A Short Roundup Of Recommended Releases On The Peripheral/Dominic Valvona

Andrés Vargas Pinedo ‘The Fabulous Sound Of Andrés Vargas Pinedo: A Collection Of Amazonian Popular Music (1966-1974)’
(Buh Records) Digital April/Vinyl 25th May 2021

Whistling, tooting under a living Amazonian canopy and across the heights of the Andean mountain range, celebrated Peruvian street musician Andrés Vargas Pinedo brings a smile to the face and lifts the mood on a cheery, merry and rain forest carnival bustling showcase of his sauntered music. Collated together from recordings authored directly by the blind composer, violinist and quena (the traditional flute of the Andes) virtuoso, this compilation finds the bird-whistling piper leading both the Conjunto Típico Corazón de la Selva and Los Pihuichios de la Selva bands down a fife–beating, hand-clapping and joyful Amazon pathway.

Originally hailing from the vibrant interchange Amazon port city of Yurimaguas, Andrés later moved to Lima, joining various popular groups and movements in the process. From an eight-year period in a long career the Buh label has chosen the meandering star’s infectious mix of local and further afield musical rhythms from between the years 1966 to 1974. Aping the wildlife, enacting a fever of calls, howls, trills and energetic encouragement, Andrés music weaves and shakes as it embraces tropical festival and processional music, seafaring jigs, canters, Mexican westerns and the Celtic on a most joyous sweet dance.

Lunar Bird ‘S/T’
(Self-release – supported by Help Musicians ‘Do It Differently Fund 2020’)
Out Now Digitally/CD Version 2nd July 2021

A pure blossoming of enchantment and dreams, the beguiling Cardiff troupe has just unfurled the most diaphanous lucid radiant album this month. On a granderscale and canvas, theytransform certain vulnerabilities and yearns into something positively and celebratory spellbinding and golden; meandering, tinkling and floating across a fairytale that evokes hints of Beach House and Diva Dompe wafting in lush and vaporous landscapes.

Valuing instead of diminishing fragility and all it entails, the Italian formed, but in recent years Wales-based, Lunar Bird (a reference to Joan Miró’s famous abstract bronze sculpture of the same name) enrapture themselves in a cosmic, romantic fantasy. The focus in this beautifully realised mirage remains the translucent siren tones of the group’s vocalist Roberta Musillami; a sort of drifting apparition and lushly voiced songstress, inhabiting a dreamscape of languid and more heart aching uncertainty. A bewitching album at times, the band occasionally slips into esoteric realms, yet remain constantly beautified and untethered. Hopefully this will finally put the dreamers on the map.     

Khasi-Cymru Collective ‘Sai-thaiñ ki Sur’
(Naxos World/ARC) 28th May 2021

An interwoven musical connection between two very different communities, the Welsh music prize winner Gareth Bonello, in collaboration with a myriad of musicians, poets and enablers, has bonded the folklore, poetry and reverent, spiritual music of both Wales and the North East Indian region of the Khasi Hills together in a mutual union of universal suffrage. Finding an affinity with the Assam and Bangladesh bordering region, which became the very first location for the Welsh Calvinistic Methodists inaugural overseas mission in the 1840s, Bonello (who often appears under The Gentle Good alias) explores his native land’s religious-ideological led history with the Khasi people.

Though reverent colonialists to an extent, superseding the indigenous cultures traditions for their own, the Welsh were a little more sympathetic to the Khasi identity – perhaps in part because they too had fallen prey to British Empire hegemony, and lost much of their own unique traditions. Some good did come out of the mission (education, healthcare), but this extensive album project that grew out of academic study is all about finding a certain commonality in saving each other’s roots, whilst seamlessly flitting between languages and indigenous musicianship to condemn, pay attention to contemporary issues, from the environment to women’s rights. The first of those can be heard in resigned malady on the folky poetic ‘Soso & Waldo’, the second, on the proposed bill amendment to strip Khasi women of their status should they marry outside of their own community powerfully spoken-worded ‘To The Men With Hate Speech On Their Lips’. Just one of the brilliant artists to appear on this album, Lapdiang Syiem delivers that strong retort to a John Cale, bordering on Reich, stark soundtrack.

