconstructed by robots and beamed live to Roswell Roxy Cinema in 1968 to soundtrack a Clint Eastwood Spaghetti Western. Not the usual pop hit – aliens, robots and time travel meet Ennio Morricone! Fantastic!
‘Mythical Creature’ is a brooding synth fare that sounds like the soundtrack to John Carpenters Assault on Precinct 13 crossed with a possessed cat on heat and dwarfs dancing round a maypole. All recorded during an alien-visit-power-cut-surge! Stup-id-end-ous! Play it when doing Cat -Yoga!
Choice/Favourite Albums Of The Year: Part One: A to F: A Journey Of Giraffes to Nick Frater
December 11, 2023
SELECTED BY GRAHAM DOMAIN, BRIAN ‘BORDELLO’ SHEA & DOMINIC VALVONA
Just when we thought it couldn’t get much worse: it did. 2023 has been yet another, if not even more depressing shit show on the world stage and closer to home. The stalemate defence of Ukraine, Hamas’ barbaric massacre and rape on the 7th October, and the Israeli retaliation; the ethnic cleansing of Armenians from the disputed Nagorno-Karabakh region; the cost of living crisis; threat of pandemics and all kinds of illness; bedbugs; A.I.; strikes; activism; fuel poverty; Iranian protests; and the continuing horror show of a zombie government dragging on, being just some examples. 2023 qualifies as one of the most incomprehensible years on record of any epoch; an ungovernable country in the grip of austerity point 2.0 (the architect of the last one now back to haunt us all again), and greater world untethered and at the mercy of the harridans on either side of the extreme political divide, the billionaire corporates and narcissist puritans.
Despite the myriad of problems that face artists and bands in the industry, from a lack of general interest to the increasingly punitive costs of touring and playing live, and the ever encroaching problems of streaming against physical sales and exposure, people just can’t quit making music. And for that we, as critics – though most of us have either been musicians or still are – really appreciate what you guys do. In fact, as we have always tried to convey, we celebrate you all. And so, instead of those silly, factious and plain dumb numerical charts that our peers and rivals insist on continuing to print – how can you really suggest one album deserves their place above or below another; why does one entry get the 23rd spot and another the 22nd; unless it is a vote count –, the Monolith Cocktail has always chosen a much more diplomatic, democratic alphabetical order – something we more or less started in the first place.
Whilst we are proud to throw every genre, nationality together in a serious of eclectic lists, this year due to various collaborators commitments, there will be a separate Hip-Hop roundup by Matt Oliver in the New Year. The lists, broken up this year into three parts (A to F, H to N, P to Z), includes those albums we’ve reviewed or featured on the site in some capacity, plus a smattering of those we just didn’t get the time to include. All entries are displayed thus: Artist in alphabetical order, then the album title, label, who chose it, a review link where applicable, and finally a link to the album itself.
A_
A Journey Of Giraffes ‘Empress Nouveau’ (Somewherecold Records)
Chosen & Reviewed By Dominic Valvona/ Link
‘Imbued by a suffusion of influences, most notably Harold Budd and Susumu Yokota (once more) but also Kazumichi Komatsu, Sakamoto & Sylvain, Andrew Heath and Eno, John Lane spins, weaves and spindles the essence of place and time; stirring up dulcimer-like tones of the Orient, a hand-ringing school (could also be a call to prayer, or assembly point prompt, perhaps the intermission signal at the opera or theatre) bell, or softly evoking a South American wilderness.
