EP Review/Words: Dominic Valvona

Verses Bang ‘The New Normal?
15th January 2021

The sartorially pop-cultured bespoke Hip-Hop and Trap artist Verses Bang should be basking in the L.A. sun and spectacle of his new life-changing home, yet the stresses and anxieties of the global pandemic have taken away some of that sheen and enthusiasm. Moving from a Southend-On-Sea “town full of hate” to a “land full of the pretentious”, the Essex-twanged rapper has done good: and deservedly so, as he informs us on the bubble-cocooned title-track of his upcoming EP, The New Normal?

Immigrating stateside and recently betrothed Bangs escapes a cycle of indifference and envy for life in a whole different bubble. Working the UK circuit with little success and luck, a shot in the city of angels beckoned: Covid-19 has put a kaboosh on matters though. Bangs inaugural address of 2021 is a pent-up frustration, enquiry and also playful conversation let loose over a crossover of Hip-Hop, Trap, Grime, even soulful R&B beats, samples and itching computerised percussion – very nicely produced I might add.

Though a decade in a career of travails, Bangs sounds fresher, leaner and hungrier than ever on this seven-track showcase. That addictive personality with all its anxieties is still strongly referenced throughout: made even worse by the uncertainty and stress of avoiding the new coronavirus plague. The New Normal? is a statement not only of intent, but both a lyrically lightened and serious attempt to convey the eccentricities and daily grind of life under a pandemic.  

Dispensing references at a fair old rate from both home and the L.A. diorama of hierarchal row-competing, courtside Hollywood stars and major wrestling icons (Brian Pillman Jnr. making a cameo on the EP’s cheerleading ‘Still Pillman Skit’), Bangs contrasts the doldrums of a wet-weekend in Essex to rubbing shoulders (at a distance of course) with Jack Nicholson and Ice Cube. Never taking himself too seriously, fame is mere smoke, and social media a vacuous hole: “I don’t really Tweet, I just follow my dreams.” Nicholson’s role in One Flew Over The Cuckoo’s Nest is used as an outro sample on the questioning ‘Courtside Jack’ prowler: a track that lays out the rapper’s move to California; a gutsy move from stagnation and constant negativity it turns out. A life of uncertainty to: “Am I too old for Hip-Hop?”, “Am I too old for Snapchat? Too old for TikTok?”

At times he also conveys the frightening omnipresence of Covid-19 (on the EP’s most Hip-Hop of Hip-Hop tracks, ‘Covid 44’“Call me Tina Quarantina”), and at other times aims a salvo at the hypocrites whilst counting his own luck (‘Jackpot’). However, it’s almost a case of marauder sleaze on the dirty team-up ‘Injured Pirates’, which features Kettering rapscallion foil Tommy Dockerz (of Dirty Dockerz infamy). The pair originally had a dust-up on the ‘Slick Flair’ track, which gets a mention on this Goonies-heavy referenced flick. Tommy lets rip with chicken licking, titty-bar infection-ridden glee and indignation.

Great lines and bars permeate this fresh and pepped take on the perils of making it in a pandemic-striven society; with Bangs expanding his playfulness, yet ready to drop in some heavy serious stresses. As Bangs advises, “stay hydrated”, and keep that sanitizer near as it doesn’t look like things will be returning back to normal (if they ever truly will) anytime soon. Our Essex lad turn L.A. hopeful has just laid down one of his finest statements of intent, and despite everything, things look pretty positive for this long-overdue breakthrough. (Dominic Valvona)

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.

Videos/Singles/LPs
Dominic Valvona




In quick succession, following last week’s inaugural roundup of 2020 of perused singles, videos, previews and the odd album that threaten to overload our inboxes, another selection of releases that you need to know about. This week’s honors go to Tony Allen & Hugh Masekela, Brona McVittie, Ippu Mitsui, Verses Bang and JZ Replacement.


Tony Allen & Hugh Masekela  ‘We’ve Landed’
(World Circuit Records)  Preview Video


 

This is one convergence of talent worth ‘rejoicing’. Arguably two of the most important motivator/instigators in the development of African music over the last 50 years, Afrobeat progenitor, drummer extraordinaire Tony Allen and his foil trumpet virtuoso, bandleader, activist and South African national treasure, the late Hugh Masekela, finally crossed paths in 2010 to record this sublime swinging and lilted atmospheric album: an album that had been in the making since the two central figures in Afrobeat and Afrojazz first met in the 1970s. However, those original sessions were put on hold until last year.

With renewed resolution, Allen and producer Nick Gold, with the blessing and participation of Hugh’s estate, unearthed the original tapes and finished recording the album last year at the same London studio where the original sessions had taken place. Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians including Tom Herbert (Acoustic Ladyland/The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.

Rejoice is set to drop on the 20th March 2020; until then here’s the loose Francophone swinging jazz announcement ‘We’ve Landed’ to savior: every bit as effortlessly cool, bouncing and smoky as you’d expect. Look out for a full review on the site in the next month or so.

