Lucio Capece Anti-Copyright Mattin


Nov 2006
NMM 'UNIVERSAL PROSTITUTION' CD on iDEAL, absurd, 8mm (Sweden, Greece, Italy)weeden, Italy, Greece) CD
May 2006
t-shirt released by absurd (Greece)
July 2005 NMM 'No More Music at the service of capital' CDr on Why Not Ltd? (Malasya)
July 2006 rerelease on CDr by No Seso (Argentina)



It has been quiet on the side of Mattin, for at least perhaps a few
weeks, but here he returns with the second release as No Music Music,
his duo with Lucio Capece, who plays mixer and saxophone feedback.
Mattin has the usual computer feedback behind his name but also vocal,
which in the context
of noise a rather odd thing for him. 'Universal Prostitution' has four
tracks of noise music. In the opening title piece the tone is set: loud
furious aggressive, a wall of noise. Mattin's voice here, as well as in the
other three tracks, is a cross-over of William Bennett (of Whitehouse
fame) and Gary Mundy (of Ramleh fame?). In 'Consumed' however the two
create a collage of noise and silence, and even a bit of saxophone is to be recognized.
This is by far the best piece on the CD, because it breaks away from
the standard noise thing which is more or less apparent in the other
three tracks. But throughout I must say this was quite an enjoyable CD of real loud
noise. (FdW)



`Universal Prostitution´

Autore disco:



Abusurd (GR) / Ideal (S) / 8mm (I)




Anno di Pubblicazione:



1) Universal Prostitution 2) Consumed 3) Work=Decapitated Life 4) Blow




Mattin, Lucio Capece

al limite dell’udibile

x Alfredo Rastelli

Mattin, dopo una gavetta fatta di infinite autoproduzioni e successivi lavori più o meno ufficiali, si è attirato un seguito di appassionati non indifferente e soprattutto la stima di gran parte degli addetti ai lavori (mi riferisco soprattutto ai musicisti) tanto da essere tirato dentro ogni qual volta si parla di avanguardia europea (e a ciò ha contribuito anche il suo cambio di residenza da Bilbao a Berlino). Tali eventi hanno permesso così al suo palmares di allargarsi a collaborazioni molto importanti, su tutti, il più riuscito, il progetto Sakada. Di Lucio Capece, invece, argentino di nascita, residente attualmente anche lui a Berlino, risalta una discografia più contenuta ma anche accuratamente ‘mirata’, vedi il disco per la Creative Sources insieme a Robin Hayward, Rhodri Davies e Julia Eckhardt. “Universal Prostitution” segue di un anno “No More Music”, disco d’esordio dei due con la sigla omonima, e come il predecessore si estrinseca in una mostra di digital noise prodotto dai computer dei due (Capece utilizza anche il sassofono, ovviamente processato al pc).
Questo in oggetto è un lavoro al limite dell’udibile, basti considerare che, posizionato al volume minimo, il suono fa ancora la sua porca figura. È vero che dischi noise come questi se ne sentono e se sono sentiti tanti, in una gara suicida tendente al suono più omicida in circolazione; tuttavia la sensazione in questo caso è che venga meno la gratuità, in termini di rumore, di certe produzioni del genere ed emerga, dall’ascolto (sofferto) del disco, una volontà di apertura tendente allo scardinamento di un (consueto) suono monolitico: in questo, gioca un ruolo decisivo sia l’utilizzo della voce al cui servizio si mette il tessuto strumentale (Universal Prostitution), sia le studiate pause dal rumore incompromissiorio (la parte centrale di Consumed), sia alcuni riusciti giochi ritmici (Work=Decapitated Life).
Con tanta buona pace dell’ascoltare, questo disco può diffondersi anche oltre l’ortodossa cerchia dei fan.

p.s. non adatto ai bambini, può causare effetti indesiderati, consultare il medico prima dell’uso, leggere accuratamente le avvertenze.

click to enlarge!click to enlarge!