This is yet another essential album from one of the best artists working in this field of subtle, sometimes breathtaking and sublime, exploration – although this is experimenting without sounding like you’re experimenting, if that makes sense. It’s a joy to experience.’ DV
Dot Allison ‘Consciousology’ (Sonic Cathedral)
Chosen by DV/Reviewed by Matteo Maioli/Link
‘Folks? backstory? Chamber-pop? I do not know. All this and also none of it. Simply: Dot Allison.’ MM
Anohni and the Johnsons ‘My Back Was a Bridge for You to Cross’ (Rough Trade)
Chosen by Graham Domain
Anthéne & Simon McCorry ‘Florescence’ (Oscarson)
Chosen by DV/Reviewed by DV/Link
‘A both hallowed and moving merger of seasonal changes, suffused with a certain gravitas and meaning, the pastoral is revalued and sent out on a voyage of reflection. Florescence is yet another minimalistic work of sublime quality from a collaboration perfectly in-synch with each other.’ DV
Assiko Golden Band de Grand Yoff ‘Magg Tekki’ (Sing A Song Fighter/Mississippi Records) Chosen by DV/Reviewed by DV/Link
‘In action, they sound out a controlled raucous of rustling, shaking ancestral calls and conscious version of Afro-beat, Afro-jazz and Afro-soul; like Kuti sharing the stage with Laba Sosseh and Seckou Keita. As a counterbalance, a pause from the rolling and polyrhythmic drums, there are short interludes of time-outs in the community and under nature’s canopy of bird song: the sound of the breeze blowing through the trees overhead and all around, and of children playing in the background, as the kora speaks in communal contemplation.
At times they create a mysterious atmosphere of grasslands, and at other times, play a more serenaded song on the boulevards that lead down to the sea. On fire then, when in full swing, but able to weave a more intricate gentler sound too, the AGBDGY prove an exhilarating, dancing combo with much to share: the ancestral lineage leading back centuries, but lighting up the present.‘ DV
B__
Moonlight Benjamin ‘Wayo’
Chosen by DV/Reviewed by DV/Link
‘No one quite channels the “iwa” spirits and musical, drum-beating ceremony of Haitian vodou like one of its most exhilarating priestesses, Moonlight Benjamin. Returning with her atmospheric and grinded-scuzz swamp-blues foil Matthis Pascaud for a third manifestation of hungered electrified vodou-blues, Moonlight roughs up and adds a wider tumult of energy to her vocally incredible and dirt music imbued sound of deep southern roots, West African and Hispaniola influences: an all-round Francophone sound you could say, from Louisiana to Mali and, of course, her homeland of Haiti.
As wild as it is composed, Moonlight Benjamin takes the vodou spirits back home to Africa, before returning, via the bayou, to Haiti on another fraught electrified album of divine communication.’ DV
Blur ‘The Ballad Of Darren’ (Parlophone/Warner)
Chosen by Brian Bordello
‘An album of nostalgia, melancholy and heartbreak, and one of Blur’s best.’ BBS
Brian Bordello ‘Songs For Cilla To Sing’ (Think Like A Key)
Chosen by DV & GD/Reviewed by DV/Link
‘As ridiculous as it may seem on the surface, the lower than lo fi (making Sparklehorse sound like a flash git bombastic ELO in comparison), nee no fi King of the well-worn Tascam four-track and St. Helens idiosyncratic Les Miserable, was only one person away on the Venn diagram of Cilla Black’s orbit. His potential songbook of flange-y distorted (more through low grade recording techniques) and curmudgeon demos did make its way to the, then retired from singing, Liverpool songbird – in the three or four decades before her death more the star of TV presenting and hosting than performer.
If imagining Brian Epstein inviting Ian McCulloch to front The Tremolos, or The Red Crayola, Spaceman 3 and a budget Inspiral Carpets time-travelled back to 1962 sounds like one incredible proposition, then this songbook is for you.’ DV
The Bordellos ‘Star Crossed Radio’ (Metal Postcard)
Chosen by GD/Reviewed by GD/Link
‘The latest release by St Helens finest is a cabinet of curiosities containing some wonderful lo-fi gems and hitherto lost standards!
This album is one to treasure, an Aladdin’s cave of eclectic life affirming songs. The Bordellos are the fine web that holds the stars in place!’ GD
Jaimie Branch ‘Fly Or Die Fly Or Die Fly Or Die ((World War))’ (International Anthem) Chosen by DV/Reviewed by DV/Link
‘As an unwittingly last will and testament, the late experimental trumpeter Jaimie Branch’s final led album with her Fly Or Die ensemble is a beautiful collision of ideas and worldly fusions that pushes and pulls but never comes unstuck. In fact, despite the “world war” suffix backdrop this album of both hollered and more disarming protestation colourfully embraces the melodic, the groove and even the playful.
