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"Rêverie" isn't about bombast; it's about carefully constructed sonic landscapes built on intriguing juxtapositions. The band deftly blends the weight of post-metal and doom with the expansive textures of post-rock. Expect hypnotic, cyclical riffs that can feel almost obsessive, only to gracefully give way to delicate, dreamlike ambient passages.

“Back to Hermetics and Martial Arts Vol. 1” is an epic adventure through the invisible worlds of Neoplatonic cinema. From mockumentaries about the lost books of occult correspondences, through psychedelic surf noir chambers with ritual suppers, and giallo screams of the world squished by the chthonic grasp, to the original footage of the victorious Belgrade-Dharamsala bicycle marathon of 1931, Morriconesque spaghetti western theophanies, and the saving grace of the Heart pierced by Seven Swords, the album delivers nine movie themes that combine various musical elements into a unique work of cinematic alchemy.”

Lili Refrain’s newest LP MANA lives up to its title. A combination of Anna Von Hausswolff and
Burning World-era Swans, following the words of Walter Hoeijmakers, the founder of
Roadburn Festival.
Each track is multifaceted and they all have a heft to them, a weight that translates well to Refrain’s multi-instrumentalist abilities.
Commenting on the nature of recording process Lili states: “Mana is an album totally different from anything I've ever done before. I felt the need to experiment with the use of new instruments and take a totally new path. Compared to my previous album MANA is the most ritual in some ways”.
Refrain comments onthe origin of the title saying: “It means ‘life force’, power that comes from within and is dedicated to those who have found themselves consciously facing a journey, without knowing where it would have arrived or even if it would have survived.”
Using very few guitars, Lili Refrain has not only distanced herself from her comfort zone but also created a danceable feel focusing on arrangements and vocal techniques.
However, the work on background sounds was very deliberate , as Lili notices: “Stefano Morabito, the engineer and the owner of "16th Cellar Studio" in Rome welcomed me in
his studio and had been following me throughout the production.”
“Spontaneous” is probably the best description of creating the record that became MANA.
“I felt the need to experiment.” – says Lili about the current evolutions and changes in her “inner gaze”.
Starting with Ichor , Sangoma and Mami Wata, Lili Refrain has been going down the path of rediscovering herself as an artist and performer. Combining both heavy synths sounds and operatic heights.
Pairing Taiko drum sounds of Mami Wata with her trilling and whispering, Lili Refrain manages to create a chanting and ritualistic experience. 

SIGILLUM S have been exploring unknown territories among extreme electronics, fringe acoustics and occultist noise since 1985.
With an original line-up of Italian experimental electronic composers Eraldo Bernocchi, Paolo L. Bandera and Luca Di Giorgio,
throughout their 40-year gestation, the noise merchants have worked with musicians including Ain Soph, The Sodality, Gerstein,
Iugula-Thor, Out Of Body Experience, Bill Laswell, Zu, Crisis, Thomas Felhmann, Gudrun Gut, Toshinori Kondo, SH Fernando and
the Wordsoundcrew, Dive , Colin Edwin, sculptor Milo Sacchi, multimedia artist Petulia Mattioli and many others.
Having toured extensively throughout Europe and Canada in the early part of their career, the result has been an endless series of
evolution, from the droning ritualism and ethnic explorations of the late ‘80s through to the surreal science fiction soundtracks of the
‘90s, to the super deep complexity of the new millennium. SIGILLUM S have been constantly evolving. The current formation
consists of original members Eraldo Bernocchi and Paolo L. Bandera with the addition of multi-instrumentalist Bruno Dorella and
visual artist Petulia Mattioli.
On new album ‘Aborted Towns, The Deadly Silence Before Utopia’ SIGILLUM S continue to develop their own brand of post-
industrial audio investigations, employing sound as a tool for mapping the subconscious and a reconfiguration of cognitive
processes.
“With ‘Aborted Towns’ we tried once again to expand our sonic vision, pushing further into the realms of immersive, cinematic
sound design. I see dystopian cityscapes where decay and transformation collide in waves of shadowy textures, fractured rhythms,
and spectral atmospheres. Each track feels like a fragment of an abandoned future, a lost reel of sound documenting a world
teetering on the edge of oblivion,” says Bernocchi.
Tracks such as ‘Lemur Agony’ and ‘Forgotten Utopias’ exist in an ever-changing continuum of harsh, irregular beats with sudden
shifts in experimental atmospheres, while ‘Permafrost’ and ‘Infective Carnations’ are unsettling, decadent electronic mutations.
‘Aborted Towns’ is more than just music – it is an architecture of sound, a ghostly residue of memories and echoes. The shifting
balance between claustrophobic tension and vast, desolate space invites the listener into a hypnotic, unsettling journey. It lingers,
seeps into the subconscious, and refuses to be forgotten.