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"Weltformat" translates to "world-class", an apt description of the 20 year collaboration between sound explorers, improvisers and rock legends Bo Wiget and Luigi Archetti, heard in this diverse album of soundscapes and sonic intersections, with Archetti on guitar, mandolin, & electronics, and Wiget on cello, electronics, & vocals, fascinating their listener in shades of dark and light.
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Label: Die Schachtel
Catalog ID: ZEIT 015CD
Squidco Product Code: 28496
Packaging: Fold out card stock envelope in plastic sleeve
Recorded by the artists.
Luigi Archetti-guitars, mandolin, electronics
Bo Wiget-cello, bass, voice, electronics
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• Show Bio for Luigi Archetti
"Luigi Archetti, born in Italy (1955) but raised in Switzerland (since 1965), specializes in music that borders on ambient, droning and microtonal. His first solo album was Das Ohr (ATM, 1993), which includes 35 brief vignettes, notably the dilated, Hendrix-ian guitar-solo of Outer Ear the android-exotic ballet Hammer and Ambass, the robotic folk dance Trommelfell, the tense strumming of Gehorknochelchen, the closing drone of Ohrtrompete, the industrial-metal nightmare of Paukengang. Archetti's dissonant guitar miniatures (the instrument is mostly unrecognizable) explore a territory that extends from Fred Frith's noise-rock to Derek Bailey's noise-jazz.
Adrenalin (Recdec, 1994), his "rock" masterpiece, assembled 28 deconstructed, cubist songs of a dissonant post-psychedelic music mutating into a wild variety of styles. The "band" (Archetti on distorted guitar, Urs Blochinger on cacophonous reeds, Martin Gantenbein on creative percussion effects, Hubl Greiner on disorienting samples, Der Volz on the rare vocals) was subjected to all sorts of sonic torture in the remixing stage. Virtually each piece was born at the intersection of abstract electronic music, tribal folk music, convoluted prog-rock, loose free-jazz, demented chamber music, with one or the other element prevailing over the rest.
Archetti's third and boldest solo was Cubic Yellow (Captain Trip, 1999), credited to the Hulu Project, that added sampling, electronics and drum machines to Archetti's eclectic and surreal guitar soundscapes. The collection opened with the atmospheric dance piece Yellow Notification that could not be more misleading, as the rest of the pieces (except Yellow Lullaby) were in the abstract, dissonant vein. Some of them toyed not only with texture but also with rhythm, thus achieving the most disorienting effects: The Yellow Sign, an eerie blend of cosmic music and drum'n'bass, Yellow & Grey, a similar amoeba of drones, reverbs and syncopated beats, Yellow Greenland, halfway between Brazilian carnival frenzy and galactic signals, Fall Back on Yellow, drum'n'bass punctured by volleys of dissonances. Other pieces sounded ominous portraits of future life (or death): The Yellow House, a shapeless post-industrial noise that coalesces into a rapid-fire miasma, Yellow Pellet, an assembly of ghostly echoes from another world, Yellow Hotel Bill, a series of electrical shocks, an well as the assorted noise collages of Get Into Yellow water, Yellow Lunar Vehicle and How About Yellow?.
He played guitar on, among others, Guru Guru's Shake Well (Zyx, 1993), Moshi Moshi (Think Progressive, 1997) and 2000 Gurus (Fuenfundvierzig, 2000), and for avantgarde vocalist Ellen Christi's Alienstalk (Sargasso, 1998)
He has also released a few collaborations with percussionist Mani Neumeier under the moniker Tiere Der Nacht, namely Hot Stuff (Recrec, 1992), Wolpertinger (Recrec, 1994), Evergreens (Captain Trip, 1997), Sleepless (Captain Trip, 1998); the free-noise improvisations for rock quartet (Marin Gantenbein on drums, Max Oliver Schmid on drums, Jan Schlegel on bass) of Erbsline (Mass & Fieber, 1996); the improvisations with drummer Martin Gantenbein and cellist Bo Wiget credited to Affront Perdu on Fin de Siecle (Mass & Fieber, 1997); Low Tide Digitals (Rune-Grammofon, 2001) and Low Tide Digitals II (Rune-Grammofon, 2005), which were further collaborations for Archetti on guitar (and electronics) and Bo Wiget on cello (and electronics); a collaboration with bassist Jan Schlegel, Silent Surface (Unit, 2003). The two volumes of Low Tide Digitals, in particular, were (untitled) studies for Eastern-inspired distortion-laden chamber electroacoustic music (the second track of the second volume) and ominous black holes of "musique concrete" (the ninth and the eleventh tracks of the second volume).
The shamanic music of the Hulu Project (HBL, 2000) was born of a collaboration with electronic musician Hubl Greiner and Siberian singer Stepanida Borisova. The singer dominates the proceedings. Her voice occupies the higher layer and gives each piece its dramatic quality. Below it, the second layer is taken by the percussion, that are played in a non-rhythmic fashion besides the usual timekeeping fashion. They "embellish" the harmony. The electronic background is actually the lowest layer, and rarely intrudes in the dialogue between the human voice and the percussion instruments. A few tracks try to jump on the transglobal dance wagon, but they are the minority.
The 15 Transient Places (Unit, 2004) are electronic vignettes mostly in the droning/microtonal style. tones are created, floated around, slowly mutated or made oscillate, sometimes detonated or disintegrated. Sometimes they achieve the symphonic intensity of Gordon Mumma's installations, sometimes they decay into quantum void, and sometimes they mumble and chatter like a council of tiny animals. The nine-minute eighth track embodies the psychological aspect of Archetti's research, as the sounds are manipulated and sequenced in such a way as to generate maximum suspense and terror.
