lucio capece

News- Upcoming Concerts-Projects

2011-12-20T18:37:00.007+01:00

December 2011

Out now

"Explorational"
Radu Malfatti- Lucio Capece
Recorded live on the 25th of September at Exploratorium,in Berlin.
B-Boim

Reviews by Brian Olewnick
http://olewnick.blogspot.com/2011/12/antoine-beuger-un-lieu-pour-etre-deux.html

and Richard Pinnell.

http://www.thewatchfulear.com/?p=6395#more-6395

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Upcoming releases

"None of them would remember it that way"
Duo with Chris Abrahams (DX7)
Mikroton (Russia) CD.
January 2012

Zero plus Zero
Solo album- Compositions for Sruti Box, Soprano Sax, Doble Plugged Equalizers, Sine Waves, Bass Clarinet, Field Recordings.
Potlatch (France) CD
February 2012

Affections Theory.
Hernán Vives (Argentina). Cittern-Thiorb
I play Bass Clarinet and Sruti Box.
Audiotong ( Poland) CD
March 2012

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July 2011

A Video showing a live performance of one movement of the Piece "Zero plus Zero" can be watched here. I play Soprano Saxophone and things used as preparations.

http://blip.tv/file/2081559

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Upcoming Concerts

13th February
Antoine Beuger: Routley Tunings for 11
Labor Sonor-
KuLe, Auguststr. 10, 10117 Berlin

Antoine Beuger, Flöte
Boris Baltschun, Elektronik
Pierre Borel, Alt-Saxofon
Lucio Capece, Bassklarinette
Johnny Chang, Violine
Hannes Lingens, Akkordeon
Koen Nutters, Kontrabass
Morten J Olsen, Vibrafon
Nils Ostendorf, Trompete
Derek Shirley, Violoncello
Michael Thieke, Klarinette

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Saturday 18.02.2012 Ausland, Berlin. Einlass 20 Uhr, Beginn 21 Uhr

Philip Zoubek & Florian Bergmann
Philip Zoubek - Piano
Florian Bergmann - Saxophon

Stefan Thut - vier, 1-12
Lucio Capece - Bassklarinette
Johnny Chang - Geige
Hannes Lingens - Akkordeon
Koen Nutters - Kontrabass

Peeping Tom
Pierre-Antoine Badaroux - saxophone
Axel Dörner - trumpet
Joel Grip - double bass
Antonin Gerbal - drums

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26th february. Sonic Acts Festival, Amsterdam
Playing music by Michael Pisaro and as a guest with Extended Pitch
http://2012.sonicacts.com/

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1st june 21 h Friedenssaal Potsdam- Festival Intersonanzen.
Solo piece "Zero plus Zero" Complete version.

- Some move upward uncertainly. Sruti Box.
- Zero plus Zero . Soprano saxophone and preparations.
- Inside the Outside 1. For analog electronics
- Inside the Outside 2. For Bass Clarinet and preparations

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Zoom In festival -Berne
sat 13th oct 2012

Solo Piece for Balloons-Helium- Wireless Speakers.

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Perception Pieces

2011-12-15T00:32:00.000+01:00

Oslo- 2nd september 2011. Flying Wire less speaker.

September 2011

I´m at the moment working and presenting live, pieces related with the perception experience.

-Piece one. Cardboard tubes-Mini speaker-Sine wave-DP Equalizers. Full on
amplification via PA.20m
Piece performed at NK (Berlin) and Una Casa ( Buenos Aires) in march 2011

-Piece two. Spectral Piece"
Ballon filled with Helium. I-Pod- Sine waves-Soprano saxophone. 20m
Piece performed at Ausland, Berlin on the 10th of april 2011. I was, helped, moving the balloon softly up by the head of the audience, by Tisha Mukaji, Axel Dörner, Angharad Davies and Tim Parkinson. Thanks !!!!

Photo by Alex Woodward taken at Arika’s INSTAL 10 festival, Glasgow.

Solo set at NK, Berlin. March 2011.

Photos at NK by Aniana Heras Cosin. Thanks Aniana!

I pod flying in ballon filled with Helium. The Ipod plays sine waves in the exact frequencies of the harmonic series of three multiphonics that are being played live, with the soprano saxophone.

Photo Mario de Vega- Ausland 11th June 2011.Thanks Mario!!!

-Piece Three. Walking Spectrum. 20 m
For soprano saxophone and Christian Kesten´s voice and presence.

-Piece Four. No name.For Christian Kesten´s Voice and presence, cardboard tubes, 4 mini speakers, DP equalizers playing sine waves, abanico, transparency.

A Video Documentation of this piece can be watched-listened here

These last two pieces have been performed live on the 27th of april 2011 at
Rigaer Str. 71 – 73, Berlin Friedrichshain
Photo thanks to Sam Nach. Niños Consentidos.

-Piece Five.
Four mini speakers-Cardboard Tubes- PA-DP Equalizers.
-Piece 6- Static hanging spectrum. For Ipod hanging from a static flying Balloon and soprano saxophone.

Played at Ausland ,Berlin on the 11th of June 2011. Thanks to Mario de Vega.

Zero plus Zero- Solo Piece

2011-12-14T13:58:00.001+01:00

Zero plus Zero- Solo piece.
Soprano saxophone, Sruti Box-electronics, bass clarinet, preparations.
Excerpts of the piece can be watched-listened here
http://www.youtube.com/watch?v=guQlR8SRnn8

Im at the moment presenting a solo piece called "Zero plus Zero".

"Zero plus Zero" is a 60 minutes piece composed and played by Lucio Capece.
The music is structured in 4 parts. The parts are related but independent. According to the concerts situation I play the complete version or selected and adapted sections of it.

- Zero plus Zero. (15m)
Prepared soprano saxophone.
- Some move upward uncertainly (For Harley Gaber)
- Inside the Outside.
Parts 1: Sruti Box+ Ring modulator+ no input equalizer-
Bass clarinet neck- Cassette, Mini Disc Walkmans- prepared Soprano
Saxophone. (15 m)
- Part 2 :Prepared Bass Clarinet (15 m)

Several parts of the piece have been performed in Poland ( Krakow, Warszaw, Gdansk), Ireland (Dublin) , Norway (Oslo, Esviken), Berlin and Buenos Aires in 2008-2009.
A Complete versions of the piece has been performed in Manchester ( England) in June 2009.
A technical description of the piece, as well as a video documentating a performance of the first part of it, can be sent under request.

I have been working for several years developing the possibilities of my main instruments ( soprano saxophone and bass clarinet) as concrete sound material, what we usually call “noises”. I have developed through this work an interest for the sources that inspired my research ( the everyday noises, mainly mechanical and electronic, that I hear around me, helped by the objects that exist or occasionally appear around me). My instruments have become in several cases amplification cases of those objects, or even tools to explore the possibilities of those objects, and more than that, elements that help me to understand and experience the space where I live.
After several years of relating with pitched sounds as residual material they called my interest in a new way. I began to find interest in the hidden pitches in the noises and the noises hidden in the combination of pitched sounds.
I find in the relationships among these elements the possibility of composing simple polyphonic concrete music. In the way the first polyphonic composers did with the Clausulae ( Leonin 12th century), taking given material ( pitches, noises) as a plain chant, and composing with the hidden elements that I previously mentioned as a counterpoint of those given elements.
This composer (who probably beyond doing his own work seems to have done a compilation and organization of the work done by other composers) had to find his own techniques to compose in that way, because there was no polyphonic techniques to learn at the moment. I identify with this self make ness of the music, the anonim aspect of his ( or their) work and it’s spirit. It´s music that is apparently abstract and demanding, but actually it had a clear social function that went beyond the technical construction and aesthetic of it.

I find this link between internal elements of apparently opposed items as a micro metaphor of several aspects that involve our social life, and music.
I find that the development of communication technology, has helped to create thousands of small communities deeply interested in one specific aspect, but communities that do not relate among them, and that very often do not share what they discover and enjoy.
What used to be particular, a particular interest alternative to the main and imposed taste, has become the main behavior, to be closed in your own closed neighborhood, as well as cars ( and thousands of personal objects) do not connect with the immediate outside but with a far away one. A society of closed boxes.

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Marfa.
Marfa is a 15 minutes piece for Sruti Box. That I include occasionally in my solo concerts.

The Holiday (1408): Years later on the way to the city of Vladimir, Andrei, Danil, and Foma encounter a pagan ritual on a river bank,whose celebration implies sensuality and lust. Andrei feels attracted by the rituals he witnesses. He is captured and bound in a stable by villagers who do not want him to interfere with their dear ritual. They know the official church is trying to stamp out pagan ritual. A woman named Marfa (Nelly Snegina), only dressed with amantle approaches Andrei. She drops her mantle, kisses and then frees him.The next morning Andrei returns to his associates on the river bank. They ask where he’s been. The crude boat filled with the smoldering ashes of the effigy floats by behind the group as they breakfast on onions. It strikes their boat with a dull but sonorous thump.
The local landlord and his men-at-arms on horseback appear the next morning, accompanied by clerical enforcers. They hope to run down participants in last night’s ritual. Marfa and her partner are chased by authorities. He doesn’t get away, but she swims toward the middle of the river, immediately past the boat carrying Andrei, but he will not look at her. She splashes bravely out to deep waters.
“ Andrei Tarkovsky. “Andrei Rubliov”

To speak about expression, more than expressing a concrete feeling, or maybe to express the wish of expression and communication in a society where expression and believing became more banal than anything , where the idea of transcendence became a negation of the unspectacular, normal, affordable, everyday beauty.

Photos Performances in London- Berlin and Buenos Aires.

Lucio Capece- Projects

2011-12-13T01:02:00.000+01:00

Bass Clarinet, Soprano saxophone, DP Equalizers, Sruti Box. Things.
hipereter@yahoo.com

"[...] The subject is not in those hands that strangle; it's somewhere else, in those currents flowing. At this moment, objects are — and this is quite odd — much more important than characters. That terrace up there, this wall, this black, the sound of a train are more important than what is happening. Objects and noises are then, in a mystical sense if you want, in intimate communion with man, and it's much more serious, much more important than hands strangling a sentinel."
Robert Bresson. Cahiers du Cinéma, no. 75, October 1957

“Lo que nos ocupa es esa abuela, la conciencia que regula el mundo”
Luis Alberto Spinetta- 1974

"Que era el Presente sino la ocurrencia simultánea de una enorme cantidad de hechos distintos? Bastaba conque coincidieran en el tiempo para que hubiera Presente. Y eso nadie podía impedirlo, o si?….
Si para anular el presente debía anular la coincidencia . Que iba a poner en su lugar? La respuesta no era difícil: La suplantaría con la sucesión causa-efecto. Si, eso debía ser. La causa siempre estaba en el pasado, respecto del efecto,y éste estaba en el futuro de la causa. No habría más Presente. El mundo se quedaría sin esa deliciosa suspensión irresponsable en que las cosas han coincidido porque sí, por casualidad, sin explicación. Todo empezaría a funcionar en encadenamientos que extenuarían el pensamiento de la Humanidad, y ya no habría más vacaciones, ni felicidad."
Cesar Aira- Las Aventuras de Barbaverde

Musician born in Argentina based in Berlin since 2004. He plays bass clarinet, soprano saxophone, and Sruti Box.
He plays mainly self composed and improvised music, focusing in the time experience and the perception experience as main subjects.
He works time in the research of constructing no narrative music (no start- no ending- no developments), and perception working sound in it’s most granular characteristics and it´s extremes.
Capece finished academic studies as a classical guitar player and studied the John Coltrane´s approach to saxophone playing, and classical and contemporary music in the bass clarinet, in Argentina. ( Carlos Lastra, Martin Moore, Quique Sinesi, Gustavo Alsberg were some of his teachers)
He played in Argentina for more than 10 years with the ensemble Avion Negro, relating composition and improvisation. He was part of the group as a performer and composer.
He studied his instruments also in Lyon, France in 1997 with Louis Sclavis and stayed for 9 months in New York in 2000, meeting several musicians related to improvisation and new music, and the ides of Julius Hemphill and Anthony Braxton ( Tim Berne, Hank Roberts, Marilyn Crispell, Gerry Hemingway, Jim Black, Gene Coleman)
He moved to Europe in 2002 establishing himself in Berlin in 2004. Since then he has been active in the improvised music scene, playing in Europe and Argentina. Releasing also several Cd´s.
In terms of instrumental playing Capece uses his own extensions and preparations. He prepares his saxophone with everyday objects (ping pong balls, water, different kinds of paper, tubes, pieces of metal, plastic bottles, bows, etc) as well as a raw feedback set where the saxophone is amplified and combined with mixers.
In the Bass Clarinet he uses mainly self created specific extended techniques, as well as a set of cardboard tubes,bows, and different kind of vibrating surfaces. His instruments are somehow “corrupted” by everyday objects, found objects. The idea is not only to create interesting sounds with them but to research in the creative possibilities that everyday life provides. To consider the spaces where we live as main performers of the music.
The Sruti Box is a beautiful small Indian organ. He uses it searching in the hidden reactions of permanent sounding pitched sounds.
The different set of instruments fascinates him in terms of finding “noises” in the pitched combinations, and the pitched sounds hidden in “noises”, in the so called “concrete” material. Creating then simple polyphonies combining concrete and pitched sounds.
He considers everyday sounds as a main influence, as well as artists from other disciplines, like Robert Bresson and László Moholy- Nagy.
Capece directed in 2007 a sound- Lights- acusmatic project at the Bauhaus Archive, in Berlin, performing with the “Light-Space Modulator”, the legendary kinetic sculpture built by László Moholy- Nagy in 1922-1930.
He plays mainly in the context of long term working groups.
Capece shares projects with Mika Vainio, Radu Malfatti, Christian Kesten, Toshimaru Nakamura, Axel Dorner, Kevin Drumm, Robin Hayward, Rhodri Davies, Burkhard Beins, Vladislav Delay, Lorenzo Brusci, Mattin, Julia Eckhardt, Sergio Merce, Werner Dafeldecker, releasing Cd’s with several of them.
He played and shared several projects with several lovely improvisers, and was part of projects, as a performer, with Phill Niblock, Christian Wolff and Pauline Oliveros, with the Q-O2 Ensemble.
Capece worked with the dancer Ayara Hernandez (composing music for her solo piece “Blurry”).