The Sound Projector

A further chapter in the Mattin manifesto and his master plan to crush

monopoly capitalism through harsh noise. Here he is with Lucio Capece,

the Argentinian saxophonist who has also recently made a very quiet

record for L’Innomable with Axel Dörner. With his mixing desk and

feedback generated from his sax, Capece is matched by the Basque Mattin

producing hideous noise from computer feedback and yelling at the top of

his voice from time to time. Over 37 minutes, we have four tracks of

shrill and repellent sounds recorded in various locations around Europe

during 2006; three of them have lyrics, and all are intended as

extremely critical diatribes and attacks on various aspects of Western

capitalism. As with his Proletarian of Noise, Mattin directs his

single-minded hurlements at the listener, with an underlying accusatory

tone. ‘Universal Prostitution’ (surely a 2006 update on Mark Stewart’s

‘We Are All Prostitutes’) tells us ‘You get born / you get used / you

get fucked / you live in / universal prostitution’. Well, there’s a

stark message. It’s more like a slogan, and some listeners may find it

doesn’t really convey enough of the specifics of the problem, nor lead

to any constructive suggestions for how to improve matters. However,

‘Consumed’ presses more sophisticated buttons about the ‘alienation’ of

consumer society and how, in Mattin’s eyes, the only belief system we

have left is centred around ownership and money, and that we have all

been ‘decimated and betrayed’ by this system. The Marxist diktat whence

much of this line of thinking is derived is quoted in some seven lines

on the back cover, while the front cover deploys a construct of

photo-collage, typography and colour-field printing that is clearly

intended to invoke the work of the Russian Konstruktivists. It’s not

quite as powerful in its geometric perfection as Rodchenko and lacks the

design impact of the Stenberg brothers, but the point is taken.

Not every track here is as harsh as the opening salvo; ‘Consumed’

comprises two discrete sound events, both derived I assume from very

extreme electronic processing, and both contributing heavily to the

listener’s malaise. It ends up with further sloganeering and screeching,

but that nausea-inducing tactic is a good one, and has been used (to a

lesser degree) by earlier Marxist/Socialist musicians such as Chris

Cutler, Tim Hodgkinson, and This Heat. The point of it is to persuade

the audience, through sound, that all is not well with the world;

political statement through dissonance. Third track ‘Work = Decapitated

Life’ is another noise fest, without any lyrical content at all, and

recommended to any curious listeners as an entry route into this harsh

new world of Mattin’s; it’s one damn good slab of tooth-rattling spiky,

feedback racket. The same could be said of the ten-minute ‘Blow’, which

features an astonishingly crude passage of inhuman gravel-voiced

bluttering, which I take to be Capece’s saxophone filtered through some

excessive treatments. Another ‘Anti-Copyright’ recording, jointly

released by three labels.

ED PINSENT 20/08/2007

The Sound Projector (by Ed Pinsent 11th April 2007)

NMM, or No More Music at The Service of Capital, are a duo featuring Lucio Capece and Mattin;
does computer feedback, Lucio does saxophone feedback and plays the mixing desk. The CD is called Universal Prostitution
and comes decked in a sleeve resembling a 1930s Marxist tract, printed
with trenchant texts about consumerism, products, alienation, power,
and belief systems; the sort of accusatory and critical messages I
haven’t seen printed on a record sleeve since the days of Crass or The
Pop Group. This particular product is proudly marked ‘Anti-Copyright’,
and it’s a joint release by Ideal recordings (iDEAL041), Absurd (#63)
and 8 mm Records (012).

