An amazing album of vocal interactions from composer Alessandro Bosetti using his archive of samples developed from dozens of recording sessions with vocalists, used in polyphonic constructions of utterances to create textures, counterpoint and juxtapositions offset by spartan use of harpsichord, Ondes Martenot, Cristal Baschet, grand piano, analog synth and Hammond organ.
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Edition of 300 copies.
Label: Holidays Records
Catalog ID: HOL 120LP
Squidco Product Code: 31491
Format: 2 LPs
Packaging: Double LP in a Gatefold Sleeve
Side A and B were recorded in Vicobarone, Italy, in August, 2017.
Side C was recorded in Venice, Italy, in September, 2017.
Side D was recorded in Marseille, France, in October, 2017.
Alessandro Bosetti-analog synthesizer, harpsichord, Ondes Martenot, Cristal Baschet, grand piano, analog synth, Hammond organ
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• Show Bio for Alessandro Bosetti
"Alessandro Bosetti (Born Milano, Italy, 1973) is a composer, performer and sound artist currently based in Marseille.
Most of his works delve on musicality of spoken language and sonorous aspects of verbal communication. He utilizes misunderstandings, translations and interviews as compositional tools.
He has been presenting pieces for voice and electronics blurring the line between electro acoustic composition, aural writing and performance in leading venues as the GRM/Presences Electroniques festival in Paris, Roulette in NYC, The Stone in NYC and Cafe OTO in London among many more all over Europe, Asia and the United States.
One of the most innovative radio artists of his generation he created a vast body of work of hybrid, award winning, text-sound and radio compositions for the main Radio and Electro Acoustic Music studios in Europe, most notably for the historical WDR's Studio Akustische Kunst in Cologne and Deutschland Radio Kultur in Berlin.
Most recently he was awarded the Phonurgia Nova prize 2012 for his composition "636" (RTBF 2010) and the IDAF prize 2013 for his performance "Mask Mirror" an instrument and software that reorganizes speech for musical purposes enacting an electronic ventriloquism.
Since 2009 he started exploring repetitive speech-loop forms with his ensemble Trophies with drummer Tony Buck and fretless guitarist Kenta Nagai. Trophies has released three CDs and tours regularly. Further ongoing collaborations are with pianist Chris Abrahams (The Necks), composer vocalist Jennifer Walshe and vocalists Tomomi Adachi and Amelia Cuni.
As a concert composer he has been writing for ensembles as the Kammerenseble Neue Musik and Die Maulwerker in Berlin while upcoming collaboration include a project for the Janacek Opera house in Brno and a new vocal piece for the Neue Vokalsolisten Stuttgart. Renard, a cycle of chamber pieces for guitar, clarinet and voice commissioned in 2013 by the Besançon museum of Contemporary Art has just been released as an LP by Les Presses du Reel.
Although being known in recent years mostly as a solo performer past and present collaborations include musicians as Sophie Agnel, Serge Bagdassarians, Boris Baltschun, Günter Christman, Rhodri Davies, Michel Doneda, Axel Dörner, Annette Krebs, Peter Kowald, Giuseppe Ielasi, Phil Niblock, Enrico Malatesta, Renato Rinaldi, Christian Kesten, Bhob Rainey, Hankil Ryu, Otomo Yoshihide, Ches Smith, Taku Sugimoto, Taku Unami along with writers Charles Pennequin and Kim T'ae Yong and typographers Indre Kilimaite and Annette Stahmer.
Bosetti has published more than ten CD's under his own name on labels as Errant Bodies Press, Monotype, Rossbin and Sedimental and many others in different collaborative settings."-Alessandro Bosetti Website (http://www.melgun.net/about/)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
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1. Plane Talea #31 20:00
1. Plane Talea #32 19:40
1. Plane Talea #33 17:34
1. Plane Talea #34 22:52
descriptions, reviews, &c.
"Since a few years Alessandro Bosetti has been collecting voices that become part of the Plane/Talea archive. The creation of the archive stems from dozens of individual meetings and recording sessions, in which each voice is detached from its owner or originator and anonymized. With each new iteration and performance, Bosetti plays the archive as if it were an instrument. He searches for hidden details and correspondences through exploration, immersion and contemplation.
Each re-activation of the archive results in a dense and swarming polyphony made up of thousands of short utterances - shorter than any word bearing a meaning - recombined and interwoven into complex textures. The particularity of the grain of Plane/Talea lies in the autonomous and darting life that each of these fragments lives in a teeming community of voices. Such polyphonies are rich in microtonal detail emerging from the incessant juxtaposition of vocal objets trouvés. Harmonic relationships are sometimes rough and chaotic, other times surprisingly just. The voices are never treated electronically but only recombined and musical tension is provided by the particular grain, inflection, energy of each one of them in counterpoint to the others and to a frugally used instrumentarium (Harpsichord, Ondes Martenot, Cristal Baschet, grand piano, analog synth, Hammond organ). Implicit reference goes to ancient, modern and postmodern forms of vocal polyphony.
"Plane/Talea 31-34" - the continuation of the homonymous 2016 LP - is a work of sampling that projects an imaginary community and a disembodied choir. The four arching and extensive tracks were created between 2017 and 2018 and bear the trace of two specific moments: August nights in a country house in Vicobarone, in the hills of Piacenza (31-32) and a week-long residency at the "Studio Venezia", an environment created by French artist Xavier Veilhan in the French pavilion at the 2017 Venice Biennale (33-34).
Encounters of this sort did happen, with the voice still clinging onto its own origin, and then seen, as it were, coming out of the original mouth and caught saying other things, with a slightly different intonation, a slightly different timbre, maybe due to a little aging, an extra cigarette, a cold. At that point we would come out unsettled, or maybe convinced that it was not the same voice anymore, but another."-Holidays Records
Edition of 300 copies.
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