Fly Or Die Fly Or Die Fly Or Die ((word war)) is an accomplished album that channels the legacies of Chicago, New Orleans and New York to create an eclectic modern adventure in protest jazz.‘ DV
Julie Byrne ‘The Greater Wings’ (Ghostly International)
Chosen by GD
Bex Burch ‘There Is Only Love And Fear’ (International Anthem)
Chosen by DV/Reviewed by DV/Link
‘In the moment extemporized expressions in multiple locations, both in Europe and North America, the feels on Bex Burch’s new album are led or prompted by a hand made xylophone. Any yet, there’s no particular pattern nor pathway to these captured performances; Burch joined as she is by a myriad of notable artists/musicians, all of whom only met for the first time before each improvised performance.
Each day is a different sound and a new canvas for Burch, who transcends her bearings and musical boundaries. There’s rhythm to these improvisations, a real groove that at times counterbalances the passages of avant-garde expression to create a non-linear journey of emotions, thoughtfulness and sense of yearned fears.’ DV
C___
Luzmila Carpio ‘Inti Watana: El Retorno Del Sol’ (Bongo Joe)
Chosen by DV/Reviewed by DV/Link
‘Full of wonderment and magic, the Bolivian performer and composer Luzmila Carpio returns with her first all-encompassing album in a decade. Imbued with an ancestral heritage and language that predates the Conquistadors colonial apocalypse, Carpio weaves and plays with her Aymara and Quechua roots, its creation stories, shamanistic ceremonies and humble custodianship of nature.
Carpio invites us into her dreams and meditations with a wonderful message of universal care and respect for that which nurtures and feeds us; an unbroken link to civilizations like the Incas, propelled into the 21st century.’ DV
Billy Childish & CTMF ‘Failure Not Success’ (Damaged Goods Records)
Chosen by BBS
‘Quite simply what Billy Childish does best: spit feathers at an unplucked rock ‘n roll chicken.’ BBS
Chouk Bwa & The Ångströmers ‘Somanti’ (Bongo Joe)
Chosen by DV/Reviewed by DV/Link
‘Reuniting for a second explosive dynamic album of electrified Vodou and Mizik Rasin, the Haitian collective Chouk Bwa and the Belgian production duo The Angströmers once more propel ritual and ceremony into an otherworldly futuristic setting.
Music from another dimension, the Haitian roots music and performative religious invocations and words of wisdom from Chouk Bwa are sent through a vortex into the future on another successful union.’ DV
Julian Cope ‘Robin Hood’ (Head Heritage)
Chosen by BBS
‘An album of psych, folk and pop wizardry; one that matches up to the best of the man. Cope is on a run of brilliance that is equal to his run of greatness from the late 80s to early 90s. A national treasure, and one of the last living motherfuckers.’ BBS
Creep Show ‘Yawning Abyss’ (Bella Union)
Chosen by GD/Reviewed by GD/Link
‘Make no mistake, John Grant is a genius! As half of Creep Show he provides the moments of sheer joy! ‘Bungalow’ comes over like a song that could have been on any of his brilliant solo albums, post ‘Queen of Denmark’. It’s a fantastic vocal, the music dark, funny, sexy, – electronic music at its best and a good song to boot! Elsewhere we find him singing strange rhymes on the title track ‘Yamning Abyss’ – a song that grows on you with each play.’ GD
D____
Vumbi Dekula ‘Congo Guitar’ (Hive Mind/Sing A Song Fighter)
Chosen by DV/Reviewed by DV/Link
‘Removed from a full-on band setting of loud blazed, wailed horns, thundering drums and chanted vocals Kahanga “Vumbi” Dekula’s legendary guitar shines on a new solo album of his melodious virtuoso playing.
