Dominic Valvona/Matt Oliver/Brian Bordello Shea

All the choice tracks from the last month, plus a few missed ones we’ve corralled from last month, the Monolith Cocktail team’s playlist revue is both a catch-up and showcase of the blog’s eclectic and mind bending tastes. Sitting in on this month’s selection panel is Dominic Valvona, Matt Oliver and Brian ‘Bordello’ Shea


Junior Disprol Ft. Krash Slaughta  ‘Rotund Shogun’
Deca  ‘Tuning’
Exterior  ‘Orthodox Dreams’
FAST DE  ‘Miss Trutti Finally Found Her Gem’
Pussy Riot Ft. Slayyter  ‘HATEFUCK’
Masai Bey  ‘Stanza X’
BITHAMMER!  ‘Make You Mine’
Flat Worms  ‘Into The Iris (Live)’
Salem Trials  ‘Vegaville’
Walker Brigade  ‘Disease’
Team Play  ‘Sunrise’
James Howard  ‘Baloo’ Adam Walton  ‘Mary Sees U.F.O.S.’
Joviale  ‘UW4GM’
Shabaka  ‘Black Meditation’
Kritters  ‘New York’
Ralph Of London  ‘Lys’
Ethan Woods  ‘Utopia Limited (Cuddly Tie-In)’
Staples Jr. Singers  ‘I’m looking For A Man’
Ramson Badbonez  ‘Rap Bio’
Mr. SOS & Maxamill  ‘War Criminal’
The Difference Machine  ‘Old Men’
Omega Sapien  ‘Jenny’
Mr. SOS  ‘Peace & Prosperity’
Jermiside & The Expert Ft. Tanya Morgan  ‘Crime Rule The City’
Quelle Chris  ‘DEATHFAME’
Wish Master & Billy Whizz  ‘THOUGHTS OF THOUGHTS’
Guillotine Crowns  ‘Killer’ Orryx  ‘Eldritch’
Celestial North  ‘When The Gods Dance’
Henna Emilia Hietamäki  ‘Protesti’
Lucrecia Dalt  ‘No One Around’
STANLAEY  ‘Fluorescent Fossils’
Your Old Droog  ‘Go To Sleep’
Tommaso Moretti Ft. Ben LaMar Gay  ‘A Call For Awareness’
Black Mango Ft. Samba Touré  ‘Are U Satisfied’
Avalanche Kaito  ‘Flany Konare’
Tomo-Nakaguchi  ‘Halation’
Private Agenda  ‘Splendour’
Sebastian Reynolds  ‘Four-Minute Mile’
Chouk Bwa & The Ångströmers  ‘Agwetaroyo’
Misha Sultan  ‘Nyepi’
The Master Musicians Of Jajouka  ‘Khamsa Khamsin’
Gustavo Yashimura  ‘Las Prendas del Corazon’
Stephanie Santiago  ‘Activa Tu Cuerpo’
Gabrielle Ornate  ‘Free Falling’
Black Monitor  ‘Xexagon77’
Borban Dallas & His Filipino Cupids  ‘Too Convenient’
Martha And The Muffins  ‘Save It For Later’
Super Hit  ‘Blink 182’
Reverend Baron  ‘Let The Radio Play’
Alas The Sun  ‘Distant Drone’
Jelly Crystal  ‘I Tryyy’
LINN  ‘Happiness Is Real’
Lenka Lichtenberg  ‘That Monster, Custom’
Brigitte Beraha  ‘Blink’
Vera Di Lecce  ‘Altar Of Love’
Francesco Lurgo  ‘I Am Already Far Away’

Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog 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 to say cheers for spreading the word, then that would be much appreciated.


Joining the auspicious Monolith Cocktail pool of contributors this month, Glasgow local Mikey McDonald makes his debut as a music-writer, with a review of the recent Brainwaltzera album, ITSAME.

Mikey’s CV is very unique, eclectic. A resident of Glasgow, Mikey can normally be spotted running the streets of the city as long distance running enthusiast. A former full time poker player, Mikey is searching for new career opportunities, including sports rehabilitation. He’s previously been posting chat, games outcomes, strategy on the poker related rantings of a 6max SNG blog, and his musical tastes, recommendations can be found on Last FM.

