BETA

This is the second album from this young Spanish band, seven years after "Singularity or Barbarism."

The folk and electronic influences of that first album are long gone; the music here is completely different. "Beta" has a very distinctive sound, although the Tool influence is evident in the guitar riffs. Certain sound designs may recall bands like Radiohead due to their creative pursuit of sounds. Essentially, there's a 70s feel to the composition, but the music is more expansive and modern. A big plus is the production, spectacular and packed with detail. And the musicianship is excellent.

As for the lyrics, they're truly interesting and interact with the current moment we're living in. It's hard to start an album better than with "Neuropa," an 8-minute gem that tells of an anti-fascist revolution about to erupt (or something similar), in addition to featuring catchy melodies (despite its sonic density). "Tribu Virtual" speaks of the content creator as a slave to his own success. "Gracias y perdón" touches on a controversial topic: the abuses of the church. Of course, it does so in a subtle and very elegant way. And in a song like "i4," the lyrics deal with the AI.

"Beta" isn't just a collection of songs; it works perfectly as a complete album, from the opening vocals of "Neuropa" to the melancholic finale of "Epilogue." A magnificent album to discover in 2025.

A highly creative, sophisticated, and far-more-advanced version of the 1990s' Grunge scene and its Tool and The Mars Volta spawn.

1. "Neuropa" (8:16) What the heck am I listening to? Reprocessed versions of Hendrix solos? Stripped down variations of songs/sounds from countrymates, ZA!? Maynard James Keenan and TOOL's latest expression of their wild, extra- visionary ideas? Whatever it is, they have my complete and undivided attention! And then, suddenly, out of the blue, at the five-minute mark, they go into the deep recesses of TOOL's inner world--a place I didn't know other humans were allowed to visit. Amazing! How do they enact much less envision this stuff? (18.875/20)

2. "Gracias Y Perdón" (5:56) sounds like something from NIRVANA or one of the other Grunge bands of the early 1990s. Very deeply impressive. (9.25/10)

3. "Sagitario A" (6:38) how do they do this? How can they get away with it? How can they so easily, so deftly, switch motifs while introducing entirely/completely new/fresh sound palettes and stylistic themes each time? (9.25/10)

4. "Tribu Virtual" (4:26) the first song that seems to get a little stuck in one universe (this one quite similar to those created by ALICE IN CHAINS, only evolved 30 years on). (8.75/10)

5. "SeñalRuido" (5:49) a song that feels quite conformist to the TOOL universe, despite its (usual) radical motif switches. What imaginations: both structurally (compositionally) but also--more--in terms of sound engineering choices and tricks! I feel as if I'm listening to a Jimi Hendrix of the engineering console: it's all so new, refreshing, and utterly astonishing to me! (9.125/10)

6. "Lloviembre" (5:00) a bare-bones, more starkly-laid out guitar palette that sounds much like Chris Isaak's "Wicked Ways," but then Layne Staley-like vocals and Danny Carey-like drum layout take us to the third minute's transition into guitar-bass-n-drum power trio heaven: like listening to a modern, more sophisticated ROBIN TROWER on heavy psychedelics! (Oh! Robin was on mind-altering substances already? Then he would appreciate this one!) The computer noise finish seems to prep us for the next tune--one that is focused on some of the issues of AI. (9/10)

7. "[i.4]" (5:26) though we start out in a world of simple blues-rock guitar, the technological sound manipulations begin in the second half of the second minute--and they really boggle my mind! What a brilliant (and great) enhancement to the stark guitar world. At the end of the third minute, then, we move into a motif with a base of heavily-distorted fuzz guitar which is then expanded with multiple other tracks of guitars, bass, drums, voices, and effects--piled on! So creative! (9.25/10)

8. "Concursología" (5:22) back to the Grunge of the 1990s yet anchored in the heavy metal of the 1980s (Red Hot Chili Peppers, Metallica) and even 1970s (Black Sabbath and King Crimson). A truly mind-blowing (and mind-bending) song! How, I mean, HOW can they do this?!?!? And then they have to top it off with some sound-bending engineering tricks to bridge us into the next song! (10/10)

9. "Epílogo" (3:16) sounds like HYPNO5E's 2018 master class in cinematic adaptations, Alba - Los hombres errantes. But then the induction of electronic and engineered track manipulations renders it unto yet another parallel yet different universe. (8.875/10)

Total Time 50:09

This band is definitely taking Grunge and Tool-like tech Metal into new dimensions. Their ability to smoothly deceive us into letting them morph and apparate from one style and sound palette to another in the blink of an eye--over and over throughout the course of each and every song--is uncanny: akin to that of a master magician. Apparently, their previous album--their 2017 debut, Singularidad o barbarie was an exhibition of electronic experimentation, but this one is a demonstration of innovative sonic engineering unlike most anything you've ever heard! Beta is definitely an album that needs to be heard! Spread the word! Sigilu is ready to lead you into new and different dimensions of sound (and reality)!

A/five stars; a minor masterpiece of mind-blowingly-creative sound manipulation delivered in a musical style that might be called 21st Century Grunge TOOL-point-three-million-and-two.

Sigilu is a experimental/art rock band formed as a duo by Nacho Cuesta (vocals/vocals), formerly of Tierra de Cinco Minutos, and Pablo Saavedra (guitar/drums), from the indie pop band Técnicas Manuales. They currently perform as a trio, including bassist Ángel Boquete (drums).

Although they claim to be influenced by '70s progressive music and Tool, their sound is far from that of a so-called retro- prog band. As can be seen in the opening track, "Neuropa," which kicks off with an explosion of extremely distorted bass and a harmonizing vocal, this is a work with a distinctive and stimulating style, similar to the internationally known "Brutal Prog," where passionate post-rock/metal simmers and concentrates, while downtempo/dub/noise rock/hardcore are seamlessly blended. On the other hand, the vocals are surprisingly song-like, and along with the Spanish singing, can be considered a variation on the symphonic progressive/heavy metal that the Mylodon label specializes in. A band to watch, and a magnificent album, "Beta."

A very menacing and impressive album, maybe even intimidating. Spanish heavy prog rock supreme. I didn't know how to listen to it, it is totally overwhelming. After a few spins I couldn't listen to anything else, I just simply couldn't. If they make prog like this in Spain, I'm seriously considering migrating. Heavy and distorted guitars in a beautiful setting of sounds and vocals. It's a pity I don't understand Spanish, but the lyrics are delivered with much urgency. I can make out some of it, but not all. There are also more quiet sections that flow naturally within the overall sound and setting. I have deep admiration for this exciting album. It's so good I bought the download on the band's site, and the CD on the label's site (both on Bandcamp). Please listen to this, you won't regret it. Be quick if you want to grab the CD, because it's a limited edition of 200. Still dumbfounded and flabbergasted, that this music exists.

It's a magnificent album of music overall. It obviously has a notable progressive rock content, but it goes far beyond that?both in terms of composition and in terms of production and sound. Many well-established bands would dream of breaking the norms of production and composition the way they have managed to. Every track is meticulously crafted, with layers that reveal new details on each listen. The album flows seamlessly from start to finish, offering moments as delicate as a baby unicorn's bottom and others as hard-hitting as a concrete building. There's a fearless approach to creativity here ? a refusal to be boxed in by genre or convention. The musicianship is top-tier, but never self-indulgent; everything serves the greater musical vision. Please, give them a chance and let's start putting these people where they truly belong ? at the very least, at the level of recognition they genuinely deserve. This is not just music; it's a statement.