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Take a Seat

by Angelo Bignamini

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1 03:48
2 02:23
3 03:51
4 03:25
5 02:19
6 03:54


Recorded in April and September, 2022. Using found objects, speakers, tapes, small electronic devices.


released January 1, 2023

A short interview between Zhu Wenbo and Angelo Bignamini, in December 2022.


Would you could introduce yourself at first? For example your age and where you live… And besides off this kind of music, do you do any other things in normal days?

My name’s Angelo. I’m 39 years old and I live in a small place between countrysides of Lodi and Piacenza’s districts.
Here I operate as metal worker and artist.

When did you start making this kind of music, which I mean is something between found objects, field recordings, self-building sound equipment and tape music/musique concrète? Before doing this, did you also play some other kind of music? How did you change your direction from before to now?

Before doing this kind of music I played in many bands as a drummer and guitarist. 
Guitar is my favorite instrument (I play it since I was 8) and I still play it a lot in my compositions and improvisations.
I've always been a very curious listener and the transition to a more difficult musical style (experimental, they say) was a natural evolution. I just started digging deeper.

Would you like to tell us the gears and equipments you used in this album? How did you use them? For the different sound sources, will you let them interacting each other, or only let them happening together?

In this last recording I mainly played found objects (as small stones, woods and plastic components), pre recorded stuff on tapes and cds and small feedbacks devices.
I putted all these “instruments” on a table and I recorded the iterations between them with a digital recorder.
I also used some computer speakers to create angles, colors and stereo plays.
All these appliances are battery powered.

Is there any materials/equipment/methods that you do not like and would like to avoid (at least for now)?

All the devices and sounds always returned cyclically in my works.
It depends if they fits well to my idea of composition I’m doing in that moment.

How about this kind music’s scene in Italy? I think I know something from tsss tapes and some un-met Italian friends living in London, and I feel that there is an active scene in Italy. I don’t know if it is just an illusion for me… So would you like to share your feelings?

There are a lot of great musicians and experimenters in Italy who often operates in all the world.
In Italy there is a very interesting underground music scene but it’s often open to a few artists and linked to friendships established over the years.
For me (that I’m a real bad pr) it has always been easier to produce my records outside Italy.

Do you think if there is some theoretical system in your music? Or maybe don’t need to conclude so academic, what do you specifically want to focus on in the music?

I always conceived music as the most important thing in my life. 
There has always been a continuous mix between music and sound in my experience.
Musical evolution is the natural consequence of this life path which is inextricably linked to the memories and experiences of my life.




Zoomin' Night Beijing, China

Zoomin' Night
燥眠夜 is a cassette label based in Beijing, run by Zhu Wenbo since 2015.


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