Recorded one night not so long ago by a guy name Mattin, who
apperentely plays computer feedback, Rosy Parlane (from the Sigma
label fame) and Eddie Prevost (from AMM name), the latter two on
percussion. This trio battle their way through a good hour of sheer
improvised noise. The odd combination of feedback and percussion
works strangely enough very well. Mainly this is because the
percussion doesn't work like a counterpart, like a handclap but
instead, just like feedback, it sustains the sounds generated from
the computer feedback. Every sound is like a logical extension from
the previous one to the next one. This music is not a soft briese but
a wild storm, a thick cloud of sound. It's the sort of hurricane that
totally embrashes you, picks up and you are put on your feet again
after the CD is over, not a single second sooner. (FdW)





‘overpowering in its visceral low-end assault… awesome soundworld’
The Wire – Andy Hamilton - October 2001




Banana fish 16. 2002. San Francisco.(review by S. Glass)

Joining Mattin on the Sakada CD (w.m.o/r), Rosy Parlane of Parmentier and AMM's Eddie Prevost waste no part of the rattlesnake. Swollen, tellurium-gilded tails twitch between booby-trapped, misfired welds - a corral of liberated aerospace static where vinegar-soft-ened slotcar motors smolder (having benn insufficiently lubricated with skin secretions), and tiny, capped fangs rasp cymbals the size of sports umbrellas.The "I Kill It, I Grill It" ethos is alive and well.

MATTIN "Sakada"
CD w.m.o/r (UK) 2002
Mattin is a London-based Basque artist who runs the w.m.o/r label and this CD is a record of a performance by Mattin on computer feedback along with the legendary Eddie Prevost (AMM/Organum) and Sigma Editions' Rosy Parlane on percussion. The "computer feedback" takes the form of a torrent of hiss, not always harsh, not always unpleasant, but definitely a bit on the abrasive side. The first track's mix of drum kit assault and long stretches of feedback hitting the high registers actually reminded me of Fushitsusha - there is a similar austere feel coupled with a slightly grungy "rock" edge to the electronics. On the remaining tracks the percussion is played more abstractly (and rarely on what you'd recognize as a standard drum kit) with the sound of slowly resonating metals and echoed gong-like tones playing beneath the rustling of the feedback which moves (and sounds like) a rushing water current. The last track is maybe the best and at 23 minutes also the longest - Prevost and Parlane provide the subdued metallic clanging as the feedback noise rises and falls, occasionally forming huge walls of static white noise. This is credited as a Mattin record and it is his computer noise that dominates (but doesn't overpower) the proceedings.

LAYLAH (Spain)
por Crypt Vihâra
"Sakada" (W.M.O./r 2) no es simplemente uno de los muchos trabajos editados por Mattin en su sello W.M.O./r. En esta ocasión se unen a él la percusión pulsante de Eddie Prévost y Rosy Parlane creando una genuina composición poética. Grabado en Londres el 11 de marzo de 2001, "Sakada" es un brillante recital en el que varios intérpretes se combinan de forma perfecta. Cada una de las cuatro piezas que conforman este CD constituyen algo más de sesenta minutos de música inexplicable, soberbia y sugestivamente fascinante. En las cuatro ocasiones el sonido sacude nuestro magullado encéfalo penetrándolo con murmullos y chirridos fulgurantes. Este CD no es el resultado de una impremeditación acústica, sino algo más allá de la mera composición. ¡"Sakada" es para escucharlo y quedarse sin palabras
por Crypt Vihâra

The Watchful Ear (Richard Pinnell, UK)

The other disc I played was the first release by Sakada, the trio of Mattin, Eddie Prevost and Rosy Parlane. The disc is a studio recording made back in 2001 at LMC Sound in London and was the second release on Mattin’s own w.m.o/r label. I wanted to play this one not only because I hadn’t done so since just after it was released, but also because it showcases an early example of Prevost playing with a couple of the younger musicians that passed through his weekly improvisation workshops. Its a wild affair. The first of the four pieces sees Prevost going mad at the drums, rolling out fast jazzy patterns as he keeps pace with Mattin’s distorted laptop screeches and Parlane’s semi-electronic percussion, but there is a nice layer of detail to the track, its not just a white noise with drums affair, and although the music twists and turns violently and at great volume it does so with a degree of subtlety remaining in place. The second track extends this further, moving through a series of little plateaus of activity with before it finally lets rip with a wall of ugly bass droning that reminds you that Mattin is involved here. Well, it was subtle for a while.

The third track follows suit, aggressively bowed metal and booming tam tam swells together as an ominous cloud of deep electronic rumble floods the background, eventually morphing into a dentist-drill like shriek as the two percussionists fire off of each other at volume, crashing and smashing around until a brief lull is found. The twenty-four minute long fourth track begins with a little more colour to it as a midrange sinetone is joined by clanking metal chimes but it soon goes off the richter scale again into a torrential wall of noise, the like of which Prevost hadn’t been involved with since the early days of AMM and probably hasn’t been involved with since. Listening to this today at reasonable volume was actually a genuinely disturbing, almost frightening experience. The music somehow has a relentless dark edge to it, permanently oppressive, not allowing the listener any space at all. Despite the noise levels there is much to be heard in there, and although maybe the nuances of Prevost’s skilled playing are washed away down the musical u-bend of this recording by the layers of bleached sound enough of the shapes and patterns of the music remain to be heard and enjoyed. A striking release it is most probably available as a free download from Mattin’s site, but oddly if I came across it there I probably wouldn’t have downloaded it, while coming across its shiny silver packaging here today I couldn’t help but put it on. Hmm.