CNV26 | 16.12.2005


Casa Precario

01. Casa Precario

ALL FILES (Download)


Conv is proud to present this electroacustic live session (london, summer 2004) by these three well-known gentlemen of the free improvisation: Bruce Russell, Eddie Prevost and Mattin, three different generations in an unique event. Together this threesome of post-materialist thinkers compose a sinewy orchestra-piece of skin, bones, creaking seats, sharpened fingernails & sharpened nerves. Investigating and penetrating their materials by means of cutting, bowing, scraping, raking, breaking, shattering & digital granulation, they stand in the tradition of the benjaminian (after this most mystic of materialists) science in their salvation from aesthetic denial of these most unlistenable sonic components. With as the grand finale: a voice - in the audience? from the artists? from behind the sound console? - announcing that something has in fact broken free, been brought out into the open in a groan of wonderous & amazed release...


liner notes by Mark Pauwen




con-v is a very very serious label. they're releasing music at the crossroads of sound-design, ambient textures and field recordings, strictly limiting themselves to an unique approach to music. it takes some experience in the wide field of experimental music to judge the quality of their releases, and might be i'm not the right one to do so. still this 20 minutes live performance caught my attention.


eddie prevost of british avant-garde pioneers *AMM* and mattin form the sakada-trio (usually in concert with rosy parlane of *thela* who's missing here). drummer prevost is important for the avant-garde, free jazz and improv-scene since the late sixties and runs the matchless recordings-label. mattin (spain) is the one between prevost and russell, their “cutting, bowing, scraping” is converted though his computer and fed back to the mix. this anti-copyright agitator runs the labels w.m.o./r and desetexa and is sort of the digital face of this cooperation. he is working with computer feedback and self-written algorithms to alter the sound being produced on stage, a highly intuitive and spontaneous process. usually, the third man in row bruce russell is featured as a freeform guitarist, i'm not sure what he's doing here… but i think it ain't important what he's actually playing, the outcome as an integration of all contributing components (or musicians) is the benchmark.


so, what do we get to hear? first of all, feedback and high frequent sine waves. found-sounds. fragments of percussion. you even might recognize the sound of the room and the attendant crowd. this is pretty rough music, indeed. but these guys are always smart enough to catch your attention with some small tones you can't guess where they come from, might be just the squeaking sound of a chair, might be the laptop, might be whatever. this concept of recording ALL sounds available makes the recording special and noteworthy.


[ Sven Swift ]