Brainwaltzera ‘ITSAME’

Brainwaltzera (one can simply translate to ‘braindance era’) makes a return with his sophomore album titled ITSAME. The album comprises 17 tracks and marks the first full length from this anonymous producer in almost half a decade.

On the opener/self-titled track the man himself samples his own kids saying “ITSAME” and from the get-go it’s obvious this is going to be a very personal affair. ‘morning narcomnastics’ (gymnastics + narcotics?) is a nostalgic trip and a real triumph. This track exhibits scissor snips and bleeps that come in and out of the mix, which could quite easily have been sampled from a household appliance. These sounds in isolation may not be pleasant to listen to but fuse them together and you have a rather delicious sounding melody.

‘Reptikon 7’ hits hard and would fucking slap in a 90s underground rave. On this track the artist plays an e-cigarette as a bass – talk about next level ingenuity. The track breaks down around the midsection and really allows the static of that e-cig to flourish. Ask yourself how many musicians out there are playing an e-cigarette as a bass. I thought so… The latter half presents muffled vocal cries à la Future Sound Of London, and drive the track forward to an exquisite finish.

Meanwhile, ‘a star is bored’ could have been called ‘a star is born’ and is laced with unintelligible yet breathtaking samples and lush synths. Placing this track straight after the bold and menacing ‘Reptikon 7’ feels intentional and creates contrast in a big way.

Moments of respite are offered in the form of acoustic driven ‘PROVE UR NOT A ROBOT [SKIP]’ and ‘PROVE UR NOT A ROWBOAT [SKIPPER]’ and unfortunately (or fortunately) I didn’t skip either of these tracks failing to prove I’m neither a robot nor a rowboat. No regrets. ‘evening narcomnastics’ lives up to the expectations set by its sister track and features stunning electric guitars that are akin to whale calls.

Elsewhere, ‘F1 Halo’ is a moment the Sandison brothers would be proud of and offers some time to reflect before the album comes through with a big finish. ‘consent’ rather unsurprisingly contains samples of a male & female agreeing with each other and is another delight which provides plenty of warmth and feel-good before things turn frantic.

The foreboding ‘ad interim’ kicks off sounding like the end of the world and is peppered with video game like sound effects before we’re hit by a swarm of bugs in what sounds like a full scale attack, dare I even say alien invasion. Only the brave soldier on. Ominous atmospheres continue on the equally formidable ‘medal headz [G.B.D.F]’ which is likely a reference to the drum and bass music label ‘Metalheadz’ established in the mid 1990s, and this track also includes the ‘ITSAME’ samples from the opener but here they’re more distorted, more haunting.

Penultimate track ‘brothers [drop mic]’ is a playful number and could be a nod to Scottish legends and pioneers Boards of Canada. In this track the sampling and manipulation of children’s voices evokes feelings of nostalgia and takes the listener on a trip down memory lane. At this point of the album you could be forgiven for standing up and applauding but we’re not done yet. Closer ‘No fair’ confronts loss and delivers a gut-wrenching bassline and eerie samples of a French woman speaking. It fucks me up every time I hear it yet still I go back for more. In summary, the album is packed with nuances and little intricacies – so much so your ears are likely to detect something new with each listen as cliché as that may be to say. There’s so much detail you can practically hear the artist think through each track as the album unfolds. Now, one thing up for debate is the various ways in which to pronounce this ambiguous album title – ‘EATS-AH-MEH’, ‘IT SAME’ or ‘ITS-A-ME’ like ‘ITS-A-ME, MARIO!’ – perhaps down to the listener’s own interpretation. One thing not up for debate…ITSAMASTERPIECE

Review written by Mikey McDonald

ALBUM REVIEW/Dominic Valvona

Image Credit: Jeff Bartell

Violet Nox ‘Eris Wakes’
Infinity Vine Records (USA)/Aumega Project (GER)

Attuned once more to Gaia, the universe and the subconscious state of being in an ever infringing technological epoch, the electronica-ambient Boston duo of Dez De Carlo and Andrew Abrahamson send waveforms, fluctuations and cathartic evocations out into the cosmos.