Hive Mind’s inaugural partnership with Winqvist’s own Sing-A-Song-Fighter label is both a joy and discovery; the Congolese star, more or less, singlehandedly capturing the listener’s attention with a captivating septet of natural, expressive performances.’ DV
Diepkloof United Voice ‘Harmonizing Soweto: Golden City Gospel & Kasi Soul’
(Ostinato Records) Chosen by DV/Reviewed by DV/Link
‘Incredibly moving and enriching for the soul, the united Diepkloof chorus has achieved the seminal with nothing more than their voices; releasing perhaps one of the year’s most essential records.’ DV
Dexter Dine ‘Flood’
Chosen by DV/Reviewed by Gillian Stone/Link
‘The self-defined Brooklyn, NY-based “apartment rocker” conjures a diverse and expansive sound that is a “mixture of melodic samples, multi-part drum grooves, and off-kilter saxophone solos”. From the Animal Collective vibes of “Flooded Meadows”, “Splatter In Two”, and “Lockeeper”, to the Juana Molina-esque “Peanutbutter”, to the Bossa Nova feel of “Valley Of Air”, the beats he creates are the driving force behind this electroacoustic pursuit.
Dine is a prolific artist, and his work is ethereal, striking, and drenched in both sunshine and melancholy.’ GS
Matt Donovan ‘Sleep Until The Storm Ends’
Chosen by DV/Reviewed by DV/Link
‘In the face of political, social discourse and ruin, lawlessness, loss and anxiety Donovan captures the evocative moments and scenes we all often take for granted; turning nighttime walks, the memories of loved ones into something musically and sonically lasting.
Barefoot Contessa daydreams sit well with clavichord buzz splintered boogies on yet another enriching and rewarding album that slowly unfurls its understated balm of warmth and also protestation gradually over repeated plays. On the fringes certainly, a true independent diy artist, Matt Donovan is far too good to stay under the radar. Do yourselves a favour, grab a copy on bandcamp now.’ DV
Dur-Dur Band Intl. ‘The Berlin Session’ (Outhere Records)
Chosen by DV/Reviewed by DV/Link
‘Marking the first session of new-recorded music since the halcyon days of their heydays in 80s Somali, the revivalist legacy incarnation of the Dur-Dur Band is back with a truly “international” sounding groove.
Simultaneously familiar whilst offering a fresh songbook (of a sort), the Dur-Dur Band Int. Berlin Session is as lilting as it is dynamic. Above all it’s always grooving to a unique fusion of worldly rhythms and beats, catapulting that Somali funk to new heights and hopefully making new fans with lively and cool performances. Nothing should keep you buying a copy.’ DV
Dutch Uncles ‘True Entertainment’ (Memphis Industries)
Chosen by GD
Dyr Faser ‘Karma Revenge’
Chosen by DV/Reviewed by DV/Link
‘It turns out that Dyr Faser are rather good at mixing the esoteric krautrock of the Amon Düül family (especially the Wagnerian acid-wash and otherworldly vocals of Renate Knaup-Krötenschwanz) with grunge, alt/post/space rock and doom; bridging morbid curiosities, spirals of melancholy with black sun fun, fun, fun! A great duo to discover. ” DV
E_____
Eamon The Destroyer ‘We’ll Be Piranhas’ (Bearsuit Records)
Chosen by BBS/Reviewed by BBS/Link
‘Performed with a wit and wisdom only matched by the beauty and musical genre hopping extravagance not seen since John Peel dropped his record collection down three flights of stairs… A madness of electronica, psychedelia, dance and pop; at times sounding like an inspired Momus after sharing magic mushroom soup with Cornelius and Ivor Cutler. Yes, there is magic in these tracks that one can lie back and completely lose themselves in…’ BBS
The Early Mornings ‘Ultra-Modern Rain’ EP (Practise Music/Rough Trade)
Chosen by GD/Reviewed by GD /Link
‘It is an exhilarating ride of moody bass lines, spikey guitar, distorted chords and garage drums with vocals by Annie Leader.’ GD
Ex-Norwegian ‘Sooo Extra’ (Think Like A Key)
Chosen by BBS/Reviewed by BBS/Link
‘Sooo Extra is the 14th album from Ex Norwegian and like all the other Ex Norwegian albums I have heard it is a rather excellent affair full of pop hooks and has a lovely undercurrent of darkness, a bittersweet taste of songwriting savvy you really do not come across everyday: sadly.’ BBS
F______
Fantastic Twins ‘Two Is Not A Number’ (House Of Slessor)
Chosen by DV/Reviewed by DV/Link
‘Competitive from the outset, birthed from a primordial cosmic womb, the Fantastic Twins in Julienne Dessagne’s otherworldly sci-fi fantasy go through hellish travails and separation before finding a final resolution. From the bawled birth of ‘I Was First’, the Berlin-based French producer, musician and vocalist explores the magic, duality and multiplicity of twins over an album of metallic, chrome and liquefied material sci-fi and otherworldliness: even the haunted and supernatural.
