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a r t i s t : Alessandro Bosetti and Antje Vowinckel
t i t l e : Charlemagne...
d a t e : 2003
l a b e l : Bowindo 03
g e n r e : Avantgarde
r l s. d a t e : April/2005
t r a c k s : 03
b i t r a t e : VBRkbps
s i z e : 74,5 MB
_______________________________________________________________________
Alessandro Bosetti & Antje Vowinckel - Charlemagne, la vue
attachee sur son lac de Constance, amoureux de l'abime cache
Two electro acoustic compositions from Alessandro Bosetti from
2000 and 2002 and a recent text sound composition of Antje
Vowinckel. It is very fine composed abstract music that
starting from microscopic sound details develops organic and
highly dynamic although very reduced structures. All the
pieces make an extended use of silence, space and very small,
carefully shaped, sound particles creating a feeling of
natural 'breath' and flow. Although this music shares some
techniques with the 'musique concrete' it goes much beyond in
giving new musical life to sounds and suggesting new
approaches in listening perception. For those who know
Alessandro Bosetti for his activities as improvising
saxophonist in the new minimal scene with Phosphor, Annette
Krebs and others and for his text sound compositions wonÆt be
difficult to recognize his very personal way in organizing
sounds whatever he operate in electro acoustic music,
improvisation or acoustic and radio arts contexts. Also
hearing the piece of Antje Vowinckel, could be a surprise for
those who know her as one of the more significative and
granted author of new experimental radio plays in Germany.
There's nothing understated about the title of bosetti's
electroacoustic album on the Bowindo label, wich translates as
Charlemagne, His Gaze Fixed On His Lake Constance, In Love
With The Hidden Depths. He splits the CD with antje Vowinckel,
a star experimental playwright on German radio. Bosetti sets
out two substantials compositions, where real sounds cohabit
edgily with abstact electronics. Airless sinewaves sit next to
subtle thunder and the delicate tapping of steel pans. Again,
it's restrained music, though less so than his duo with Krebs.
The first title, "Sardinia And Japan Are Islands", indicates a
little exotica might be in order, and indeed we glimpse
tropical birds as a woman's voice lists islands. Hoarse
whistling eventually coalesce into a static landscape, like a
panpipe hung out in the wind. Vowinckel's piece introduces
jarring shocks, hearty shouts and metallic thumps that build
up to peaks. It's a kind of storytelling in sound, yet it
follows a standard electroacoustic brief too closely, hurring
from one climax of digitally tortured material to another for
no discernible reason. And given the several Japanese voices
in the mix, possibly "NIPPS" was not the ideal title? (Clive
Bell, The Wire, November 2003).
I am not sure why the two artists are combined on this disk,
nor what the title means.
Alessandro Bosetti has the bulk of the disk. His 'Sardinia and
Japan are islands' is a disjointed compendium û there are lots
of short segments that run into each other û crackling then
samples; tones and water drips, pops and crackles; soft
pulses, high tones, flutters and crunches; soft rumble; pulse
rattle/scrape moving around; high and low sines plus hiss
drops to shimmer; voices, some in English listing islands,
layered; tapping and shimmers. Building finally to a sine with
taps that gets somewhat earsplitting and scrapey, wobbling
then easing back. Disjointed but there is a flow and
connection. His longer 'Kitchen piece' (22.5 minutes as
against 18) is one of the growing number of culinary samples
we have hears here (such as Sonic Catering last issue). As
with Sardiniaà' there is a particulate feel û the first two
thirds works with little pieces, clattering, soft tones,
scrapes, bowl-gongs, drains, frying and mechanical scuttering.
In the final third this becomes an extended tonal play. War
layered ones that roll along and subtly vary, with chimey
rattles drifting between the fore and back ground before a
pop-crack le final fade. Both works combine samples and
manipulation creatively, and while not focussed or extended
(other than the final parts in the kitchen) the details and
flow are captivating.
'NIPPS' is 9.5 minute piece that is worth having in its own
right, but sits strangely here û an unbalanced split disk.
Antje Vowinckel opens it with an instrumental passage -
scraped metal, twangs, messed piano and swirly tones chopped
and build to a noise burst before easing to the second
section. Here cycling, with some bloopytwangs and humm is a
base for layered and chopped Dada-ish voice loops, almost a
chant. A quieter passage as a cycle
becomes a panning hiss, breaths, builds and drops to another
exciting voice passage, chopped and building, burbling and
rolling before the too soon fade. A dramatic piece that pushes
a lot into its short time. (Jeremy Keens, Ampersand
Etc.,October 2003)
Having been inundated with requests for Best Of lists for
2003, I eventually got tired of the idea, though if anyone had
asked me to name the new label of the year (as opposed to
album) I would have nominated Bowindo without a moment's
hesitation. Bowindo is, along with Giuseppe Ielasi's Fringes
imprint that distributes it, arguably the best thing to come
out of Italy since Luigi Nono. Each of the first four releases
on the label is superbly recorded, beautifully packaged, and
full to the brim with daring and accomplished new music.
Devotees of lowercase improvisation will no doubt already be
familiar with the saxophone work of Alessandro Bosetti (now
based in Berlin) through his appearances on notable albums of
the genre on Potlatch and Grob. The intriguingly titled
Charlemagne, la vue attachee sur son lac de Constance,
amoureux de L'Γbime [sic] cache, features two of his
electroacoustic works, "Sardinia and Japan are Islands" and
"Kitchen Piece", as well as a brief work, "NIPPS" by German
experimental writer Antje Vowinckel. Bosetti's ear for detail
is as acute as one would expect, though his two offerings may
surprise listeners accustomed to the micro-inflections of his
soprano sax or familiar with the austere electronics on his
contribution to last year's Berlin Reeds on Absinth: there's a
huge variety of sounds here, from (as you might expect from
the title "Kitchen Music") domestic utensils to the spoken
word ("Sardinia.." contains, at one point, a text about
islands). Silence, though, plays an important structural role,
and the nuances of Bosetti's mix are best appreciated in a
quiet listening environment, or through headphones
(quasi-obligatory these days in this apartment). Vowinckel's
work - one might question whether its inclusion is necessary
or not - is closer to traditional (whatever that means)
models, but well crafted and interesting nonetheless. (Dan
Warburton, Paris Transatlantic, January 2004)
_______________________________________________________________________
01-Sardinia And Japan Are Islands [18:05]
02-Kitchen Piece [22:40]
03-NIPPS [09:31]
-------
50:16 min