Playlist/Video Premiere
Words: Dominic Valvona




Junkboy ‘Belo Horizonte’
Taken from the reissued/remasterd Sovereign Sky LP, released via Fretsore Records, 25th September 2020


Junkboy ‘Tropicalia Special’ Playlist
Available via Spotify


In the run-up to the release of Junkboy’s acclaimed 2014 cult album Sovereign Sky (released later this month), the Hanscomb brothers in partnership with Ian Sephton of Fretsore Records (who signed the boys back in 2019) have already shared the hazy-soulful Love-esque lapping tidal reflection single-video ‘Salt Water’ with the Monolith Cocktail’s followers, and now, furnish us with a second single of equally lush quality, the sauntering Brazilian psych lilt ‘Belo Horizonte’.

A culmination of Mik and Rich Hanscomb‘s experiments with a number of different styles, Sovereign Sky adopted a relaxed attitude to the pastoral, to cooing frat-folk, surf music, Britpop, the hip sound of Tokyo’s Shibuya Kei district and surprisingly, the languid sweltering rays of late 60s and early 70s Brazilian psych: otherwise known as “Tropicalia”. That album gave fair voice and a wistfully charmed backing of tenderly picked acoustic guitars, stirring strings and hushed, almost whispered, vocals to both the pains and loves of maturity. The brothers mellowed tones and introspection offered a mature observation on the world around them: especially, at the time, their relocated new home of Brighton. It’s a place in which Marc Eric meets Cornelius, and epic45 make friends with Harpers Bizarre; a place where Hawthorne, California and the beach samba saunter of Brasilia is transcribed to the English downs and seaside.






Not just to tie in with that forthcoming reissue release but also, as Mik Hanscomb offers, a reminder that “this is a music of resistance, and well, perhaps that spirit is needed now more than ever”, the brothers have also compiled a homage style playlist to their Tropicalia influences for us on Spotify.

It maybe the end of the summer, but the boys has provided the perfect comedown and ease into autumn. Enjoy.




The remasterd reissue of the previously limited Sovereign Sky is being released on the 25th September 2020 through Fretsore Records. You can read our original review in the link below, and also find previous Junkboy posts and premieres.



Junkboy ‘Salt Water’ Premiere (here)

‘Sovereign Sky’ Review (here)

 ‘Trains, Trees, Topophila’ Albums Of 2019 (here)

‘Waiting Room’ Premiere (here)





Premiere/Dominic Valvona




Junkboy ‘Salt Water’


(Fretsore Records) Download only single, released 14th August 2020. Taken from the upcoming digitally issued/reissued Sovereign Sky album, released on the 25th September 2020

Attracting a sort of cult status over the years since it’s initial release back in 2014, the Estuary soft psychedelic and pastoral beachcomber Hanscomb brothers’ unassuming Sovereign Sky album, it seems, was limited to only a select few despite its critical acclaim: especially by the Monolith Cocktail. A culmination of Mik and Rich Hanscomb‘s experiments with a number of styles, Sovereign Sky adopted a relaxed attitude to the pastoral, cooing frat-folk, surf music, psychedelia, Britpop and the hip sound of Tokyo’s Shibuya Kei district. That album gave fair voice and a wistfully charmed backing of tenderly picked acoustic guitars, stirring strings and hushed, almost whispered, vocals to both the pains and loves of maturity, the brothers mellowed tones and introspection offered a mature observation on the world around them: especially, at the time, their new found home of Brighton. It’s a place in which Marc Eric meets Cornelius, and epic45 make friends with Harpers Bizarre; a place where Hawthorne, California is transcribed to the English downs and seaside.

One such convert to that most peaceable of songbooks is Fretsore Records’ Ian Sephton, who signed the brothers back in 2019, releasing their South Coast topography imbued Trains Trees Topophilia album that same year. He suggested re-releasing the album on all digital platforms and on digipack CD; augmented with liner notes written by Parisian record collector, vinyl archivist and fellow believer, Quentin Orlean. The boys rightly jumped at that suggestion, as Mik explains: ‘We used this as an opportunity to go back to the tapes and improve the sound for digital release utilizing our home studio’s new outboard gear and tech acquired in the interim period. And the benefit of hindsight!’





Sovereign Sky channels the kind of music Mik and Rich have listened to since their youth. A Thames Estuary take on the lo-fidelity, budget -baroque of the first Cardinal LP and the vintage mellifluousness of The Lilys. There’s also a healthy dose of British Romanticism – an imaginary Albion in their heads somewhere between the socialist utopia of William Morris and Bob Stanley’s Gather In The Mushrooms compilations- while their hearts lie sun-kissed and blissed in Southern California like a pair of burnt out troubadours in deck shoes sourced with meticulous discernment from the Shibuya Kei district of Tokyo.

