Premiere
Words: Dominic Valvona




Giacomelli ‘The Best Of Both Possible Worlds, Part II’ taken from the upcoming album suite Cosmic Order released by Somewherecold Records, 9th October 2020



Beamed across the Atlantic by the North American hub Somewherecold Records, we have a most grand spanning opus from Silicon Valley composer Steve Giacomelli, who releases his triple CD expansive series of cosmic ordered suites for the experimental ambient and electronic label next month.

His fourth such album of ambient minimalism for the label, this celestial and evolutionary mined impressive ARP Odyssey synth birthed album of thirty-six ascendants, refractions, pulses and gravitas inspiring space music uses a number of techniques to accomplish an overall sound of forgotten Sky Record maestros (think Asmus Tietchens, Wolfgang Riechmann), Tangerine Dream, early Cluster, Vangelis, Tomat and solo Roedelius. This synthesized vision – that can sometimes err towards the ominous forebode and mystery of Kubrick – synthesis of the abstract, deep space, the inner mind, nature and the heavenly is accomplished with an apparently limited pallet and the use of counterpoint sequences, the generative and a method, favoured by Frank Zappa, called “xenochrony” – that is the extracting of a solo or other part from its original context and placing it into a completely different song/composition. These techniques make for a most impressive traverse of the astral planes, new age transcendence, theorems, gases and topographic ebbs and flows.

From that three-hour epic, the Monolith Cocktail is premièring the geometric patterned and busy algorithm Kosmische junction of nature and technology, ‘The Best Of Both Possible Worlds II’. Personally I’m hearing a cross serenity and pulse of Kraftwerk, Eno and Cage, but see what you think as we share this sweeping analogue soundtrack.

 

The 3XCD and digital download Cosmic Oder album is released by Somewherecold Records on the 9th October 2020






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




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/REVIEW/Dominic Valvona



Luke Mawdsley ‘Misery Gland’ taken from the upcoming album Vulgar Displays Of Affection, released on 24th July 2020 through Maple Death Records.


For those of you with a morose curiosity you’ll find that Luke Mawdsley’s metaphorical river of consciousness runs deep with it. The former Mugstar guitarist circumnavigates the dark waters of trauma and anxiety on his second solo outing, but first for the caustic experimental Italian label Maple Death Records, Vulgar Displays Of Affection.

Billed as a “cathartic meticulous journey brimmed with emotion and failure”, Mawdsley’s spoken-word mise en scène dictation is masked with a warped and slurred daemonic vocal effect, both menacing and disdainfully as it splashes around in the mire of minimalist industrial electronica and the harrowing flagellations of Scott Walker. Plumbing the depths Mawdsley’s one part King Midas Sound, one part the more deranged examples of a “verbasier programmed” Bowie on the Outside album removed voice pours a lucid string of vivid depictions and despair into the listener’s ears. Today’s premiere track, taken from that upcoming album, is a case in point; the murky generator throbbing and wretched stained ‘Misery Gland’, a vision of Einstürzende Neubauten trading blows with Coil, seers with despondent spoken monotones and more speeded-up demon giggles.

The scene is set with sonorous rings, strung-out tremolo, hammerings and knocks, tight-delayed repetitive drum machine hi-hats, fizzles and a looming threat of synthesized atmospherics. It is a stench as much as a tonal soundtrack that reaps a malady of industrial noise, drifting esoteric blues and the Lynchian. An uncertain, anxious and often sinister creeping discourse on the themes of sexuality and disorientation, this haunted murky generated dungeon music draws from a well of disillusion.

The lyrics themselves either slither through the mulch of a mashed-up brain or almost predatory turn subjects into the lurid and dangerous. There are various play-on-words type track titles, from ‘Vauxhall (Cavalier) & I’ – a space-echoed car boot lubricated with a threatening musk – to ‘A Grudge Supreme’, and a chilling Ry Cooder blues fantasy built around the fictional parody of the Dr. Steve Brule hosted public access psycho-analysis spoof Check It Out! – the naïve Brule character played by John C. Reilly, expunges by happenstance horrifying details of his life story whilst discussing a range of topics. Sometimes despite the pain, distress and that creepiness, Mawdsley can offer a twisted sort of humour with the surreal images he conjures up. And the music does offer some lovely melodious waves, and even the glimmer of something less suffocating.

‘The River Takes It All’ declares the album’s finale; an increasingly distorted caustic and hostile wrangle of a climax with tortuous appeal, the waters of which threaten to engulf. A deeply revealing experience of the lurid, coarse, disturbing and vivid, Mawdsley’s immure vulgar displays rest wearily upon the shoulders. In this cursed time of uncertainty and vehement argument, the pained artist struggles through the miasma of indignity to create a drip-feed of chthonian distress.

 

Ahead of its release, we bring you the premiere of the album track ‘Misery Gland’.