Earthy yet transient, the (translated roughly into English) “weaving of voices” album features open-air performances in thunder cloud downpours, and to the sound of rhythmic crickets and cuckoos, and reinvented, repurposed hymns, poems and wistful beautiful yearns. Amongst the echoes of lovely Welsh valley harmonies and folk the Khasi bird-like flighty bamboo flute (the “besli”) and rustic banjo expressive guitar-like “duitara” add an almost oriental, atavistic feel that pushes this album into a beautiful hinterland.

The concerns, history are deeply serious but delivered so magically and in such a compelling way as to transport the listener to a peaceable, earnest but lush landscape of shared dreams, dignity and conservation. A successful exchange in other words.

Rachel Langlais ‘Dothe’
(unjenesaisquoi) 28th May 2021

The inaugural album of experimental piano suites from Rachel Langlais is filled with adroit compositions that convey so much, even with such a minimal and sparse use of the instrument. Imbued by John Cage’s famous use of prepared pianos, Langlais places a myriad of tactile and more abrasive materials (paper, metal objects, pieces of wood, adhesive tape, plastic etc.) directly onto the strings to create a sound both interwoven with spindly harp like cascading flows, starker jarred singular notes and neo-classical touches of melodious evocation. Further to the application of materials, the piano tuner graduate also uses a number of recording and digital processing techniques (from cutting to slowing it down) to manipulate something familiar into, well, something less so.

No matter how minimal those notes are they all seem to resonate melody or the semblance of a tune, a movement; from trickled arpeggiator, to deeper more sonorous bass notes; metallic springy thumps to more playful tiptoes across the keyboard.  

The title is borrowed from Ursula K. Le Guin’s science-fiction novel The Left Hand of Darkness (1969), in which “dothe” is a nervous hysterical strength that can be controlled and that is practiced by some inhabitants of a planet called Gethen. After using dothe, the body must take a rest called “thangen.” And that is more or less exactly what you get on this contextual articulation of explorative energy.

Wladyslaw Trejo ‘Nuestra Voz’
(Leipzig Inn Records) 12th May 2021

An ultra rare release physically (being confined to thirteen copies ‘carved in real time on lathe’) Wladyslaw Trejo’s latest yelp of pyschogeography pain, despair and angst is dedicated to Warsaw – a city that has seen and suffered greatly from of all too real effects of totalitarianism; caught between both Fascist Germany and Soviet Russia in the last century. Part one of this shared single, ‘Nuestra Voz’, is a forewarning poem about the creeping, silent threat of such dictatorial regimes, put to the soundtrack of post-punk tight delay snare snaps, synthesizer moody suspense and looping windy ill tides; an uneasy early electro seedy Eastern European meets Italian occult preened mix of Bernard Szajner, Kraftwerk, Kas Product, The Normal, and early Human League.

Part Two, ‘Tranzyt W’, meanwhile is a no less moody instrumental float of lo fi Depeche Mode meets DAF synthesized beats and sizzled drum machine and bounced nodes that soundtracks ‘the walk of an inveterate observer’ (that’s Wladyslaw himself), ‘through the streets of modern Warsaw’. Like a despondent electronic peruse, it bends and bubbles and warps as finally meets the void.

Released by the micro-label Leipzig Inn Records (an imprint that only publishes special and limited editions of underground and exploratory electronics), you’d better be quick to snap up the physical copies. If you miss out, you can always thankfully purchase the digital, now on Bandcamp.

Versylen ‘Radiance’
(See Blue Audio) 14th May 2021

Continuing to assail an ocean of the most sophisticated, subtly cinematic and developing ambient and electronica music, the Barcelona-based See Blue Audio label is on an impressive run of under-the-radar classics – just catch my review of last month’s adroit, ascending and lofted materialisations by the Cretan traveller Bagaski for proof. Undulating some most gorgeous ambient geographical peregrinations, washes, expansions and radiant skyscapes with kinetic Techno, Hip-Hop and ‘post-dubstep’ rotating, wavering beats, the young producer Versylen (aka Elliot Ferguson) brings yet another fresh and expanded vision to the imprint. The perfectionist we’re told has spent a lot of time getting this five-track suite right, so take just as much time out to enjoy and reflect on these meticulous yet airy moodscapes.

