The Sins of
A Triggering Myth Album Reviews
Harmonie Magazine - Issue 35, France
The music of A Triggering Myth breaks new ground, it explores. It is normal, therefore, that it causes puzzlement, misunderstanding, maybe even rejection. Even in the progressive genre. This seems a paradox in a genre that claims to listen to music that is adventurous, open, and experimental. At the core, more than a problem of of taste or sensability, A Triggering Myth appears to create a problem of culture and of musical vocabulary.
Progressive Rock, as it is commonly understood, is a music which evolves mostly from a tonal framework. It is a European music which develops a specific melodic sensitivity. All lovers of progressive music remain a bit imprisoned within this framework, of a certain type of musical vocabulary. A Triggering Myth is an American duo. Its culture rests, on Jazz, encounters with Occidental music, and with African primitive music among others, which gives them a whole other tenor to their musical discourse. Especially as the group does not hesitate to subtly marry tonality and atonality. One now understands the difficulty of understanding this music. But it is possible. It is a matter of educating the ear. To make it accustomed to another musical vocabulary without being courageous, adventurous or intellectual (Yes, Bruno) as well.
Here then, is the fourth album, somberly named "The Sins of Our Saviours". Fundamentally A Triggering Myth still celebrates the melange of jazz, neo-classical and intimist symphony.
Faithful to it's habits, ATM invited outside artists to participate, but this time the duo integrates singing into their music (this reminds us of Tiemko) in the person of Alberto Piras, of Deus Ex Machina. The other noted guest is the violinist from the same group, Alessandro Bonetti.
If the introduction of the violinist does not alter substantially the profound identity of ATM, Bonetti moving fluidly into a pre-existing canvas, Alberto Piras brings the group to musical spaces that the group had never before visited.
"Bagliore" seems to integrate the Gregorian melism as singing guide. "Stato di Confusione Avanzatta" marries free jazz estehetics with difficult vocal atonality. As to "When Faith Transcends Reason", it is clearly the encounter of bi-tonal Tibetan chant with Shamanic Trance (bof, bof....).
For the rest, it is A Triggering Myth in all its' splendor with a very special mention of "His Maddening Certainty", without any doubt the jewell of the album. Let's also note a certain kinship with Cyrille Verdeaux on "The Awful Truth". Upon reflection, one notices that the rhythmic element in ATM is a major element. Somewhat in the style of Stravinsky, who integrates and underscores the notion of melody which is outside of the strictly tonal framework. This is without a doubt what explains the unreal and sometimes strange side of this music, reinforced in a timely manner by the percussion work. Their synthetic side participates in the identity of ATM and seems indispensable.
A band in a class of its own, a music of its own, but well worth the effort of engaging. Well, you can do that, can't you?