Maple Death Records · Luke Mawdsley – Misery Gland



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




bedd ‘You Have Nice Things’
Single/26th June 2020


Tenderly building upon the understated elegiac beauty of the previous single ‘Auto Harp’, the Jamie Hyatt led musical project bedd once more open up their hearts on the sad but charmed pop conversational ‘You Have Nice Things’.

Speaking thoughts out loud, or rather in hushed tones with a choral wash of harmonies, a lonesome Hyatt contemplates what it all means from atop of his wooden step ladder as he gazes out and reflects in an array of locations, from tennis courts to industrial estates and parks. Enigmatically shot by filmmaker Liam Martin, in and around the Oxford town in which Hyatt is based, the video accompaniment to this pining single seems a poignant reminder to the loneliness and isolation of the Covid-19 lockdown.

Though it can’t help but evoke the times we live in, the theme of this sighed ponder is universal and timeless, as Hyatt explains: “the track starts as a quiet conversation – almost a confession – that opens up into an unashamed celebration of the mundanity of existence, the beauty of the everyday and our perceived sense of our own successes and failures”.

The singer, songwriter and producer manages to expressing those feelings with few, but and just enough, words backed by a sort of Britpop (an air of Gene in there) chamber pop accompaniment of reverbed lingered guitar, anthemic ascendant rises and when it hits, handclap drums and dissipated washed cymbals.

‘You Have Nice Things’ is released on the 26th of June 2020. The Monolith Cocktail is delighted to be sharing the single/video a day in advance.

Before we hold you up any longer, and premiere the video, just a little background about bedd.

Hyatt is a longstanding Oxford musician known for his previous bands The Family Machine, The Daisies and Medal, as well as his score for the film Elstree 1976.

Alongside him, this extended ensemble is made up of a range of celebrated local Oxford musical talent, including bandmates from his previous project The Family Machine in the shape of bass player Darren Fellerdale and guitarist Neil Durbridge. Also in the mix are guitarist Tom Sharp, electronic musician and producer Tim Midlen (also known as The Manacles of Acid) and drummer Sam Spacsman. You Have Nice Things was recorded and produced by Hyatt with the band at Glasshouse studios in rural Oxfordshire and mixed and mastered by Robert Stevenson.






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



John Poubelle ‘Pléistocène Supérieur’
(Commando Vanessa) LP/23rd June 2020


Amorphously combining the beatific Lutheran morose of Nico with diaphanous choral arias of the atavistic Catholic Church, Louise Burger’s debut cassette tape and digital album for the burgeoning Italian label Commando Vanessa invokes a transmogrified vision of holy music for the 21st century.

Under the solo alias of John Poubelle, Burger reimagines the sacred and classical hymns, songs and psalms of her formative years on a soundtrack of both mysterious beauty and bestial esoteric alarm: A counterbalance of the hallowed and unsettling, the coarse and ecclesiastical sublime.

“Raw and beautiful imperfection(s)” permeate a sonic and vocal ether that Burger has called “punk fragile de sous-soil” – fragile punk of the subsoil. Tethered to the earth, the chthonian, Pléistocène Supérieur sees the artist shake off the dirt of the subterranean (most of the time anyway) to drift towards both unworldly and spiritual realms. It’s an imaginative spell of dank dungeons; stained glass anointed prayer and circumnavigated projections around the sun.

Though riding solo, recording in the “twilight” and “solitude” of a home studio, Burger carries over the veiled cooing falsetto vocals and pedal effects experiments from the Gran Diavolato duo with Gianlorenzo Nardi. At times the invocations are haunting, and almost chilling, at other times more monastic like Popol Vuh in a Medieval cloisters. Lower baritone chants from some hidden holy order are often laid down as quasi-bass drones, whilst Burger floats like an apparition above: touching the cathedral ceiling frescos.

This reverberated venerable but also so often foreboding atmosphere is broken up with a combination of early lo fi Mute label post-punk electronica and somber moans. Sucked through and back into a mix of bellowed harmonium, the industrial and ceremonial, Burger creates an abstract alternative to the music of the liturgy.

The Monolith Cocktail is honored to premiere a teaser from this both caustic and beautiful choral album with our readers ahead of the official release on the 23rd June 2020.






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



Campbell Sibthorpe ‘Good Lord’
Single/16th June 2020


Musically it seems that trope about leaving the stifling claustrophobia and humdrum of a small town behind for stimulating adventures in the big wide world never gets old. But I think many of us can relate to the feelings of being stuck-in-a-rut; the need to breathe in pastures new, or even “transcend” to loftier heights of self realization, as the Australian born but raised in a small town outside of Bristol, rustic yearning troubadour Campbell Sibthorpe does on his latest humbling single, ‘Good Lord’. A kind of reverent rural gospel plea, Sibthorpe heads out on a musical pilgrimage of self-discovery; the most aching iteration of “Who am I?” left ringing out in the last section of this considered mini-opus: answered right at the end as the venerable seeker coos “I will find out”.

