{"id":21666,"date":"2025-09-19T11:44:32","date_gmt":"2025-09-19T09:44:32","guid":{"rendered":"https:\/\/digipur.it\/?p=21666"},"modified":"2025-09-19T11:44:32","modified_gmt":"2025-09-19T09:44:32","slug":"kety-fusco-releases-new-album-boheme-out-now-via-a-tree-in-a-field-records-the-harp-as-youve-never-imagined-it","status":"publish","type":"post","link":"https:\/\/digipur.it\/en\/kety-fusco-releases-new-album-boheme-out-now-via-a-tree-in-a-field-records-the-harp-as-youve-never-imagined-it\/","title":{"rendered":"Kety Fusco releases new album “BOH\u00c8ME”, out now via A Tree In A Field Records: the harp as you\u2019ve never imagined it"},"content":{"rendered":"

The harp as you\u2019ve never imagined it.\u00a0BOH\u00c8ME<\/em>\u00a0<\/strong>is the proper second studio album by internationally renowned Italian-Swiss harpist and composer\u00a0Kety Fusco<\/strong>, out today\u00a0September 19th, 2025<\/strong>\u00a0via the Swiss label\u00a0A Tree In A Field Records<\/strong>. Fusco transforms the\u00a0harp<\/strong>\u00a0into a completely new voice, redefining what this instrument can represent in the contemporary musical landscape. This is not just music. It\u2019s an invitation to explore a sound world that has never existed before.<\/p>\n

Every sound in\u00a0BOHE\u0300ME<\/em><\/strong>\u00a0comes from the harp, and yet nothing is as it seems. Sound manipulation,\u00a0underwater recordings<\/strong>, and unconventional techniques create a unique musical language, far beyond traditional boundaries. Among the boldest experiments, Fusco literally immersed herself in a swimming pool to record the harp sounds underwater, transforming the instrument into a medium for telling the unexpected. This daring approach shines in the opening track,\u00a0Hi, this is Harp<\/em>, a symbol of sonic avant-garde.<\/p>\n

BOH\u00c8ME<\/strong><\/em>\u00a0is launched by the singles\u00a0BLOW<\/em><\/strong>, a wind that carries everything away between classical roots and cutting-edge electronic language, and\u00a0SHE<\/em>\u00a0feat. Iggy Pop<\/strong>, a love letter to the harp, as well as the celebration of the encounter between the ethereal sound of the instrument played by Fusco and the powerful vocal timbre of legendary rock icon\u00a0Iggy Pop<\/strong>. The track was born from a sentence Iggy said during a BBC Radio show, while speaking about Fusco\u2019s music:\u00a0“The harp is not heard, as much”<\/strong>. Those words deeply resonated with her \u2014 like a calling she couldn\u2019t ignore. She took Iggy Pop\u2019s voice, listened to it, embraced it, sculpted it into her music. Then, she sent him the track. What happened next changed everything: Iggy Pop agreed to collaborate with her. Together, they shaped a piece that is far more than just a track \u2014it\u2019s a dialogue between two extremes that meet and merge.<\/p>\n

Comprising nine tracks and created in collaboration with the award-winning film composer\u00a0Nicolas Rabaeus<\/strong>,\u00a0BOH\u00c8ME\u00a0<\/em><\/strong>also features as bonus track a visionary reinterpretation of Beethoven\u2019s famous\u00a0Fu\u0308r Elise<\/em>, renamed\u00a0Fu\u0308r Therese<\/em><\/strong>. Fusco breathes new life into a classic, blending poetry, theory, and contemporary sounds in a dialogue that intertwines past and future. Beethoven composed\u00a0F\u00fcr Therese<\/em>\u00a0in 1810, as his deafness worsened. He could no longer hear well and knew he would soon lose his hearing completely. Yet, he continued to compose. Music was no longer what he could hear, but what he imagined. Therese Malfatti was the woman to whom he dedicated the piece. He loved her, but she did not love him back. No love story, no happy ending. And to make matters worse, years later, her name was erased by mistake. A copyist miswrote the title, and\u00a0F\u00fcr Therese\u00a0<\/em>became\u00a0F\u00fcr Elise<\/em>. Therese vanished from history, replaced by a name that had nothing to do with her. Beethoven, deaf and forgotten, could not even defend his own music. \u00a0Kety Fusco\u00a0<\/strong>did not want to simply play\u00a0F\u00fcr Elise<\/em>. She wanted to restore Therese to her rightful place. But she did not do it with a sweet and delicate piano. No. She did it her way. Her\u00a0F\u00fcr Therese<\/em>\u00a0is not nostalgia, not perfection. It is a broken, distorted, living sound. The harp does not accompany, it shouts. Now,\u00a0F\u00fcr Therese<\/em>\u00a0has its name back.<\/p>\n