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current projects

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Recent Projects.

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Radu Malfatti-Capece duo.

Radu Malfatti is recognized like none else because of doing probably the most silent music ever done. And we do not speak about silence, we speak about silent music. After and beyond John Cage Radu Malfatti creates a music that can deal with the most subtle, and then, rich aspects of sound perception . How can we fulfill a room playing a sound that is almost not possible to perceive. Why a sound with this characteristics can be perceived more deeply than a loud sound?

Radu Malfatti and Lucio Capece met in 2006, as members of a sextet project that worked in residency in Vooruit, Gent.
After that they had the opportunity to play as a duo in Köln, in5th July 2009, playing later at Angelica Festival 2010 and in Oslo in the same year. Their first concert was part of an evening related to Luigi Nono. The recording of this first duo was released by Radu Malfatti´s own legendary label, B-Boim.
A second Cd called Explorational. is being released by the end of 2011 also at B-Boim.
Malfatti is the strongest and more clear expression of what has been called, in a simplistic way, reductionism, making a radical use of silence and stillness as architectural and expressive elements in music. And how it relates with nowadays society.

Duo concert in Oslo in 2010
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Trio Radu Malfatti-Kevin Drumm-Capece

Setting up at Q.O2, Brussels. January 2011.

In January 2011 the musicians Kevin Drumnm, Radu Malfatti and Lucio Capece made a 4 concerts European tour. The meeting of Drumm and Malffati had a strong meaning considering that are points of reference in the new improvised and noise music scenes, the quality of their work and their radical ethics in music. This is a rare project, unexpected, and impossible to predict in it´s results each time.

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Lee Patterson ( amplified Processes- Lucio Capece duo)

Photo at NK (Berlin) by Aniana Heras Cosin. Thanks Aniana.

Lee Patterson ( Manchester- Amplified processes and objects, electronics)-Lucio Capece ( Berlin- Soprano sax, Bass Clarinet, preparations). CD released on Another Timbre label, 2009. Empty Matter.

Lee Patterson is one of the most unique and interesting musicians I met in the last years. He plays with amplifying carefully natural processes like burning, filling with water , blowing,etc. A huge set of delicate hand crafted objects. We have been put together by the label Another Timbre. We have recorded a CD together that I find is some of the best I have done.
Is basically somehow expressive music. Thick and very present. With mechanical and natural sounds, but clearly organic and enjoyable.
This meeting finds me working with objects applied to my instruments at a degree I had never achieved or seen. This is not new, preparations in new music and in improvisation have been seen for a while. But what if we deduce from objects a
music that has to do with the actions they have been made for, with their timing, with their intense static existence, just there as observers of our actions, that can involve them or not, according to some strange habits, we human beings have. Are we sure that we created the idea of these objects, or they have been there since much before us, in other shapes and forms…many of
them will very probably survive us, maybe not as the object itself, but for sure as an idea.
The work with Patterson implies a demystification of instruments and the spaces where music concerts take place. Objects are taken to it´s higher sound possibility, if this exists, and instruments become objects with the mystical aura that everyday, banal actions, can have just taken to the concert position.

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Christian Kesten (voice)- Lucio Capece duo.

Christian Kesten is a unique performer, singer and conceptual composer.
His background comes from working in Music Theater with Dieter Schenebel for 10 years, working as a member of the performance collective Die Maulwerker among several other rich experiences.
Kesten work is clearly not related to the improvised music singing language, what makes his approach to the voice unique in the improvisational context. His sounds touch the sounds of the city, internal sounds almost impossible to hear, alternating with pure melody in a bright and delicious color. This together with a strong presence on stage based in a work with the body and it´s presence as an instrument. Kesten uses words, a few objects that take the concert situation slightly outside, going out and coming back to the music .

Kesten and Capece met several times, playing concerts in Berlin.
A video recording of a concert at legendary Labor Sonor is available as a DVD. The duo has worked in a larger group together with Radu Malfatti, Julia Eckhardt, Taku Sugimoto and Toshimaru Nakamura in may 2007 at Vooruit, Gent, Belgium. Material to be released in July 2008 at Cathnor Records label from England.

www.christiankesten.de

-Video documenattion of a live performance at Labor Sonor, Berlin, in 2006, can be seen here;
http://searchservice.myspace.com/index.cfm?fuseaction=sitesearch.results&type=MySpaceTV&qry=Lucio+Capece-+Christian+Kesten+&submit=Suche
-A DVD video documentation of a concert offered at Kulturfabrik, Berlin, in august 2008, can be sent under request.

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-SLW

Burkhard Beins: selected percussion and objects.
Lucio Capece: Bass clarinet, soprano saxophone, preparations.
Rhodri Davies: Harp, electro acoustic device.
Toshimaru Nakamura: No-input mixing board

After working together in different combinations, these four musicians met in October 2006 at Les Halles, Belgium and made a residence that included a recording session and a live concert with 8 speakers and 1 sub woofer. The audience was placed in the centre of the room, and a sound artist joined the group working in the spacialisation of the music.
The whole space should be considered as a swimmimng pool, a space where each part of it is covered by sound. Water gives an idea of permanence but at the same time of total contact. Invites to develop a music based in a particular perception experience, of not ending or starting time, and material in it´s most granular way, in the context of a non stop intensity perceived by our body as a whole.
First CD released on Formed Records. May 2008. Upcoming CD in september 2009.
Reviews below in the reviews section of this blog.

www.burkhardbeins.com
www.japanimprov.com/tnakamura/
www.rhodridavies.co.uk/

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Mika Vainio- Kevin Drumm- Axel Dörner- Lucio Capece Quartet.

Mika Vainio: Analog and digital electronic devices
Kevin Drumm: Analog and digital electronic devices.
Axel Dörner: Trumpet. Computer.
Lucio Capece: Soprano Saxophone, Bass Clarinet, Preparations.

The idea of this project is to allow musicians from different scenes but with common ideas to work together.
It can be seen quite often musicians from different languages being put together, trying to push the artists to develop unexpected works.
Vainio, Drumm, Dörner and Capece have mainly strong points in common, that have being worked in different contexts. The music map is generally divided into categories that are determined by it’s most evident and often banal elements : if it has beats or not, if it is quite or loud, if is has raw material or carefully worked one.
This four musicians have been working using all the previous elements. But this elements did not determine the music, they were used at the service of deeper ideas related to time and perception. How the sound of our environment can become music, how can music be attractive without telling a story, the work of sound in it’s extremes: noise, granular and delicate, digital, electronic, instrumental extended techniques, preparations.
Kevin Drumm and Axel Dörner started working together in the late 90’s as part of a trio with Paul Lovens. As a duo they released an influential album on Erstwhile Records.
Vainio and Drumm met in 2005 in Australia, both as part of the touring festival What is Music?.
Capece has released a duo CD at L’Innomable label with Axel Dörner and a trio one with Dörner and tubist Robin Hayward on Azul Discográfica label from New York. Dörner and Capece worked in several projects together, including a residence with Keith Rowe working on “ Treatise” by Cornelius Cardew.
Mika Vainio and Lucio Capece have finished recording and mixing a duo album. They have been working on it since 2006.
This quartet is a possibility to go beyond the personal language histories in an attempt to put in touch and develop new ways of genuine expression.

Residency and tour 3rd- 14th may 2008. Photo Gent- 8th may 2008

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-Sergio Merce- Lucio Capece duo.
Sergio Merce: portastudio ‘s prepared head
Lucio Capece: bass clarinet, soprano saxophone.Shruti box, effects.

Merce and Capece have been playing music together for more than ten years in Argentina.
In the Avion Negro quintet and the Hipereter quartet (two drums and two reeds) they have been sharing are search movement from the interaction between composition and improvisation from a post free jazz language towards the free improvisation and the composition based in the physic characteristics of sound.
Sergio Merce has created his own electronic instrumental set, starting from elements not prepared originally for this. He plays a portastudio without tape.Touching the head of the portastudio with different kind of objects as needles, cutters, etc. he produces sounds that he processes with a very simple effects and equalization set.
Lucio Capece and Sergio Merce think that electronics in music but also in everyday life have changed our perception capacity and our idea of sound, giving us a new space for sound elaboration , in the electronic instruments,in the self created instruments, and maybe even more in the traditional acoustic instruments.
This new interaction space and it exciting conditions for real time playing are the point of departure for this two musicians creative meeting.
www.mercecapece.8k.com

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-Amber.
Rhodri Davies( harp)
Julia Eckhardt ( viola)
Robin Hayward (tuba)
Lucio Capece ( Bass Clarinet, soprano saxophone).

Amber was created in 2004. The group was formed with two recognized musicians related to what was called "reductionism", Rhodri Davies and Robin Hayward. The tendency that produced an impact in the community of improvisers since the late 90´s, working in a focused way with stillness and static music discourse. Julia Eckhardt, without knowing this tendency had been working in deeply similar areas, relating herself with the composers collective Wandelweiser. Capece, recently arrived in Berlin at the time suggested the group as a possible development of new possibilities in the context of minimal improvisation. The group worked in residency in Berlin and in Brussels, made a tour in Holland and produced a CD carefully recorded in studio. The recording was considered a step towards a more expressive approach to minimal improvisation, a tendency that was developed during the following years by several other musicians in the area. The group gave relevance to the use of pitched and drone material, without abandoning the rich production of noise, but somehow taking a distance from a dry approach to sound.

CD released on the label Creative Sources (Portugal).
Information about the cd and the label at:
http://www.creativesourcesrec.com/catalog/catalog_031.html
Reviews on this cd at:
http://www.creativesourcesrec.com/reviews/reviews_031.html
http://www.bagatellen.com/archives/features/000915.html
Davies: www.rhodridavies.co.uk
Hayward: www.robinhayward.de
Eckhardt: http://q-o2.vgc.be/db/index.asp
Capece http://luciocapece.blogspot.com/

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Solo.

Im currently playing the piece "Marfa" (Info rolling up in the News section).
Information about previous solo sets and the noise set.

Prepared curved soprano saxophone, mixers-saxophone feedback, preapared bass clarinet, Sruti Box solos.

- Prepared Curved soprano saxophone acoustic solo set.
The soprano solo set is based in the characteristics of the curved soprano saxophone that allows to put objects in its bell. With an special technique that keeps one of the hands free and permanent air production through circular breathing technique Capece creates a sort of middle pitch long sounds that evolve in different directions, building with different layers of noises a sort of noises/notes simple polyphonic music. These long sounds are cut with silences that are fundamental in the process of perception of music, allowing at the same time the change of preparations and modifying the instrument.
Objects like ping pong balls, pieces of plastic bottles, stuff, water, violin small bow and others are used as preparations.

-Mixers- Saxophone feedback
The mixers are settled in feedback connecting inputs to outputs .These feedbacks are modified by another feedback produced by two small microphones introduced into the bell of the saxophone. The microphones feedback is modified changing the fingering in the saxophone ,but not blowing, modifying parameters in the mixer, and by the sound waves in the space going inside the instruments through all it openings.
The sound waves taken by the microphone inside the saxophone modify the feedback produced by the microphone itself, and this one the feedback produced by the mixer generating new sounds that once in the air continue de feedback cycle. Two additional volume pedals , one self made mini speaker and a small violin bow are additional parts of the set.
The result is a raw texture of noise mixed with pitches created in the saxophone. The music evolves slowly with abrupt interruptions that cut the narrative .
All the sounds and the modifications are played in real time, there are no recordings or effects.

- Prepared Bass Clarinet solo set.
The work with the bass clarinet is mainly based in the idea of simultaneity. Simultaneity of simple elements, carefully choosen. Low frequencies, harmonics, multiphonics, vibrating objects. Several cardboard tubes of different dimensions are added to the instrument, allowing to go to sub low frequencies, several vibrating objects are placed on the tubes producing different kinds of reactions, specially in the are of harmonics, combined with the sub low frequencies. A violin Bow produces harmonics in some metal objects placed on the cardboard tubes.

- Sruti Box solo set.
The Sruti Box is a beautiful Indian instrument , similar to an Harmonium, but smaller and without keyboard. As simple as it looks the instrument can provide immense results in the area of harmonics. I try to develop this aspect helped by an electronic filter and an analog eq.
Is static music, based in flexible pitched sounds, expressive and lightfull.

Video DVD showing solo concerts in Berlin and Buenos Aires available.
I have played solo sets in Berlin (Ausland, Joint Ventures, Kule, Club Der Polnischer Versager), Happy New Ears Festival (Belgium), Netwerk (Aalst, Belgium), No Spaghetti Festival (From Norway in Buenos Aires), Minton´s CD store in Buenos Aires, Raum (Bologna), Malacarne (Verona). Metz, France (sharing a solos evening with Franz Hautzinger, Erik M, Arnaud Riviere, and others), Festival NPAI Parthenay, France, El Umbral Art Center in Merlo, Argentina, etc

Gent- May 2008.

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Recent years Projects

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Mika Vainio- Lucio Capece duo.

The Argentinian Lucio Capece (AR, 1968), who currently resides in Berlin, plays soprano saxophone, bass clarinet and a no-input mixer, which he uses to manipulate feedback with. His work draws inspiration from the visual arts and cinema and always arises in an improvisational context, focusing mainly on the experience of time and perception.
Recently he started a new project with Mika Vainio (FI, 1963), best known as one half of Pan Sonic. Both in this project and in his solo work, published under his own name or pseudonyms like Ø or Teknovil, influences from techno, industrial and minimalism converge in an analogous twilight zone, an organic sound universe submerged in anxious spheres and thrifty pulses.

Vainio and Capece first work comes out in march 2009, released by the prestigious label Mego.
They played as a duo at Argos Festival in October 2007.

http://www.argosarts.org/articles.do?id=382
They have been working together with Kevin Drumm and Axel Dörner as a quartet ( residency and tour in may 2008) and with Vladislav Delay ( quartet with Derek Shirley, live at All My Favourite Things Festival, Berlin, april 2008).