Albums from Carl Craig, Man Parrish, Fever Ray, Andy Stott and others, alongside the influence of Cosey Fanny Tutti, Chris Carter, Coil, Nina Simone and Pan Sonic can be added to the depth and range of this accumulative mood board and framework.
It proves a fertile concept and doorway to the investigations of the “psyche” and its relationship to all manner of inquisitive explorations. A most striking sophisticated debut from an artist with depth and curiosity.’ DV
Fat Francis ‘Oyster’
Chosen by DV/Reviewed by DV/Link
‘Disillusioned despondency and a touch of the roguish are filtered through softened hues of idiosyncratic lo fi beauty, as Fat Frances’ hardened, worn-down posterior reveals a heart-wrenching drip-drip pouring of poetic insecurity, dealt and languorous resignation.
Yet despite the wretchedness of the world, the austerity and the lawlessness and directionless malaise of our times, there’s a melodious magic to be found in this rough diamond’s (excuse the cliché) Northern lament. It’s as if Frances has somehow brought an air of Bonnie & Clyde folklore, or an enervated and far less violent Badlands to a West Yorkshire pastoral landscape.
Oyster has quickly become one of my favourite albums of 2023 – the balmy washes and heartache wistfulness drift of ‘Billy’, a worthy earnest but sublime song, being just one highlight. It should if life was fair, bring attention and plaudits to this artist, but I won’t hold my breath.’ DV
Fhae ‘Sombre Thorax’ (4000 Records)
Chosen by GD/Reviewed by GD/Link
‘This is a wonderful album of ethereal, ambient, dream-folk-pop that ebbs and flows like the tides and inhabits its own world of subtle beauty. Sometimes, mists of the sea seem to creep into the music and the edges of reality become blurred, the music shape shifting into another dimension!
A fantastic debut album, I can’t wait to hear more!’ GD
Fir Cone Children ‘The Urge to Overtake Time’ (Blackjack Illuminist Records)
Chosen by GD/Reviewed by GD/Link
‘This is fantastic album from Berlin based band Fir Cone Children. It sounds like it was recorded in 1979 when New Wave (Post Punk) creativity took hold for a couple of years and no two bands were the same!