Links of interest from our archives

Hugh Masekela ’’66-‘76’

Tony Allen ‘The Source’

Afro-Haitian Experimental Orchestra  ‘A.H.E.O’


JZ Replacement  ‘Tubuka’
(Rainy Days Records)  Single/Now

Introducing the new dynamic fusion project from saxophonist Zhenya Strigalev (Ambrose Akinmusire, Eric Harland) and drummer Jamie Murray (Sun Ra Arkestra, Native Dancer), the first single to drop from the JZ Replacement moniker duo is the off-kilter acceleration of moodier Massive attack prowls, lurching breakbeats, d’n’b and vortex squawking contemporary jazz with blasts of hard bop, ‘Tubuka’.

With an already enviable providence as both a performing duo in their own right and with a host of luminaries on the scene, Strigalev and Murray look further afield to develop and challenge their sound. As part of that challenge, the duos upcoming new LP, Disrespectful (due to drop on the 13th March 2020) was recorded with the increasingly in-demand L.A. bass master, Tim Lefebvre (who played with the Donny McCaslin led troupe that backed David Bowie on his swansong album, but also such notable talent as Wayne Krantz, Elvis Costello and Mark Guiliana). On the evidence of this precursor single, the album promises to be a ball of exploratory jazz and grooves.


Verses Bang  ‘The Eagle Has Landed’
Single/Video/January 2020


In case you missed one of the UK’s most burgeoning talents on the Hip-Hop and beyond music scene, the ever sartorially sharp Verses Bang drops a reminder single and new video from last year’s high anxiety deconstruction of an addicted personality, Cardigans & Calories, ‘The Eagle Has Landed’. From his own mission control, Verses’ convergence of rap, grime and trap lurks menacingly on this unsanctioned Apollo flight into the shadows.

Verses name drops idiosyncratic references to British culture and TV and tongue-in-cheek digs at the varnished validation culture of many of his more puffed-up peers on social media, with the pressures of trying to make it whilst battling those addictions. One to watch for sure in 2020.


Ippu Mitsui  ‘Break Through 50 Watts’
(Pure Spark Records)  LP/23rd January 2020


Always in a state of developing and reworking, Tokyo electronic composer and label boss Ippu Mitsui draws breath with an album of rerecorded, remasterd and in some cases, alternate visions of his back catalogue on Break Through 50 Watts.

Delivered via his very own burgeoning experimental electro and dance label, Pure Sparks Records, Ippu hurtles and careers through a miscellaneous of tracks from 2017, including a freshly coated twitch-house take of the opening 32-bit, dial-up tone skittish collage ‘Bug’s Wing’s’ (taken from his L+R LP for the Edinburgh label Bearsuit Records) and a sophisticated shadowy airy refresh of the cruising ‘Rotation’ (taken from his Shift Down EP for Submarine Broadcasting Company). Ippu watchers might also recognize remasters of the E Noise EP’s breakbeat thriller ‘Chromium’ and the Resonance EP’s re-Warp busy percussive ‘Biorhythm’. Scattered amongst these are a host of equally cybernetic and machine code engineered techno treats: the dulcimer chiming timepiece soundtrack ‘Recovery’, melodic childlike piano downtempo ‘Playground’ and the strange putting-robots-to-sleep deconstructive techno number ‘Sea Slug In Love’ being some of the more interesting and diverse tracks on offer.

New to the charms and exploration of Ippu Mitsui, then this collection would be a grand starting point to a one-man electro and techno industry.

Links of interest from our archives

Ippu Mitsui  ‘L + R’


Brona McVittie  ‘The Green Man/Eileen Aroon’
(Company of Corkbots)  Single/20th January 2020


In anticipation of the ephemeral harpist and diaphanous lulled singer’s second solo album this year, Brona Mcvittie releases a couplet of fluttery yearnings that pay homage to Celtic imbued contoured landscapes. Brona’s magical, lingering, self-penned ode to the atavistic ‘The Green Man’ (a song idea that “literally grew out of the trees visible from my living room window”) and beautifully sang version of the Carroll O’ Daly 14th century paean ‘Eileen Aroon’ (a song in which the protagonist of that tale espouses his love for Eleanor Kavanagh, daughter of the Leinster chieftain, comparing her to a “flower of the hazel glade”) continue the harp-led evocations and trip-folk cinematic landscaping of the debut LP We Are Wildlife (which made our albums of 2018).

Producing melodies and phrases that often feel like a breath or just the merest presence of the harp and voice, Brona amorphously pushes the often-ancient feelings and geography towards John Martyn and Bert Jansch one minute, towards the Incredible String Band or Boards of Canada the next.

Be sure to keep an eye out for a future review of that upcoming album.

Links of interest from our archives

Brona McVittie  ‘We Are Wildlife’

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