In the wake of his departure from Dream Theater, legendary drummer Mike Mangini found himself with no shortage of offers. But instead of diving headlong into another high-profile gig, he chose a quieter, more intentional path — one that led him to Monolith.
“I was in such a peaceful place,” Mangini said. “I was able to decline certain things… and when Motley sent me the music that he and Andy wrote and worked on with Gabo… it was a no-brainer.”
That music, as it turns out, didn’t just appeal to Mangini’s ear — it spoke to his experience. A lifetime of orchestral training and immersion in styles ranging from Motown to Latin jazz primed him for Monolith’s unique blend of metal and cultural textures.
“I recognized the three branches of Latin—Afro—Cuban, Brazilian, and Caribbean,” Mangini explained. “The sound of the band was rock metal… but with this other vibe to it.”
That layered approach reflects the band’s conceptual vision, too. Their upcoming album — still untitled and without a firm release date — unfolds as a narrative, with each song representing either a character or a moment in a larger arc.
At its heart is the Star Child — “a character that has absolutely no evil in him,” Motley explained. “We’re going to see how he develops with the situations and all the stuff that goes around him and why he’s so important.”
The songs “Oligarch” and “Mother Martyr” have already offered early glimpses into that world. “Oligarch” may sound political, but it’s part of a fictional tale rather than real-world commentary. “It was written to show and explain the first character of a whole story,” said Motley. “It has nothing to do with real-life politics.”
Mangini emphasized that Monolith keeps a tight conceptual framework. “We have to keep it in the lane,” he said. “We can go too far rhythmically… or conceptually… but we don’t. That’s why the Star Child character keeps it level.”
Creative boundaries, he believes, actually open doors. “It gives us direction. It gives us purpose and it makes it easier to morph music, lyrics, and everything to stay in that zone.”
That intentionality extends to how Monolith is developing their sound behind the scenes. For Mangini, this project marks a rare opportunity to engineer drums to reflect what he hears and feels as a performer.
“My engineering, it was a chance to share my soul and what I wanted to reflect back on the music,” he said. “Not insert, not take over, but reflect what’s there.”
Motley agreed that Mangini’s raw energy comes through loud and clear. “The first time I ever played with him, I thought he wanted to break the drums. How hard he hits — it’s ridiculous.”
That said, Mangini is quick to credit his roots in physical technique. “I engage bigger muscle groups because I was enamored with Bruce Lee,” he said. “That one-inch punch? I wanted that for the drums.”
Despite their stripped-down lineup, Monolith’s music is expansive. “The fact it’s a trio — it’s open,” Mangini said. “Who knows how it can morph live?”
So why not release the album now? The band is watching and waiting.
“We are collecting data,” Motley said. “We’re just waiting for the right moment and the right time to give you more.”
Mangini echoed that strategy. “We have perspective, like a bird’s eye view. We understand the environment we are trying to be a part of… is not the environment that we would like it to be necessarily.”
For now, Monolith is patient. They’re not rushing. They’re marinating. As Mangini put it, “We don’t have to make poor decisions because of desperation. We’re doing it the right way, and it feels comfortable.”
