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The Wire

30 November 2002 (Sound 323[4] mini CD) documents 21 and a half minutes from an in-store concert on that date at Sound 323 record store in North London. The performers, accompanied now and then by the noise of passing traffic, are Sakada, a duo featuring Eddie Prevost on gong, cymbals and his personally fashioned barrel drum and Mattin interacting with computer feedback. Mattin displays his usual intense involvement, his laptop like an unpredictable kiln that Prevost has to monitor and respond to with skill and intuition, if his own materials are to avoid meltdown and develop beyond their raw state. Prevost thrives on such precariousness. He made the barrel drum and developed bowing and other unorthodox techniques of sounding percussion to dislodge further the inevitable residue of habit. As a result of Mattin's interventions and mediations, Prevost's moment to moment decisions here cast depersonalised, electronic shadows, returning distorted or transformed to haunt and challenge him. Just 300 copies testify to the tensions of the event. julian cowley

Touching Extremes

SAKADA - 30 November 2002 (Sound 323)
Eddie Prevost and Mattin's approach to improvisation consists of developing a neat gossamer of intimate conversations under the guise of computer feedback and percussives. In this mini CD - another little gem in the nice Sound 323 collection - everything's permeated with the right attitude: Sakada quiz and test each other, exchanging a lot more than simple suggestions, tending instead to reciprocate those little presents each one offers to his counterpart. In between calm moments, sudden fluxes of electroacoustic effluvia pounce into the room, the unmistakable sign everything's functioning at the right moment. This music is sturdy yet articulate, succeeding in carving a personal niche without borrowing from influences

Oro Molido (Madrid)

Impresionante. Difícil describir con otro adjetivo el concierto registrado en este mini CD artesanalmente
editado por Sound 323, el sello/tienda/local de conciertos dirigido por Mark Wastell. Desde el primer momento,
el  que escucha se queda atrapado en un fluido sonoro de gran calidad. El fluido no es, ni mucho menos,
uniforme, y detectamos en él multitud de cambios- algunos drásticos, otros sutiles-. Jugar al juego
de quién hace qué resulta aquí especialmente entretenido, ya que el trabajo de Prevost resulta en
ocasiones más electrónico que el propio Mattin. La capacidad de inventiva y creatividad de Eddie Prévost
queda puesta de manifiesto en este disco, pero tambien su sensibilidad musical, capaz de adaptarse a
un entorno tan extremo como el que propone Mattin. La comunicación entre ambos resulta sorprendente
y el resultado, como dijimos al principio, impresionante.  Chema Chacón

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