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“(…) a collection of eccentric prog-dub poetry with opera firebrand Ernesto Tomasini.”

Pitchfork – 22 September 2021


“Devotional Songs marks a necessary and refreshing change of direction by Shackleton; collaborating with London-based Italian castrato-style singer Ernesto Tomasini to sound like some lost Coil recordings.
The whirligig drawbar organs of Shackleton’s releases since 2012 are still in effect, but tempered in balance with Tomasini’s remarkable vocal range and some really lush, almost Detroit-style synth harmonies and ritual atmospheres whilst his signature palette of bass and drums hints at some Far and South East Asian influence in the vein of Sleazy’s Threshold HouseBoys Choir recordings.
It’s a beautifully self-contained project covering a broad range of esoteric topography from the detoxing vibrations of Rinse out All Contaminants to the sweepingly epic resolution of Father, Yiou Have Left Me, whilst unmistakably referencing some of Coil or Current 93’s most haunting moments in the chiming harmonic haze, swelling chorales and operatic drama of You Are The One, and the spirit-rousing string arrangements in Twelve Shared Addictions.”

IsraBox – 6 January 2018


“We’re ghosted through history as Ernesto Tomasini adds spectral layers of stirring falsetto textures. Taking lines and passages from the book, there’s a timeless, supernatural quality that’s both alarming and arresting. A genuinely unique concept.”

Juno Records – 7 February 2017


“Critics immediately reached for Coil and even Current 93 as reference points, and this hint of occult folk was only further underlined by the length of the pieces and the presence of Ernesto Tomasini on vocals.”

The Quietus – 2 February 2017


“Devotional Songs 27th best album of 2016”

Music Like Dirt (blog) – 2 February 2017


“This album combines Shackleton’s enchanted polyrhythms and enigmatic sounds with the eccentric vocals of Italian performance artist Ernesto Tomasini. This intriguing collaboration (…) is like nothing else you’ll hear this year, and is definitely one for the collection.”

Eastern Block Records – 26 January 2017


“vocalist Ernesto Tomasini is superb as a man in search of nullity.”

Docklands (blog) – January 2017


“Separated from the derelict cut of dub that gave Shackleton his place as truly forward-thinking musical artisan, his display of minimalism still shines here in a stripped-down, and yet harmonious vocal heavy album courtesy of collaborator Ernesto Tomasin on Honest Jon’s Records. The duo utilize the four tracks to contemplate modern affinities of religion and contemplations of Hedonism in the event of a godless world. While the subject matter provides controversy, “Devotional Songs” remains largely spiritual in its design, rewarding listeners with an abstract nature of warped church compositions and isolated choirs that still tickles the brain after initial review.”

Reddit – January 2017



“Man and artiste, in daily life as onstage, a multiple threat (actor, singer, mover, cabaret star, conceptual and visual artist) who dances on transgression”

City, May 2021

“Tomasini is an extraordinary actor”

Il Gattopardo, February 2021

“Half way between Pierrette and Klaus Nomi, (…) mixing falsetto and chest voice, (…) Palermitan Tomasini is very well known in London where he appeared in several musicals.”

Corriere della Sera, 3 January 2021

“Ernesto Tomasini – one of the most acclaimed leading figures in the international alternative and queer scenes, who can count on a vocal range of 4 octaves and a more than original performative style – will sing, en travesti, famous songs from Berlin Kabarett and arias from the first act of Traviata, transported by a time machine, in a contemporary sound and voice scape in a mix of electronic and traditinal music.”

La Repubblica, 30 December 2020

“Extraordinary performer Ernesto Tomasini (…) one of the most acclaimed leading artists on the international alternative scene.”

Ansa, 30 December 2020

—nel finale Ernesto Tomasini en travesti canterà brani celebri del Kabarett berlinese. Per concludere con arie dal primo atto di Traviata, trasportate, come da una macchina del tempo, in uno scenario contemporaneo di suoni e voci di Palermo, in un mix di musica tradizionale ed elettronica e un tappeto sonoro elettroacustico che evocherà la pandemia”.nel finale Ernesto Tomasini en travesti canterà brani celebri del Kabarett berlinese. Per concludere con arie dal primo atto di Traviata, trasportate, come da una macchina del tempo, in uno scenario contemporaneo di suoni e voci di Palermo, in un mix di musica tradizionale ed elettronica e un tappeto sonoro elettroacustico che evocherà la pandemia”.