‘And yes’ confirms Rich, ‘we were enamoured with so many (often) home studio cooked and lost West Coast psych records – A Gift from Euphoria by Euphoria, Save for a Rainy Day by Jan & Dean, Another Day, Another Lifetime by The David, Initiation of a Mystic by Bob Ray, The Smoke’s self-titled album, Marc Eric’s A Midsummer’s Day Dream, and anything by Merrell Fankhauser….’

Presented here in an enhanced format that manages to transcend even the original vinyl’s beauty, Sovereign Sky is a Nugget that deserves to be a little less lost and a lot more loved.

 

Taken from that revitalised album we have the video accompanied teaser, reminder, and downloadable single, the relaxed soulful Love-esque rhythm guitar played lapping tidal reflection ‘Salt Water’. A concise, post-sike ode to the soul replenishing nature of sea side town existence, the brothers made field recordings at Hove Lagoon, East Sussex and wove them into a song built around a circular riff Rich devised after he woke up from a dream in which a version of ‘Yacht Dance’ by XTC produced by American Beauty era Jerry Garcia was on the radio twenty-four-seven. Sweet dream, man!

For the video, the boys sought to juxtapose the gaudy, grim reality of Brighton beach with the soothing calm waves of neighbouring Hove by means of a gently psychedelic, deep chilled Zen trip undertaken by an origami boat: Music and visuals in perfect harmony. Lap it up while you can.





Related posts from the Archives:

Junkboy ‘Sovereign Sky’ Review

Albums of 2019: Junkboy ‘Trains, Trees, Topophilia’

Premiere ‘Waiting Room’

‘Fulfil b/w Streets Of Dobuita’ Review


Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

 

Premiere/Dominic Valvona




Mike Gale ‘Go Help’
Video track taken from the upcoming album The Star Spread Indefinite, released 25th September 2020


A tropical-lilted wistful tiptoe sauntering continuation of the plaintive beachcomber Beach Boys sound that permeated the reclusive polymath’s output for a number of years, Mike Gale once again does wonders with another disarming yet disconsolate bobbing beauty, ‘Go Help’.

The former Co-Pilgrim and Black Neilson instigator has been highly prolific of late with last year’s Pacific Ocean lulled sorrow Summer Deluxe album, a recent compilation of (far from) unfinished works and B-side ruminations, paeans and breezes entitled B, C, D Side Volume 1, and a lockdown mini-album Sunshine For The Mountain God. And now with this precursor video track Gale announces the release of his next fully realized songbook, The Star Spread Indefinite; released on the 25th September 2020.

“A celebration of the value of quiet contemplation and the pursuit of solicitude and calm”, lockdown it seems may have just suited Gale, who retired from live performances in 2018. Inspired, in part, by escaping the daily divisive barrage of noise, Gale has also been reading Justin Hopper’s The Old Weird Britain book; in particular the passage about the ancient artwork found scratched into the wall of a flint mine in Sussex, who’s discoverer, rather poetically, embellished it with the title that is now borrowed to adorn Gale’s upcoming album.

 

Premiering today on the Monolith Cocktail, we have the ‘Go Help’ video, made by the photographer and video maker Jussi Virkkumaa, who juxtaposes the song’s quiet “dystopia” unease with a rotation of revolving surrealist objects: from a mannequin’s hand in a steaming bowl to fidgeting fauna and a stuffed crane like bird. Virkkumaa has this to say about his visual accompaniment and the song:

“Well I think that what I love about Go Help, is that I got a feeling of happy isolation, and little by little I begin to question the lullaby-kind of tune to be something more to the dystopian. It delivers (for me at least) a feeling of lost control, but at the same time there’s beauty. I tried to go kind of a similar route, choosing symbolic figures, which are in an absurd environment, just rolling around endlessly. I think the situation could be something like the Voyager’s golden record flying in outer space, just in case, a time capsule to burn in some distant planets atmosphere.”

 

If this latest effortless sounding wash of Afro-Caribbean lilt, Beat Connection surf noir and 80s pop snuzzled trumpet is anything to go by, then Gale’s cosmic-dreamily entitled The Star Spread Indefinite is set to be another languidly beautiful affair.