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.

New Music
Words: Dominic Valvona

Not so much a moping up mission, but clearing the backlog of new music we’re sent each day that threatens to engulf us, here’s a quick roundup of December releases before the blog winds down for Christmas. We’ve another Brian ‘Bordello’ Shea roundup coming, but after that it’s the Monolith Cocktail’s ‘choice favourite’ albums of the year features (in three parts).

Azmari ‘Fat Ari’
De Beren Gieren ‘A Funny Discovery’
(Sdban Ultra) 26th November 2020

Showcasing a couple of great vibrant groups on the polygenesis eclectic Ghent based label Sdban Ultra, ahead of their respective 2021 albums, here’s a double-helping of ethio-cosmics and jazzy fluidity from the Brussels sextet Azmari and Dutch/Belgium electronic piano trio De Beren Gieren.

Offering a progressive flute-y blowing desert mirage that traverses Ethiopia, Arabia and the Orient on the dusky musical wilderness of Fat Ari’, Azmari continue to weave a rich odyssey of ethiogrooves, dub, and psychedelic funk. The sextet of Arthur Ancion (on drums), Basile Bourtembourg (keys, saaz and percussion), Jojo Demeijer (percussion), Niels D’haegeleer (bass), Mattéo Badet (saxophone and Kaval) and Ambroose de Schepper (saxophone and flute) take their inspiration from artists such as Okay Temiz, Mulatu Astatke, Cymande, Fela Kuti and The Heliocentrics. The band name, an “Azmari”, literally “one who praises” in Amharic, is an Ethiopian singer-musician, comparable to the European bard or the West African griot often accompanied with a masenqo – one-stringed fiddle or krar – lyre, two traditional Ethiopian instruments.

Having released their debut EP Ekera last year, a series of shows across Europe saw the Azmari sound develop and ten days performing in Istanbul opened the band’s ears to the Turkish sounds and rhythms from the 1960s. Keen to get back in the studio to start work on their debut album, studiously studying Turkish and Ethiopian scales, along with learning new instruments along the way including the berimbau, the ney and bağlama, the Azmari sound transformed into a rebellious, unrelenting trip.

The resulting nine tracks that make up their debut album Samā’ī, are a deeply hypnotic experience of ‘mesmerising rhythms and winding improvisations’ that (hopes to) send the listener in to a higher state of consciousness! That cosmological desert pilgrimage is due out on the 22nd January 2021.

Next up is the inaugural single from the Benelux troupe De Beren Gieren’s upcoming Less Is Endless album, ‘A Funny Discovery’. Which has been furnished with a new video, directed by Belgian graphic artist and video maker ysbear (Felix Ysenbaert). Who has this to say about it: “I decided to take the song title ‘A Funny Discovery’ quite literally. For this clip, I immediately started to draw and animate with an open vision. Consequently, the artistic direction was shaped in a very organic way. When creating the animations, I simply let myself be carried along, through the vibe of the song. It appeared to be a research for myself as well: I tried to play again. And what is more fun than playing? My intention is mainly that the viewer/listener is sucked out of reality for a moment, and is dropped into this new one: floating on a cloud for 6 minutes 47 seconds where the imagination is stimulated by spontaneous associations.”

Formed in 2009, the trio of Fulco Ottervanger (on piano, fx, synths), Lieven Van Pée (double bass, electric bass) and Simon Segers (drums, fx) quickly built a reputation across the Benelux region with their ‘must-see’ live shows. They’ve since taken their transcendental live energy across Europe, Morocco and Japan, and have performed at North Sea Jazz, Jazz Middelheim, Trondheim Jazzfestival, Ljubljana Jazz Festival, Moers Festival, Gent Jazz, Kanazawa Jazz Street and Eurosonic. They’ve also during that tenure collaborated with a number of renowned jazz artists, including Louis Sclavis, Ernst Reijseger, Joachim Badenhorst, Marc Ribot, Jan Klare and Jean-Yves Evrard.