More an ensemble, collective consciousness than dup though, Violet Nox’s astral synth pilots open up and out to embrace the transformed saxophone, guitar and thumbed tine Kalimba of Alexis Desjardins and the ethereal dreamy vocals of Fen Rotstein (also credited for offering sampling and digital turntable contributions), Noell Dorsey and Karen Zanes.  That last couplet also, between them, wrote the often siren-in-the-machine, new age lyrics for four of the Eris Wakes album’s quintet of astrological, mythological imbued tracks.

Offering the more ‘granular’ cyber voices, a sort of post-punk style of guitar, some vocals and synth, Dez and foil Andrew, with a synthesis of apparatus and ‘clocked machines’, draw all the various elements together across a cerebral-dreamt, symbolic exploration of the inner mind and outer space.

Landing in the hallucinatory force fields of ‘Spaceport 5’, the ensemble clock-up algorithms, geometry and particles whilst A.I. robots talk, whisper to an enchantment allure of wispy veiled vocals. Sophisticated subtle palpitations of Techno undulate this Orb-like matrix.

In tribune to the goddess warrior of discord and chaos, also the mythological name that was bestowed upon one of the largest known objects in the solar system, ‘Eris’ oscillates in a tumult state that mirrors the chaotic developments below, on Earth. Vague suggestions of Sven Vath and Ippu Mitsui Trance and Techno converge with Celtic water goddess maidens, Moroder and Synth-Pop to produce another fusion of Mother Earth eco and machine music.

Another astral name-check, ‘Bellatrix’ is the third brightest star in the Orion Constellation, and originally, another Greco-Latin figure: the female warrior. Here, in this sonic form, Dez voices reassuring lyrics of spiritual wellbeing; floated in a gauze of trance-y rave beats, circa 1989. The neutron star ‘Magnetas’, with its extremely powerful magnetic field, is given a House music rhythm, buoyant drum-pad bobbles and plenty of suckable airflow. Finally, the ‘Ghost Star’ brings concertinaed cybernetic voices, Djax Upbeat and The Future Sound Of London into a halcyon, gaseous realm; a heavenly celestial viewing platform.

Violet Nox circumnavigate the subconscious whilst astral-planning a N-R-G, Techno, Trance, Rave, and Synth-Pop cosmology of sounds. Most importantly, these futurist visions of spaceports, machine intelligence, and incredible science fiction never lose sight of the spiritual, the soul. And feel organic rather than machine-engineered: well, to a point. Electronic music made by humans.

WORDS: Dominic Valvona

Credit: Niccolo Berretta

Mai Mai Mai Ft. Vera di Lecce ‘Fimmene Fimmene’
Released through Maple Death Records ahead of the May released album Rimorso

Drawn once more towards the Apulia corner of Italy’s deep south – the jiggered stiletto-like heel of the country’s roughly contoured boot – the Italian experimental electronic and noise artist Mai Mai Mai conjures up another extraordinary vision of gothic ethnological collective toil and ethereal voiced mirages with his brand new single.

Premièred ahead of the ‘colossal’ double-album Rimorso (released 20th May) ‘Fimmene Fimmene’ summons up the spirited protestations of the women labouring in the tobacco fields as part of an extended sonic and vocal psychogeography of Italy’s southern Mediterranean regions. Following in the wake of previous scopes in this area, Mai Mai Mai’s signature blend of southern Italian folklore, industrial drone, proto-techno and punishing miasmic electronica is wiped clean, the heavy sampling and sound manipulations of the past shed with a focus now on the human. And so, as this intoxicating invocation proves, the collaborative door is left wide open to an array of mostly fellow Italian foils, contributors who use both their voices and instruments to transform and investigate Italy’s past and traditions. Step right up the Salento siren priestess Vera di Lecce whose incredible translucent wraith evocations channel not just the traditional but the supernatural and the magical too. A vocal and dance performance member of the lauded ethnic electrifying ensemble Nidi d’Arac turn prolific soloist with a penchant for making magical aggressive synth and exotic percussive potions, and practitioner of the age-old dances of the Apulia, now recasts one of its protest songs as Mai Mai Mai lays down a reverberated pronounced drum beaten march, haunted and scented atmospherics and crystal synthesised shimmers, sparkles.

