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CDs/Vinyl
The Dying Hedgehog: „aus den Losungen des entm. Schweinezüchters“ CD 1994
Prandr: dto/ “Bravo“/ “Prelvis“ (BFB) 3 Vinyl-7‘s 1995-96
Affront Perdu: „Fin de Siècle“ (M&F97-02) CD 1997
Bo Wiget: „Elk“ (Sadké97/01) MCD 1997
Spot the Loony: dto. (SgMito 21-10) MCD 1998
Luigi Archetti / Bo Wiget: „Low Tide Digitals“ (Rune Grammofon/ ECM) CD 2001
Prêt-à-Porter: „Songs of Cole Porter in a new outfit“ (Brambus 200259-2)
Akiyama-Sugimoto-Wiget: „PeriodicDrift-Hokou-Spazieren“ (Hcorp., NZ) CD 2001
Archetti/Wiget: Low Tide Digitals II on Rune Grammofon (RCD2046)

Wiget/Lenski CD on radical duke entertainement

Samplers:
runeology: Archetti/Wiget: Stück 8 (rune grammofon) CD 2001
Paul Lemp/Alibi: Archetti/Wiget: Stück 4 (malinik musika) CD 2002
runeology 2: Archetti/Wiget: Stück 15 (rune grammofon) CD 2004
Money Will Ruin Everything: Archetti/Wiget: Stück 22 (rune grammofon) CD and Book 2003
zithered/Christoph Dienz, with a remix by BW
Und jede Nacht derselbe Traum, Lieder für Lore: Kleine Wolke, Manfred Karge u. BW (acapulco 2005)

Als Gast:
Darmcabined: Hirschtalg CD 1997
Brink Man Ship: Translusion (Brambus) CD 2000
LDeep: Labber Labor (Beetown Records) CD 2001
Luigi Archetti: Transient Places (UNIT) CD 2004
Die Anarchistische Abendunterhaltung: tub gurnard goodness (PIASD4730) CD 2004

Pressestimmen:

MASSARBEIT:
"Bo Wiget könnte man stundenlang zusehen, wenn er mit stoischer Mine ein Radio am Kabel spazieren führt. Für Tanzstücke hat er bisher als Musiker und Komponist gearbeitet. In "Maßarbeit" hält er nun selbst den Wuschelkopf hin, professionell assistiert von seiner siebenjährigen Tochter Antonia. Inspiriert ist das Stück von einem Kleiderbügel aus der Schneiderei, die Wigets Familie über Generationen betrieb. Ordentliche Menschen, wie er sagt, und eine Ordnung der anderen Art entwirft auch seine Analyse des Verhältnisses von Tanz und Arbeit, bei der sich Pedanterie und Anarchismus die Waage halten. Minutenlang zählt Wiget den Takt auf präzise acht Schläge ein, die sich am Mischpult zu einem mehrstimmigen Satz addieren. Ein Chaot sortiert: Stimmen, Kabel, Spuren, Frequenzen. Er legt Kabelkreise aus und fahndet nach akustischen Rückkopplungen. Bis alles in einem Extrem-Chanson, einem wilden Cello-Solo und Klein-Antonias unermüdlichen Kreis-Läufen ein komisches Finale findet." Constanze Klementz in Berliner Morgenpost vom 12. 1.2008

"...Bo Wiget verschafft einem in "Maßarbeit" Déjà-vus vergangener Entdeckungen der Minimal- und Elektronischen Musik, die der Musiker Wiget in reichlich unbeholfene, witzig gemeinte tänzerische Bewegungen umzuformen sucht. Dazu darf auch noch ein siebenjähriges Mädchen Kreise ziehen. Die YouTube-Mode bricht sich auch auf Bühnen Bahn. Müssen wir dann eigentlich noch ins Theater?" Georg Friedrich Kühn im Deutschlandfunk am 10.1.2008

"Bo Wiget und Paul Lemp sind vielleicht Idealtypen des heutigen Theatermusikers."
D. Diederichsen im theater heute 2003

ARCHETTI/WIGET:
LOW TIDE DIGITALS
...Swiss Sounds scientists Luigi Archetti and Bo Wiget ride a vibe that takes them way beyond Ambient into contemporary classical music. That dimension is partly defined by Wiget's cello playing and Archetti's arched guitar style, but their masterful and sparing application of electronics is also an important consideration. This fusion of the mechanical and the organic is sensual, thrilling and mysteriously moving. the WIRE 2001

LOW TIDE DIGITALS II
..... Bridging La Monte Young and Sonic Youth, and some more recondite sources besides, Archetti and Wiget's work ia an almost scientific exploration of low Hertz noise, but pitched at a poetic level. Sometimes, it can even sound like Brian Eno i a particulary bad mood. But rarely does it assume the form of song. Rarely too, however, does it resemble that ghastly North American drive-in minimalism dubbed "Dark Ambient". Archetti and Wiget are pursuing their own extremist aesthetic, which I would compare to classic AMM. Play loud. Or, then again, very quietly. By John Gill, THE WIRE 2005