Time Needs an Upgrade’ sounds like the Cure mixed with the Pop Group. ‘Snowblack’ sounds like Wire led by Jeff Lynne! ‘The Inability to Raise the Left Corner of my Mouth’ sounds like the Buzzcocks if they had been from San Francisco circa 1968. ‘It Feels Complete’ sounds like the Cramps if they had been Buddhist Monks! ‘Spider School’ sounds like the Scars mixed with the Undertones and Interpol. ‘One Hundred Years’ sounds like the Sound mixed with Wire and MBV! But moreover, although there are always comparisons to be made, Fir Cone Children have an individual spark; the music is much more than the sum of its influences! Perhaps, the best German band since Faust!’ GD
Flagboy Giz ‘Disgrace To The Culture’ (Injun Money Records)
Chosen by DV
‘Exciting bounce-hip-hop-modern-R&B cross-pollinations from the colorful, parading Mardi Gras tail-feather shaking chief, who once more leads with attitude and verve another street theatrics company of like-minded artists on a strut through New Orleans. The second album from motivator, performer, producer and MC, Flagboy Giz – he of the world famous Wild Tchoupitoulas Mardi Gras Indians -, and his crew of contributors, is a rambunctious hyper merger of The Meters, Neville Brothers, Lee Dorsey, Dr. John. Master P, Lil Wayne and DJ Jubilee. What’s not to like.’ DV
Flat Worms ‘Witness Marks’ (Drag City)
Chosen by DV
‘I’d like to believe the reemergence of the L.A. garage-punk-rockers is down to my glowing review of the their Live In L.A. album from 2022 (which made our choice albums of that year). But whatever the reasons, their return (back once again in the Ty Segall fold) is very much welcome; especially as they’ve lost none of that vociferous wired attitude and spirit. Witness Marks is an assured, mature and heavy vortex of growling and fierce, but slacker too, Gang Of Four, Salem Trials, Modern Lovers, The Fall and The Southern Death Cult sounds. And if that doesn’t grab you, nothing else will.’ DV
Flexagon ‘The Towers I: Inaccessible’ (Disco Gecko)
Chosen by DV/Reviewed by DV/Link
‘Through a near domination of the high seas, a skill in winning wars, a Norman lineage and generally to annoy the French, the Channel Islands have been a British dependency for centuries. During that time a whole lot of history has passed under the bridge; the last 200 years of which are channeled by the Guernsey native, artist and environmental, site-specific composer Flexagon.
A work of site-specific atmospheric stirrings and timelessness, The Towers I: Inaccessible album translates the off-limits sites of Guernsey into a multi-layered sonic map for inquiring minds. An Island life, history and shared trauma is transduced across a mix of styles and delivery methods as both repurposed and more derelict out of bounds architecture is allowed to breath and to tell stories of the history that’s passed through its doors. Even with the all too awful reminders of Guernsey’s occupation (finally liberated in the May of 1945 after nearly five years of German authoritarian rule; at least a thousand of its people deported to camps in Southern Germany) these towers transmit plenty of arresting Meta and fertile research, which Flexagon and his foils have turned into a lush, dreamy and mysterious veiled journey.’ DV
Nick Frater ‘Bivouac’
Chosen by BBS/Reviewed by BBS/Link
‘The art of the concept album is alive and well and living in the confines of Nick Frater’s new album Bivouac; an album about escaping post industrial Britain and seeking solitude in a woodland sanctuary.
All the tracks run into each other giving you the blanket of warmth and melody, which really is not a bad thing and with the coming Winter months can indeed be an essential requirement as it may be the only warmth we get this year. It’s sunshine pop after all. It brings to mind the magic of Jellyfish and Squeeze at their best. The 70s am pop of Andrew Gold, Billy Joel, Todd Rundgren all collide and cause an explosion of one of the most heart warming and joyful albums of the year.’ BBS
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.
Monthly Playlist: May 2023: Delilah Holliday, Tony Allen, Alecs DeLarge & King Kashmere, Lucia Cadotsch…
May 31, 2023
CHOICE MUSIC FROM THE LAST MONTH: TEAM EFFORT
The Monthly Revue playlist of 2023; a choice selection of tracks from the last month on the blog. Curated by Dominic Valvona with Matt Oliver on the Rap Control once more, and music from reviews by Brian ‘Bordello’ Shea, Graham Domain and Andrew C. Kidd. Expect to hear the unexpected.