The new album, produced by Dijf Sanders and Frederik Segers, and is an ode to a universe teeming with life. Seen as an extension to the critically acclaimed 2017 album Dug Out Skyscrapers, it searches for vents through which life can emerge and evolve. The secret of communicating creativity can be found in the cultivation of the unfinished; the missing piece of the puzzle tickles the imagination more than the perfect end result.

The album’s nicely multi-textured Euro-Jazz grooves and deep jazz bouncing celebratory precursor single/video is described as thus by the group: “This song has the feeling of a new insight. From a haze of information, you’re suddenly captivated by a fresh awareness. It’s not clear how to put it in words yet, but it’s new and feels like a positive revelation. This song was vertically written: we had 2 melody lines, a right hand piano idea and a vamp somewhere. After making a lot of structures with these elements, we decided to mostly play everything at the same time. For us, there is a French feeling to it.”

Less Is Endless is due out on the 19th February 2021.

Jeremy Bastard ft. Elektra Monet  ‘Shadowboxing’
(Somewherecold Records) 2nd December 2020

Sounding like a 90s Techno thug in chains and leathers, DJ, Shoegaze guitarist, remixer, and with his upcoming debut album for Somewherecold Records, a producer, Jeremy Bastard actually concocts sophisticated Gothic dream pop synth music, fit for the dance floors. Waiting out the pandemic in Florida, away from his Big Apple base of nightclubs and such, Jeremy is said to have “got creative” with his laptop and invested in new music software. With a DX7 synth, some vintage drum machine samples and a suite of Arturia virtual instruments, he set to work without any of his usual band mates or tools. Finding inspiration in his limitations, he was soon composing guitar figures on synths, using a cue from his early heroes, The Sisters of Mercy. In a nutshell: Guitar music with no guitars. In practice, and on this the first single from that new album, ‘Shadowboxing’, it sounds a bit like a smoldering connection between Popol Vuh, Moroder, Gina X Performance, Jennifer Touch, Kas Product at a neon bedecked German club circa 1984.

As this is not a strictly solo outing, the first of many collaborators from his years of development in music makes an appearance: the breathless posing ethereal Dallas electro siren with a great moniker, Elektra Monet, and on live guitar duties, band mate Tristan.

This first single also includes a couple of remixes, one from Eric Shans and one from The Corrupting Sea, plus an original track not on the forthcoming album called ‘Glasscutter’ that features meviu§ and sounds like a icy cool no wave meets NIN in clubland. The singles out now, and the album, Everyone is History, There is No Memory will be released on January 22, 2021 both on Vinyl and Digital.

Lunar Bird ‘Emerald And Blue’
4th December 2020

Blooming into existence, a diaphanous as ever single from the Italo-Welsh troupe Lunar Bird, who cast a most flowery spell on the poetic ‘Emerald And Blue’. Disarmingly floating in an orchestrated musical of dream pop, there lies a gossamer shrouded tale of fatalistic symbolized infatuation. Yes, despite the crystal spokes reverb, swimmingly vibes and cooed backing voices, there are profound contrasts on the more uncontrollable, melancholic limits of dreams. It sounds like a kind of theatrical meets trip-hop meets cosmic doo-wop vision of Patti Page: quite heavenly.

See also…

Lunar Bird  ‘A Walk’  (HERE)

SAD MAN and Francis Lowe ‘Stories From An Island’
(Cue Dot Records)

The latest, and third, installment from the newly established conceptual electronica venture Cue Dot Records pitches the unique techno and experimental visions of the Sad Man against the visceral Irish burr storytelling of the writer Francis Lowe. Cue Dot’s remit is to provide a platform for its guests to explore an ever-evolving narrative; none more so than this match-up of often supernatural, magical, violent and surreal sound-tracked narrations.