“Ernesto Tomasini’s versatile voice (…) renders [the melancholic melodies] with polyglot virtuosity”

Blow Up, June 2018


“We had left Ernesto Tomasini’s bizarre talent giving voice to Shackleton’s abstract (but full of tribal emotion) electronica, in “Devotional Songs”, a work that for a moment, at the end of 2016, had soothed the over 10 year absence of Coil. We find him now in all his magnetic and polychromatic vocal range, instilling lifeblood in the Almagest! project. (…) “Snake Oil” [opens the record] with a vocally acrobatic Tomasini as our Virgil. The thousand voices of the 21st Century Klaus Nomi chase each other and explode in “Piume”, in which the sparkling declamatory art of the polymath artist knots itself around drones.”

OndaRock, 7 April 2018


“[A cover of the song] taken somewhere else by the Klaus Nomi voice of Ernesto Tomasini.”

Sentire Ascoltare, 14 March 2018


“Tomasini’s extraordinary multilingual performances flow with ease throughout his entire vocal ability, which goes from spoken word to opera, passing by glossolalia, reinventing the record at every listening.”

Il Mucchio Selvaggio, March 2018


“Ernesto Tomasini, in alto range, with American Man Parrish and their ‘Per Altri Motivi’ becomes Futurist Opera”

Il Mucchio Selvaggio, March 2018


“Tomasini is the Houdini of the voice, an illusionist capable of singing in the same song as Pavarotti, Farinelli and Callas. This quick change artist of the vocal chords pirouettes between notes and trills like Jury Chechi through rings.”

Krapp’s Last Post, 6 November 2017


“Ernesto Tomasini, actor with golden chords. In every sense: His voice has a 4 octave range (…) Luxury performer (…) he is direct and overexcited, impetuous in assaulting the audience with his painted face that creates a mask generated from the union between Jack Lemmon and Hannibal Lecter… but also a bit Pee Wee Herman!”

Cultweek, 27 October 2017


“[Almagest!] is the polymorphous creature spurned by the artistic liaison between Ernesto Tomasini and Fabrizio Modonese Palumbo (here feat Julia Kent), (…) with Tomasini a bit Carmelo Bene a bit chanson de geste, who often sends chills down the spine with his vocalising (…)”

Rockerilla, 20 October 2017


“A remarkable work (…) Tomasini (…) is a total artist who works in theatre, performance art, contemporary music and alternative culture in general. (…) His singing ability is superb and this is also evident in the eleven pieces contained in this project. (…) Tomasini directed the piece – a never accessible transposition – creating the vocal melodies and writing eleven episodes that would represent the Bataillan text. (…) [his] voice conjures up visions. (…) Rare beauty.”

Sherwood, 18 September 2017


“A very intriguing record (…) by singer and performer Ernesto Tomasini (…) [who] added his vocal expressiveness, which is also atmospheric, descriptive and lyrical. His voice is used as a tool in a defined, stinging theatrical dimension (…) Excellent”

Blow Up – September 2017


“Blessed with a 4 octave vocal range Tomasini is, no doubt, one of the most important voices in the world today. In actual fact, even more rare, he is a true artist, more than complete, total.”

Rumore – March 2017



” (…) el excéntrico vocalista italiano Ernesto Tomasini (…)

Rockdelux (Spain) – 5 November 2021

“(…) et il n’y a rien de plus susceptible de diviser que la croche chargée de gravitas de Tomasini.”

News.Fr 24 (France) – 22 September 2021

“Sänger Ernesto Tomasini selbst eine LGBT Ikone”

Frankfurter Allgemeine Zeitung (Germany) – 7 February 2021

“Ernesto Tomasini takes care of the vocals, a variation on Klaus Nomi . After twenty years as actor and singer in the theater, he then worked with Current 93 and Andrew Liles ( Nurse With Wound ). (…) By the way, it is not only the voice of Tomasini that makes ‘Fun House Mirrors’ interesting. Just like his singing, the music is as alien and penetrating, which makes us immediately understand why he can work with the big ones from the experimental industrial field.”

Gonzo Circus (Holland) – 13 January 2019


“Le chant se fait ensuite plus “en relief”, en velouté-sombre allant de pair avec le décor. Almagest! n’est pas classable et, de ce fait, s’avère être d’autant plus intéressant.”

Muzzart (France) – 30 December 2018


“Just like [Tomasini’s] singing, the music is alienating and penetrating, which immediately makes us understand why he can work with the big ones from the experimental industrial fields.”

Gonzo Circus (Belgium) – 17 May 2018


“This intriguing release from Ernesto Tomasini and Fabrizio Modenese Palumbo features five long, electric, richly textured and sonically distorted cinematic compositions.”