Photo: Argos Festival
http://argos.xio.be/blog/?cat=4

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Lorenzo Brusci. Lucio Capece

Lucio Capece: soprano saxophone, bass clarinet, preparations, Sruti Box. Objects.
Lorenzo Brusci: Self designed speakers- Sound difussion .

Brusci and Capece met by the first time in 1990 in Montevarchi, Toscana, Italy. They have been sharing and enjoying friendship and sound since then.
Installed nowadays in Berlin, Germany, Capece and Brusci work together in a project that sees Capece playing a solo set with prepared curved soprano saxophone, bass clarinet and Sruti Box, that is diffused by Lorenzo Brusci in his unique self made speakers set, placed in unusual and unexpected sectors of the performance space. The speakers qualities ( made in materials like Terracotta, acrylic, porcelain, etc) allow to give different degrees of direction to the sound, as well as filter the material, aspects that are worked with particular acknowledge by Brusci.
They can be placed hanging from the ceiling or hidden behind a bar, as well as inside or behind any possible object of the room, or even under earth when the conditions allow the idea ( for example in open air gardens). The interest is focused in creating different sound areas in the performance space, giving privilege to certain frequencies and materials or not, according to decisions taken paying special attention to the particular characteristics of the place.

http://www.soundexperiencedesign.com
http://www.giardinosonoro.com/

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Toshimaru Nakamura- Lucio Capece Duo

Toshimaru Nakamura: No-input mixing board.
Lucio Capece. Bass Clarinet- Soprano saxophone.

Toshimaru Nakamura is unique in using a mixing console as a live, interactive musical instrument. He plays the 'no-input mixing board', connecting the input of the board to the output, then manipulating the resultant audio feedback.
Nakamura and Capece played together as a duo in Berlin and in Amsterdam, and as a part of Sound Like Water in Brussels. They made together a recording at Steim Studios released by the label Formed Records, under the name of "IJ".

www.japanimprov.com/tnakamura

Photo DNK Amsterdam.

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NMM . (No More Music- at the Service of Capital).
www.mattin.org/NMM.html

Mattin-Lucio Capece
Mattin: computer feedback
Lucio Capece: mixer saxophone feedback

-CDr released on Why not? Editions: No More Music at the service of capital. Live Recording in Berlin. (http://www.geocities.com/whynotltd/)
Re-released (August 2006) No Seso (Argentina)

-CD released in october 2006.Colaboration between three labels. Ideal Recordings (Sweden), 8mm (Italy), Absurd (Greece). Edited and recomposed material taken from concerts in Oslo, Strasbourg and Brussels.
www.idealrecordings.com
www.8mmrecs.com
www.dualplover.com

Info about Mattin:www.mattin.org

www.mattin.org/nmm.html

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PAST PROJECTS

Vladislav Delay Quartet

The Vladislav Delay Quartet includes Mika Vainio on electronics, Derek Shirley on double bass, Lucio Capece on saxophones & bass clarinet and Vladislav Delay on drums. It is one of Vladislav Delays’ latest group performances with him on drums.
The debut performance by ‘The Vladislav Delay Quartet’ happened on April the 11th 2008 as part of the 2008 ‘My Favourite Thing’ Festival at Radialsystem, Berlin. The event has been curated by Hanno Leichtmann (Static, Vulva String Quartet tec.).
The group played in Poznan, Prague, Belgrade in october and november 2009, recording it´s first album at the Radio Belgrade Studios, in Serbia.

Dis-Patch festival. Belgrade-. 7th November 2007. Photo courtesy Dis-Patch, Residentadvisory.

http://www.vladislavdelay.com/

Videos (Vives- Kesten-Brusci- Davies -and solo)

2011-12-12T23:59:00.000+01:00

Fragments of a live set performing "Marfa" In March 2010, in Argentina, can be watched.Listened here

Thanks to Jorge Haro.

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A video documenting a concert with Hernan Vives ( Tiorb, Cittern) performed on the 11th april 2010 in Argentina, can be watched-listened here

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Duo with Christian Kesten. Berlin. December 4th-2006

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-A video showing excerpts of a performance (september 2008) with Lorenzo Brusci (Sound Architecture, Self made speakers)
can be watched here

http://blip.tv/file/2121363/

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-A video showing a 2006 solo performance can be watched-listened here:

http://blip.tv/file/1883532/

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- A live set video with Rhodri Davies ( offered on the 7th april 2008) can be watched-listened here

http://blip.tv/file/1267915/

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CD's- Releases.

2011-12-11T23:23:00.000+01:00

General Information about Releases.
http://www.discogs.com/artist/Lucio+Capece

Explorational.
Radu Malfatti- Lucio Capece
B-Boim
december 2011

Choices- Birgit Ulher- Lucio Capece
Another Timbre.(UK)
April 2011

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Berlin- Buenos Aires Quintet (released July 2010)- Recording form 2004

Andrea Neumann- inside piano
Lucio Capece- alto saxophone & bass clarinet
Sergio Merce- tenor saxophone & electronics
Robin Hayward- tuba
Gabriel Paiuk- piano

Recorded on October 5th, 2004 at the Goethe- institut in Buenos Aires
photo: Ignacio Aspara

Edition of 250 copies

L´Ínnomable- Slovenia.

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EMPTY MATTER

-Lee Patterson: Amplified objects
-Lucio Capece: Soprano saxophone, Bass Clarinet. Sruti Box.

Recorded on the 12th of June 2009 at the Church of San James the Great, London.
Produced by Simon Reynell.
Released by Another Timbre.

http://www.anothertimbre.com/
Cover design by QQ. Thanks QQ.

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Radu Malfatti- Lucio Capece

"Berlinerstrasse 20"

Recording of concert played by Radu Malfatti and me in Köln (5th of July 2009 ) Released by Radu´s own beautiful label, B-Boim. It´s a 33.40 minutes improvisation, played with Trombone and Bass Clarinet.

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SLW. Fifteen point nine grams.

Burkhard Beins: Selected Percussion
Lucio Capece: Soprano Saxophone, Bass Clarinet, Preparations
Rhodri Davies: Electric Harp, Electro acoustic devices
Toshimaru Nakamura: no- input mixing board

Recorded live at NPAI Festival, France. July 2007.
Organized Music From Thessaloniki
Cover by QQ

http://thesorg.noise-below.org/releases/t07/t07.html

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"TRAHNIE"
Mika Vainio- Lucio Capece . Released by Editions Mego.
http://www.editionsmego.com/twiki/bin/view/Editionsmego/
CataloguePage#emego098
March 2009

Mika Vainio: Electronics and Treatments, Electric Guitar, Cymbal
Lucio Capece: Soprano Saxophone, Bass Clarinet, Preparations, Mixer-Sax Feedback, Sruti Box

Recorded in Berlin 2006-2008

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-"WEDDING CEREMONY"
Lucio Capece, Julia Eckhardt, Christian Kesten, Radu Malfatti, Toshimaru Nakamura and Taku Sugimoto.
Compositions and Improvisations. Recorded live in Gent and Brussels. May 2007.
Cathnor Recordings.
http://www.cathnor.com/weddingceremony.html

1. Zonder Titel (Schuif en ruis) (Christian Kesten)
2. Improvised piece
3. Quartet+2 (Radu Malfatti)
4. Doremilogy 2.12 (Taku Sugimoto)
5. About "The Society of Spectacle" Guy Debord 1967. (Improvised piece- Instructions by Lucio Capece)

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SLW-
Lucio Capece- Burkhard Beins- Rhodri Davies- Toshimaru Nakamura.
Formed Records. November 2008.
http://www.formedrecords.com/

Lucio Capece- Sergio Merce- "Casa". CD
Sergio Merce: Portastudio without tape. Electronics ( track 1)- Tenor Saxophone ( track 2)
Lucio Capece: Sruti Box, filter ( track 1)- Bass clarinet (track 2).
Organized Music from Thessaloniki. October 2008.
http://www.thesorg.blogspot.com/

IJ. Toshimaru Nakamura- Lucio Capece. Formed Records. 2007

BB. DVDr. Lucio Capece. Soprano saxophone solo. Absurd. 2007.

Kammerlärm. Lucio Capece- Axel Dörner- Robin Hayward
Azul Discográfica. 2007.

Axel Dörner- Lucio Capece.
L´Innomable. 2007

Universal Prostitution.
NMM : Mattin- Lucio Capece
Ideal Recordings- 8mm- Absurd
2006

CDR- Lasse Marhaug- Harald Fetveit- Lene Grenager- Mattin- Lucio Capece
No Cat. 2006.

No More Music- At the Service of Capital. NMM ( Mattin- Capece)
No Seso Records. 2006.

Space- Time Modulator.
Lucio Capece solo.
No Seso Records. 2003-2006

Amber.
Rhodri Davies, Julia Eckhardt, Robin Hayward, Lucio Capece.
Creative Sources. 2005

Juncture. 2003.
Live at Julia Eckhardt's House. 2005.
Two web releases. Audiotong
Yannis Kyriakides- Lucio Capece

Collaborations as a performer, compilations.

Improvised Music From Japan.
Book- 2 CD compilation. Track with
Dörner- Hayward- Capece
2007

Phill Niblock. Disseminate.
Mode Records. 2003.
Three pieces by Phill Niblock.
Disseminate Q-O2 (1998) (22:09)
the Q-O2 Ensemble, Brussels
Julia Eckhardt, viola; Claire Goldfarb, cello;
Lucio Capece, bass clarinet and soprano sax;
Elke Tierens, flute; Roel Avondts, trombone

Vladislav Delay "Tummaa"

Tummaa essentially features a live trio – Ripatti on percussion, Argentine musician Lucio Capece on clarinet and saxophone, and acclaimed Scottish soundtrack composer and arranger Craig Armstrong on piano and Rhodes (Ripatti previously collaborated with Armstrong on the 1995 album The Dolls, along with Ante Greie). Ripatti set the tone, recording his drum parts and then inviting Capece to his studio to improvise alongside the drums. Armstrong offered recordings of pure solo piano playing he had made for the project. From these two sound sources, Ripatti began composing and arranging, and wrote a whole suite of music.

http://leaf.greedbag.com/buy/tummaa-0/
http://www.vladislavdelay.com/site/?page_id=68

Vladislav Delay Quartet- Honest Jon´s-May 2011

Vladislav Delay. Drumms, electronic
Mika Vainio. Electronics
Derek Shirley. Bass.
Lucio Capece. Soprano Sax, Bass Clarinet, Sruti Box.

Reviews

2011-12-10T18:32:00.000+01:00

Explorational.
Radu Malfatti- Lucio Capece
B-Boim.
December 2011

Review by Brian Olewnick

http://olewnick.blogspot.com/2011/12/antoine-beuger-un-lieu-pour-etre-deux.html

Lucio Capece/Radu Malfatti - Explorational (b-boim)

I think my natural tendency, perhaps not uncommon, when approaching a new release involving Malfatti, is to think compositionally, in Wandelweiser terms. Obviously a wrong tack in an improv session like this one. But listening to it as such is tough in one sense, though immensely rewarding--it does indeed challenge one's notions of free improvisation. There have been many comments, of course, about it's severely quiet nature and yes, it's a recording that begs to be heard in a pristine environment. The heating unit for our apartment is outside my room and, it being winter, when it activates, there's no way I hear the music. My window fronts on the street which, though reasonably quiet, is populated by vehicles whose engine hum is uncannily close to the pitch of the bass clarinet and trombone being ever so subtly wielded here. So one does the best one can and...it's enough.

It's an extraordinary performance in ways I imagine I'll still be delving into years from now, two sets of faint, hazy (though precisely limned) lines in space that occasionally intersect, balanced beautifully. More than most, one would wish to have been there and, happily, there's a video available of the first 23 (out of 40) minutes of the set:

http://www.youtube.com/watch?v=SCueO9W6ROY

Going on about the control, sound placement, quietude, etc. seems silly. It's an improv, that's what I love about it. I love that Radu waits about 6 1/2 minutes before making his first sound. I love the sound of the paired horns when they coincide but also love that this happens only rarely.

Wonderful, wonderful music and ideas.