Stories From An Island sees the harebrained garden shed avant-garde (and often bonkers; going as far as to build his own apparatus to mangle and contort sounds from) composer Andrew Spackman subdue some of his more ennui-fractious and pulling-in-all-directions signature ravings for an industrial-pastoral soundtrack that emphasis, blends, remixes and sometimes warps Lowe’s Wicker Man Island narrated travails. Sometimes this errs towards the disturbing, with Lowe’s voice emerging from the daemonic on the creeping ‘Diary’ horror. God knows what kind of place this is that Lowe has chanced upon, wondered into, but it’s a realm filed with strange and weirdly described characters: imagine Paula Rego, Samuel Becket and Nick Cave on the The Third Day series island.

Lowe explains in greater detail the spark of inspiration and process behind this project:

‘In late Autumn 2019 I was driving home along a deserted stretch of road. The horizon was obscured by mist and suddenly this familiar stretch of road became distinctly unfamiliar. A story started to form inside my head; a story set on an Island, a place where the inhabitants have very particular gifts, secrets, and histories. I rang Andy (SAD MAN). I told him that I was going home to write a story and asked him if I recorded it, would he be interested in putting music to it. He immediately said yes. This was a Friday and the following Monday the first story, ‘The Ferry’, was completed. A year on and here we are, finishing the final story in the series, ‘Witness’, and releasing them into the world.’

A bespoke vision that sees both collaborators pushing themselves – especially Andrew who proves himself an impressively burgeoning soundtrack composer with filmic ambitions – the third chapter in the Cue Dot series is a truly escapist and immersive experience of well-crafted, descriptive sonics and winding, brilliant literature.

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.

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





By now we’ll probably all aware and getting jaded by the constant newsroll of Covid-19 horror stories, and the ominous stench of pandemic armageddon. To return to some sort of normality, the Monolith Cocktail promises to keep finding all the best new music for you to enjoy and mull over. No cheap epidemic cash-ins and no tenuous links to self-promotional lockdowns here. Just great music, which we hope you will all keep supporting during these anxious uncertain times.

For those of you that have only just joined us as new followers and readers, our former behemoth Quarterly Playlist Revue is now no more! With a massive increase in submissions month-on-month, we’ve decided to go monthly instead, in 2020. The March playlist carries on from where the popular quarterly left off; picking out the choice tracks that represent the Monolith Cocktail’s eclectic output – from all the most essential new Hip-Hop cuts to the most dynamic music from across the globe. New releases and the best of reissues have been chosen by me, Dominic Valvona, Brian ‘Bordello’ Shea and Matt Oliver.



THE TRACKS IN FULL ARE:

Lunar Bird  ‘A Walk’
TrueMendous  ‘Hmmm’
Awale Jant Band  ‘Just Be Free’
Mdou Moctar  ‘Ibitlan’
Collocutor  ‘The Angry One’
Superposition  ‘Antiplace’
The Stroppies  ‘Holes In Everything’
Pozi  ‘Whitewashing’
Loose Fit  ‘PULL THE LEVER’
The National Honor Society  ‘First Among The Last’
Jacqueline Tucci  ‘Fear’
Jaga Jazzist  ‘Spiral Era (EDit)’
Jennifer Touch  ‘Attic’
Bedd  ‘Auto Harp’
The Saxophones  ‘Flower Spirit’
Schizo Fun Addict  ‘Whiskey’
Ploom  ‘Swish’
Tamikrest  ‘Amidnin Tad Adouniya’
Hifiklub & Roddy Bottum  ‘David Says’
Rowland S Howard  ‘Pop Crimes’
The Hannah Barbeas  ‘No Majesty’
The Proper Ornaments  ‘Broken Insect’
Irreversible Entanglements  ‘No Mas’
Nduduzo Makhathini  ‘Indawu’
Masta Ace  ‘GMO’
Riz Ahmed  ‘Fast Lava’
Voodoo Black  ‘Fizzy’
dug & Hassan el HoBo  ‘Electric Sheep’
Harold Nano  ‘Menton Train Jump’
Slitty Wrists  ‘Su-Mi-Ma-Sen’
Shortwave Research Group  ‘Perpetual Midnight’
Cult Of The Damned (Lee Scott, Mikavelli, BeTheGun, Bill Shakes, Sly Moon & Saler)  ‘OFFIE’
Run The Jewels Ft. Greg Nice & DJ Premier  ‘Ooh LA LA’
Super Inuit  ‘Mothering Tongue’
Sebastian Reynolds  ‘The Universe Remembers’
Chouk Bwa & The Angstromers  ‘Move Ten’
Tom Caruana  ‘Dennis The Space Hopper’
Clear Soul Forces  ‘Chinese Funk’
Ghostwood Development Project Ft. Kool Keith  ‘Gulley’
Bishop Nehru  ‘Too Last’
Nomad, Chester P  ‘Athens In Mordor (Secondson Remix)’
Cut Beetlez. Nice Guys  ‘Cut Ya Ass Up’
Jehst  ‘Wild Herb’
Mr Key  ‘Kids Story 2’
Pwaz One, DJ Dister, Akrobatik  ‘No Contest’
Estee Nack, Superior ft. Daniel Son  ‘POPROCKCLASSICS’