One of his most abstract and intense works, Februar (Unit, 2005) is basically an atonal "concrete" symphony in 14 movements. The original sources are scientifically decomposed by the electronic manipulation and the resulting extreme audio range is used to sculpt a narrative stream of sound.
The core of Tiere Der Nacht's Krauter & Weltmeister (Captain Trip, 2005) is hypnotic, mildly dissonant and highly percussive pieces (Falling Streamheater, All Yomo). Occasionally danceable (Krauter & Weltmeister) and occasionally romantic (Zap Love), the ritual culminates with the dilated and introspective jazz-rock of New Kabuki.
Null (Die Schachtel, 2010) and Null II/III (Die Schachtel, 2012) compiles a massive electronic work.
Silent Surface II (2012) documents a collaboration between Luigi Archetti (on guitar and electronics) and Jan Schlegel (on bass and electronics)."-Scaruffi (http://www.scaruffi.com/avant/archetti.html)
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^ Hide Bio for Luigi Archetti
• Show Bio for Bo Wiget
"Bo Wiget: born in Wattwil, Switzerland in 1971 and studied classical cello in Austria at the Feldkirch Academy. Cello, composition, performance
Bo Wiget is a musical frontier worker. After classical cello training, he began to be interested in rock, jazz and, above all, improvised music in 1989 and became self-taught with composition. At the same time, his interest in stage art increases. He composes numerous radio drama music and receives composition and editing assignments for various ensembles (Sing-Akademie zu Berlin, Staats- und Domchor Berlin, Lautten Compagney, Argovia Philharmonic and others). Bo Wiget works as a theater musician at the Neumarkt Zurich Theater, Schauspielhaus Zürich, Freiburg Theater, Nationaltheater Mannheim, Staatsoper Berlin, Volksbühne Berlin, Staatstheater Hannover, Staatstheater Darmstadt with artists such as Meg Stuart, Christoph Frick and Stefan Kaegi.As a cellist, Bo Wiget performs with classical musicians, jazz and rock musicians as well as with improvised music. Among other things with Lautten Compagney Berlin, his chamber ensemble Tolkar, who mainly plays song arrangements, or with musicians such as Luigi Archetti (several CDs and award-winning videos, performances), Oli Bott, Iva Bittovà, Dominik Blum, Andrea Chudak, Christof Dienz, Hans -Joachim Irmler (Faust), Margareth Kammerer, Wolfgang Katschner, Simon Lenski, Lucas Niggli, Zeena Parkins, Martin Schütz, Selah Sue, Taku Sugimoto, Saad Thamir, Christian Weber, Michael Wertmüller and many others. Concerts and festival appearances take him all over Europe and to Japan.
Numerous performances with the performance duo Both Messies with Andreas Müller, as well as with dancers, poets and actors such as Eva Brunner, Martin Engler, Christian Filips, Antonija Livingstone, Isabelle Menke, Monika Rinck, Raphael Urweider.Various teaching assignments at the ZHdK Zurich, Academy of Performing Arts Ludwigsburg and at the Folkwang University of the Arts in Essen."-Bo Wiget Website (Translated by Google) (https://www.bowiget.com/biografisches/)
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^ Hide Bio for Bo Wiget
1. London - Stavanger 4:38
2. Kyoto - Salzburg 2:48
3. Roma - Detroit 4:48
4. Santa Cruz - Malans 3:44
5. Eskilstuna - Panjim 4:34
6. Berlin - Dudingen 4:40
7. Irkutsk - Bologna 4:05
8. Oberhausen - Tokyo 5:02
9. Trondheim - Trondheim 5:21
10. Bergen - Paris 5:03
11. Krakow - Accre 4:31
12. Zurich - Milano 6:25
13. Villa Carcina - Wattwil 5:03
sample the album:
"Ending the decade of silence which followed more than ten years of remarkable, critically-acclaimed activity by the partnership of veteran experimentalists, Luigi Archetti and Bo Wiget, the duo returns with what may be their most ambitious effort to date, Weltformat, issued by Die Schachtel.
Switzerland-based Luigi Archetti and Bo Wiget began collaborating in 1998, the fruits of which initially emerged as the critically heralded, three-part Low Tide Digitals series, released by Rune Grammofon between 2001 and 2009. Weltformat, like its predecessors, builds on decades of solo and collaborative efforts by its creators -- Archetti with famed Krautrock pioneers, Guru Guru, among many others, and Wiget with Werner Ludi, Taku Sugimoto, Tetuzi Akiyama, and others.
Sculpted from the intricate tonal interventions and responses of Archetti on guitar, mandolin, and electronics, and Wiget on cello, electronics, and vocals, across the album the duo constructs a remarkably diverse landscape in sound, folding touchstones of modern classical, free improvisation, minimalism, harsh noise, and ambient music, into a seamless, singular expanse. Clusters of tone and dissonance merge, collide, and abrade against drones, textures, and pulsing electronics, each element a representative voice of its creator, caught in an imagistic conversation beyond words, which feels as immediate and intuitive, as it does perfectly balanced and thoughtful.
Weltformat, encountering Archetti and Wiget just past the 20 year mark of their collaborative partnership, bears the fruit of rigorous experiments in sound - an immersive, effortless form of sonic realism, built from the optimism and hope which lays at the root of the avant-garde. As beautiful, inviting, immersive, and slow moving, as it is challenging, destabilizing, and thought provoking."-Die SchactelAlso available on Vinyl LP.
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