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Review by Richard Pinnell
http://www.thewatchfulear.com/?p=6395#more-6395

After a very long, and decidedly difficult few days it has been nice to come home tonight and return to a CD that has been a bit of a light at the end of a dark tunnel of late. Tussling with Explorational, Radu Malfatti and Lucio Capece’s second improvisation duo release on the B-boim label has been a challenge, but a thoroughly worthwhile one. It is a recording of what was probably an utterly stunning live concert. The challenge comes when trying to replicate something of the concert experience at home with a CD player. This is of course never possible, but this release is more difficult than usual.
When I caught up with Radu Malfatti while he was over in November for the Cut ‘n Splice Festival we talked a little about this disc, and Radu informed me that he thought this was probably the best recording of improvised music that he plays on. Now, Mr Malfatti is often something of a wind-up merchant, and I don’t take everything he says seriously, but on this occasion I knew he meant what he said. So, given this statement, and given my affiliation with his music, having listened attentively to everything he has released for about fifteen years now and rated so much of it very highly, and given that I enjoyed Berlinerstrasse, the first duo this pair recorded a great deal, I felt a degree of trepidation and anticipation when I finally pressed play on this new release. It is indeed extremely wonderful, but it isn’t easy to arrive at that conclusion.
The first problem that this disc presents you with is just how very quiet the music is. This disc, along with the other new release on B-boim contain the blunt instruction amongst the liner notes to “play it quietly”. If you do this- if you actually lower the volume from normal listening levels before pressing play, the chances are that, like me, you will hear virtually nothing at all. This is quite exceptionally quiet music. In fact, to be able to just about locate every sound recorded in this performance, you have to turn the volume up rather than down. I actually found it impossible to listen to properly over speakers and have been playing it through decent quality fully enclosed headphones. It isn’t then a very boisterous affair- but then you knew that already. What we do hear, through the gentle hiss of the recording’s noise floor and some very quiet and unobtrusive audience sounds is a wonderfully subtle, incredibly tense performance made up of tiny clicks and taps and brief very low roars from Malfatti’s trombone and Capece’s bass clarinet. I really haven’t heard improvisation this sparse and quiet since the heyday of reductionism about a decade ago now. Making quiet music isn’t enough these days though. Its OK to cut down on the content, but that which remains has to be really good to allow music like this to hold up under scrutiny. Once you manage to engage here though, once you find the personal space to be able to switch off everything else and really focus, you realise just how good this music is.
Malfatti is on record as saying he doesn’t improvise with very many people, though certainly it would seem the list of collaborators is slowly growing. In Lucio Capece however he does seem to have found a playing partner completely in tune with his approach. The pair here each produce the very slightest of sounds. Low, low roars seem to emanate from both musicians, though its not easy to tell who is who much of the time, and the tiny metallic clicks we hear could equally be Capece’s clarinet keys of Malfatti flicking the bell of his instrument with his finger, an action he often utilises in improv settings. So much of the intensity here builds from knowing that their are two musicians at work here, and that no scores exist. The music feels hermetically enclosed, a kind of cocoon that the duo exist within, spacing out their sounds, measuring the gaps between them, connecting one contribution to the next in very beautiful but also extremely simple ways. For much of the time there is quite a lot happening, with both musicians playing together in several places, and by Malfatti standards this quite a busy release if you measure the active portions of the disc against the inactive, but everything is just so very very quiet, and even when you trace a sound it inevitably has a stillness to it that offers you nothing more than the chance to reflect on everything happening. There is a really vibrant intensity to the recording, an electricity that becomes more apparent when you envisage the two musicians sat beside one another in the concert space. It is possible that this disc would make a lot less sense if you had never witnessed both musicians play live before. Each has an ability to command a presence in the room, not through their personalities, which are entirely different, but through the sheer intensity of their playing. Being able to picture the two playing together helps picture the live moment easier here and bring this recording to life. Listening with my eyes closed I can see them both, and my place in the still, suspenseful room feels real.
This really isn’t just quiet music for the sake of quiet music. The interaction between the duo is as electric, if not more so than on any other improv CD, the energy in the music is just as powerful. The quietness only increases the impact of sounds, the restful state that the music suggests it might bring is only inverted by the intensity of the listening experience. The sense of control and sheer skill that goes into making this music is remarkable, it would still have a big impact if the mutes were removed and the playing was presented at higher volume, but the hush merely amplifies the tension as it turns down the volume. It isn’t that the quietness offers a veil of aesthetic reverence, or anything quite so superficial, but it does play a significant part in making this music work- offering up the enigma to crack, the sense of tension embodied in every second of soft white noise on the recording. Explorational won’t be for everyone. It is music that demands a lot from the listener, music that cannot just be put on in the background. Give it the time and attention that it absolutely demands of you though and it repays you tenfold. Would I think of this CD as Malfatti’s best ever improv disc? No, probably not, but its certainly up there in the top handful.
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"Choices". Duo with Birgit Ulher. Released on may 2011 by Another Timbre. Recordings done in 2010

“Ulher and Capece open a vast universe of sounds”

http://www.vitalweekly.net/781.html
Two instruments more closely together is the bass clarinet, soprano saxophone and preparations of Lucio Capece and the trumpet, radio and speaker of Birgit Uhler. Three pieces, two captured in Capece's studio and one in concert, all in 2010. These two players use extensively their instruments as objects. Its not always easy to believe that these sounds are produced by these instruments, but its in the capable hands of Capece and Uhler that it works well. An excellent combination of improvised music and electro-acoustic sounds. Minimal, but never soft, or rather, much more noise based than I thought it would, anticipating their reputation. Much of that is duo to the use of feedback/sine wave like sounds which are a main feature on this release. A highly vibrant release, bursting with energy (FDW)

http://improv-sphere.blogspot.com/2011/05/birgit-ulher-lucio-capece-choices.html
Birgit Ulher: trumpet, mutes, radio, speaker
Lucio Capece: bass clarinet, soprano saxophone, preparations, mini-megaphone
Sur ce troisième disque de la dernière série Another Timbre, deux souffleurs systématiquement affiliés à la scène réductionniste: Birgit Ulher à la trompette et Lucio Capece aux clarinette et saxophone, les deux utilisant aussi de nombreux objets et préparations. De nombreux paysages se profilent, des sons indéterminés surgissent, les notes et l'utilisation orthodoxe des instruments sont refoulées, en bref, Ulher et Capece ouvrent un univers très vaste.
Physical, qui ouvre la cérémonie, est basé sur un bourdon joué alternativement par Ulher et Capece, entre le blast et le drone, un bourdon aussi mécanique qu'organique qui laisse entendre du bois, du métal, du souffle et des rouages. Birgit Ulher se superpose alors à ce bourdon instable (qui évolue de manière minimale) et crache, éructe, siffle, souffle, grésille et tousse, principalement à travers son embouchure. Un duo assez traditionnel somme toute, où un soliste se greffe à une basse, sauf que le temps est strié bizarrement, et que les notes laissent place à une indétermination du son. Ulher et Capece démontrent en fait qu'une forme de musique est possible au-delà de l'échelle chromatique, tout en conservant les formes passées, même si la structure est quelque peu bigarrée du fait de nombreuses des alternances, des fractures et de silences inattendus.
Sur Chance, de loin la plus longue pièce (presque 30 min.), la paysage a quelque chose de désolé du fait de l'omniprésence de souffles qui rappellent des bourrasques apocalyptiques, des résonances irrégulières de métaux qui suggèrent l'abandon de l'industrie. La perception s'aiguise, il devient très difficile de savoir qui fait quoi et comment, si le son est instrumental ou préparé, organique ou mécanique. Chance organise un vaste horizon de timbres inouïs et créatifs qui s'assemblent et s'entremêlent, s'opposent et se confrontent, mais qui toujours apparaissent en fonction des intentions du partenaire. L'écoute est très attentionnée et sensible, l'entente très réussie donc, ce duo sait saisir les chances (en opérant certains choix) qui déploient toutes les qualités et les talents de chacun, pour ne former qu'une seule personne à la fin, sans se fondre intégralement dans le dialogue au point d'en perdre sa personnalité.
Birgit Ulher et Lucio Capece concluent avec une courte pièce de 5 minutes, Orbital, qui assimile complètement les sources instrumentales aux sources électriques (ondes de radio). Capece laisse discrètement et affectueusement émerger quelques notes instables et fluctuantes de son soprano sur le bourdon monotone et agressif des ondes afin de rééquilibrer l'ensemble, de l'harmoniser. Une belle pièce électroacoustique où l'acoustique sait apprivoiser l'électrique, où l'équilibre entre les deux se fait musique, une pièce qui laisse ouvert et en suspens un monde nouveau fait d'énergies et de timbres nouveaux .
Choices ne fait que rarement varier les intensités, mais l'énergie se module constamment, au gré des équilibres agencés par le duo, au gré des qualités du timbre lui-même (de ses qualités essentielles et/ou accidentelles). Les trois pièces se déploient sur des durées également variées, et ces temporalisations contribuent tout autant à la diversification des énergies. Ces temporalités permettent aussi de déployer de nombreuses caractéristiques allant du sentiment d'urgence à l'émergence lente et sereine du timbre et de l'équilibre des forces. Trois pièces fortes, cohérentes et riches qui instaurent un nouveau règne des sons, un règne de timbres riches, complexes et luxuriants dont l'avènement est souhaitable, voire préférable.

http://www.soundofmusic.nu/recension/birgit-ulher-lucio-capece-choices
On this album Lucio Capece plays bass clarinet, soprano saxophone, as well as various prepared things, and Birgit Ulher can be heard on trumpet and radio. Among many musicians Capece has collaborated with Radu Malfatti, and this may give you a hint of the approach – no firm conventions. The shimmer of the minutest sound is examined.
More and more Ulher proves to be one of the most remarkable trumpeters in the new generation of reevaluating instrumentalists, and when the two play together remarkable things happen. It is a music that comes in dense structures. For start, it can be heard clearly who is who. Actually, it can be heard all the way, but not in the way we are used to.
Inspired by each other the playing becomes a kind of echo-game. A call is matched by a truncated response. Where are you? - are you ... Affinities of sounds arises, captured and processed by the qualities and possibilities of their instruments.
The result is a slow and snaking stream of sound that also is remarkably rhythmic. Yet, how does this shimmer? It is streaming as a flow of light, where mirror images are complementing the reflections. The result is undeniably irresistible. It is an impressionistic art of sound without impressionism, where the only thing that is left is the light. The music of this duo is so dense that it reminds of the tension in the air that arouses by unexpected pauses. It sounds incredibly fresh and clear.
Thomas Millroth translated by Johan Redin

“On this album Lucio Capece plays bass clarinet, soprano saxophone, as well as various prepared things, and Birgit Ulher can be heard on trumpet and radio. Among many musicians Capece has collaborated with Radu Malfatti, and this may give you a hint of the approach – no firm conventions. The shimmer of the minutest sound is examined.
More and more Ulher proves to be one of the most remarkable trumpeters in the new generation of reevaluating instrumentalists, and when the two play together remarkable things happen. It is a music that comes in dense structures. For start, it can be heard clearly who is who. Actually, it can be heard all the way, but not in the way we are used to.
Inspired by each other the playing becomes a kind of echo-game. A call is matched by a truncated response. Where are you? - are you ... Affinities of sounds arises, captured and processed by the qualities and possibilities of their instruments.

“The third album in the current series from Another Timbre features two wind instrumentalists who are clearly affiliated to the reductionist scene: Birgit Ulher on trumpet and Lucio Capece on saxophone and clarinet, both players also using numerous objects and preparations. Many landscapes emerge, indeterminate sounds occur, while notes and orthodox instrumental techniques are suppressed; in short, Ulher and Capece open a vast universe of sounds.
Physical, which opens the disc, is based on a drone played alternately by Ulher and Capece, a drone which is as mechanical as organic, and which lets us hear wood, metal, breath and internal mechanisms. Birgit Ulher imposes herself on this unstable drone (which evolves minimally) and spits, burps, whistles, coughs and splutters across the mouthpiece. In short this is a relatively traditional duo, where one player is grafted onto the base, except that the tempo is bizarrely striated, and pitches give way to an indeterminacy of sound. Ulher and Capece in fact demonstrate that a style of music is possible that exists beyond the chromatic scale while retaining past forms, even if the structure is a little heterodox on account of the numerous alternations, fractures and unexpected silences.
On Chance, which at almost 30 minutes is by far the longest piece, the soundscape has something desolate about it on account of the ubiquitous breaths which recall the winds of the apocalypse, and irregular metallic resonances that suggest abandoned industry. The perception becomes more acute and it becomes very difficult to know who is doing what and how, and if the sounds are prepared or ‘purely’ instrumental, organic or mechanical. Chance involves a vast horizon of unheard creative timbres which are assembled and interwoven, opposed and confronted, but always seeming to connect with the intentions of the playing partner. The players’ listening is extremely attentive and sensitive, so that the partnership is very successful, this duo knowing how to seize chance opportunities (while using certain choices) and deploying all the qualities and talents of each player in such a way that one single musical personality is formed by the end without either player losing their personality in the musical dialogue.

Birgit Ulher and Lucio Capece conclude with a short 5-minute piece, Orbital, which completely assimilates instrumental and electronic sources (using radiowaves). Capece discretely and affectionately allows certain unstable, fluctuating notes to emerge from his soprano onto the aggressive montone drone of the radiowaves in order to rebalance and harmonise the ensemble. A beautiful electroacoustic piece where the acoustic element knows how to tame the electronic, where the balance between the two becomes music, and which opens up and holds in suspense a new world made of new energies and timbres.
Choices only rarely varies its level of intensity, but energy levels are constantly modulated according to the equilibrium created both by the duo and by the qualities of the timbres themselves (be they essential or accidental). The three pieces stretch across very different durations, and this temporality also contributes to the diversity of the music’s energies. These varying temporalities allow many aspects to emerge, from a sense of urgency to the slow, serene development of different timbres and a variety of energy balances. Three strong, coherent and rich pieces which together install a new regime of sounds, of complex and lush timbres, a regime whose advent is desirable and even preferable.”
Julien Heraud, Improv-sphere

“When I was very young I would sometimes lie in the grass, one ear pressed to the soil, for a monoscopic view on life lived literally at grass roots, a telescoped perspective on a teeming world routinely hidden from view. The artists on the Another Timbre label, in the ways they make sound, bring a comparable perspective to the aural minutiae that brings music to life.
Another Timbre, as the label’s homepage succinctly puts it, provides an outlet “for improvised and cutting-edge contemporary music”. Common to all Another Timbre releases are quietness, gestural minimalism, and an emphasis – as might be expected – on the expressive potential of timbre (as distinct from pitch or volume, much less rhythm). The Another Timbre roster convenes at the Venn intersection where artists from multiple disciplines find common ground. Here, musicians with formidable ‘classical’ technique rub up against self-taught masters of new media, veteran improvisers from the electro acoustic, Onkyo or lower-case improvisation scenes, and specialists in aleatory music and cutting-edge composition. It’s a heady, rarefied zone where expression follows deep introspection, and the result is music for deep listeners. These aren’t recordings you can enjoy while vacuuming. John Cage appears to be one of the label’s touchstones, and many Another Timbre release can be heard as a responsive to Cage’s connection of spontaneity with pre-determination. The stunning “Lost Daylight” album, on which John Tilbury plays the piano music of Terry Jennings and, alongside Sebastian Lexer, John Cage’s “Electronic Music for Piano, 1964”, was a highlight of 2010, and made The Wire magazine’s top 10 recordings of that year. The four recordings considered by this article – all released in April 2011 – represent the more abstract side of the label’s output, all being more or less concerned with the refinement of the improviser’s art in the exploration of acoustic and electronic sound in all its fine-grained textural detail.