And Now, A Word From Our Founder

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.






A quick shifty, glance, a perusal of the mounting pile of singles, EPs, mini-LPs, tracks, videos and oddities that threaten to overload our inboxes this month by me, Dominic Valvona.

This week’s roll call includes the following picks: Gawd Status, Ghostwood Development Project, Adam Green, Irreversible Entanglements and Lunar Bird.

Gawd Status   ‘Admiral Byrd’
(Tru Thoughts)   Video/Happening Now





Taken from last year’s debut LP Firmamentum, the ether emanating Hip-Hop conspiracy hallucination ‘Admiral Byrd’ is the latest video to drop from the unholy Gawd Status union of leading UK rap architects King Kashmere and Joker Starr. Making our albums of 2019 features (picked by our resident know-all on the Hip-Hop essentials, Matt Oliver), the visionary psychedelic combo enter the sanctum of the tinfoil hat brigade to merge the real life exploits of the famed and heavily decorated American explorer, navel hero and aviator Admiral Richard E. Byrd with flat and hollow Earth rabbit hole lunacy. Byrd is notable amongst other things, for being the first to fly across Antarctica; a flight that may or may not of been sanctioned as a deep cover operation to find Nazis and UFOs in the uncharted frozen wastes. The mind boggles as a silver-suited adorned Gawd Status set out to unlock a truth.

Matt Oliver had this to say about them and their debut LP, Firmamentum, back in 2019:

‘When the Big Bang wiped everything out first time around, Gawd Status saw it as an opportunity, in which Kashmere’s Strange U spaceship nosedives into the jungle, moondust dementia still sputtering from its exhaust, and Joker Starr swaps the battle arena for the cannibalistic, kill or be killed lawlessness of the Firmamentum outback. The Gawd Status is a complicated one, seriously heavy at a skinflint eight tracks long (even in the current age of artists finally getting album length right, 28 minutes is a bit of a choker), fiercely standing up for itself in articulation of black rage and examination of conspiracy theories, and reveling in The Iguana Man’s thick doomsday fog. The event completed by some utterly bumping soul sisterhood from Fae Simon, its arrival at Tru Thoughts is a slight surprise. Nonetheless it’s a work of art that burns bright like a brilliant, tumultuous dream.’


Ghostwood Development Project Feat. Kool Keith   ‘Gulley’
(Nepotismo Records)  Single/6th March





Lazer guided, Lee Brunskjill hooks up with one-man cult Hip-Hop progenitor Kool Keith on his new electrified cosmic project the Ghostwood Development Project.

Dr. Octagon throws out a heavy-reference potted cosmology over a dialed calculating electrical field on the project’s inaugural single, ‘Gully’. Originally conceived after the pair met at Mike Patton & The Melvins curated chapter of All Tomorrow’s Parties Nightmare, all the way back in 2008, an initial spark was ignited over a mutual love of Sci-Fi movies, music and horror movie soundtracks.

This whole project has been a long time in the making, Lee was instrumental in putting together Leeds based Punk outfit Autopsy Boys and after they disbanded he went into social isolation to reevaluate his music and what it meant to him.

Lee rebuilt everything he’d known about music and self taught himself to mix, master and scratch and even built his own syths, which you can hear throughout this track.

