Triple S is a music project that was found in 2011. Project members are Max Schiefele, Erik Seifert and Josef Steinbuechel. All of them see the task of focusing their audio production skills for creating a concept album. The title of the album is “Poles”. It was premiered during the Electric Movement Festival in October 2011.
- Ninety Degrees South [11:09]
- Erebus Ice Tongue Part 1 [7:10]
- Erebus Ice Tongue Part 2 [6:22]
- Shackleton Ice Shelf [5:56]
- Mount Ellsworth [10:18]
- Pole of Inaccessibility [16:32]
- Aurora Borealis [7:12]
- Arctic Finale [7:05]
The album describes the experiences of the polar explorer Ernest Shackleton. Parished coldness, storm, deprivation, tirelessness and Shackletons zest for action are to be experienced by the music very tightly in a unique polar soundscape from icy winds up to icebergs breaking apart and plunging into the sea with a slam.
The experiences of both sound engineers Erik Seifert and Josef Steinbuechel care for an elaborated mastering and crystal clear sounds by different synthesizers and effect machines as well as the virtuous and emotional guitar parts of Max Schiefele, that give an emphasis on an atmospheric suspense.
“Poles” is a concept album and describes spectacularly the world of the South- and North pole. A very calm album, but with some surprises – you will like it again…
2011. Max Schiefele
To hear the cold moans and roars out and to feel its bite, its erosion and its explosions. This is all the atmospheric setting which surrounds this first album of Triple S. Formed by Erik Seifert, Max Schiefele and Josef Steinbuechel in 2011; Triple S concocted a concept album which describes the experiments and the wild lives on both poles and its extremes coldnesses with a music which is not at all the equal of the subject of their thesis. Poles is a beautiful album where electronic rock caresses the morphic sweetnesses of atmospheric approaches with a Maxxess in great shape who frees wildly his strings to sculptures riffs and solos which invade structures as oniric as quietly stormy.
A Siberian wind engraves frosty dunes, propelling particles of ices among solitary arpeggios which have the fragility of glass. Floating and melancholic, the intro of "Ninety Degrees South" sweeps the horizon with beautiful layers of synth which are resting on the ice floes of solitude, expiring hatched pantings which get lost in the crystal clear echo of the arpeggios of ice. Maxxess’ guitar tears up this wintry tranquility. His scattered solos and echoing riffs light up fine percussions and awaken keys from lunar keyboards. Slowly the rhythm of "Ninety Degrees South" is rising with a delicate morphic approach, procrastinating between a floating tempo and its more percussive momentums just like the 7 other titles which dance and waltz on Poles. It’s a soft but firm rhythm which oscillates between a strong progressive rock and a cosmic rock where distorted riffs, lascivious solos and strong percussions with tones of metallic gases frame an eclectic sound fauna. After an intro where the crackling of ices converges towards twinkling tones, "Erebus Ice Tongue Part I" stumbles over a delicious electronic rock approach à la Code Indigo. A merger of acoustic and electric guitars floods our ears with a mixture of notes, riffs and solos as heavy as ethereal which interlace on a nest of twinkling chords. Sometimes heavy, sometimes fluid and slightly jerky, the rhythm remains catchy. Harpooned by slamming percussions à la Jarre and flavoured of delicious hesitating and melodious chords à la Tangerine Dream, area Underwater Sunlight, it continues its progression towards "Erebus Ice Tongue Part II" with soft angelic vocals, before looping the loop with a finale to ambiances as much richer and intense as the introduction. The intro of "Shackleton Ice Shelf" jumps with the noise of the icebergs which crash violently on ice floes, offering a show of lunar desolation returned with aptly by the laments of a forsaken guitar. Max Schiefele's solos are bursting out of emotivity and float with the violence of the winds, accompany by morphic synth layers. It’s of a very poetic icy serenity.
Fine percussions draw the delicate chipped rhythm of "Mount Ellsworth" which is surrounded by a very electronic aura. Floating into Software and Pyramid Peak’s spheres, the rhythm is finely jerky and decorated by electronic streaks which overhang the knocks of felted percussions before folding the loin over the harmonious solos of Maxxess. Afterward the rhythmic approach becomes more complex, lining up melodic phases which tire oneself out on others more jerky where synths and choirs compete with a more accommodating guitar. Built a little on the same principle, "Pole of Inaccessibility" offers a beautiful intro slightly morphic where notes of acoustic guitar glide over some weak pulsations. Streaks as much ghostly than iridescents shake the atmosphere while heaviness settles down, paving the way to a progressive rhythm which becomes predominant around the 6th minute mark. Heavy and slow, the rhythm is lascivious and skimmed over by beautiful strata of a spectral synth which copulate with solos of a morphic guitar. A guitar which becomes more aggressive by freeing riffs which roll in loops, accelerating a pace of which the rhythm is skilfully surrounded by layers and choirs of a hypnotic synth. More atmospheric and more claustrophobic, "Aurora Borealis" is unfolding as being in a state of weightlessness. The guitar floats like the waltzing stratas of Erik Wollo, forging loops which get astray in riffs and heterogeneous tones. Howler winds open the angelic heavens of "Arctic Finale" which shines with its superb celestial intro. Torn between its powerful impromptu rhythms and its ethereal ambiances, "Arctic Finale" is divided by its heavy percussions which fall and its twinkling arpeggios which flutter on a beautiful circular movement. But the heavy and slow rhythm takes the lead. For a few seconds it rages of its symphonic drums to then find shelter in the calm of the morphic strata of an oniric guitar and the crystalline arpeggios of a solitary keyboard to still bend under the knocks of the big drums and embrace a philharmonic phase just before ending in the winds of the cold ice.
A world of ice beneath a guitar on fire, Poles is a beautiful EM album which rides serenely a more rock approach. The presence of Maxxess and his guitars bury his two friends whom I find rather discreets, but the result isn’t less very good; it stays a pretty good album. Except that I would have like that the synths and electic ambiances of Erik Seifert emerge as much as the guitars and riffs of Maxxess. I have the feeling to hear a Maxxess album written by Erik Seifert, because we cannot deny the poetic touch here of the German synthesist that we hear and feel all along Poles, an album which will please both fans of Mike Oldfield (The Song of Distant Earth), Code Indigo, Erik Wollo and Pyramid Peak. A good bunch of styles we have to admit...
2011. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com