Lucio Capece, Birgit Ulher “Choices”

“”Choices’ is a fine illustration of its creators’ individually stated concerns. Birgit Ulher is an improviser committed (according to a statement on her web page) to the development of a “grammar of sounds beyond the open trumpet”. Based in Hamburg, she also organises the cities’ Real Time Music Meeting festival for improvised music. Lucio Capece (on his blog) describes his art as “no narrative music (no start-no ending-no developments)…sound in its most granular characteristics and its extremes”. Across the duration of its long central live recording and two flanking studio takes, the “Choices” album is an even-handed work of close interplay between these two perfectly matched instrumentalists. They sometimes do little more than exploit the raw sonic potential of their reeds and brass. At other times the effects they produce are much more refined, noises shaped to sound out in playful rumination or pure abstract beauty. In either mode, the duo extract from their instruments all the various tonalities of a larger ensemble, exploiting percussive potentialities to remarkable effect and drawing upon a range of breath sounds from plosive and guttural to ethereal. They coax from their ostensibly limited instrumentation a more astonishing range of effects than many talented musicians can manage with sophisticated sound processing equipment.
Since I began this review another title featuring Capece, the Vladislav Delay Quartet’s début, has dropped onto my doormat. That title sees Capece playing alongside electronics auteur turned percussionist Delay, ex-Pan Sonic sound processor Mika Vainio, and acoustic bassist Derek Shirley. With its blending of dubbed out micro-house and acoustic jazz it’s quite a change of pace from the Another Timbre offering, but many of the core concerns are the same. It might be that I end up playing the Delay album more often, simply because it requires less focused attention , but “Choices” is the purer expression, and in its balance of simplicity of conception, its sense of purpose, and its high-minded musical idealism, in many ways also the more pleasing.”
Tim Owen, The Jazz Man

“Choices dirait en haut-parleurs ce que même les intéressés n’avaient osé murmurer : Lucio Capece et Birgit Ulher sont faits pour jouer ensemble.

“Choices (at41) ist nur auf dem Papier ein Bläserduett. Zwar sind Trompete, Bassklarinette & Sopranosaxophon im Einsatz. Aber wenn BIRGIT ULHER und LUCIO CAPECE damit spielen, ist 'Blasen' so weit weg von der ganzen Wahrheit, dass es fast schon gelogen ist. Es wird geblubbert, gefaucht, geflatterzüngelt, knarrig gebrodelt. 'Physical' ist ganz minimalistisch nur nach diesen Methoden erzeugt. In zirkular beatmeten Dauermustern, in deren gepresstem Getucker und Gezucke auch blecherne Präparationen mitvibrieren. Das lange Titelstück macht einen windigeren und räumlicheren Eindruck. Die Technik ist dabei so extented wie zuvor. Blubbrige Impulsketten mit metalloid schnarrenden Nebengeräuschen. Man hört auch das schniefende Luftholen, das dieser perkussiv verunklarten Metabläserei den Treibstoff liefert. Knurrend, schnarrig schnaubend, klapprig, mit Kullerlauten und blechernem Schrillen zeigt sich dieser Beitrag zum Blurred Edges Festival 2010 in Hamburg ganz dazu geeignet, statt eines Totenkopfes eine Gießkanne am Nachthimmel über St. Pauli aufgehen zu sehen. 'Orbital', die zweite kleine Studioaufnahme, verhilft, wenn ich mich nicht irre, einem minimalistischen Dauerhalteton mit Radio zur Verlängerung seines Istzustandes. Die Stoßrichtung dieses 'Blasens' ist, wie mir scheint, weitgehend antillusionistisch, materialbetont, der Physik näher als der Musik. Wie eine Testreihe, die darauf abstellt, dem Teufel im Detail auf die Spur zu kommen.”
Rigobert Dittmann, Bad Alchemy

“Dalším dokladem skvostné italsko-nìmecké spolupráce je dozajista i album Choises basklarinetisty a sopránsaxofonisty Lucia Capece a trumpetistky Birgit Ulher. Oba umìlci si vystaèili s málem. Svùj arzenál sice doplòují preparacemi èi modifikacemi svých nástrojù a pøípadnì „hraèkami“ typu m
inimegafonu, ale síla zùstává v nich samých. Jednoznaèným støedobodem jejich opusu je rozsáhlá skladba Chance, kde oba nádhernì profuòují, bublají, jemnì vrèí, šramotí, vrzají, víøí, klopotají, klokotají, drnkavì prokluzují a zkrátka rezonují nejrùznìjšími zpùsoby. Temnota se zde snoubí s jasem a vice versa” Petr Slaby

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Berlin- Buenos Aires Quintet (released July 2010)- recording form 2004

BERLIN-BUENOS AIRES QUINTET (CD by L'Innomable)

The quintet, with a base in Berlin and Buenos Aires came together in 2004 at the Goethe Institut, and consists of the Berlin connection of Andrea Neumann (inside piano) and Robin Hayward (tuba), in the middle Lucio Capece (soprano saxophone and bass clarinet), who lives in Berlin but is from Buenos Aires, where he no doubt knew Sergio Merce (tenor saxophone and electronics) and Gabrial Paiuk (piano). One piece, forty three minutes. But it sounds like many pieces, by one man and lasting an entire lifetime. That last remark is not something negative. The music is filled with loads of silence and carefully placing of sounds. Its not always easy to recognize a single player in here (tuba? where?), but there are times of concentrated playing together, followed by gaps of silence or near silence. Just like the Grom/Murayama release a work that has a lot of silent beauty in it. Another disc of great refined music, with so many players and yet so much space. Excellent. (FdW)
Vital Weekly - July 2010
http://www.vitalweekly.net/738.html
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Empty Matter ( Lucio Capece- Lee Patterson). Another Timbre

A review on Squid´s Ear

http://www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=1124

Lucio Capece / Lee Patterson
Empty Matter
(Another Timbre)

A classically trained guitarist, the only wire strings Argentina-born/Berlin-based Lucio Capece currently works with are those connected from a saxophone, bass clarinet or his beloved s(h)ruti box (an Indian organ) to a feedback unit or "corrupted" mixer: his focus is prepared saxophone, and he is known to extend the bell of the instrument with paper tubes and plastic bottles then plug it up with ping pong balls, water, et cetera. Mancunian sound artist Lee Patterson explores the sonic possibilities and "bizarre beauty" of objects such as cigarette lighters, matches, pinecones, burning hazelnuts and the results of plant-released bubbles on underwater soundscapes (see also his solo Seven Vignettes for further examples); these he magnifies, irradiates and amplifies with custom contact microphones and a Springrod, "a self built instrument constructed from found steel tines (mechanical street sweeper bristles) placed upon a wooden sound box and played with an e-bow."

Though they've wracked up considerable collaborations with everyone from Taku Sugimoto to Phill Niblock to Rhodri Davies to Kevin Drumm (Capece even provided textures for Sasu Ripatti aka Vladislav Delay's Luomo project), Capece and Patterson's meeting for Empty Matter is an equal forum in which the listener is allowed the nuanced delicacy of each musician.

Powering on with a slightly squalling, juicy, sustained motor (is it Patterson's microphone feedback, Capece's reed or a combination?), the two embark on a cautious trek through hushed tones, swelling harmonics, clinking gadgets and purring engines. On "Suspender", they retreat to a minimal hum of near-1 kHz oscillations, Capece injecting a countermelody by intoning above, below and close to the frequency; using echoes, static and a barely-pitched breath-through tubes-into-water approach, the two then shift to "Fervesce", a recreated field recording of babbling brooks and midnight meadow ambience. For "Ventilar", Patterson plucks and vibrates the Springrod, the relatively miniscule chameleon-esque instrument rumbling like rattling radiators, tubular bells and distant carillon. Moving to sruti box on "Sostener", Capece follows his quest for "hidden reactions of permanent sounding pitched instruments" with anesthetic circular bellows that gradually erode — harmonically — upon each union of higher microtonal lodgers.

Together, Capece and Patterson resemble a hybrid Japanese shakuhachi and biwa duo whose success relies on a faithful reproduction of wind and cricket sounds — in other words, eschewing idiosyncrasy to craft an illusion. Of course Empty Matter is more involved, but the experience (attack, patience, sound palette, mood) is sharply related and equally reverent, sacred.
- Dave Madden 2010-02-17

---------------------------------

A Review on Vital Weekly. 714.

…The first plays also soprano saxophone, as well as bass clarinet and shruti
box and Patterson CD players, pick-ups, e-bowed springrods, springplate
and hazelnuts - another combination of wind instruments with
electronics, but more extended than Matthews and Rives. They recorded
the eight pieces, which if you don't pay attention to the CD player go
by as one track. I assume this is a concert recording. Unlike
Matthews/Rives there seems to be an equal balance between both players,
really melting together the sounds they produce. Delightful and
delicate are the words that apply to this release. Like the other
release on Another Timbre this slightly by-passes the regular paths of
improvisation, mainly due to whatever Patterson does with his CD
players and pick-ups. It sort gives an additional electronic layer to
the music, making this perhaps a bit more drone based than the usual
releases of Another Timbre, butthroughout this is a pretty strong
release, which ties together improvisation, electro-acoustics and drone
based music. Excellent. (FDW)

--------------------------------------------

A review by Massimo Ricci

LUCIO CAPECE / LEE PATTERSON – Empty Matter

Capece plays soprano sax, bass clarinet, preparations and sruti box (featured in a delightful drone piece called “Sostener”, one of my favourites), while Patterson is active on CD players, pickups, eBowed springrods, springplate and hazelnuts. The duo is endowed with a considerable percentage of mutual receptiveness, a factor that often transforms even the most ordinary occurrences into dazzling sounds. The harmonic substance of a single pitch can become, pertinently magnified, an ascetic choral hymn. The coincidence of frying pan activity, reiterated notes and unpromisingly vague rattling heard in “Fervesce” is outright splendid, among the disc’s top episodes, immediately followed by the affecting thickness of “Ventilar”, an improvisation that exploits the junction of echoing metals and squealing insinuations (the latter made me look out of the window twice to see if cats were doing damage somewhere in the garden). Underscoring the activities, the steady throbbing of a low-frequency underworld keeps us prepared for a display of power that instead remains merely hinted, unexpressed. Persistently acute intrusive emissions by Capece attempt to limit a latent tendency to needless lavishness (with all that menacing jangling, you never know), confining the interaction in face-to-face dialogues between regal roar and gritty roughness. In “Coriolis”, old-fashioned, but still efficient percussive patterns are supplemented by the intrinsic features of their original source, giving life to dissentient trance tarnished by rust, symbolizing a routine that is both physical and rational yet, somehow, lets the victims get a glimpse of non-illusory methods for escaping.

http://temporaryfault.blogspot.com/2010/05/another-timbres-weekend-quartet.html

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Review at "Le Son du Grisli", by Jean Dezert

Rien d’étonnant à ce que Lucio Capece (saxophone, clarinette, préparations, shruti-box) et Lee Patterson (lecteurs de disques, objets amplifiés) unissent leurs efforts pour un disque sous l’égide d’Another timbre.

Les deux expérimentateurs produisent une musique sombre et orageuse dont les impératifs esthétiques correspondent parfaitement au jeune et vigoureux label anglais. Ici, la recherche ne relève ni de la complexité technique, ni de la construction d’un univers rassurant et stable. Lucio Capece donne l’essentiel de l’assise sonore par ses souffles répétitifs et granuleux ou par le drone bourdonnant qu’il crée à l’aide de la shruti-box indienne.

Parfois, il est difficile de reconnaître avec aisance la source de sons produits. Ainsi, si l’on sait d’après le livret de l’album que Lee Patterson utilise des noisettes comme vecteurs de bruit, comment identifier ces dernières ? Ces indéterminations renforcent l’aura de mystère d’une matière électrique et pleine de fissures. L’usage hétérodoxe d’instruments traditionnels et l’emploi d’objets hétéroclites se combinent et participent à l’irruption d’un ailleurs musical, ressemblant à ce qui pourrait être de la noise de cuisine ou de salon, jouée par des improvisateurs charmés par une certaine économie de geste et de discours.

http://grisli.canalblog.com/

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A review in Czech ( translated to spanish and google english, below)

Osobně je pro mne nejpůsobivější z této kolekce asi album Empty Matter, pod nímž je podepsán argentinský, v Berlíně nyní působící saxofonista a basklarinetista Lucio Capece a zvukový mág Lee Patterson. Ona pomyslná absence podstaty je zde kongeniálně naplněna. Pocit vyprázdněnosti je relativně absurdně saturována absolutní zvukovou substancí. Sice do jisté míry výrazně dekadentní dílo má v sobě i nesmírnou živočišnost, kde sice nepřichází jednoznačná katarze ve smyslu očištění, ale katarze ve smyslu nových dimenzí. Chvílemi tu však najdete odpočinek a uklidnění. Zcela signifikantně máte na konci této nahrávky pocit, že vám kolabuje přehrávací systém a musíte zmobilizovat své smysly, abyste pochopili, že tomu tak není. Je to dílo, které vám evokuje teroristické akce i drobné křivdy od sousedů a svými subrytmy evokuje každodenní strádání a frustraci, ale ve svém finálním vyznění tam tu relativní očistu najdete.
Petr Slabý

"Personalmente, el más impresionante álbum de esta colección, es para mí Empty Matter, firmado por el saxofonista y bajoclarinetista Lucio Capece, argentino ahora activo en Berlín, y el mago del sonido Lee Patterson. La imaginaria ausencia de la materia está aquí congenialmente rellenada. La sensación de vacío está de cierta manera absurdamente saturada de sustancia sonora absoluta.
Aunque en cierta medida la notablemente decadente obra tiene en sí también una inmensa animalidad, donde en verdad no viene una inequívoca catarsis en el sentido de purificación, sino catarsis en el sentido de nuevas dimensiones.
Por momentos se encuentran sin embargo descanso y aserenamiento.
De manera significativa uno tiene al final de esta grabación la sensación de que colapsa el equipo de música y es necesario mobilizar sus sentidos para entender que no es así.
Es una obra que evoca un acto terrorista y también pequeñas querellas de los vecinos, y con sus subritmos evoca la miseria y frustración de cada día, pero en su mensaje final se encuentra una relativa purificación.
Petr Slabý