Archetti and Wiget present a dark humanity with their crafty, sombre and exciting soundimages. Said to be improvised, but comes across both thoroughly prepared and reflective. The acoustic guitar moves away from traditional European improv, in a real attempt to find new paths. It«s the playfulness that carries the seriousness through the music. The frames are wellknown, but the content offers variation and an approach that lift the duo out of the avantgarde mainstream. Aftenposten (NO)

"Low Tide Digitals II" is a subtle, slow burn of an album that has one of the more unique tonal palettes that I've heard in some time. The release opens with "StŸck 12" (continuing where their first release left off) and the track opens with some warm cello strains before a rumbling low-end pulses into the background slowly as backwards loops of the cello are layered to fill in the chasm of mid-range. "Stück 13" is just as dramatic, dropping sub-bass bombs as filtered cello strokes paint a soft opening before dissolving into a clicky, buzzing second-half. At times, the duo finds an almost blissful ground with their experimentation, as "StŸck 16" mingles warm bass guitar strums with subtle gurgling electronics for something that sounds like Tortoise on a massive amount of narcotics while "Stück 21" drops sticky and stuttering guitar notes onto one another over a low guttural tone for something that sounds like what you might get if you crossed ultra-low Gregorian chants with a broken windchime made from an old guitar. "Stück 17" drops more deep bass hits with backwards swirls of cello and strummed guitar bits for something dynamic and delicate at the same. Almostcool (US)

The first track, noted as "Stuck 12", owns to the fact that these works are meant to continue where the previous album of the same name left off. Like a swirled scar, raw and ever-changing, both works are beautifully rendered smears of fragmented sound; it is a trait which situates the events of the albums in a twilight neverland mapped by margin walkers such as Taku Sugimoto and Kaffe Matthews. This second effort, however, bears movements more pronounced and articulate, while electronics and organic instruments engage in a communal project. Lost As Sea (US) On the whole, "Low Tide Digitals II" shows the duo having processed their source material to an even more unrecognizable extent. Archetti's guitar and Wiget's cello seem pushed, nay tortured to their harmonic limits. At times the middle ranges seem to have been squeezed out of the music entirely. There is also a more distinct emphasis on electronic programming and synthetic sounds on their newest outing, producing the general effect that "Low Tide Digitals II" is a more self-consciously extreme effort. Tinymixtapes (US)

The music moves effortlessly from pretty, finely detailed Brian Eno-esque soundscapes and grainier soft-noise assemblages reminiscent of Rune Grammofon's Deathprod/Supersilent axis. Tracks like "Stuck 21" and"Stück 22" sound like they were tailored specifically for the label's aesthetics, they also work wonderfully well, especially "Stück 22", with its wailing guitar notes and tortured atmosphere. All Music Guide (US)

There aren't many that manage to make electronics sound warm, to dress the listener in warm clothing of fuzz and quiet noise. Often the more clinical sound of digitalisation will take over and you risk to lose some of the human elements behind the music. The duo master this task very well and on "Stück 23" we hear a warm stream of sound that can melt the coldest of ears. This feeling of a human hand and a grip of details can not be produced by defaulted parameters from a factory. They change between a current free drive not unlike Sigur Ros when Wiget pulls out the cello, while they crackle closer to Fennesz or Deathprod when the electronics are put forward. Groove (NO)

The mood of these twelve improvised compositions for cello, guitar and electronics is that of seafloor music - alive with clicks and pings, ominous hull knocks and so many pounds of pressure per square inch that your eardrums buckle under the weight. As objective observations, they are compelling, what with all of their percolating details and scrabbling textures. Crafting contrast, Wiget and Archetti contextualise theses sounds next to profoundly ugly electric field disturbances, painfully loud digital explosions and gut-churning low-end frequencies. Like a swirled scar, raw and ever-changing, this work is a beautifully rendered smear of fragmented sound; a trait which situates the events of the albums in the twilight neverland mapped by margin walkers such as Taku Sugimoto and Kaffe Matthews. On the majority of pieces, Wiget melts the source material into a fluttering spray of sine waves that's all but beatless, displaying his characteristic sensibility for miniscule variations in tone. Archetti, meanwhile, whittles material down into a splintered rhythm section, snagging the melodic midrange on its heart-emblazoned sleeve. Now and again one finds pieces in which blasts of noise are relatively tempered while shrill siren gurgles and astringent chords are nursed by someone squeezing lemony textures out of a guitar and fashioning quiet beats from raindrops. Throughout some forty-four minutes, this effort establishes that human emotion can remain quite distinct in quite abstract settings. For this reason, Low Tides Digitals II is made radiant with wraiths of electronic tone, drug-slurred cello and rustic harmonies that twine like smoke. Cyclic Defrost (AU)