The captivating\u00a0single\u00a0Resistance<\/strong><\/em>\u00a0is the latest foretaste from\u00a0BOH\u00c8ME<\/strong><\/em>. \u00abResistance<\/em><\/strong>\u00a0is knowing that beauty can still be born from struggle and imperfection\u00bb, according to the artist. \u00abIt’s the silent courage of those who continue to fight, even when everything seems to be going against them. Resisting means not giving in, remaining true to yourself, blossoming where no one imagined life could grow\u00bb. This is true “Resistance”: transforming rejection into strength, waste into life, silence into song.<\/p>\n

BOHE\u0300ME<\/strong><\/em>\u00a0is more than an album: it\u2019s an artistic manifesto. It celebrates the beauty born from the courage to face the unknown. According to Fusco: \u00abWith\u00a0BOHE\u0300ME<\/strong><\/em>, I continue my own journey \u2014 a profoundly liberating sonic experience, born from the desire to explore new horizons without compromise. This project represents a totally new vision of my relationship with the harp and with sound itself\u00bb.<\/p>\n

Kety Fusco\u00a0<\/strong>has transformed her strong academic foundation into a springboard for exploration that has led her to a radical path of sound innovation. Feeling the need to push beyond the boundaries of tradition, she began experimenting with the electric harp, creating an instrumental revolution. Her career has been marked by significant performances on prestigious international stages (Montreux Jazz Festival, Paleo Festival, La Notte della Taranta, Afrolect International Jazz Festival, Jazz:Re:Found). Among the highlights is her invitation to perform at the Royal Albert Hall in London, where she achieved a sold-out show. Among her projects stands the sound library Beyond the Harp, awarded \u00abBest Database of the Month\u00bb by “Musitech”, which expanded creative possibilities for composers and producers. Fusco has received numerous accolades, including an invitation to perform at the United Nations\u2019 Global Festival of Action, and she was invited by Agnes Obel to open her concerts during her tour.<\/p>\n

In the meantime,\u00a0Kety Fusco<\/strong>\u00a0has been selected for the prestigious\u00a0International Visitor Leadership Program (IVLP)<\/strong>, the official exchange program of the U.S. Department of State which, for over 80 years, has brought together individuals destined to leave a mark in their fields. Her exclusive invitation came through direct nomination: in Kety Fusco\u2019s case, it was supported by the\u00a0Montreux Jazz Artists Foundation\u00a0and the\u00a0U.S. Embassy in Geneva, who recognized her as one of the most authentic and unconventional voices in the Swiss music scene. From\u00a0September 20 to October 12, 2025, Fusco will be in the United States for three intense weeks of diplomatic and cultural meetings, traveling through Washington D.C., Baltimore, Philadelphia, Milwaukee, and Los Angeles.<\/p>\n

This journey also coincides with the release of her new album\u00a0BOH\u00c8ME<\/em><\/strong>. After fifteen years of classical studies, and over 200 international concerts,\u00a0Kety Fusco<\/strong>\u00a0establishes herself as one of the most innovative artists on the contemporary scene. Following the debut album\u00a0DAZED<\/em>\u00a0and the experimental work\u00a0The Harp – Chapter I<\/em>, critically acclaimed and mentioned also by “The Guardian”,\u00a0BOHE\u0300ME<\/em><\/strong>\u00a0is a breath of freedom, an invitation to lose oneself on unrecognized paths, beyond the boundaries of habit, leaving behind the rules that chain us.<\/p>\n