By the time Lee had got his newfound skills on point he’d created ‘Gulley’ and found himself in need of a vocal and knew there and then that only Kool Keith would work. Having swapped numbers Lee contacted him, played him the track to which he said “This shit is hot!”. Lee remembers: “Within two days Kool Keith recorded his part and sent back his vocals. With that I set about mixing and mastering my first solo release. I wanted to announce my new project with something special but never imagined it would turn out this good.”

The Ghostwood Development Project moniker is a Twin Peaks reference as Lee explains:

“A few people have asked where I got the name from. It was a plan originally spearheaded by Benjamin Horne to build a country club on the location of Ghostwood National Forest. An intriguing subplot in Twin Peaks. Had this plot continued, I believe it would have revealed the imminent destruction of the town and elaborated on the evil spirits as well as the backstory of Bob, and his Lucifer-like nature. It also plays along nicely with the Twin Peaks‘ narrative of “evil in the woods.” The idea is to present my own personal experiences from an alternate timeline within the Twin Peaks universe where the project did happen and chaos was unleashed. My imagery, music, art, narrative and videos come from the area known as Ghostwood. “Stop Ghostwood” is a recurring theme throughout the saga. Naturally I adopted the term ‘Vote Ghostwood’ insinuating hell on earth has arrived.”


Irreversible Entanglements   ‘No Más’
(International Anthem/Don Giovanni)  Teaser/20th March 2020





The third of my recommendations this week is a tumbling and bowed untethered work of conscious jazz from the free-welding Irreversible Entanglements. Taken from the quintet’s upcoming album Who Sent You?, ‘No Más’ is a sublime rolling gauzy horns wafting teaser for what sounds like a beatified tapestry of poetic actions and contemplations.

Join Camae Ayewa (aka Moor Mother), saxophonist Keir Neuringer, trumpeter Aquiles Navarro, bassist Luke Stewart, and drummer Tcheser Holmes now on this political remonstration.


Lunar Bird   ‘A Walk’
Single/6th March 2020



Transforming vulnerability into something positively and celebratory spellbinding and golden, the psychedelic gauzy pop band Lunar Bird turn on the translucent diaphanous charm for their brand new single, ‘A Walk’. Valuing instead of diminishing fragility and all it entails, the Italian formed, but in recent years Wales-based, band wash away all the travails with a most radiant dreamy pop mirage that evokes ethereal and lush moments from Beach House, Stereolab, Diva Dompe and Deerhunter.

A reference to Joan Miró’s famous abstract bronze sculpture of the same name, Lunar Bird is a cosmic fantasy duo spearheaded by Roberta Musillami and Francis George, that on this particular gorgeous recording expanded to also include Eliseo DiMalto on bass guitar and Andrea Rizzo on drums.

A Walk precedes the band’s debut album, released sometime in the Spring.


Adam Green  ‘All Hell Breaks Loose (Misfits Cover)’
(30th Century)  Track/Available Now





A lot of homages going on in one place here, as the former Moldy Peach turn left banke troubadour Adam Green pays his respects to the Misfits’ towering influential instigator Glenn Danzig with a cover of the band’s Western gallop homage to Scott Walker and John Franz, ‘All Hell Breaks Loose’. Green corrals the talents of producer Loren Humphrey (who also played drums), James Richardson of MGMT (guitar, bass, piano, brass arrangement, brass), and Jesse Kotansky (string arrangement, strings) on this heightened dramatic sweep through the imaginative mind of Danzig, who as it happens is apparently releasing a new album next month of Elvis covers.

In short, this is a congruous cover version that wouldn’t look out of place on Green last nostalgic songbook Engine Of Paradise; an album that channeled Lee Hazlewood, Burt Bacharach, Harry Nilsson, Ian McCulloch, Jim Sullivan and Father John Misty to produce romantic and candid swooners, Midnight Cowboy like cocktail ruminations on love in the context of a society in the grip of an ever intrusive and alienating social media, and folksy ditties imbibed with strolls in the Greenwich Village.


Support the Monolith Cocktail:

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.