Related posts form the ARCHIVES:

Mike Gale  ‘B, C, D Sides’ Review

Mike Gale  ‘Summer Deluxe’ Review



Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

Premiere Single/Dominic Valvona




Provincials   ‘One-Armed Swordsman’
(Sacred Geometry)   Single/Video


Released during the tumult and crisis of 2019, in the throes of post-Brexit negotiations, alternative-folk duo Provincials produced the mesmerizing and spellbinding miasma The Dark Ages. At the time it can be seen as a protestation against the forces of Nationalism, even Imperialism, but as Covid-19 reaps its harvest and sweeps across the world in 2020 you can’t help but see it now as an augur of an all too real plague-crisis Dark Age. Despite the dread, the duo portrayed that Domesday dystopia with a diaphanous lulled and beautifully administered deft touch, painting a bleakly poetic diorama of being swept under a despairing riptide. That album – the duo’s second – was an increasingly more experimental move away from the serene changing-of-the-seasons joyful reflection of their earlier work, especially the Ascending Summer EP: which seemed like a dreamy folk ode and peaceable traverse of the English scenery.

Meandering along a path that stretches from the Norman church dotted shingly shoreline of the southeast coast of Romney to a revenge-soaked Iberia, taking in the trauma, stress of The Crimean War and WWI, Provincials conjured up a lamentable present on that last minor-epic. Recorded in the same period but left off the album, today’s premiere ‘One-Armed Swordsman’ was deemed perhaps too wild, different and incongruous to sit on that songbook. Not a problem, as the duo has found the ideal time to release it as a separate entity in the most anxious of epochs, and furnished with a rustic-set esoteric symbolized video, shot in lockdown isolation. In separate rural homes, Seb Hunter hangs his head wearily from atop of the stable, strains the lyrics from some dusty tome form behind his eagle like garden sculpture and re-strings his ‘baritone-growled’ guitar, whilst siren foil Polly Perry flails and dances round the Theremin. Both exude the pining mood of our alienated stasis.

A precursor to their third LP (scheduled for the Spring of 2021), to be released on Weird Walks co-founder and psychogeography musical artist Owen Tromans’ marvelous expletory landscape inspired label, Sacred Geometry, this gnarled, grunge-y plaintive tumult was recorded and produced by Dan Parkinson at Wooden Heart Studios, Hampshire. Dan also plays the grinded-out drums, which take time to emerge from the opening sustained gristle and entanglement of Hunter’s experimental guitar and Polly’s Theremin fluctuations lead-in.

A pained expression waiting to be let out, the encumbered ‘One-Armed Swordsman’ sounds like a torrid merger of Swans, Dinosaur Jnr. and Ultrasound. Marking a change perhaps in direction, this single may have been recorded in less daunting times, but encompasses the feelings of disconnection and nervousness in the now. We wait to hear the results of lockdown on the Provincials next album in the Spring of 2021.





Related posts from the Archives:

Provincials ‘Dark Ages’ Review

Provincials ‘Ascending Summer EP’   Review

Owen Tromans ‘Between Stones’   Review



You can now support the Monolith Cocktail via the micro-donation platform Ko-Fi.

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 interest/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.

VIDEO PREMIERE
Dominic Valvona




Hallelujah!   ‘Minipony’
(Maple Death Records)   Video


Assaulting our ears recently with their partially ironically entitled caustic synth punk album Wanna Dance, the disruptive Verona misfits Hallelujah! have recently pawned their lead guitar for a Korg MS20. The results of which sound like a retro-synth scuzzed chaos, fit for the dungeon dancefloor; a remolded sleazy spasm of Mute Records, DAF, Peter Kernel and The Pop Group.

Taken from that same album, released at the end of February, the erratic megaphone hailed fuzzed-up and bleeping abused ‘Minipony’ has been granted an equally diy style video. Directed insanely by Andrew Tee, this dog’s dinner of a weird set-up tells the tail of the love between one man and his canine pal – though it does seem to all intents and purposes as if the protagonist is actually ‘picking’ up the said dog from a bar. Fun and japes ensue from a trio of noiseniks that seem to have an obsession with animals.



Related posts from the Archives

Wanna Dance Review



Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.

PREMIERE
Words: Matt Oliver




Syd Nukuluk  ‘Plasticene (feat. Monika)’
Taken from the upcoming debut EP Data X Change, released on the 24th January 2020 via Slowfoot Records


When a seasonal centrepiece gets caught in Thanksgiving/Christmas crossfire and also flashbacks to The Simpsons episode when Jasper Beardley inadvertently did his part for DIY cryogenics, South London fever dreamer Syd Nukuluk presents the off-the-wall video for the eye-catching urban disturbia of ‘Plasticene’. A bit of Soundgarden, ‘Black Hole Sun’ eye-widening thrown into the mix as well from the blown brains of ones-to-watch Luke Kulukundis and Arthur Studholme, French-British emcee and poultry enemy #1 Monika becomes a symbol of modern times while rewriting the mantra of protect your neck, lightheartedness succumbing to deathly, deafening undertones.