Speaking about the track, Sibthorpe says: “I wrote Good Lord before moving away from home. I’d walked around the village one day and maybe it was seeing a dead bird on the road or the noticing of how empty the streets were but, in that moment, I realised how stilted and stagnant my life had become, and that I had to leave”.

Fans of such harmonious troopers as the Fleet Foxes, Fyfe Dangerfield and The Shins will find much to admire this beautifully considered, paced dreamy prayer like anthem that rolls through the changes, highs and lows.

The Monolith Cocktail is premiering ‘Good Lord’ ahead of its official release date on the 16th June 2020. The latest in a string of well-lauded singles, this newest rustic-devotion will also be included on the forthcoming EP YTown, due to be released on the 21st July 2020.

The singer songwriter and multi-instrumentalist first started playing gigs around Bristol whilst working as a cleaner at a local school in 2017. Quickly gaining a reputation for his passionate performances, and shortly after releasing his debut EP Sky Lily, he upped sticks and moved to the London metropolis the following year. He has since gone on to support artists including The Staves, The Magic Lantern, and Hannah Lou Clark and received support from Radio X, BBC Introducing In The West, and Folk Radio UK among others.






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 




Admlithi ‘Radal’
(In Black Records) Single/22nd May 2020


The mysterious Scottish enigma Admlithi returns from the veils with a minor opus of gossamer and gliding synthesized hymnal beauty. Following on from his 2018 debut album for Armellodie Records, Tyrants, the producer and multi instrumentalist breathes diaphanous life into his latest mini-opus ‘Radal’; a hushed, attentive epic that takes its title from the manufactures of the buoyant tubular sounding electronic tabla that drives it along (purchased, we’re told, at a car boot sale for five pounds: now that’s what you call a bargain).

Already using an eclectic palette of post-punk, electronica and jittered psychedelics, with influences as diverse as The Associates, The Chameleons, Kate Bush, Kraftwerk, Japan and Erasure, Admlithi now channels the sophisticated searing and atmospheric synth work of Vangelis as he subtly reaches towards the heavenly stratosphere. Yet despite the reverent and unearthly vapours, lyrically the song is about “trying to dig tunnels back to the happiest time in your life only to find the earth is full of boulders.” Travails have seldom sounded so scenic and hallowed.

The Monolith Cocktail is delighted to be sharing that single, released through our pals at the Glasgow label hub In Black Records, ahead of its release on the 22nd May.






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.

Premiere/Dominic Valvona




Yonic South   ‘On’
(La Tempesta Dischi)   Taken from the upcoming Twix & Dive EP/14th May 2020


Almost sweet and breezy in its cause static fuzz, busy shimmered bed of cymbals and chewed up slacker guitars, today’s premiere teaser showcases an earlier, more naïve, heart-on-the-sleeve incarnation of the Italian switcheroo Sonic Youth mischief makers, Yonic South. Taken from the upcoming new EP, Twix & Dive (which, as the title might suggest, is at least partially a fascination with the famous chocolate caramel bar), ‘On’ strikes a dang chord before slipping into a yearning howl of scuzzy, bending lo fi.

Following up on last year’s debut EP Wild Cobs, the garage punk agitators have already gone nostalgic with their latest record; going back, as they have, to the heady early days; back before they corralled, current, drummer ‘Johnny Lad’ into the band. Twix & Dive is made up of both brash post-punk derangements and more dwindling C86 Anglophile guitar dirges: the sound of a band finding their sonic calling you could say.

With an interest for UK culture of the 90s and 2000s, the Italian troupe of members from the Bee Bee Sea and Miss Chain & The Broken Heels fraternity, turn in a raucous garage punk rumble of Oasis’s ‘Rock ‘n’ Roll Star’, and pen a hypnotic Hooky bassline imbued grinding tribute to one of Anfield’s finest, Steven Gerrard (now, interesting fact, managing my own preferred Glasgow club of Rangers). Just one of many fascinations – previous popular culture icons of fun include the viral Techno Viking – an obsession with Liverpool football club results in a eulogy like track suffused with the sound of the Kop ringing out as the anointed footballer reads a farewell message to the stands.

For those unfamiliar with the Yonic South’s fanaticism and surreal humour, their sound is a cacophony of Thee Oh Sees, Black Lips, The Jesus & Mary Chain, Country Teasers and Swell Maps.

Their prolific touring schedule has seen them deliver riotous live performances around their native Italy and on a recent European tour, which saw them share stages with the likes of King Khan, Preoccupations, and Warmduscher.

For your aural displeasures, the Monolith Cocktail presents teaser, ‘On’.




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.

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