An extended voice album by Enomìsossab (or, vice versa, Simone Basso) suspended between rock and experimentation, between popular culture and avant-garde roots, to testify of a complex artistic personality and of a “physical” and “emotional” attitude, absolutely uncommon. Overtone chant, guttural sounds, linguistic deformations, the “calembour” and the vocal contortions.
Sometimes few notes or a little melody are enough to fell in love with an artist. Sometimes you need to search, to go deep in the earth of the sound. With Enomìsossab both these possibilities are true, and they coexist together for the listener. In this album the very beginning of "L'Elefantessa e la Leonessa Matta" shines with the clarity of the vocalisation. And "El Mantra", following, sediments layers of vibrant, tactile sound material using vocals over a carpet of strings. And the other tracks drawn the “map of chants” of this young Italian artist, heir of the great Demetrio Stratos and few other “singers” of extended techniques. Enomìsossab (or, vice versa, Simone Basso) find, with this second CD, the key to open the door of a research, “classically” suspended between rock and experimentation, between popular culture and avant-garde roots. "Co Coron Fon Fin Fun" is a vocal trick; "L'Ombra di Mezzogiorno", is a “case of song” with class; "Crushed by the wheels of industry" is the homage to the “punk” that’s gone, a kind of dark ballad "a la Nick Cave". And the two versions of "4 e 33", with John Cage - the “origin of all sounds” - as a pre-text, are a kind of avant-garde electro-dada- blues, deeply modified. And there’s also the grimace, the taste for the quotation, the theatrical invective (in "Propaganda Due", grown version of the same piece on his first album) to testify of a complex artistic personality and of a “physical” and “emotional” attitude, absolutely uncommon. Overtone chant, guttural sounds, linguistic deformations, the “calembour” and the vocal contortion. We find all of these and more in Enomisossab’s repertoire, founded, has to be said, over a good writing vein, actively sided by a bunch of “free mind musicians” (Franco Gullotta, Fausto Balbo, Luca Miti, Alessandro Cerratti, Roberto Leardi, the Architorti) during his solitary path.