TRACKLIST//
Alecs DeLarge & King Kashmere ‘Damien Darhk’
Samuele Strufaldi ‘Davorio’
Les Dynamites ‘Pop Oud #2’
Andrew Hung ‘Ocean Mouth’
Matt Saxton ‘Freedom’
John Parish & Aldous Harding ‘Three Hours’
Lunar Bird ‘The Birthday Party’
YOVA ‘Feel Your Fear’
Atmosphere ‘Dotted Lines’
Illogic ‘Hot Lead’
Odd Holiday, Mattic & Daylight Robbery! ‘It Is Whut It Iz’
Delilah Holliday ‘Silent Streets’
Big Yawn ‘Crying’
Tony Allen ‘No Beginning’
Harold Land ‘Chocolate Mess’
Baby Cool ‘Magic (Live)’
Dyr Faser ‘This Menace’
Mekong ‘Out Of Control’
The Telescopes ‘(The Other Side)’
The Bordellos ‘Attack Of The Killer B-Sides’
Adjunct Ensemble ‘Nothing Grows/How Dare You Be Free’
Kassa Overkill, Danny Brown & Wiki ‘Clock Ticking’
Depf & Linefizzy ‘My Love’
Paw One ‘Sepekku’
Cas One ‘Silver Spoons’
Axel Holy & Badhabitz ‘Runnin’
Efeks, The Strange Neighbour & Downstroke ‘Its Only Right’
Chocolate Hills ‘Mermaids’
Orange Crate Art ‘We’re Just Innocent Men’
Tinariwen Ft. Fats Kaplin ‘Ezlan’
Cherry Bandora ‘Esy’
Danuk ‘Sewqo’
Lucia Cadotsch ‘I Won’t’
Jman & The Argonautz ‘Green Light’
Chuck Strangers & Obii Say ‘Say’
Billy Woods, Kenny Segal & Danny Brown ‘Year Zero’
Caterina Barbieri ‘Swirls Of You’
August Cooke ‘Flying Swimming Dredging’
Liz Davinci ‘I’m Through With Love’
Kayhan Kalhor & Toumani Diabate ‘Anywhere That Is Not Here’
Oceans ‘Mike Tysong’
Creep Show Ft. John Grant ‘Moneyback’
Jean Mignon ‘Canadian Exit’
GRAHAM DOMAIN’S RUN-THROUGH OF RECENT AND UPCOMING NEW RELEASES
__/SINGLES\__
THE TELESCOPES ‘Where Do We Begin’
(Tapete Records) (Download only Single)
It seems only vocalist Stephen Lawrie remains from the original group and only his voice reminds of The Telescopes classic sound!
This is the first single taken from forthcoming album Of Tomorrow. As such, it sounds a bit like the House of Love with Lou Reed – a psychedelic song about filling in the hole in your soul with more emptiness – the modern consumer society looking for fulfillment amid the waffle of internet influencers, ‘reality’ celebrity and brand name hypnosis! I await the new album with interest!
MATT SAXTON ‘Freedom’
(Bandcamp) (Download Single)
This is an electronic track with folktronica leanings that reminds me of John Grant. It’s a delight – like eating your favourite ice cream! Give it a listen while eating a Cornetto!
YOVA ‘Feel Your Fear’
(Bandcamp) (Download Single)
Unusual pop song from Yova – interesting, odd and compelling! Yova are a duo – with exposure they could be massive!
SALEM TRIALS ‘ESPERS SYC (See Your Crime)’ / ‘End of Level Boss’
(Metal Postcard) (Download Double A Side Single)
Excellent Double A Side from Salem Trials – ‘Espers SYC’ comes across like the Fall playing a speeded-up Joy Division ‘Exercise One’ – some nice jarring chords and fried bacon rhythm!
With singalongs like ‘reasonable doubt my arse’ it could become a staple at Strangeways Indie disco! The crime? Presumably using your intuition (ESP) – contravening Section 7 of the State Controlled Thought Act 2023.
‘End of Level Boss’ meanwhile conjures up the ghost of Ian Curtis dancing to James Brown after the sacked JB’s were replaced by a funky Sunn O))) – Mesmeric!
___/ALBUMS\___
OCEANS ‘Dreamers in Dark Cities’
(Bandcamp) (Vinyl/DL)
There are a few bands named Oceans but this particular band hail from Melbourne Australia. They sound like they have been listening to a lot of 1980’s indie music like the Sound, the Chameleons, New Model Army, Cocteau Twins, Pale Saints, Slowdive, The Scars.
‘Pure’ sounds like a poppier Pale Saints and is perhaps the best song on the album. “I just want to feel alive” he cries as the music rises in life affirming sonic radiance! ‘Apart’ reminds me of the Scars with touches of Ride and Pale Saints. ‘Feels Like You’ hints towards Slowdive, MBV and Ride.