A two-way mirror between worlds; a communion with troubled souls, ‘Fimmene Fimmene’ is a beautiful hallucination of the mysterious and sorrowful, which you can now experience for yourselves:

The inaugural single from the upcoming double-album is just one piece of a greater work that sees the noted artist morph our understanding of traditions and nostalgia.

An album of deep re-interpretive connective Italian collaborations – with the exceptions of the brilliant maverick Mike Copper, on ‘Mediterranean Gothic’, and the Beirut-born Youmna Saba, on the thematic ‘Nostalgia’ –  Mai Mai Mai revisits a piece by the Puglia polyphony voiced female quartet Faraulla with the Rome-based techno-outsider Cosimo Damiano and percussionist ensemble Ars Ludi, on the track ‘Sind’; invites Nziria to hover over the slow thump chopper pulsating techno serenade ‘Musica Nova’, a loosely based vision of the Musicanova orchestra’s own ‘Pizzica Minore’. The album is bookended by the visceral voice of electro-Arabian-punkster Maria Violenza (the solo project alias of the Rome-based Cristina Cusimano), on the obscure folk transformation, reconfigured as a southern gothic mix of enchanted filtered choir and hypnotic voodoo drumming, ‘Secondo Coro Delle Lavandaie’, and ‘Antiche Memorie’, which features longtime Franco Battiato foil, the percussionist and composer Lino Capra Vaccina

Rimorso promises to be a whole ‘new ritual’ that turns absence into presence; dismantling nostalgia for consummation, framed as an immersion into the ‘temporal disjunction we are experiencing through the essence of (the) human fabric’. You can order that album here.

Mai Mai Mai also has the following dates set-up for a April tour with GNOD:

Apr 7th – UTRECHT @ DB’s
Apr 8th – PARIS @ ESPACE B
Apr 11th – LYON @ LE SONIC
Apr 13th – GENEVE @ LA CAVE12
Apr 19th – WIEN @ CHELSEA
Apr 26th – BREDA @ MEZZ

Mai Mai Mai is the nom de plume of Toni Cutrone, occasional foil of GNOD and one of both Italy and the wider EU’s most well known experimental artists. Highly prolific, Toni’s released music through Boring Machines, Yerevan Tapes, Not Not Fun, God Unknown, Instruments Of Discipline, La Tempesta International and now the Maple Death label, and worked with a myriad of artists that includes Lina Capra Vaccina, Luciano Lamanna, go Dugong and Maria Violenza. There’s also been various music scores for documentaries, short movies and a project with the fashion house Gucci.    

Photo Credit: Niccolo Berretta


An encapsulation of the last month, the Monolith Cocktail team (Dominic Valvona, Matt Oliver, Brian ‘Bordello’ Shea and Graham Domain) chose some of the choicest and favourite tracks from February. It may have been the shortest of months, yet we’ve probably put together our largest playlist in ages: all good signs that despite everything, from Covid to the Russian invasion of the Ukraine, artists, bands everywhere are continuing to create.

65 tracks, over 4 hours of music, February’s edition can be found below:

That exhaustive track list in full:::