Reviews of 'No More Music at the service of capital':

The Wire
Outer Limits 
Sam Davies
December 2006

No More Music dcuments a 2005 collaboration between Mattin and Capece, improvised in real time. Mattin supplies laptop-generated feedback, while Capece s set+up, the same as on Space-Time Modulator, offers an analogue approach in contrast to Mattin s digital textures. The initial attack on the piece is familiar, with two fronts of growling noise quiickly creating a kind of micro-climate of tension and release. Feedback is held motionless to build anticipation for the next plugen into squalls of noise and tone. About halfway through, the duo pull the plug. Silence and space replace the feedback, just as it has insinuated itself into what feels like a permanent stasis. Though low-level interventions creep in and build fractionally, it s a bold piece of wrongfooting by the pair.

Musica Radiklal Braska | Auskal Muturreko Musika

Critica a “No More Music - at the service of capital”(Mattin & Lucio Capece)

No More Music at the service of capital

Critica a “No More Music - at the service of capital”(Mattin & Lucio Capece) :

Cuando empiezo a mirar en mi discografía sin un disco concreto que buscar, me doy cuenta de que mis discos preferidos son los que han llegado allí por un intercambio con el mismo músico. Mi disco a cambio del suyo: “yo te doy el mio, y tu me das el tuyo”. Ganan así, además del valor musical o estético, otro valor diría que más sentimental(Creo que oí decir esto mismo también a Mikel 9cdr…)
“No More Music - at the service of capital” también ha llegado a mis manos por uno de estos intercambios, esta vez con Mattin. Y esta vez el intercambio es doble, ya que también incluye un intercambio crítico. Es decir, “Yo te hago una crítica del disco que me das, tú me haces una crítica del disco que te doy).

Se trata de una colaboración entre Lucio Capece(desconocido para mí) y Mattin, al cual conozco un poco personalmente y del cual he oído algunas grabaciones de colaboración, y un par de piezas en solitario. Recuerdo que la primera vez que lo ví en directo con el proyecto Sakada(junto a Eddie Prevost, y Xabier Erkizia de invitado, en el 2003), fué un concierto que me encantó y que me descubrió muchas cosas(era cuando estaba descubriendo éstas músicas experimentales…y todavía sigo descubriéndolas, pero digamos que entonces todo era todavía más nuevo). El disco “Never Give Up On The Margins Of Logic” de Sakada también me gusta mucho, y cualquier otra grabación de este dúo. Pero cuando lo he oído en colaboración con otra gente o en solitario, siempre me ha dejado muy frío. Por eso me hizo especial ilusión encontrarme con éste disco, esperando que, al igual que la colaboración con Prevost, éste nuevo dúo entre Capece y Mattin llamado “No More Music” me deparara alguna grata sorpresa. Esperanza que se ha visto bastante frustrada…
Es “At the service of capital” un disco que viendo la fecha de publicación podria bien tomarse como un disco mas bien reciente, ya que la primera edicion en el sello “Why Not LTD” data del julio de 2005. Pero esa impresión de estar ante algo bastante fresco se nos cae al ver que en tan sólo un año a nuestro Mattin le ha dado tiempo para hacer otros ¡15 discos!(¿Hiperactividad?¿Incontinencia creativa?)
La presentacion y el diseño son buenos, y nos dan una primera buena impresión. ¡Hasta huele bien el cartón! Sacamos el disco del sobre rojo, lo metemos en el reproductor y le damos al “play”. Una buena cantidad de ruido saturado empieza a sonar alto(Puse el volumen bastante alto siguiendo la recomendación que hay en la contraportada). Pero esta vez no se trata de un ruido intenso, contínuo y lineal como acostumbramos oír a Mattin normalmente, sino un ruido totalmente aleatorio y dinámico. El lado bueno de esto es que casi obliga al oyente a no perder la atención y a estar pendiente de los cambios, y el lado malo es que no se crea ninguna tensión ni ningún clima que consiga llevar al oyente(muchas veces, la música experimental o drone suele ser una invitación para un viaje por mundos imaginarios. No es éste el caso). Hay dentro de ese cambio constante algunos momentos en los que se crea tensión, pero en vez de seguir trabajando más dicha tensión, lo destruyen para crear otra cosa(Supongo que era ésa la intención). Destacaría dos momentos de los minutos 5 y 12, donde la tensión creada es más latente y parece que el disco va a empezar a tomar otro camino, pero vuelven otra vez a destruirlo. Son estos dos los mejores momentos de todo la grabación.
El disco sigue en una contínua, ruidosa y saturada creación y posterior destrucción de momentos tensos durante algo más de un cuarto de hora, y de un momento a otro, el disco que era volumen y ruido pasa a ser un disco silencioso de microsonidos. Es el contraste de volúmenes un elemento que podemos ver en muchísimas grabaciones de Mattin, especialmente en la pieza “Abused divisions” publicada en el net-label madrileño Con-v(el mismo nombre de la pieza lo dice todo: Divisiones abusadas).
A diferencia de la primera, en ésta segunda y silenciosa parte parece que los acoples tímidos y las pequeñas texturas sí que nos van a permitir entrar en un clima especial e iniciar un viaje, pero en vez de llevar un desarrollo coherente y lineal, vuelven otra vez a destruir al rato cualquier cosa que construyan. Nada más conseguir una interesante combinación de timbres, van a otra cosa. Hay silencios en los que quedaría bien acabar(de hecho pensé varias veces que ya se había terminado), pero después de unos segundos de silencio siguen tocando una cosa diferente. Esto hace que toda la segunda parte sea una continuación de ruidos con poca coherencia, llena de partes distintas que a mi parecer no se oyen unas a otras.
Es un disco bien hecho, pero que en general me ha dejado frío. Aún así, quiero resaltar una de las cosas que me ha sorprendido, y en el que creo radica el mayor logro de éste “at the service of the capital”: Pocos discos me han mantenido tan alerta como éste, y creo que se debe al contínuo construir-destruir, al contínuo cambio, y también a los muchos silencios de la segunda parte de los que hablaba antes(Cuando un sonido se va la echamos en falta y nuestra atención vuelve). Pero ni la aleatoriedad de Evol ha conseguido mantenerme tan atento, por lo que es una cosa que no sabría explicar muy bien.
Y nada más que decir. Aunque me haya dejado frío, será de ahora en adelante uno de los discos preferidos de mi discografía.