‘Plasticene’ is released as part of the debut five-track Data X Change EP, a lo-fi quintet of synapse-firing electronica pushing indie, R&B and hip-hop to a shadowy left, on January 24th via the Slowfoot imprint.





Find the Data X Change EP via Bandcamp

Or through the following:


Slowfoot Website

Syd Nukuluk Website

Video
Dominic Valvona



Elizabeth Everts   ‘Black Is The Colour’


Recently featured in on this blog with her diaphanous malady EP of controlled tumult of romantic brooding and lament, Contraband, the Californian born but Munich-based confessional balladeer Elizabeth Evert further accentuates that signature melodies ebb and flow style with a visual accompaniment. When articulating her own original songs Everts sounds vaguely like a cross between Tori Amos, Fiona Apple and Raf Mantelli put to an accompaniment of lounge-jazz, trip-hop, Casio keyboard presets and the classical, but on the recent EP’s closing elegy, the attuned weepy cover of the traditional Scottish folk lament, ‘Black Is The Colour’ she almost plays it straight. Made famous to a degree by that controversial folk troubadour Christy Moore, Everts pays homage here with a new video.

Evert offers the following insights, and explains her choice of ancient malady:

“Black is the Color” is a folk song that is said to originate in Scotland. I have always loved this song and wanted to do my own version of it. One day it hit me that the version I would create of this lovely song would be nostalgic, a bit intense – to explore the dark side of vulnerability.

 As I worked on the song, it made me start thinking about how love can create such a vulnerability that it can lead to destruction. This destruction can occur in multiple places, even all at once, or in its simplest form of one individual suffering in the beauty of love.

 I tried to capture these ideas in the video – when light exists, darkness must also exist and that is sometimes difficult to manage emotionally. And in my experience, the lighter the light, the darker the dark.

The video was primarily filmed in Munich, Germany and I created the video myself. I hope you enjoy it.

 

Lyrics

Black is the color of my true love’s hair

His lips are something wondrous fair

The sweetest face and the gentlest hands

I love the ground on which he stands

 

I love my love and well he knows

I love the ground on which he goes

If him on earth no more I see

My life will simply fade away

 

Black is the color of my true love’s hair





Premiere
Words: Brian ‘Bordello’ Shea





A couple of weeks ago we at Monolith gave the Storm the Palace Delicious Monster LP a well deserved rave review as the album is both beautiful, cheeky and a little dirty. So I am pleased that they have sent us their latest video-single, ‘Clive’, as an exclusive treat, a video that is entertaining, beautiful, cheeky and a little dirty. In fact a video that introduces potted plant porn to the world.

The Edinburgh indie Baroque folk outfit have this to say about their pot plant swingers’ new video:

The video follows the story of the song’s protagonist – a morally bankrupt cheese plant named Clive. We were inspired by 1970s films of excess, pretension and indulgence, such as La Grande Bouffe, Abigail’s Party and the soft-porn classic, Emmanuelle.

 

So ladies and gentlemen please feast your eyes your ears and your loins to the beautiful sights and sounds of Storm The Palace and ‘Clive’, a song taken from their forthcoming Delicious Monster album (released on the 4th October 2019). A must own LP of 2019 I might add.




VIDEO/FILM
Words: Dominic Valvona




We are very pleased indeed that the most brilliant artist, and self-confessed Monolith Cocktail follower, Yuliya Tsukermana has contacted us to unveil her stunning new handmade marionette music video for the Austin-based band Man, Woman, Friend, Computer. Currently an artist-in-residence at Mana Contemporary, Yuliya’s latest fifteen-minute “labour of love” film, took four months to create.

Though set to the opening and finale tracks of Man, Woman, Friend, Computer’s self-titled debut album, with a newly-composed interlude between the tracks that connects the songs together, this dreamy often lilting and diaphanous (almost at times like a yearning shoegaze gospel in the manner of Spiritualized) cosmic suite is played out to a timeless diorama performance of atavistic quality craftsmanship.

Yuliya: “Entitled Exordium/Outgrown the film tells the story of a spaceman who comes to terms with isolation and loss as he cares for an injured alien creature. It combines centuries-old Czech marionette techniques with modern materials and found objects, creating an analog reimagining of the space age that points to the the loneliness of the digital world, and to the new distances we create as we try to conquer the old.”


We now share this cosmological peregrination with you. Enjoy.


Man, Woman, Friend, Computer – Exordium/Outgrown from Yuliya Tsukerman on Vimeo.

 






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