Not life OR death but life ‘AND death since both are present at the same time. They had been written by me in order to tell a story. Text materials used in this band are my song. Invisible although placed right in front of the listeners face thus becoming anti-voices, strings of sound and meaning weaved into each other until they melt and disappear. They disappear, sink and implode into being blurry and absent objects. The voices of Trophies, due to their excessive attributes, their redundancy generated by repetition, stop sticking out and start “sticking in”. As something that sticks out I imagine the voice as the only sharp figure in a blurred, out of focus photography. We often refer to voices of nature, voices of the dead, even voices of objects.

A type of voices bordering song and speech but not embracing either one of those practices completely.Ī voice could be defined as a sticking out, ever-sharp, contrasted, willful and somehow agitated object appearing in our field of perception.įar from being just “what comes out from the mouth” or the matter of speech and singing, the notion of voice has a much broader nature. They exist as mist, or clouds of vacuum.Ĭentral to the music of trophies is the voice or a multitude of voices. They rather keep existing as devoid, negative musical objects. On the other side the spoken and repeated melodies of Trophies do not disappear in order to make room for the background to emerge. The composer plays further with this paradox by not adding the inner melody in a second repetition of the same passage suggesting a double negation, the absence of the absent object. On one side Shumann’s inner melody is present only in absence, and as an absent object it cannot be perceived. They become hidden in plain sight and vanish altogether after repeated listening. While the hidden melody of Schumann piece start appearing as a ghost – or at least as a negative, absent, presence – the looped phrases in Trophies disappear from the listener’s perception after a while. Spoken/sung phrases are repeated over and over by three vocalists and embedded in a musical texture created by drums, fretless guitar and electronics. Trophies music reverses this process by making looped vocal lines – at first so unavoidably evident – virtually unnoticeable after prolonged listening. This introduces the haunting presence of a missing object inside the musical discourse. The interpreter is supposed to simply sing this melody in his mind while his hands are playing the other two lines. 20 Robert Schumann added an “innere stimme”, a third melodic line between the right and the left hand ones that is not to be played. In a passage of his piano composition Humoreske Op.

Field research and interviews often build the basis for his abstract compositions along with electro-acoustic and acoustic collages, relational strategies,trained and untrained instrumental practices, vocal explorations and digital manipulations.Īlessandro Bosetti – voice, electronics, text-sound composition In his work he moves on the line between sound anthropology and composition often including translation and misunderstanding in the creative process. They become hidden in plain sight and vanish altogether after repeated listening.Īlessandro Bosetti works on the musicality of spoken words and unusual aspects of spoken communication and produces text-sound compositions featured in live performances, radio broadcastings and published recordings. Looped phrases in Trophies disappear from the listener’s perception after a while. A type of voices bordering song and speech but not embracing either one of those practices completely.

Central to the music of Trophies is the voice or a multitude of voices. Tonight, composer and sound artist Alessandro Bosetti is joined by Kenta Nagai, and Ches Smith for TROPHIES.

In sound mind trophies