"Personally for me the most impressive of the collection is the album Empty Matter by saxophonist & bass clarinettist Lucio Capece (an Argentine now living in Berlin) and audio magician Lee Patterson. The notional absence of a congenial nature, there is fulfilled. A sense of vacuity is relatively saturated absolute sound absurdly substances. Although to some extent, significantly decadent work has a tremendous and animality, which although not coming within the meaning of catharsis unique cleansing, catharsis, but in terms of new dimensions. Occasionally however you will find rest and peace. Quite significantly at the end of the recording feel you entertainment system collapses and you have to mobilise their senses to understand that it is not. It is a work that evokes a terrorist act will also minor grievances from neighbours and their subrhythms evoke the daily hardship and
frustration, but in its final tone in there and see the relative cleaning."
Petr Slabý

---------------------------------------

Radu Malfatti- Lucio Capece
Berlinerstrasse 20 (B-Boim)

A review By Richard Pinnell

http://www.thewatchfulear.com/?p=1616#comments

I’ve spent the last few days listening on and off to a new CD by Lucio alongside Radu Malfatti named Berlinerstrasse 20 and released on Malfatti’s own B-boim label. The release features one thirty-three minute long recording made in July of this year of an improvisation by the duo in the German city of Mühlheim in the Ruhr Valley. Over the last couple of years Malfatti seems to have taken steps back towards improvisation alongside his composed work. He also seems to have opened up the number of musicians he is comfortable playing regularly with, having (reportedly) limited this to just a handful of musicians in the relatively recent past. One of the musicians that Radu has played with several times recently is Lucio Capece, the Berlin-based Argentinian bass clarinetist and saxophonist, though on this recording he plays just the former instrument.
To the casual listener any improvisation that Malfatti is involved with could easily be categorised as merely quiet, or a case of off/on extended sounds spaced apart by longish silences. The truth is though, that if you really have the inclination and time to relax and truly absorb this music it reveals so much more. There is incredible tension there, which is a word often lazily used to describe a characteristic of improvisation that is otherwise hard to portray. On this CD that tension is about the spaces between the two musicians more than it is about anticipation. The atmosphere in the room, the placement of the two musicians a few feet apart, the way their sounds respond to each other in a slow, architecturally arranged manner gives the music a certain energy. Silence is of course used on Berlinerstrasse 20, but if the truth is told there isn’t much of it. This disc, as with the majority of Malfatti’s recent improvisation is not about reductionism. Certainly, compared to the spectrum of sounds used by most other improvisers he uses a very limited palette, but the music here oozes life and electricity and yes, variety across its thirty-three minutes. There is, by Malfatti’s standards an awful lot going on here. As well as those beautiful soft trombone hums and hisses there are little clicks and taps and pops all through this recording. Capece manages to push at Malfatti here and there, never threatening the beautiful balance of the disc, but opening him up sightly with gentle shifts in tone and volume. There is a wonderful calmness to the music, but this should not be mistaken for a lack of power or a surface aesthetic hiding nothing underneath. The concentration in this music, the choices made, and above all the timing is truly wonderful. I have been fortunate enough to have witnessed Malfatti improvise in this manner a good few times in recent years, and as this music plays I can picture him and Capece in that room, the way each would be sat, the expressions on faces, eyes closed, totally absorbed in the music, finding the right moments and the sounds to place into them.

At times it can be hard to tell who is making what sound. Certainly Malfatti’s low trombone purring can easily be picked out, as can the more vibrant, reverberating clarinet notes, but there are scratches, metallic clicks and scrapes and a number of short percussive sounds made by blowing briefly and sharply into the instruments here. These are harder to tell apart. When I last saw Radu play live, just a month or two before this recording was made he had a penchant for flicking the bell of his trombone with his fingernail. Equally, Capece has long had a percussive element to his playing. That these musicians are so close together on this disc that it becomes hard to tell them apart underlines how sympathetic a playing partner Malfatti has found here in Capece. I am reminded of the early drawings of one of my favourite painters, Ben Nicholson, who would combine just a few simple forms on a white page, their shapes similar but different, but the way they interlocked and overlapped quite beautiful, creating something else again from the simple structure. Malfatti and Capece don’t really play call and response on this recording, everything is too slow and their dialogue is more complex. They do interlock though. Sounds sit beside one another, or overlay one another and sometimes combine softly, and sometimes oppose one another, but while each moment has its own character and tension it all builds up into the overall whole, so when we step back and listen that calm, minimal aesthetic is apparent. The danger brought about by casual listening, by not delving deep into the nooks and crannies and twists and turns of this record is that all you are left with is that simple overview. Dim the lights, sit and relax and do nothing but concentrate on Berlinerstrasse 20 and the rewards are there to be had, two sensual, alert musical minds at the top of their game. This is lovely, lovely stuff that I could listen to all day, and a new high for B-boim. I’m not sure if this disc is properly released yet, but it will be soon.

------------------------------------
A Review by Brian Olewnick

http://olewnick.blogspot.com/2009/10/lucio-capeceradu-malfatti.html

Lucio Capece/Radu Malfatti - berlinerstrasse 20 (b-boim)

I remain way, way behind in my grasp of everything Malfatti's been up to in recent years, but I think it's safe to say that, broadly speaking, this duo doesn't sound un-Malfatti-ish. The silences, though present, are of shorter duration than is found in much of what I've heard and the ancillary sounds--here, all manner of clicks and rustles--are also more in evidence. At heart, though, are the paired, quiet, lengthy breathlike tones from trombone and bass clarinet (a luscious enough sound marriage in any case). That dissolving of the borders between structure and pure sound seems to me, in part, to be what Malfatti's about anyway and this is a fantastic example of same. One's mind flits back and forth between these concepts; as soon as I find myself wallowing in the lush depths of Capece's bass clarinet, frosted by the trombone, I flash back to the layered structure that would be there regardless of the specific sound source and find that fascinating enough for me to forget the exact sounds involved. There's an utterly lovely sequence near the end where Malfatti taps a cadence with his fingertips on the trombone over a low, burred tone from Capece that's worth the price of admission. For all the glacial pace, one's brain is constantly active, slipping from one mode to another, maybe once in a while attaining some kind of illusory balance. Beautiful recording.

----------------------------------------

Reviews about recent concerts played with Vladislav Delay ( duo in London) and quartet ( Belgrade) can be read here:

http://www.allaboutjazz.com/php/article.php?id=34786
(Thanks to John Eyles)
http://mapsadaisical.wordpress.com/2009/11/15/food-vladislav-delay-and-eyebrow-at-the-union-chapel-121109/

http://www.residentadvisor.net/review-view.aspx?id=6896

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SLW. Fifteen Point Nine Grams

Review at The Wire, by Julian Cowley.

SLW are an electroacoustic quartet operating, like a self-regulating ecosystem, through subtle interactions and dependencies, with extended stretches of placid co-existence and occasional spectacular surges of collective energy. The group features percussionist Burkhard Beins, Lucio Capece on soprano sax and bass clarinet with preparations, Rhodri Davies on electric harp and electroacoustic devices and Toshimaru Nakamura generating audio feedback from his autonomous no-input mixing board. Despite the disparate nature of those sound sources, it’s rarely obvious exactly who is doing what. Still more rarely does it seem necessary to ask.

Like last year’s self-titled release on Formed, this is a single, long and gradually evolving improvisation. About 15 minutes in, a sound like a submarine’s echolocation signal initiates a squally episode, broadly reminiscent of many a free jazz climax. But SLW’s music doesn’t really have a sense of expressive release. It’s more like a localised storm in an energy field, passing turbulence soon superseded by the more usual flow of pulsating cross currents, glassy shimmering and gaseous drones. AMM are an obvious precursor of SLW’s textural approach to improvisation, but the music reminds me equally of David Dunn’s micro-acoustic recordings of pondlife – not in the specific detail, but in the sense of listening in to a self-contained bio-network going about its business, having nothing to say and effectively saying it. (Julian Cowley, The Wire)

-----------------------------------------
Review at All About Jazz, by by John Eyles

Recorded live in France in July 2007, this is the second release from SLW, the follow-up to its debut, SLW (Formed, 2008), recorded live in October 2006. The quartet, with its line-up of Burkhard Beins, Lucio Capece, Rhodri Davies and Toshimaru Nakamura, merits the title "super group"; however outmoded and gauche that phrase may seem, it does describe the conglomeration of improvising talent on display here.
SLW is short for "sounds like water," and its debut lived up to that billing; originally intended to be recorded in a disused swimming pool, its music was restrained as well as swirling, flowing and other watery characteristics. This time out, SLW cleverly avoids an action replay of that debut. So, Fifteen point nine grams (the title apparently refers to the weight of a CD) is a more energized and garrulous performance, in which all four players contribute to a vibrant and overlapping panorama of sounds.

As before, it would be difficult to detect that the line-up includes percussion, harp, soprano saxophone or bass clarinet. Instead, led by Nakamura's no-input mixing board, the quartet creates an electronic soundscape that fizzes with energy. The contributions of individual instruments do occasionally surface and linger long enough to make an impression before being subsumed once again by the electronic sound storm surrounding them. The boundaries between electronic and acoustic sounds are blurred. Notably, Capece's sustained reed notes could easily pass as electronic tones; only their timbral qualities subtly betraying their true origins. The overall effect occasionally resembles listening to a shortwave radio through static, an effect heightened by fleeting interjections of Morse code—yes, these four do have a sense of humor,

As good as its debut was, this album indicates that SLW is on an upward trajectory. Its next album should be worth waiting for. Meanwhile, there is plenty here to engage, satisfy and encourage returning for more.

Track listing: Fifteen point nine grams.

Personnel: Burkhard Beins: selected percussion, objects; Lucio Capece: soprano saxophone, bass clarinet, preparations; Rhodri Davies: electric harp, electro acoustic devices; Toshimaru Nakamura: no-input mixing board.

http://www.allaboutjazz.com/php/article.php?id=34725

--------------------------------------------------

Review on Sound Projector, By Ed Pinsent

Speaking of supergroups but in a quite different vein, here’s a release by SLW. Four of our favourite minimal-improv creators (Burkhard Beins, Lucio Capece, Rhodri Davies and Toshimaru Nakamura) bump their heads together in non-obtrusive and subtly disarming ways for 45 minutes on Fifteen Point Nine Grams (ORGANISED MUSIC FROM THESSALONIKI #07), which was recorded at a French music festival in 2007. The album is largely an unbroken chain of extended textures which gradually evolve and change positions, revealing details of metal, string and plastic from the various instruments (percussion, harp, saxophones, electronics), with the four players getting quite rowdy around the midway point. It’s a form of subdued noise, full of presence and purpose, and much constrained emotion. A performance of this quality ought to have appeared on the Erstwhile label. Many thanks to Kostis for sending this.
*http://www.thesoundprojector.com/2009/11/28/abject-nihilism/

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TRAHNIE ( Vainio- Capece) . Editions Mego.

The Wire

Argentinian sax feedback specialist Capece teams up with Pan Sonic´s electronics ace Vainio on this impressive collection of sparse, captivating pieces. Much of it comes across as improvised dialogue between the two musicians and each tries to imitate the sonic characteristics of the other, but there´s also a clarity of line to this material that suggests meticulous compositional discipline. Sometimes the music is pretty rugged- “Escapes” pits irregular outbursts of sandpaper- rough acoustic and electronic texture against each other, while “Tolmavuo” is centred around an enervating bass pulse that shudders like a monster truck revving up for action. But there´s delicacy here too. On “Sigilo”, Capece, splits a low feedback signal in two and explores the resulting harmonic beating, while Vainio colours the background with perfectly judged cymbal atmospheres. The Pan Sonic an has honed a deeply personal- and immediately identifiable- sound over the last decade and half, and this duo setting seems to have brought out the very best in both him and his partner.

Keith Moliné- Outer Limits- The Wire 301. March 2009.

. . .

Lucio Capece & Mika Vainio
Trahnie (Editions Mego / La Baleine)

En matière d’exploration sonore, on le sait depuis longtemps, tous les chemins mènent à Berlin. De Finlande ou d’Argentine, les deux protagonistes de ce disque y ont élu domicile et, mieux encore, ont trouvé là l’occasion de confronter leurs pratiques, croisant composition électronique nervurée et improvisation acoustique granulaire. Le résultat est au-delà des espérances et redonne une couche de radicalité sur le blason des Editions Mego.
Il y a des associations qui, sur le papier, ne paient pas de mine ; la surprise n’en est que plus plaisante lorsque, dans les faits, on découvre une authentique complémentarité. Dernier exemple en date : la collaboration entre Lucio Capece (saxophone soprano, clarinette basse, préparations diverses, shruti-box) et Mika Vainio (électronique, traitements, guitare, cymbale). On a pu entendre le premier dans des registres ultra-épurés, aux côtés d’Axel Dörner, Toshimaru Nakamura, Rhodri Davies ou Robin Hayward ; le second n’est plus à présenter après quinze années de service au sein de Pan sonic. Rien a priori ne semblait rapprocher les deux personnages et c’est déjà avec étonnement que l’on avait découvert leur partenariat au sein d’un quartet avec Axel Dörner (encore lui) et Kevin Drumm. Cette alléchante configuration n’ayant, pour l’heure, pas de disque à son actif, on se contentera de ce Trahnie déjà bien assez dense comme ça. Le ton est donné dès l’inaugural "Ujellus" : fraction de saxophone démultipliée pour former une masse compacte mais finement ouvrée. La tension accumulée explose sur le morceau suivant, le fulgurant « Juurake », où adrénaline et électricité se combinent pour délivrer de douloureuses décharges, hybridant la corrosivité numérique d’un Pita (période Get Out) à la hargne bestiale d’un Borbetomagus : tout un programme ! Quelques épisodes plus introspectifs viennent prendre le relai même si des fréquences acérées parviennent à s’insinuer à travers renâclements sidérurgiques et vibrations électroacoustiques. La pression se libère à nouveau par à-coups : rituel d’intimidation dans la faune équatoriale ("Hobojungle"), incisions à la disqueuse ("Sahalaitainen") ou atomisation de décombres technoïdes ("Tolmavuo"). "Mañana" conclut superbement le cycle avec un drone échappé de la shruti-box de Capece, revenant au statisme du départ. Très différent du travail des deux musiciens dans d’autres contextes, ce premier essai collaboratif fascine par sa précision et sa cohérence.

