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"Really intriguing record from Mzylkypop here. Kiedy Wilki Zawyja? / When Will The Wolves Howl? is a fabulously varied set yoked together by the same spirit of invention and DIY nature that has driven everyone from Public Image Ltd. to Ghost Box Records. Goblin-style library funk, folksy reveries ala Richard Dawson, Belle And Sebastian ballads and obtuse industrialism are just a few of the styles to be found across this hugely impressive album."- Norman's Records
"This giddy avant pop affair is rather more avant than pop, with a large backing band of musicians steeped in the stylings of early 1970s psychedelia, mutant prog, free jazz saxophone solos, slinky blues (particularly on “Red White And Blue”) and moody spy soundtracks in the vein of John Barry’s score for 1965’s The Ipcress File. “Last Exit To Lublin” has a spoken word interlude in which the Cold War language of such films is remapped for the era of Brexit: “Papers, please/How long have you been in the country?/And how long do you intend to stay?/Come with us”. The kitschiness of Barry’s music is stripped away to reveal its original purpose: the sound of a very English paranoia." - Dickon Edwards, THE WIRE
Wild, wacky, wonderful, and so, so, out there. The utterly uncategorizable and strangely coiffed Mzylkypop isn’t just one of the more idiosyncratic releases in the Discus catalog, it’s one of the most richly rewarding pieces of warpmusic you’re likely to hear this year. Ostensibly a duo, the pair of Michael Somerset Ward (ex-Clock DVA and Was (Not Was)) and Sylwia Anna Drwal have drafted some additional heavy hitters to help in actualizing the maximum density of sound and vision that oozes out of every millimeter of this recording. Pianist Matthew Bourne, drummer and mellotronist Jarrod Gosling, percussionist Charlie Collins, and a gaggle of others provide key contributions to the album’s ever-kinetic momentum. From the opening breathless minutes, when Drwal ushers us in with the sinister whisper “This story was born in my imagination…”, you’re sent plunging into the heart of the rabbit hole that is “Witch Drones/The State”, a rough-and-tumble tussle of careening electronics and amassed percussion moaning like the whimper of whipped dogs. From there things get, well, twisted in the extreme. Ward’s deft electronics, achieving the kind of symphonic lift-off unseen in his ‘dayjob’ as part of synth-dance outfit Crooked Man, smack up against his own corral of electric and acoustic woodwinds, breezeways of tornadic ferocity embodied in Drwal as she vents her inner Dagmar Krause with demented glee. In rapid succession, the collective traipse through a forest perilous of mutant, Transylvanian prog, faux Gentle Giant-isms, chamber music as envisioned by the likes of Steven Stapleton’s Nurse With Wound, et al, a veritable storming of the studio by any and all devilish means imaginable. Echoes of music occupying the outer limits of the rock spectrum—the likes of Art Bears or Tuxedomoon spring to mind—flit conspicuously throughout, but Ward and Drwal are too inventive to summon any of those ancestral spirits wholeheartedly; they act more like particle accelerators buttressing the firmament, a fulcrum upon which this dynamic duo pivot. In the end, descriptors become meaningless, influences get lost in the mayhem, and you’re left to your own devices, exhausted, exhilarated, and punchdrunk from this lot’s sonic brandywine. - Darren Bergstein, Downtown Music Gallery
Kiedy Wilki Zawyja? When Will The Wolves Howl?
A review by Stephen Mallinder
"This feels like you’ve pushed past bric-a-brac and moth eaten furniture at some market in an obscure French village to shuffle through old trash 70s vinyl to discover a lost, unheard, psychedelic masterpiece. One with all the mystery of a forgotten time and place but one strangely undiscovered, a lost continent of … well I’m not sure what, but it’s beautifully weird and wonderful. I’m writing this on Halloween, how perfect. An album that reeks of real Gothic, damp dark and macabre, not faux Primark Goth fancy dress and pumpkins but genuinely unsettling. It could sit alongside any Giallo – Italian noir horror – without discomfort. I could run this behind The Wickerman and get a proper sense of what was going on - raw buzzing, not folktronica but something much more unsettling with added hormones and creepiness. Like Jodorowksy’s Holy Mountain relocated to a dark and nocturnal Eastern Europe. But this is a record with spit and polish, beautifully composed and produced: clearly crafted with love and attention, but built on shifting sands. It travels from brittle funk, somewhere between the body movement of the Contortions and peak madness Ornette Coleman, to wash up gently on Nico’s Desert Shore. Enmeshed in there is mutant soul, David Axelrod on a sabbatical and oddly Gregorian incantations. A voice from another dimension glimpsed through dark veils, I feel I should be burning some esoteric oils and throwing flickering projections onto walls. Past worlds aside this is a future we could be turning our backs on… I wish everyone could have played this record before the referendum, we wouldn’t be pulling up the shutters." - Stephen Mallinder
released February 22, 2018
Witchdrones/ The State
She Turns To Dust
Slumber Pin
Sylwia's List
God of Claws
Last Exit To Lublin
Elphame
Red White And Blue
A Narky Monkey
TV Lives
Mick Somerset organ, electra-piano, electric/ acoustic woodwinds, percussion, voice
Sylwia Anna Drwal vocals, voice
Simon Lewinski organ, electra-piano, guitar
Jarrod Gosling drums, mellotron
Peter Fairclough drums
Charlie Collins percussion
Philippe Clegg bass guitar
Peter Rophone bass guitar
Matthew Bourne piano
Maarten Ornstein tarogato
Beatrix Ward Fernandez castanets
Cath James viola
Milan and Maja voices
Wolfgang Seel background vocal
Produced by Michael Somerset
Recorded by Simon Lewinski
Mastered by Dean Honer
Artwork by LandPlay Collaborative
'TV Lives' written by Don Preston and the GTOs.
Published by BMG Management Rights (UK) Ltd
Copyright all rights reserved