Animal Collective ‘Walker’
Modern Nature ‘Performance’
Gabrielle Ornate ‘Spirit Of The Times’
The Conspiracy ‘Red Bird’
Cubbiebear/Seez Mics ‘All Friended Up’
Dubbledge/Chemo ‘Itchy Itchy’
Dirty Dike ‘Bucket Kicker’
Future Kult ‘Beasts With No Name’
Lunch Money Life ‘Jimmy J Sunset’
Ben Corrigan/Hannah Peel ‘Unbox’
Uncommon Nasa ‘Epiphany’
War Women Of Kosovo ‘War Is Very Hard’
Ben Corrigan/Douglas Dare ‘Ministry 101’
Sven Helbig ‘Repetition (Ft. Surachai)’
Ayver ‘Reconciliacion Con La Vida’
Lucidvox ‘Swarm’
Provincials ‘Planetary Stand-Off’
Wovenhand ‘Acacia’
Aesop Rock ‘Kodokushi (Blockhead Remix)’
Junglepussy ‘Critiqua’
Tanya Morgan/Brickbeats ‘No Tricks (Chris Crack) Remix’
Buckwild ‘Savage Mons (Ft. Daniel Son, Lord Jah-Monte Ogbon & Eto) Remix’
Che Noir ‘Praises’
Koma Saxo w/Sofia Jernberg ‘Croydon Koma’
Medicine Singers/Yontan Gat/Jamie Branch ‘Sanctuary’
Black Josh/Milkavelli/Lee Scott ‘Die To This’
Funky DL ‘I Can Never Tell (Ft. Stee Moglie)’
Mopes ‘Home Is Like A Tough Leather Jacket’
ANY Given TWOSDAY ‘Hot Sauce (Ft. Sum)’
Split Prophets/Res One/Bil Next/Upfront Mc/0079 ‘Bet Fred’
Nelson Dialect/Mr. Slipz/Vitamin G/Verbz ‘Oxford Scholars’
Immi Larusso/Morriarchi ‘Inland’
Homeboy Sandman ‘Keep That Same Energy’
Wax Tailor/Mick Jenkins ‘No More Magical’
Ilmiliekki Quartet ‘Sgr A*’
Your Old Droog/The God Fahim ‘War Of Millionz’
Ramson Badbonez/Jehst ‘Alpha’
Ghosts Of Torrez ‘The Wailing’
Pom Poko ‘Time’
Daisy Glaze ‘Statues Of Villians’
Orange Crate Art ‘Wendy Underway’
Seigo Aoyama ‘Overture/Loop’
Duncan Park ‘Rivers Are A Place Of Power’
Drug Couple ‘Linda’s Tripp’
Ebi Soda/Yazz Ahmed ‘Chandler’
Brian Bordello ‘Yes, I Am The New Nick Drake’
Psychedelic Porn Crumpets ‘Bubblegum Infinity’
Steve Gunn ‘Protection (Ft. Mdou Moctar)’
Jane Inc. ‘Contortionists’
Black Flower ‘Morning in The Jungle (Ft. Meskerem Mees)’
Jo Schornikow ‘Visions’
The Goa Express ‘Everybody In The UK’
Pintandwefall ‘Aihai’
Thomas Dollbaum ‘God’s Country’
Crystal Eyes ‘Don’t Turn Around’
Glue ‘Red Pants’
Super Hit ‘New Day’
Legless Trials ‘Junior Sales Club Of America’
Monoscopes ‘The Edge Of The Day’
Alabaster DePlume ‘Don’t Forget You’re Precious’
Orlando Weeks ‘High Kicking’
Carl Schilde ‘The Master Tape’
Bank Myna ‘Los Ojos de un Cielo sin Luz’
Park Jiha ‘Sunrise: A Song Of Two Humans’
Simon McCorry ‘Interstices’

VIDEO SPECIAL/Dominic Valvona

Violet Nox ‘Super Fan Remix Bu J. Bagist’
(Infinity Vine Records) Single 20th October/Video 22nd October 2021

Currently revitalising cosmic spells and futuristic travels from the back catalogue, Boston synth-heavy collective Violet Nox have once more called upon the transformative remix skills of J. Bagist and the video skills of Deb Step to create a new colourful vision. Both disciplines, along with the Peter Halley neo geo version of Kandinsky and 50s abstract futurism artwork by Jeff Bartell, come together to refresh the troupe’s cybernetic and vaporous voiced ‘Super Fan’ track.