The sounds are at once captivating and elusive, graven images flashing intermittently across every surface of a blackened theater. Like Brian Eno's "Apollo", a soundtrack to visuals of NASA's missions to the moon of the same name, ÓLTDIIÓ maps a remarkable environment. But unlike Eno's work, which tends to proffer spaces stretching into infinity without discernible differentiation, a road we can all follow forever, Archetti and Wiget mark each passing moment with sounds that are as singular and diverse as the landscape of the moon itself, while maintaining that lunar hue. Rather than a soundtrack for a collective (national) dream, "LTDII" is procession of sound images, the half-formed recollections of events that shape our own landscape, as well as the belated imagining of them: precisely deployed hums and hisses, ghostly radio frequencies and elegiac organ chords blur the line between the moon landing and its subsequent TV memory, while pristine low-frequency cannonballs and distended masses of dirty electric guitar further roil the slideshow. Dusted Magazine (US)

Its not everyday that you hear an album of improvised experimental guitar, cello and electronics, but then again legendary Norwegian label Rune Grammofon isn't in the business of putting out common or garden music. at times disturbing, at times hypnotic, this, like the Murcof album i reviewed a few weeks back, is no easy listen. But it is never less than a thrilling experience listening to musicians who feel their instruments, and who improvise from a place inside themselves that so many artists rarely tap into. To Hell With It (UK) On Rune Grammofon, who, by my estimation, have only released one not-amazing record, ever, this is an accomplished and elegant thing, with just the right mix of beauty and cruelty, smoothness and crackle. I listen to it when I want to be in the safe hands of abstraction, indoors and alone, remembering a summer of whale gravestones and sacred geometry, a summer soundtracked in my heart by shifted pitches, radio static, atmospheric oscillations and bat-detector blips. Plan B (UK)

..... Auf ihrer zweiten CD als Duo führen sie mit zwölf Miniaturen in ein seltsames Diesseits zwischen klassischer Avantgarde und elektronischem Noise, Jazz und experimenteller Rockmusik. Diesen Weg haben einige schon beschritten, mit mmächtig viel Drogen, grossen Konzepten oder beidem. Archetti und Wiget gehen ihn nüchtern, aber mit radikaler Hingabe. Ihre Musik kreist um zentrumslose "drones", um Variationen des Dröhnens, in den tiefsten Bassfrequenzen in den Weiten eines abstrakten Klangraums ausfransen. Unaufdringlich und langsam geschieht das, aber zwingend. Dabei durchkreuzen Archetti und Wiget die Erhabenheit ihrer akustischen Gebäude öfter mit instrumentalen Dialogfetzen. Aus der Niemandsmusik tauchen Melodielinien auf, die sich sanft in einer unbekannten Sprache unterhalten. Bei dieser melancholischen Rede und Widerrede von Cello und Gitarre erhŠlt der Klang eine kšrperlich erfahrbare Materialität. Indem er gleichzeitig auf Referenzen verzichtet und die Hand zu Assoziationen reicht, verweist der Sound auf das Zuhören selbst, und für einen Moment liegt in diesem Zuhören kein Gegensatz mehr zwischen abwesender Entrückung und konzentrierter Aufmerksamkeit. Mischa Suter, Tagesanzeiger, Zürich

Her er fortsettelsen av "Low Tide Digitals" som kom i 2001, og den svekker ikke interessen for ut¿verne. Kontrastene mellom dyptloddende bass og insisterende cello har sterkt preg av egenart i denne sveitsiske duoens elektroakustiske utlegninger pŒ f¿rste spor, "StŸck 12". Archetti og Wiget fremmer en m¿rk menneskelighet med sine underfundige, dystre og spennende lydbilder. Musikken er visstnok improvisert, men den fremstŒr som bŒde gjennomarbeidet og reflektert. Den akustiske gitaren beveger seg vekk fra tradisjonell europeisk impro, i et sant fors¿k pŒ Œ finne nye spor, og det er leken som b¾rer alvoret frem i musikken. Rammene er kjente, men innholdet byr pŒ en variasjon og en vinkling som l¿fter duoen ut av avantgardistisk mainstream. "Low Tide Digitals II" er en utgivelse med h¿y flamme og historisk forankring, i fremadrettet sig. www.aftenposten.no

.......c'est un duo d'une rare finesse qui prendra le relais. Association électroacoustique entre le guitariste italien Luigi Archetti et le violoncelliste suisse Bo Wiget, flanqués d'un dispositif numérique, Low Tide Digitals compose un panorama de crépitements microélectroniques, de grondements ondoyants et de sons improvisés sur instruments acoustiques. Par l'entremise de l'excellent label norvégien Rune Grammofon (Deathprod. Supersilent. Maja Ratke) vient de paraitre l'album Low Tide Digitals II, second jette de cette musique ambient inquiète, tortueuse, mais aussi émouvant. RMR LE COURRIER

......vor einigen Wochen nun ist "Low Tide Digitals II" erschienen und knüpft mit "Stück 12" bis "Stück 23" an den feingliedrigen Erstling an. Sanft gesponnene Klangfragmente verdichten sich zu Landschaften in kargem Licht, monochrom und ohne Pathos werden sie zu zarten Gemälden, wehen so der aufgehenden Sonne entgegen. Farbe wird spärlich hingetupft, nicht aufgetragen und schafft so einen ungewohnten Zeithorizont, in dem sich einige langsame digitale Amphibien bewegen. ibo WOCHENZEITUNG, Zurich