Marionette - Record Label

Noise Not Music
“...the almost celestial drum presence on Sulla Pelle is also one of fruitfulness and vitality. On more extended cuts like the title track and “Micro Tormento” the garden of groove gives birth to a host of other atmospheric subtleties and sonic decor, as bubbling electronics most likely supplied by Magaletti are bounced off drum skins to the surface and make the already meticulously detailed improvisations even more lush. Despite its undeniable strangeness, Sulla Pelle is just as universal.”

Exclaim
“Chaotic and complex, the pair deliver an expertly crafted quartet of stuttering compositions on the EP. "Sobaka" begins as a quiet shuffle, eventually growing cacophonous and propulsive as per proceedings before retreating back into soft skittering. It's an effective demonstration of storytelling without relying on melodic counterpoint. On the titular "Sulla Pelle," things start as a march before delving into more uncharted territory. The pair play off of one another as they strike surfaces of unorthodox origin, while the occasional dubbed tonic lazily echoes in the background. The overall effect is enthralling, but above all, unpredictable.”

The Wire
“On the recordings the duo alternated between a single drum kit and a percussionist’s set–up largely made up the various personal objects Sartorius had brought with him. “My aesthetic now is always patchwork and collage, I’m obsessed with that,” Magaletti told Clive Bell in The Wire 427. “Everyone tends to use the same things, but we want that other dimension. I’ve been playing drums for 20 years now, and this is what I’m aiming for.”

Boomkat
“Both fluent in myriad drumming styles, yet patently in possession of their own sense of meter and purpose, Magaletti and Sartorius instinctively mesh in a timeless style that could have emerged at any point between the late ‘60s and now. On the A-side they tentatively feel out the recording space and each other’s reach with the cloven-hoofed patter and fizzing dynamics of ‘Sobaka’, leading to some remarkably pendulous tekkers, before ’Sulla Pelle’ sees them space out with the dubbing and allow noisy chaos to infiltrate the soundsphere with a delicious mix of psychedelic sensuousness and restless ruggedness. The short sharp shuffle and seething background noise in ‘Tre Porte’ follows, sounding a bit like the rhythm section to Pierre Henry & Michel Colombier’s ‘Psyché Rock’ (aka the Futurama theme tune), perfectly setting up the album’s finale and highlight in the clipped swagger and twang of ‘Micro Tormento’ in its reticulated, polymetric formation.”

A Closer Listen
“The technicality is not to go under-appreciated. Magaletti and Sartorius know how and when to pull the curtain on their process and combine their music-making appendages into effortless oblivion. Occasionally the studio mixing jumbles into the acoustic drumming, adding to the heart stomping forwardness of the cacophony: two individuals pounding on metal and skin, as exemplified by “Tre Porte.” This piece downsizes the album’s vision into a short exploration of ad-libbed, dissonant harmony that floats in and out of decipherability. Even at their loosest, Mageletti and Sartorius are “locked in” both with each other and a more universal feeling of connectedness. Sulla Pelle suggests that confusion and clarity are both central to this connection.”