Originally gracing last year’s navigation of brave new worlds Future Fast EP (which I reviewed here), the dub-like oscillating ‘Super Fan’ offered sulphur atmospherics, utterances of “sacrifices” and a strange kind of post-punk electronic grinding warp feel that grew coarser and more fearful as it went on. That original recording featured the shifting balance of Dez DeCarlo (on guitars, vocals, sonic effects and synth), Andrew Abrahamson (who not only mastered it but played synths and clocked devices), Alexis Desjardins (synth) and Fen Rotstein (vocals and digital turntables).

J. Bagist tones down the noise and makes the voices more ethereal, whilst introducing a dreamy atmospheric feel of flickers and cosmic slithers and a deep fuzzy depth charge bass. There’s hints of Speedy J and Seefeel now to this synthetic trance traverse. Deb Step’s electronic body movement like video of geometric waves and both overlapping black and white and more colourful TV screen filtered images, is one hell of a trip too. Together, it’s dance music (with a cerebral mind) perfection.

You can catch that video, which launched this afternoon below. You can also visit the futurist troupe’s Bandcamp to order the single and the back catalogue.

Premiere/Dominic Valvona

Abir Patwary ‘Atmosphere’
15th October 2021

Regular readers and followers alike will know that the Monolith Cocktail takes pride in showcasing burgeoning new artists. And so with today’s premiere/track-by-track preview we’re delighted to exclusively present the new EP by the Oxford-based Spanish/Bangladeshi singer Abir Patwary, who combines his South Asian and European roots with modern electronic R&B, soul and emotive swelled pop.  

With production shared (almost) between the L.A. producer/songwriter Nick Nittoli and the ever reliable Oxford producer/musician Mike Bannard, Patwary’s five-track Atmosphere EP crisscrosses the Atlantic with a sound that’s further expanded by the talents of viola player Joshua Piero, vocalist Mel Austin and rapper André Jahnoi.

Driven by themes of isolation, belonging and connection, Patwary lyrically fluctuates between storytelling and an expressive pull of emotions: “music has been a way for me to express the truest version of myself. I have a deep connection with storytelling, and stories have always made me feel like I belonged and that I wasn’t alone.”  


Here’s a track-by-track breakdown of that EP:

Never Do’ – Opening with this summer’s single, the slow-paced and purposeful, tune features the soft harmonies of Mel Austin, who shadows Patwary’s “laconic”, slightly warble effected lead. Inspired by the war themed, and revisionist fantasies, of The Man In The High Castle and Broken Sky trilogy, Patwary yearns whilst the music dips and sways.

And exclusive ‘extended’ version, with added Ghost Poet via toasting raga lines from the British/Jamaican artist André Jahnoi, is also included on the EP.

‘Avalon’ – No not a cover of Brian Ferry’s slow dance but a slice of “crisp” brooding R&B with South Asian melodies style single, produced by L.A. producer of note, Nick Nittoli. Lyrically longing for that magical destiny, ‘Avalon’ feature’s the artist’s recurring theme of belonging: finding one’s tribe. It’s also another song that includes Patwary’s storytelling mix of the mythical and earthy.

‘Heir’ showcases Patwary’s love for cinematic and orchestral music, featuring, as it does, the light but emotive chamber pop viola tones of Joshua Piero. Once more imbued with the lyrics of mythology and also referencing the “tribe”, he soulfully aches with a certain defiance over subtle, but deeply felt, electronic beats and a romantic(ish) filmic soundtrack.

‘Mun’: An “arresting song of redemption” that features a zombified metaphor, aimed at all our most cruel, mindless failings, ‘Mun’ incorporates both that cool L.A. vibe of giddy sped up effects, bump and thud bass, and the march of more militaristic drummed snare.

You can now hear the full Atmosphere EP for a limited time before its official release on Friday 15th October below:

PLAYLIST SPECIAL/Dominic Valvona/Matt Oliver/Brian ‘Bordello’ Shea

Unapologetic fans of California’s favourite sons, The Beach Boys, this month’s imaginary Monolith Cocktail radio show playlist features a hell of a lot of tracks from the Feel Flows box set, which came out today. Some of which, are choice tracks that have lain dormant for decades.