Jean-Claude Gevrey

http://www.octopus-enligne.com/template.php?css=cd&page=cd

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De Bug ( 19.2. 2009)

Beginnt wie eine zitternde Phill Niblock-Standpauke am Bläser zelebriert, bollert sich aber beim zweiten Track direkt in analoge Rostbeulen mit noch kaputteren Bläsern als bereits angekündigt. Vainios Elektronik rauscht Bäume um oder verwelkt fast im minutiös Superkleinen. Capeces Holzgeblase (Bassklarinette, Saxophon und Sruti Box) erreicht ebenso spielend die Grenzen aller Musik. Mal zurückhaltend pustend, dann stochernd laut oder brachial quietschend zu Vainios analogen, entweder erotischen oder kratzbürstigen Wallungen. Natürlich finden sich zuweilen Referenzen an Pan Sonic, jedoch eher an die Dancefloor-Feger, zu denen sich jedes Bein lieber hochschraubt statt loszumarschieren. Ein gewaltiges Album, im Großen wie im Kleinen, über die ganze Spielzeit ungemein druckvoll und herausfordernd.
http://www.de-bug.de/reviews/35407.html

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Vital Weekly

Not well-known perhaps, but Mika Vainio likes to collaborate with other musicians, outside Pan Sonic. I once saw him with Keij Hanio, blasting away with noise, making the ears buzz for some time after that. So teaming up with Lucio Capece is perhaps not as strange as suggested by Mego, certainly since Capece is a man who likes forceful music too, played on his soprano saxophone, bass clarinet, preparations, mixer sax feedback and scruti box. Vainio is behind his electronics, electric guitar and cymbal. Vainio lays down the electronics which form a concrete floor for the saxophone of Capece to bounce of on. Loud, vicious, heavy drone like sound, with an occasional spark creating that vague trace of Pan Sonic, which are kept to a minimum. Yet this isn't a noise record, or at least not a lot. The two improvise their pieces, leave much room for the other to play his music, while never losing the total sound out of sight. The middle part, tracks five to seven, are pretty strong pieces, mainly due to their more quiet character. In 'Sahalaitainen' hell breaks loose and get a Pan Sonic like sound and heavy feedback saxophone treatments. Capece and Vainio have managed to create a CD full of tension and variety, from the soft to the loud, from heavily composed to more loosely improvised pieces. A work of refined noise. I don't think I expected something else from them. (FdW)
http://www.vitalweekly.net/667.html

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The Sound Projector.

Argentinean avant-sax player Lucio Capece has joined forces with Finnish electronicist Mika Vainio to produce Trahnie (EDITIONS MEGO eMEGO 098), to quite devastating effect; the sleeve art suggests they're capable of melting brick walls into a pile of brown goo, and I can well believe it. Every one of these 11 sizzlers is markedly different to the last, showing intensive concentration and commitment to experimentation, even if there is the chance of misfire; not one of them falls back into polite twiddling or empty self-indulgent droning, and the CD is full of extreme contrasts and attention-grabbing unusual, denatured sounds. Vainio (ex-Panasonic) rarely disappoints, and Capece sounds determined to make a clean break with his jazz and improv background at all costs; nary a clichéd note escapes his mouthpiece. Recorded in Berlin over two years, this is another invigorating release from the new-improved Mego organisation.
Ed Pinsent
http://www.thesoundprojector.com/2009/03/

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All Music, by François Couture

They may seem like an odd couple, but when you forget about who's playing acoustic instruments and who's playing electronics, Lucio Capece and Mika Vainio approach music in a very similar, compatible way: through minute sonic details. Recorded over three years in Berlin, Trahnie is their first release together. And a mighty strong, puzzling, and fascinating release it is. This album is much more than a simple set of sax-and-electronics duets. First of all, the instrumentarium is larger than that: the Argentinian reedsman is playing soprano sax, bass clarinet, preparations, mixer feedback, and a shruti box; the Finnish electronician (and Pan Sonic member) contributes electric guitar alongside his circuits and treatments. Second of all, the eleven tracks featured on this disc are for the most part composed (either prior to recording or at the post-recording level). Acoustic and electronic elements are juxtaposed, superimposed, contrasted and blended in occasionally troubling ways. "Juurake," for instance, starts with a thunderous bass clarinet scream, followed by squelletal sub-bass frequencies that develop into an Alva Noto-like beat, followed by a lenghty silence, a reprise of the beat, then an increasingly disorienting construction of awkward textures. It brings to mind the pioneering music of Polwechsel: severe block-based compositions. Other pieces are closer to the noisy kind of electronica you would expect from Vainio, although again, the insertion of a sustained soprano sax note in "Tolmavuo" destabilizes the ear in a marvelous way. And although the album features a decent range of diversity, each piece is a self-contained proposition that retains its purpose and interest when listened to by itself. Trahnie is more than a meeting, a true, deep-running collaboration. It's music you can come back to often, always to find new elements and different emotions. And it's one of the best experimental albums of 2009.
François Couture

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Plan B, by Daniel Barrow.

. . .

Review at Hairentertainment.

'Trahnie' is the meeting of the seemingly unlikely duo of Argentinean reeds player Lucio Capece (who may be new to you) and Mika Vainio from Finland who should be all too familiar from his solo releases on Sahko and Touch as well as his work with the seminal electronics duo Pan Sonic. The pair found common ground through their residency in Berlin where the album was recorded over the last 2 years. Capece's background is in jazz and free improv which seemed an unusual counterpart to Vainio's typically bleak electronics. The reeds are however surprisingly sympathetic to harsh noise bursts and metric pulsing of tracks like 'Juurake' and 'Sahalaitainen'. The harshness is balanced out by quiet and delicate tracks where the reeds wobble against pure tones (see 'Siglio'), in fact the whole album is richly contrasted: it's as harsh as it is pure, as acoustic as it is electronic, and as intense in volume as it is quiet. There is also an intreguing contrast between sections where the two conversing elements are easily distinguishable and the times when they fuse particularly strongly, mostly during the noisyer emissions where it's pretty impossible to fathom who exactly is doing what. By the end of the album it becomes of little importance as to who or what is producing the sounds because there is such clear purpose, power and intent, from the AK47 like battering of 'Tolmavuo' to the organesque tonal tiding of closing track 'Manana', that you can only sit back and admire such finely crafted passages of sound. --simon harris.

:: Mika Vainio & Lucio Capece/Trahnie - Editions Mego/Groove Attack/A-Musik.

sim 16 Apr 09

http://www.hairentertainment.com/reviews

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WEDDING CEREMONY ( Cathnor)

Review about "Wedding Ceremony". By Brian Olewnick.
Lucio Capece/Julia Eckhardt/Christian Kesten/Radu Malfatti/Toshimaru Nakamura/Taku Sugimoto - Wedding Ceremony (Cathnor)
A live recording, culled from two sets in Belgium, May 2007, and a rewarding and fascinating one.

Five pieces, four of them composed, most of the time freely admitting of the performing space ambiance. Christian Kesten's "zonder titel (schuif en ruis)" consists "simply" of lengthy sustained notes by the sextet tutti placed between extended sections of non-playing. The filled areas are made up of fine burbling with subtle, barely rising pitches. As with many works of this general form, its success relies, for me, on the natural deployment of the sound blocks, how well they "hang" in space. To my ears, this one does the trick and does it very well. It segues into a 20-minute improvisation, I assume from the same set though one of the effects of the ambient sounds throughout is to provide a tissue of sorts between the track. Quietly blistering. Nakamura (I'm guessing) inserts a few awkwardly loopy sounds, though even then if one listens in the context of the whole piece, they're more like brightly colored blips in a somber landscape--interesting to flip back and forth in one's head between the momentary irritation and broader scope. Overall, though, it's a fine and controlled piece; not dissimilar in most respects from other performances by like-minded musicians, but handled with great sensitivity. Much fun attempting, often unsuccessfully, to pick out Kesten. In my limited exposure to his work over the past year, he's become, with Ami Yoshida, my favorite vocalist in the music.

I've also been largely remiss in keeping track of Radu Malfatti's vast output over the last few years, but his composition here, "quartet + 2", seems to fit in comfortably with what I am familiar with, 27 minutes of sounds that seem more respired than played, like the breaths of some sleeping giant. There are enormously low tones in play (Toshi?), the other voices arrayed laminally, sliding in and out of unison, the background noises providing some salt. I do generally find this side of Malfatti's work to be transfixing and am again so impressed here. Hard to imagine tiring of listening to this; gorgeous work.

Listeners who've been unable to abide much of Sugimoto's recent composed music get another to chew on here, version 2.12 of his "doremilogy". A minute of room sound, a single clarinet note, three rising scale notes on the viola, three on clarinet, viola and guitar, five on another combination (I could be getting these wrong but they're additive), a full octave with everyone, etc. The salient aspect of this performance, clocking in at only four + minutes, is the timbral distortion applied to the notes in the scales, kind of like Richter doing a comfy mother and child painting then taking a board to rake the paint across the surface. I rather enjoy it.

This bleeds directly into the final and, arguably, most problematic work, an improvisation conducted by Capece based on his instructions which can be read here. As indicated, it's in two sections of equal length. The first is quite attractive, a succession of soft tones, gentle thwacks and high squeaks, having something of a ritualistic quality; very beautiful. Throughout this portion, Capece had been strolling through the audience, handing out bits of text. At the conclusion of the first section, Capece jarringly takes to the mic and asks the audience to participate (or not) as spelled out in his notes. There follows a couple of minutes of uncomfortable silence before one, then another few audience members recite the lines from Guy Debord, finally one in whispers. The awkward blockiness of this maneuver is, one supposes, an expected outcome, reinforcing perhaps the criticism of "spectacle" in the text. That tension comes through clearly; I imagine it did even more so in situ. Does it, that second section, "sound" great? No. Should the work have been included on an audio CD as opposed to having been simply experienced live? Not sure. I like very much actively involving the audience in unique ways which, I'd have to say, includes asking them to consider reading aesthetically and politically charged statements, as long as they decide whether or not to do so. The psychological pressure that may have been in play does provide tension; whether it's welcome or not or, indeed, verges on the oppressive...that's a question. Ultimately, I'm glad it's here, if only in the interests of fair representation of the musician's activities and range of investigations.

Many ideas packed in, several of them beautifully expressed.

http://olewnick.blogspot.com/

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CASA. Merce- Capece. (Organized Music From Thessaloniki)

Review about "Casa" by Dan Warburton, Paris Transatlantic web magazine.
Lucio Capece / Sergio Merce CASA Organized Music from Thessaloniki

Recorded in Sergio Merce's casa in Merlo, Argentina, in February this year, this latest offering from Kostis Kilymis 's OMT imprint consists of two tracks: "Vivar, vivar", on which Merce plays a four-track portastudio without tape and Lucio Capece a Sruti box (handheld miniature harmonium) and filter, and "Vieja Casa Nueva", which features Capece on bass clarinet and Merce on tenor sax. "Vivar, vivar" is a curiously enthralling 29 minute piece, with Capece's dry drones deliberately forward in the mix as if to place Merce's squeaks, squelches, gurgles and flutters tantalisingly out of reach, like a shortwave station you never quite manage to tune in. The ear is drawn into the acoustic background, but in trying to concentrate on what Merce is up to it also discovers a wealth of detail in Capece's seemingly static dyads and trichords: phantom melodies, rich overtones and complex interlocking pulses. The all too brief "Vieja Casa Nueva" intersperses long pianissimo tones with silence; there's no flashy circular breathing on display here – each tone lasts the length of a breath – but both musicians reveal some impressive multiphonic technique, often giving the illusion there are at least two other reed players hiding out in Merce's house. It's a shame they couldn't have kept it up longer than seven and a half minutes; four times as long and it would have made a splendid counterbalance for the first track. As it is, it comes across as something of an afterthought, albeit a very pleasant one.–DW
http://www.paristransatlantic.com/magazine/monthly2008/11nov_text.html#8

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Review about " Casa" by Brian Olewnick

Lucio Capece/Sergio Merce – Casa (Organized Music from Thessaloniki)

Over the last few years, Capece has become one of the musicians I most look forward to hearing, largely because of the fact that he seems to approach each project with several specific, wide-ranging and imaginative ideas. There’s always something going on in addition to two or more people simply sitting down and playing, as rewarding as that may be. Lucio was kind enough to recently send me four DVDs of performances in which he was involved over the last year and, while he’d prefer they not be “reviewed”, I’ll just say that each was extremely impressive in a different way and strongly whetted my appetite to hear/see more.

On ‘Casa’, he’s joined by fellow Argentinean Sergio Merce (a new name to me) for two forceful though serene pieces. On the first and longest, “Virar, virar”, Capece plays the sruti box (augmented with an electronic filter), a kind of portable squeezebox which I imagine is capable of a couple of octaves but which he lets abide in a fairly constant drone for the first half of the 30-minute work, what changes occur doing so via the filter. Merce manipulates a “four track portastudio without tape”, sounds generated via direct interaction with the instrument’s surface and use of its equalizers. The reedy sound of the sruti, wonderful in and of itself, acts as an absorbent cushion for all the prickly, clattering and whirring noises created by Merce. Midway through, they very slightly shift gears, Capece, while maintaining the drone, allowing it to mutate and phase in a more agitated manner, Merce at the same time apparently coaxing smoother sounds from his portastudio, resulting in the piece wandering into territory that, had he maintained his genius, Terry Riley might be investigating today. Beautiful work.

The remaining cut is a 7 ½ minute duet for bass clarinet (Capece) and tenor saxophone (Merce). Its structure (it seems to have been “composed”) is simple but very effective: Synchronous held tones, always softly played but not quite edging into full breathiness, held for 15-20 seconds with three or four seconds of silence between. The result has a certain loose regularity of pulse, but each “pool” is varied so one has the sense of experiencing natural phenomena, like a series of strata in limestone. Recalled Roscoe Mitchell’s wonderful “Tnoona” at points. Very moving in its concision and its poetic overtones.

