NMM (No More Music at the Service of Capital)
Mattin – computer feedback
Lucio Capece – mixer feedback modified by saxophone
Mattin uses computer & guitar – feedback to accentuate the processual and ins-stant character of the improvisation performance. The feedback technique he uses is self-generated and self-sufficient. Much of Mattin’s exploration in sound is based on contrast. The contrast between extremely high and extremely low volumes, between digital and physical computer sounds, exposing the monopoly of detached amplification in sound delivery. These interests are reflected in Mattin’s influences that range from White-house to Malfatti, from Feldman to Eskorbuto. The performative aspect of com-puter improvisation has led Mattin to explore the different meanings that visual representations of this practise can have in different contexts. His work focuses also on the potential for misunderstandings and reinter-pretation in the reception of performance.www.mattin.org
Lucio Capece plays prepared bass clarinet, soprano saxophone and mixer feed-back, modified by an inside microphone placed inside the saxophone. Since two years, he has been researching a non-narrative music practice with a focus on the perception experience. The first aspect of this research works on real time music playing, considering music as time itself more than an idea to be developed in time. No start, no developing, no end. Sound is not being used as a tool, but explored from its most granular and detailed aspects to physical noise experiences. This intention lead to his own solo project, Space Time Modulator, a project inspired by Laszlo Moholy Nahy’s work. Capece shares projects with musicians focusing on a similar approach as Keith Rowe, Axel Dörner, Robin Hayward, Rhodri Davies, Julia Eckhardt, Burkhard Beins, Franz Hautzinger, Domenico Sciajno, Sean Meehan, and composers like Phill Niblock , Christian Wolff. Capece also performs as a guest member of the Q-o2 ensemble in Brussels.www.luciocapece.8k.comNMM (No More Music at the Service of Capital) is an extreme project.Mattin’s unique approach to computer playing with feedback and Capece’s playing with mixer feedback modified by an inside microphone in the reed instruments create a sound art idea in between music and performance. Instruments are not played as such but are worked on in real time, according to a particular behaviour that this sort of extreme treatment imposes.This duet’s music exists at the borders of perception, noise, extreme silence and performance.No More Music at the service of capitalCD-r released on ‘Why not?