Joining them is a fine selection of new music from the MC team (that’s me Dominic Valvona, our remote contributor and hip-hop selector Matt Oliver, and the maverick troubadour lo fi rock god turn critic Brian ‘Bordello’ Shea) that includes bloomed pop loveliness from Bloom De Wilde, respectful nods to prog rock icons from Uncommon Nasa, Homeboy Sandman slurping on the dairy, the brand new Fiery Furnaces mellotron bellowed plaint, and some mad dashing mayhem from Girl No. III. Plus plenty of greatness from Pons, SonnyJim, Ryuichi Sakamoto, Brandee Younger, Ephat Mujuru and Liz Cooper. 46 tracks to soundtrack your weekend.

Tracks Listing:.

The Beach Boys  ‘It’s A New Day’
Gabrielle Ornate  ‘Waiting To Be Found’
Bloom De Wilde  ‘Garden Of The Sun (Jstar Remix)’
Ester Poly  ‘Pressés’
Flowertown  ‘The Door The Thief The Light’
SLONK  ‘Erstwhile’
Julia Meijer  ‘Borta Från Allt’
Seaside Witch Coven  ‘A.E.O.’
Liz Cooper  ‘Slice Of Life’
The Beach Boys  ‘It’s About Time – Live 1971’
Brian Jackson, Adrian Younge & Ali Shaheed Muhammad  ‘Duality’
Uncommon Nasa  ‘Vincent Crane’
Tanya Morgan ft. Rob Cave  ‘Tanya In The Sky With Diamonds’
Homeboy Sandman  ‘Cow’s Milk’
Creatures Of Habit  ‘The Devil’s Hands’
Bronx Slang  ‘Clock’s Ticking’
Lore City  ‘Once-Returner’
Your Gaze  ‘Black Afternoon’
Sølyst  ‘Flex’
Ephat Mujuru & The Spirit Of The People  ‘Mudande’
Ballaké Sissoko  ‘Simbo Salaba’
The Beach Boys  ‘4th Of July (2019 Mix)’
Sorrows  ‘Rita’
Lisa Mychols & Super 8  ‘Pet Sounds (Story)’
Makoto Kubota & The Sunset Gang  ‘Bye Bye Baby’
Brandee Younger  ‘Somewhere Different’
Ryuichi Sakamoto  ‘Mountains’
The Beach Boys  ‘Forever (2019 A Cappella Mix)’
The Fiery Furnaces  ‘The Fortune Teller’s Revenge’
Graham Domain  ‘Limbs Of Loneliness’
Corduroy Institute  ‘An Interpretation Of Our Own Story’
Celling Demons Ft. Zarahruth  ‘Silver Birch’
Kid Acne Ft. Jaz Kahina and Vandel Savage  ‘Transistors’
The Mouse Outfit & ayiTe  ‘Don’t Stop’
Girl No. III  ‘Wales’Whales’Wails At Weyl’
Sebastian Reynolds  ‘Crows (L’Étranger Remix)’
Lee Scott/Hyroglifics Ft. Black Josh  ‘Sacrificial Goat’
Sonnyjim  ‘Mr Singh’
Sweaty Palms  ‘The Dance’
Weak Signal  ‘Barely A Trace’
Xqui X SEODAH  ‘Timete’
Giacomelli  ‘Phaze II, Pt. 2 (Bonus Track)’
Shreddies  ‘(no body)’

Violet Nox  ‘Haumea Video’
Taken From The Whispering Galaxy EP (Infinity Vine Records)

Pretty much encapsulated in the title of the Boston-based synth collective’s fourth and most recent EP, Whispering Galaxy proved to be just that: a dreamy, ethereal chorus of hushed, diaphanous whispery voices, emanating from and sending out a siren’s choral voice across an expansive galaxy.

Whilst previous releases have been slightly disorientating with ominous visions of futurism and unearthly cybernetics, the encouraging Whispering Galaxy featured glimpses of mid-90s Bowie, Brian Reitzell and countless dreamy, synth-pop inspirations, and the cooed promise of sweet ‘somethings’ to the awe, mystique and trepidation of a space beyond our reach. From that EP’s wispy, airy depths, the mythical and planetary inspired ‘Haumea’ is given a reactive display of liquid, wavy and vibrating synthetic abstract visuals by the artistChris Konopka.