‘Mike Tysong’ sounds like New Model Army circa ‘The Ghost of Cain’ but with vocals akin to Adrian Borland (the Sound of ‘The Lions Roar’ fame). ‘Soft’ has hints of The Chameleons guitar sound combined with vocals akin to Lush! ‘Look Into My Eyes’ employs the 3 / 4 rhythm beloved of The Cocteau Twins circa ‘Treasure’. An album of youthful energy and life affirming beauty. The songs are energetic, well-constructed and well-produced. I like the album, but the band need to bring more of their own creativity to the table so they sound like themselves rather than the sum of their influences. Once they find their own sound, they will be magnificent. They are part way there and I predict great things for them in the future.
CREEP SHOW ‘Yawning Abyss’
(Bella Union) (CD/Download Album)
Make no mistake, John Grant is a genius! As half of Creep Show he provides the moments of sheer joy! ‘Bungalow’ comes over like a song that could have been on any of his brilliant solo albums, post ‘Queen of Denmark’. It’s a fantastic vocal, the music dark, funny, sexy, – electronic music at its best and a good song to boot! Elsewhere we find him singing strange rhymes on the title track ‘Yamning Abyss’ – a song that grows on you with each play.
The band Wrangler are the other half of Creepshow. Cabaret Voltaire’s Stephen Mallinder sharing vocal duties on such tracks as ‘Moneyback’ – “You want your money back / I didn’t think so”! Overall, a fine return from Creep Show who are doing a short tour of the UK over the summer!
JEAN MIGNON ‘AN/AL’
(Metal Postcard) (Download Album)
Raucous debut album by New York based Johnny Steines. A mixture of high energy garage punk and high-speed rock and roll – it sounds like a live album such is the energy contained in the grooves!
‘Tackled By Men’ recycles parts of ‘Jumping Jack Flash’, whilst ‘Canadian Exit’ has echoes of Warsaw’s ‘Failures’. If he can produce this excitement in a live-setting he willsurely make his own impact! Primal Rock and Roll that screams from the speakers andexcites like a high-speed car chase!
Key Tracks: All of them!
The BORDELLOS ‘Starcrossed Radio’
(Metal Postcard Records) (Download Album)
The latest release by St Helens finest is a cabinet of curiosities containing some wonderful lo-fi gems and hitherto lost standards!
Beginning with the glam stomp of ‘Attack of The Killer B-Sides’ – name checking great B- Sides by the likes of The Smiths, Stone Roses, The Beatles, Billy Fury, Shangri-Las, New Order, Rolling Stones, Mersey Beats etc… All delivered in a Mark Smith type drawl. Like any music fan, flipping a 45 over and discovering a great B Side was exciting and would lead to more investigation of the artist’s music.
‘Never Learn’ sounds like a lost standard to me – reminding of Morrissey when he was good, the accordion sound giving it a shade of the Pogues! The nice melody is under-pinned by what sounds like a balloon deflating, a synth or a cat being slowly trod on mixed with static and silence! Experimental brilliance!
‘Free New Music Day’ meanwhile takes the sound of the Doors Texas Radio and the Big Beat and transfers it to Northern England where you can ’take a cut price trip to the stars – singing Hallelujah in Karaoke bars’ – poetry from the streets Jim Morrison could only aspire to!
Other highlights include the strange melody picked out on guitar on ‘Sunk and Screwed’, which could be the theme to a weird kids cartoon! Oddly disturbing! I’m still humming it! ‘Vicious Circle’ could be a single. ‘Hurting Kind’ sounds like a lost Beach Boys campfire surf song – Brilliant!
The album ends with the sublime ‘Life Love and Billy Fury’ – a part electronic song where the melody or maybe some of the chord changes put me in mind of New Order without actually sounding like them! Great lyrics – another ‘lost standard’!
This album is one to treasure, an Aladdin’s cave of eclectic life affirming songs. The Bordellos are the fine web that holds the stars in place!
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