sabato 22 settembre 2018

SIGILLUM S "The Irresistible Art Of Space Colonization And Its Mutation Implications" reviews : CHAIN DLK

Sigillum S: The Irresistible Art Of Space Colonization And Its Mutation Implications

The Irresistible Art Of Space Colonization And Its Mutation Implications Sigillum S two years ago celebrated their 30th anniversary (one year later, because they started in 1985) by releasing three albums printed on CD, LP and tape. That moment was important for them not only because they raised the glasses to salute three decades of sonic terrorism and sound research, they also celebrated a new band member: Bruno Dorella. Bruno, owner of the label Bar La Muerte, is also member of the following bands: Bachi Da Pietra, Lava, OVO, Ronin and Wolfango. He started to play live with them but with the new album "The Irresistible Art Of Space Colonization and Its Mutation Implications", it's the first time that we have the chance to check how he helped Eraldo Bernocchi and Paolo Bandera to redefine their sound. As usual, the titles of the new album are recalling to me the works of people who had an impact on visual arts or culture in general: I mean people like Ballard, Burroughs, Cronenberg, etc. We have titles like "Occult Storage For Pan-Dronic Glossolalia", "Wrong Proto - Matter Gravitation", "Genetically-Engineered Insects", "When Comets Become Organic Households", "Through The Endless Streams Of Satellite Euphoria", etc. Musically Sigillum S always evolved and if on their beginning their music could have been defined as ritualistic and industrial, since early 00's they started to include into their music also elements of the sound that they had on their side projects. Eraldo played and collaborated with many people such as Mick Harris, Bill Laswell, Tony Wakeford, to name few and explored different genres from dub to guitar drone (as on his album under the Blackwood moniker). Paolo with Sshe Retina Stimulants, NG5361, Komplet his other projects and collaborations always explored the folders of noise electronic sounds. In my opinion, the album where they started to redefine their sound has been "23/20". It was featuring sound contributions from long time Sigillum S collaborators as well from artists they estimate. People like: Bill Laswell, Toshinori Kondo, Professor Shebab, SH Fernando and WordSound, Martino Nicoletti, Lorenzo Esposito Fornasari, ZU, Xabier Iriondo, Ephel Duath, various members of Crisis , Mark Solotroff, Thomas Fehlmann, Gudrun Gut, Andrea Marutti, Claudio Agostoni and many others. Anyway, let's start to talk about the new album. On this one, we have a sort of orchestral sound effect as we have several kind of sound layers, as well as several influences and I hazard to say that we have also a sort of melodic structure that wasn't really used before. All these layers are dosed in the mix, creating the effect of a whole orchestra using unconventional sounds. The kind of rhythms, ambient sounds, noises, vocals may sound familiar, but they have been used in a different way. Take "Through The Endless Streams Of Satellite Euphoria", for example: we have a dub bass, synth treated bleeps, a semi dub drum (I might be wrong but this is one of the few times that Sigillum S are using a real drum) and then a trumpet like sound. The first time I listened to this track I immediately thought about 23 Skidoo and I don't remember I ever thought about them while listening to Sigillum S. Sigillum S have been ritualistic but they never been "funk" and this has been a great surprise. We have the tracks mostly based on drones and noise and we have the ones where rhythm has an important part and it could be a normal drum, a treated one mixed with synthetic beats, it doesn't matter, because the tracks evolve and change one from the other. This is another thing that I liked a lot: the variety of atmospheres and sounds. A perfect example of what I mean could be the closing track "Celestial Heliocentric Cultures", which is the one that I felt connected to the cover made by Petulia Mattioli, because it gives me the impression of being influenced by Tibetan music but played by a mutant which filtered it with industrial soundscapes. It's like the cover: a Tibetan monk walking on a metallic landscapes made by an unknown species. The album will be out on the 14th of September on CD, LP and tape.

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