On the almost spiritually voiced ‘Haumea’, Violet Nox’s spacecraft hurtles through a trippy, warped sonic vortex of echoed industrial gnarled guitar, various fusions, generator knocks, bauble tight delayed bounces and ticks towards a dwarf planet, located just beyond Neptune’s orbit. Named after the Hawaiian goddess of childbirth, and only discovered in 2004, Haumea inspires a suitable enough galaxy quest soundscape; one in which the Nox seem to turn off the engines and just drift towards in a suspended state of aria vocalized homage aboard the Tangerine Dream spaceship; a craft that’s also shared by Orbital and the Future Sound Of London.

Collective instigator, guitarist, sonic effects manipulator, synth player, lyricist and vocalist on a number of the EP’s tracks, Dez DeCarlo worked and reworked over and over ‘Haumea’ with fellow Violet Nox members Andrew Abrahamson (credited with playing a majority of the instruments alongside Dez, but under the mysterious, ambiguous description of ‘synthesis and clocked machines’ provider) and Fen Rotstein (vocals, turntables, Synth-Traktor, Native Instruments S4 Mk II on three of the EP’s tracks). Contributing remotely, were organ/synth player and siren Karen Zanes, and Noell Dorsey, of the band Major Stars fame, who provided the lead vocals.

Dez DeCarlo: ‘Haumea went through many formats to become the final song. It took months to write during the pandemic. I was definitely influenced by the magical energy of the goddess Haumea and it’s also a dwarf planet. I love astronomy!’

Premiered today by the Monolith Cocktail, you can experience it below:

Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog 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 to say cheers for spreading the word, then that would be much appreciated.

Everest Magma ‘Nues’
Taken from the upcoming album Nuova Abduzione, released by Maple Death Records, 18th June 2021

Creating off-world experiments and visitations by ambiguous life forms, the underground Italian electronic composer Everest Magma takes a ‘small leap’ into the void on his new upcoming album for the Maple Death Records label this month. 

After various cross-fertilizations of hypnotic tape beats, digital wonk, psych folk tropicalia and kinetic dub for the obscure but esteemed Italian Boring Machines imprint (created both under the Magma Everest and Rella The Woodcutter monikers), the exploratory artist is now mining an uncharted cosmos of repetitive minimalism, alien tonal ambience and blissful abyss on the latest album of incipient and astral uncertainties, Nuova Abduzione: or, ‘new abductions’.

Like some vision of Arthur C. Clarke’s Rendezvous With Rama, the imaginative soundscapes on this kosmische imbued metallic machine resonating album suggests contact with extraterrestrials; meetings aboard beaming cylindrical orbiting space crafts on other planets; whole worlds in fact. Those mysterious entities either loom, hover, slither or bobble up to the surface of a liquid primal soup: on the opening alien ghost ship communication ‘Yloth’, tentacles thrash out along a whispered twittering corridor on some UFO cylinder.   

Magma pushes the envelope, searching in the pursuit of widening his own knowledge so that the knowable and familiar becomes…well, not so knowable and familiar. Broadening horizons, circumnavigating the expanses of deep space with only his trusty Roland Sp-404 sampler workstation, he magic’s up mirror-y and chrome mirage visions, evaporating atmospheres, crystallizations and majestic drifts. Ahead of that album’s release on the 18th June this year, the Monolith Cocktail has been specially chosen to premiere the untethered cosmic courier flight ‘Nues’. With generator melodic vaporous hints of prime Tangerine Dream, subtle reverberating and Geiger counter knocks and light warped staggers this refined but melodious swelling example of astral-minimalism is a perfect encapsulation of the artist’s craft: the enormity of space made simultaneously ominous and majestic.

You can pre-order Nuova Abduzione on the label’s site now.    

Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog 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 to say cheers for spreading the word, then that would be much appreciated.

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