luigi archetti - bo wiget - rezensionen low tide digitals III (ab august 2009)

Low tide is a time of revelation: Bits of driftwood, seaweed, and shells form a cryptic record of the immense forces that arrayed them. Bo Wiget and Luigi Archetti could not have picked a more apt metaphor for their ongoing collaboration. They work exclusively in rubbish-- scraps of treated cello, guitar, and mandolin; layers of low-hertz tone and fizzing treble; sculpted interference; asphyxiated frequencies-- which their improvisational rapport turns into treasure. Their music possesses a sense of disclosure: These compositions feel like the exposed edges of vast, submerged things, soon to slip beneath the surface again.
Ten years into their learning curve as a duo, Wiget and Archetti have gotten so good at listening to each other that their music feels telepathic. Low Tide Digitals III is the product of two minds operating as one, pursuing common goals with empathetic tension. Currents of severe modern classical, harsh noise, and ambient music pass in a fluid back-and-forth, like a comfortable but tendentious conversation between old friends. Both musicians are out-music veterans: Archetti, an Italian based in Zürich, was a member of Krautrock band Guru Guru, and Wiget, a native of Switzerland, has collaborated with many secret-stars of improv, like Taku Sugimoto. Their experience means they never have to rush or force anything; they close in on coherent themes with measured, effortless strides.
An undulant pulse ties the pieces together, and each one is distinguished by its unique 3-D shape and finessed timbre. "On "Stück 26", Wiget and Archetti gently dissect a glassy cluster of notes, gouts of dark matter spilling from the incisions. "Stück 27" is a huge onrushing shape, like a freight train bearing down in the darkness. The organic and electronic aren't grafted together; they're fused. Prickly strings melt into torrents of mechanical sludge, or shed pitch-bent droplets that swoop out into powerful arcs, or just flex and then roar. Wiget and Archetti exploit timbral overlaps to make noise and melody work in tandem. Or actually, more like negate each other-- social constructs like classical and experimental, organic and electronic, pretty and ugly don't appear to pertain in the private world of Low Tide Digitals III, an ocean built for two.
— Brian Howe , January 13, 2010
The WIRE / 307
September 2009
Low tide changes local horizons, exposes the beach and ist wildlife, changes the ambient sound, leaves you stilled and waiting to put out. This ist he third duo set from Archetti and cellist Bo Wiget. They were previously members of Affront Perdu and began the Low Tide Digitals sequence more than ten years ago, after meeting and beginning to collaborate in 1994. Though the pieces are numbered continuosly across the series – „Stück 1“ to „Stück 37“ so far – there are quite distinct breaks between the three CDs, or rather a steady substiling of communication between the two.
It’s no longer difficult to judge where acoustic -, more properly, instrumental-sounds have abbed into a purely electronic source. Where those divisions were elusive on I and II, on III it’s no longer worth the search, not least because Archetti’s gift for sonic as well as visual space – he’s also an installation artist, graphic artist and painter – is so highly developed. Guitar and cello sounds get round behind you like shorebirds at dusk. You don’t see the movement, other than an ambigous grey flutter somewhere in the exture. You only hear the haunting call, from a new place every time.
A previous WIRE review of Archetti/Wiget likened their collaboration to AMM’s music. That works, but only to a degree, and only perhaps beause of some remote coincidence of instruments: Cardew’s or Rohan de Saram’s cello; or Keith Rowe’s guitar. Certainly, it’s concentrated, egoless music, but with a naturalistic quality and an episodic structure AMM would have avoied. These pieces are all too consciously shaped. One doesn’t, tought, imagine them plonked and numbered in a sonic gallery. They retain a rich, mysterious, outdoor feel.
Brian Morton
August 2009
The third installment in the long-standing duo's ongoing Rune Grammofon collaboration, this album finds Swiss musicians Luigi Archetti and Bo Wiget tackling another batch of artful, electronically treated improvisations. Though strictly speaking this is a meeting between a cellist and a guitarist there's a greatly expanded timbral range to these recordings, and typical of the label's profile the sounds here occupy the shaded area of a wide-ranging music-genre Venn diagram. Elements of neo-classical, jazz, and electronic minimalism collide in a bewitching sonic mesh, all in a continual state of flux between harmonious beauty and more abrasive, exploratory tones. Certainly one of Rune Grammofon's more complex and musically adventurous projects, Low Tide Digitals comes recommended to all followers of more serious - and more difficult - electroacoustic music.
14. August 2009
On their third installment for the Low Tide Digitals saga, Luigi Archetti and Bo Wiget make their rounds again through the heart of the industrial plant, passing by assembly lines of ungreased machinery and scorched steam engines while draping a sheet of fine-tuned, acoustic instrumentation over its foundation. Throughout its 14 movements, fried electronics on the brink of combustion fume and spark in a nebula of distortion and feedback while a wave of creaking cello and snarling bass creeps in during its quieter moments. As the album sinks further into darkened quarters, the overall climate gets a bit chilly, as the eerie hush of silence is met with the occasional blast of cello or a pluck of a mandolin.
Reviewed By Chris Sabbath
23. August 2009
For the third time in eight years, guitarist Luigi Archetti and cellist Bo Wiget have joined forces for the time of an album, continuing their sonic explorations at the confines of modern classical, experimental jazz and minimal electronic, following Low Tide Digitals I and II, published in 2001 and 2005 respectively, already on Rune Grammofon.
The two Swiss residents are very well established artists in their own right. Italian-born Archetti has been an active member of German psychedelic band Guru Guru for the last twenty years, and he also work as a painter and multi-media artist, while Wiget studied cello at the Feldkirch Academy and has since worked with various musicians and formations, often in the field of improvisation, and also occasionally moonlights as a theatre actor. The pair first worked together in 1995 when they were both part of improv outfit Affront Perdu, which led them to collaborate on their own common project a few years later.
Low Tide Digitals III follows the format of its predecessors, the fourteen tracks collected here, sequenced Stück 24-37, resulting of improv sessions where acoustic, electric and electronic components are tightly woven together to form impressive textural atmospheric pieces. While the first two instalments in the Low Tide Digitals series sometimes blurred the boundaries of the pair’s respective contributions, this latest outlines the extent of their musicianship more clearly. Wiget’s inputs provide this album with much depth, his cello, in turn mournful (Stück 27, Stück 28, Stück 31), pastoral (Stück 25, Stück 35) or menacing (Stück 30), rippling through these tracks like seismic shocks, while Archetti is often found charging through with dense and abrasive clouds of distortions (Stück 30, Stück 33), although occasional low-end saturation sometimes bubble just below the surface, accentuating the emotional tension of some of these pieces (Stück 24, Stück 27, Stück 28). Occasionally, he adds brushes of mandolin to create a light counterpoint to his dark guitar overtones (Stück 32, Stück 34).
These improvisations often range from the truly poetic and exquisite to the dark and ominous, sometimes in the space of a few seconds, but the overall album is actually extremely balanced, between calm and density, between Archetti’s guitars, Wiget’s cello and their electronic treatments, between challenging and accessible. With this third opus, the pair appear to have opened up new grounds while remaining faithful to the previous instalments in this series, and they undoubtedly have much more to offer in the future.