Monolith Cocktail Blog

Exchange recommendations from our Italian penpals at Kalporz
Authored By Matteo Maioli 

Continuing our successful collaboration with the leading Italian music publication Kalporz , the Monolith Cocktail shares reviews, interviews and other bits from our respective sites each month. Keep an eye out for future ‘synergy’ between our two great houses as we exchange posts during 2023 and beyond. This month, from the site’s [T4ATF!] series, Matteo Maioli recovers four tasty albums that fall between indie-pop, psych vibrations and explosive rhythm’n’blues genres.

The Clientele, “I Am Not There Anymore” (Merge)

It seems incredible, but from their formation in 1997 to today the London-based Clientele have never crossed the Italian borders. Yet the proposal by Alasdair MacLean and associates is among the most original to come out in the new millennium, between reminiscences of Love and the low fidelity experiments of the Pastels. Six discs, one more beautiful than the other, which cite literature (T.S. Eliot), surrealist poetry (Robert Desnos) and arthouse cinema. With bassist James Hornsey and Mark Keen, percussion and piano, as well as the use of celesta, tapes, bouzouki, mellotron and a string and wind ensemble, MacLean brings to life his most sophisticated work, embracing dub (“Garden Eye Mantra”), flamenco (“Stems Of Anise”), orchestral jangle-pop (“Lady Grey”) and modernism in winning refrains as for “Blue Over Blue”. For writing that offers disturbing images, cosmopolitan visions, the beauty of the passing of time. “I Am Not There Anymore” was published by Merge at the end of July but “Claire’s Not Real” suggests spreading it while enjoying the warmth of a fireplace, close to your loved one.

The Suncharms, “Things Lost” (Sunday Records)

The Suncharms were formed in Sheffield between the eighties and nineties, proposing in their first EPs an indie recipe based on equal doses of melody and noise; however, it is only in recent years that they are getting the right feedback, between compilations on Slumberland and new albums such as “Distant Lights” (2021) and the latest “Things Lost” for Chicago’s Sunday Records. Where “Dark Sails” combines sixties and Jesus And Mary Chain noise, with “Satanic Rites” I would lean more towards the lesson of R.E.M., even in Marcus Palmer’s tone not so distant from that of Michael Stipe. Keyboards and harmonica embellish the opener “3.45” while “Red Wine Kisses” will perhaps be the episode destined to remain over the years, to be listened to on loop, dreamy and exciting between The La’s and The Dream Syndicate. My friend Enzo Baruffaldi from Memoria Polaroid conveys the idea perfectly: “If it’s time to close the day on a melancholy note, without giving up feedback and reverberations, Suncharms’ latest album is the one for you (or, at least, mine)”.

Night Beats, “Rajan” (Fuzz Club/Suicide Squeeze)

We had partly forgotten about Danny Lee Blackwell, relegating him to “Who Sold My Generation”, a smash dated 2016 featuring Robert Levon Been of Black Rebel Motorcycle Club. Since then three albums have been released. After “Outlaw R&B”, acclaimed by the international press in 2021, it is the turn of “Rajan”, in which the Texan musician offers a warm interpretation mixing Rock, Jazz, Blues, psychedelia, Anatolian Funk, Chicano Soul and Spaghetti Western. And this is just to mention some of the ingredients of the collage of sounds and impressions sweetly blended with the “Hot Ghee” (peace guys, Tame Impala could hear it…) from Danny’s sizzling pan in a kaleidoscopic sound that merges into a mysterious unity. If “Thank You” points towards “Sunny” by Boney M with acid and gypsy tones, then “Nightmare” travels in the 70s between Brazil, Asia And California. “Rajan is just one of six examples of me doing exactly what I want, and not caring about whether it’s checked out or not. I’m a journey person. I want to make things for the sake of making them.” Holy words.

Maiiah & The Angels Of Libra, “Maiiah & The Angels Of Libra” (Waterfall Records)

Who said that the best soul only comes from America? The debut album by Maiiah, a singer with Balkan roots transplanted to Düsseldorf, has arrived to prove us wrong. Thanks to a phenomenal backing band, the Angels of Libra collective from Hamburg, who return after their success alongside Nathan Johnston: ten instrumentalists with a great affinity for analogue recordings, the concept sixties and the world of Ennio Morricone, Khruangbin and Air. It all started from Maiiah’s meeting with the producer and composer Dennis Rux in times of pandemic: a shared love for good old rhythm & blues united them in making music together with Libra, creating singles with excellent radio appeal such as “Obey” and “No No No (I’m So Broke)”, between fun and social criticism. On “I ‘m A Good Woman” she makes Barbara Lynn’s northern soul hit her own, while “Kava” dresses a Croatian text with boogaloo; “Turn The Page” and “I Wanna Go” finally show the affinity with Makin’ Time, James Taylor Quartet and the garage-pop of the new generation (The Courettes). Spectacular.

Matteo Maioli