Spotlight (Netherlands) – 7 May 2018


“Ernesto Tomasini, das paradies­vogelige Ausrufezeichen im Spiegelkabinett. Denn der Typ aus Palermo hat mit seiner zwischen Bass und Falsett, zwischen Nomi, Verdi, Wagner und Metal kippenden Stimme Furore gemacht als Kabarett-, Musical-, Monodrama-, Oper- und Performance-Diva. Seine androgyne Exzentrik machte ihn reizvoll für Andrew Liles, OTHON, Marc Almond, David Tibet und Peter Christopherson, die ganze Hidden Reverse-Blase. Zu seinen frühen Highlights in dieser Szene zählen auch das mit Palumbo realisierte “Canes Venatici” (2007) und “The Hunting Dogs of Boötes the Heardsman” (2010). Nach zuletzt den “Devotional Songs” (2016) mit Shackleton und “Madame E.”, einem von Mirco Magnani komponierten Oratorium nach Georges Bataille, singt er nun eigene Lyrics (…). Tomasini zügelt seine Manierismen für getragene Dark- und Cold Wave-Songs, die mit Electrobeats und Drones (…)”

Bad Alchemy (Germany) – 7 March 2018


“Tomasini, who has hitherto noticeably held back as a countertenor, shows here at last, to how much expressiveness he can swing up.”

African Paper (Germany) – 13 January 2018


“Ernesto Tomasini’s operatic stylings”

Resident Advisor – 8 August 2017


“o magnífico álbum com Ernesto Tomasini, (…) mantém uma forte linha esotérica, entre transe ritual, invocações mágicas, locais místicos e uma ambiência consistentemente tensa e em expectativa.”

Flur (Portugal) – 24 April 2017


“Foi das colaborações com Ernesto Tomasini que culminou no bem recebido disco Devotional Songs, editado no ano passado via Honest Jon’s.”

Music Box (Portugal) – 29 March 2017


“ao bem recebido trabalho feito a meias com Ernesto Tomasini.”

Rimas Ebatidas (Portugal) – 28 March 2017


“Already last year, in his work with Sam Shackleton, Tomasini had shown that he could be at home in an electronic environment, (…) making “Devotional Songs” an impressive work. In “Madame E” (…) Tomasini shows the heights and depths his voice can achieve.”

African Paper (Germany) – 11 February 2017


“[Tomasini] canta teatral y enigmatico. Delicia.” + “Devotional Songs” 8th best electronica album of 2016

La Jornada (Mexico) – 10 February 2017


“An eccentric personality with a distinctive vocal quality, reminiscent of the castrati. When you watch his performances, or listen to his voice, or even when you talk to him, you feel like he knows exactly what he wants and how to achieve it. Extremely intelligent and funny.”

Opera Plus (Czech Republic) – 8 February 2017


“vocalist Ernesto Tomasini is superb as a man in search of nullity.”

Docklands (Blog) Cyberinsekt – 23 January 2017


“[“Devotional Songs”] saw [Shackleton] team up with versatile classically-trained singer Ernesto Tomasini, for perfect and challenging fit. (…) Shackleton and Tomasini were there to seriously smash you over the head with drama.” + “Devotional Songs” among the best albums of 2016

CDM (USA) – 5 January 2017


“Geradezu himmlisch gelingt die Zusammenarbeit mit Kult-Sänger Ernesto Tomasini, in dessen Schaffen von experimentellem Theater über Kabarett bis hin zu Kooperationen mit Othon, Marc Almond, Sleazy, Julia Kent und David Tibet eigentlich alles seinen Platz findet. Mit seiner vier Oktaven umfassenden Stimme kommt er aus tiefstem Grollen bis ins feinste Falsett. Seine Präsenz ist das Bindeglied zwischen dem Hang zum Theatralischen, der immer schon Teil von Shackletons Musik war, zu den okkulten Energien des postindustriellen britischen Undergrounds.”

This Music (Germany) – January 2017



“A great piece. A mix of Coil, El Madi Junior and Ann Marie von Otter: industrial, modern electronica and opera, not an easy mix to pull together”

Gwendolyn Radio (Italy), 13 March 2018

“Prominent is the Italian avant-garde singer Ernesto Tomasini. Again and again compared to Klaus Nomi, Tomasini’s repertoire ranges from operas to collaborations with Marc Almond or the band Coil.”

Orf 1 (Austria) – 30 March 2017