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Trophies
Become Objects of Daily Use

awangarda/ jazz/yass/impro/ postrock
Monotype, 2011

Czas trwania: 55:02

Średnia ocena klientów: -    oceń

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sprawdź inne płyty z promocji:
Monotype


CD : 15,90 zł
na stanie
Nr kat.: mono037
format : CD
liczba nośników : 1
Opakowanie : kartonowy ecopack


nr tytuł play mp3
1 This is not the same as chanting
2 He Was a Very Foxy Gentleman
3 Hotels Are Ripping You Off in D.C.
4 He Came Close to Simply Proceeding
5 Enumerating Issues of Coexistence
6 In the Backseat Listen to Him Talk
7 Let Me Take Out the Dog
8 Spaceship


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Trophies, the main musical project of Alessandro Bosetti with fretless guitarist Kenta Nagai and drummer Tony Buck is entirely dedicated to Bosetti's loop compositions.
Trophies's music is based upon two simple principles : it is derived from speech and repeats stubbornly.
Melodies are crafted out of speech profiles of recordings of Bosetti's emotional, often surreal or non-sequitur lyrics. Words are casted into everyday speech and subsequently transcribed and played as endless loops. Speech becomes song and the non-metric, irregular rhythms that it creates turn into powerful grooves and precise pulsations never lining up with any regular beat.
The band's performance is a meditative exercise in precision and intensity. Musical action begins in little shifts of intonation and inflections, anticipation and delay, played out by voice, fretless guitar, drums and electronics. Music warms up to a calm incandescence. Development is patient and inexorable. It never misses to reach a further level and it never looses its bizarre sameness. There is a controlled but restless energy that can mutate up to the point of transforming this trio into a devastating stage monster during live performances.
The insistently repeated speech fragments at the center of the music end up disappearing from perception while leaving a cloud of vaporized meaning behind.
As it is often the case with Bosetti's projects it's hard to find a suitable genre definition although a myriad of eclectic influences are recognizable. Just to quote a few : Robert Ashley's ambiguity between speech and song. Ornette's harmolodic intervallic coherence. Peter Ablinger's photorealistic translation of daily occurrences into music and Eliane Radigue's and Charlemagne Palestine's sense of space and transparency over extended lapses of time. The droning feel is the
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