Oier Iruretagoiena “Tüsüri”

Enlaces relacionados:

number 541
week 35

This week's contribution to Vital Weekly by Mattin is hidden somewhat in the band name No More Music. That is Mattin together with Capece. So far they played in Berlin (where Mattin now also lives), Strasbourg, Brussels and Oslo. Here we find both in a very noisy mood: the feedback that was once the trade mark of Mattin has full on returned here and it's doubled with the mixer feedback of Capece 'modified by saxophone'. Furiously loud it starts, but throughout the piece they drop back in volume, rather than in intensity. Even when things are 'soft', the intensity is still there, present and painfully. Towards the end they seem to play around with silence, with just a little bit of sound and even that sounds overwhelming. A loud release for sure, but in varying degrees. Very intense, from start till finish. (FdW)

Touching Extremes (Italy)
"No more music at the service of capital" fits in the definition of "Touching Extremes" very well, as Mattin (computer feedback) and Lucio Capece (sax, mixing board) first launch a torrid attack on your speakers, whose cones are shaken, rattled and rolled by the harshest distortion you can get this side of Borbetomagus; then, exactly halfway through the disc's length, suddenly stop their terrorism leaving us in company of an almost surreal quasi-silence, which is broken only by the small sounds of life at first, then by short appearances of concrete tampering and more feedback - this time controlled, in order to make it barely audible in pretty short glimpses of crystalline limpidness; but distortion still lurks behind, just content of knowing that the hush is scared by its presence. As usual, the access password to this kind of material is "no compromise", in a typical love/hate situation for many listeners.  Massimo Ricci


w.m.o/record label
desetxea net label