Excellent recording, hear it!

http://olewnick.blogspot.com/2008/09/lucio-capecesergio-merce-casa-organized.html

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A review on " Casa" in the polish magazine Gaz- eta.
Lucio Capece & Sergio Merce
Casa
[Organized Music from Thessaloniki, http://thesorg.noise-below.org/]

At times, one needs to let go of preconceived notions that music traps us in. We have to absolve ourselves of the past to move forward with what the present has on offer. Why should one look back and nod one's head in appreciation or fan worship when better and brighter things are on the horizon. Multi-instrumentalist, sound-wizard Lucio Capece has been on my radar for a while. This Argentinean musician's duo album with Axel Dorner [released on L´Innomable] made it clear he's a force to be recokned with. This time around Capece chose the sruti box [hand pumped, wooden box] as his main musical aid. Its rich drone gives off a warm glow, which is only matched by Merce's four-track portastudio set up, that allows occassional static to escape. Interesting to note is the fact that Merce's machine is used without tape. Apparently, he used a variety of objects to strike sides of the device to produce the desired effect. The bulk of the 30 minute "Virar, Virar" piece is the duo going head-to-head with their chosen instruments. While Capece overwhelms the piece with his ominous drone that slightly changes in form and pitch, Merce's additions are much more subtle as the high-pitches oscillate well below the listener's perceptive range. Concoction of these two disaparete elements is certainly an ear-opening experience, though mid-way through the piece I did wish Merce would be more forthcoming with his contribution - that the sound would be somehow drastically altered. What I was hoping for I suppose is for the piece to self-implode. As it stands, it's simply captivating. For the second piece, Capece picks up bass clarinet, while Merce takes on the tenor sax. "Vieja Casa Nueva" is as full of drones as the previous piece. The duo here explores rich textural possibilities of their instruments. With subtle, drawn-out sounds escaping [and oftentimes alternating between the two], one gets a sense they were trying to space out these sounds for all eternity. In fact, space and silence play a significant role in the piece as the two play along a stop-and-go trajectory. Haunting and absolutely thrilling in every sense of the word, "Casa" is music that stays with you long after the music has turned to silence.

- Tom Sekowski

http://www.gaz-eta.vivo.pl/gaz-eta/recenzje/gazeta.php?nr=68&id=s_1

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A review on " Casa" In Vital Weekly. September 2008.

LUCIO CAPECE & SERGIO MERCE - CASA (CD by Organized Music From Thessaloniki)
I am not sure if I ever heard of Sergio Merce, who teams up with Lucio Capece. Capece plays scruti box and filter on the first track and bass clarinet on the second. Merce plays 'four tracks portastudio without tape on the first and tenor saxophone on the second. I must admit I thought it was quite fascinating to think of an empty recording device as an instrument. What does it then? Perhaps the built in mixing board is used? According to the supplied information, there is also talk of using small metal objects against the tape heads. The two work together since 1993 when they were both living in Argentina. Earlier this year, Capece, currently in Berlin I think, went back to his own country, stayed at his parents house and recorded this work, at the time of which Merce's house was renovated - old and new houses - hence the title 'Casa'. 'Virar, Virar' is the opening piece here, and lasts almost thirty minutes. Its a most beautiful piece of drone music. The sruti box provides a
continuos background in which utterly small sounds play small but important roles. There are subtle changes in the music that one wouldn't hardly notice if you wouldn't listen very carefully. Yet I thought this piece could be listened to in various ways: as a relaxing background piece, unconsciousness of the minor changes, or highly concentrated. The second piece, 'Vieja Casa Nueva' is quite different: here the two play instruments in slow motion. They play slow curves with silence in between them. An even more softer piece than the first one but perhaps also more intense. Two great pieces of music and a highly refined release. (FdW)
http://www.vitalweekly.net/642.html

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Review on “Casa”
Italian web magazine Sands-Zine
Sergio Eletto
http://www.sands-zine.com/recensioni.php
“Casa” è un lavoro semplice e sobrio, che intelligentemente non va per le lunghe. I suoi due autori, Lucio Capece e Sergio Merce, sono entrambi argentini e si spostano senza problemi da visioni radical-impro (in specie Merce, nato primariamente quale sassofonista new-jazz abbagliato dalla spiritualità di Trane) ad esperienze contemporanee in cui è nevralgica l’azione del droning. Due soli pezzi seriali suggeriti tout cour da vicende personali ancora vive e vivide nell’esistenza dei protagonisti. In ambedue le storie la casa entra di preponderanza nel leit motiv di queste costruzioni, esponendosi come spazio simbolico ma pure schiettamente fisico. Virar, Virar, nella sua immortale mezz’ora, rievoca in note il vicino rientro alla madre patria di Capece che si lascia alle spalle un intenso break europeo. La domus viene tratteggiata dalla terra d’origine ed un lungo drone, distillato dallo shruti box di Lucio, sorge come il mezzo più indicato per alimentare l’immaginario con un’indistinta (e inspiegabile) saudade che ha condotto le emozioni del nostro nel viaggio di ritorno. Le tonalità dello shruti, paragonate, ricordano velatamente quelle di una fisarmonica cinta dalla perpetua leggerezza di Pauline Oliveros. L’evoluzione di questa corrente è costante nella forma ma non è difficile individuare tre variazioni tonali nell’armonia portante. Merce, in tale frangente, diciamo che lancia messaggi manipolatori dal sottosuolo con una vasta scala di frequenze elettroniche vitree cagionate dal famoso portastudio autobrevettato a quattro tracce sprovvisto dei nastri. Questa ricchezza di volume e romanticismo ci abbandona con l’ingresso evanescente di Vieja Casa Nuova, struttura dall’innesto suono-silenzio propriamente feldamaniana. Pura ed esperta austerità acustica per un laconico e greve intarsio lavorato dai timbri diafani di clarinetto basso e sax tenore. Suoni e soffi ‘acquarellosi’ che gli amanti del genere avranno sicuramente colto nel bellissimo duo tra Kai Fagaschinski e Michael Thieke, “The International Nothing”, con l’unica differenza che lì a suonare ombrosi erano due clarinetti. Rimane comunque leggermente macchinoso accostare concettualmente la frugale asciuttezza dei toni proposta con la colorata parentesi del rimodernamento casalingo di Merce, ma forse anche qui si vuole palesare quella strana nostalgia che la riapparizione e la sparizione del passato origina nelle coscienze, anche tramite episodi a prima vista ininfluenti.  Carpe diem: sfrutto l’occasione per segnalare e consigliare anche il recente quartetto riguardante il solo Lucio Capece, licenziato quest’Ottobre e registrato dal vivo in Belgio per i tipi della Formed Records. In “SLW” il musicista di Buinos Aires improvvisa con Rhodri Davies, Toshi Nakamura e Burkhard Beins.

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Review on "Casa", in Bagatellen, by Paul Baran.
Lucio Capece, Sergio Merce - Casa
By Paul Baran ⋅ December 5, 2008 ⋅ ⋅
t04
Organized Music from Thessaloniki

Argentine by birth, but a resident of Berlin since 2004, sound designer Lucio Capece has carved out a distinctive voice in his collaborations with key players in the international electro-acoustic improv scene. Formed Records’ recent SLW, with Burkhard Beins, Rhodri Davies and Onkyo feedback king, Toshimaru Nakamura, is the latest documented meeting.

Here he teams up with long term collaborator Sergio Merce for a home recording that belies a warm sonic rapport that has been established since 1993. Both moved from playing in a saxophone quartet that documented early baroque numbers, to efforts as a touring electro-acoustic duo throughout Europe, dazzling those in attendance with their extended takes on woodwind and the simple manipulations of a tapeless portastudio.

When listening to Casa, one is given the impression of an impending house invasion of digital strangers. The first track derives its title ominously from the Spanish Verb, Virar – to veer, or to swerve away. Merce’s electronic embrasures set the anxious tone, acting as a jittery counterpoint to the gentle hum of Lucio’s sruti box, drawing the listener into the same casual lull of security that all homes afford – insular comfort, which threatens to slowly swerve into a psycho-geographic chaos of the unfamiliarity of the outside.

Indeed, one can find a narrative source for this 29-minute piece in a short story by fellow Argentine, Julio Cortazar, whose paranoiac “House Taken Over” presents us with a brother and sister whose familial world goes through a process of inversion, as random trespassers ensconce themselves in their home. By the piece’s end, they too will leave this house, cutting their interspatial ties.

Capece and Merce render this emotional shift with subtlety and success in a long-form drone piece that unfolds a gradual state of unease and yearning, which brings to mind Kevin Drumm’s forays into drone dynamics in his recent project, Imperial distortion.

The second piece — “Vieja Casa Nueva,” — repeats this same subversive feat, but this time employing high tonal registers alternating between saxophone and woodwind. The mood is circular and sustained, strongly suggesting that all houses are a repository of stored loops of human experience with each passing layer of a new pitch or microtone indicating the arrival of a new occupant in perpetuity.

Overall, “Casa” proves that electronic improv can provide the listener with a Magic realist gambit all of its own, without resorting to words, but in a subconscious experience of nostalgia for lost places and the resettling of new ones.

~Paul Baran

http://www.bagatellen.com/?p=2122

Review on "Le Son du Grisli", by Guillaume Tarche

Des duos (avec Nakamura, Malfatti ou Patterson) récemment enregistrés par Lucio Capece (sruti box, filtre, clarinette basse), celui qui l’associe à Sergio Merce (quatre-pistes sans bande, saxophone ténor) a un caractère d’évidence et de simplicité qui le rend attachant. Conçu en février 2008 sur leurs terres argentines natales (et publié en Grèce par Organized Music from Thessaloniki – un clin d’œil à l’étiquette Improvised Music from Japan ?), ce disque d’une durée justement adéquate combine deux belles pièces.

La première, en une trentaine de minutes, offre un drone « d’orgue à main » (filtré, le guide-chant semble crêper le son à l’émission et l’onduler dans sa diffusion) brodé des surpiqûres de Merce ; surface et épaisseur s’y révèlent au fil de lents développements. La seconde, strictement acoustique, à la clarinette basse et au saxophone ténor, est une vignette de sept minutes : en poussées conjointes et appliquées, à intervalles réguliers, les notes tenues, dans les cercles vibrants de leurs effets harmoniques, dessinent l’architecture intérieure de cette casa sonore.

http://grisli.canalblog.com/archives/2010/02/03/16766487.html

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SLW ( Beins- Capece- Davies- Nakamura) ( Formed Records)

Review on "SLW" by Jason Bivins (Bagatellen)

Finally, I’ve been late in getting around to SLW, a single, hour-long improvisation courtesy of Davies (harp, electroacoustic devices), Burkhard Beins (percussion and objects), Lucio Capece (soprano sax, bass clarinet, and preparations), and Toshimaru Nakamura (nimb). Based on this lineup, I expected to hear music with a lot of grainy detail, some high-pitched tectonic shapes, and a resistance to predictable improvisational dynamics in favor of long-form laminations. Well, I suppose on the general level these expectations were confirmed. But the disparate approaches and idiosyncratic personalities of this quartet yield more than this by far. It’s a very patient improvisation, lingering in its initial phase on a flinty metallic note that spools out to reveal its multiplicity, with only the occasional shadow of the bass register emerging. Over time, though, some unexpected birdsong emerges. Its chirps and oscillations come to sound like summer cicadas, but with the sound of knives sharpened also filling the air. Things dissipate, revealing one of the lower strata, a thick bed atop which Capece spools grainy lines, while Davies gives the occasional tight-wound pluck. The lengthy middle sections of the piece seem to shift into a different idiom altogether: they sound to me like faint echoes of some other recording, as if from electric wires strung high overhead or from very distant trains. The last phase of the piece lulls you in with some insectoid ramblings and faint whirrs, but there’s nothing bucolic about the music since it’s underpinned by ominous rumbles that keep things edgy and unsettled. No surprise, then, that there follows an angry awakening of sound, an eruption that looses feedback blare, sustained notes, and whorls of percussion that eventually coalesce in a lovely stacking of tones that twist and pull apart to create close-grouped intervals. The piece closes by seemingly reverse its course in rapid time, with a brief meditation on water and wood breaking into intense, fracturing birdsong that wends its way into a sizzling drill-bit noise from Nakamura. It’s a really interesting and rich recording that’s been in my listening pile for months. Anyone who’s slept on this one will be happy they took the time to track it down.
~Jason Bivins
http://www.bagatellen.com/?p=2397

. . .
Review on SLW by Massimo Ricci

SLW epitomizes the "EAI super group", consisting in fact of Burkhard Beins (selected percussion, objects), Lucio Capece (soprano sax, bass clarinet, preparations), Rhodri Davies (harp, electro acoustic devices) and Toshimaru Nakamura (no-input mixing board). No likelihood of failure, one would say, with names like these and indeed the self-titled CD delivers what promised on paper. Structural intelligibility and rational advancement of the processes are among the qualities of the music expressed by this quartet. The timbral disposition tends to the "harshly high" register for the large part of the improvisations, yet that sensation of aural flagellation typifying some of the releases in this field is not in attendance. Each of the participants looks severely committed to their roles, the ensuing idea that of four unrelated instrumental lives being scrutinized along parallel courses, each independent from the other three, all still functional to a collective questioning of quietness - except for a brief noisier segment - in different, often surprising ways. A good example of how to go straight to the core essence of a sonic source without actually eviscerating its strictly acoustic content, and in this case the sum of the parts almost exceeds the substance of the single features. (...)  - Massimo Ricci, Temporary Fault - . . .

Review on SLW by Dan Warburton. Paris Transatlantic.

SLW SLW Formed
Googling around for the group name I came across Silver Wheaton Corporation, Sisters of the Living World, Stefano Lubiana Wines, Securities Litigation Watch (rather appropriate perhaps for these troubled times), Shift Left Word, Second Language Writing, and even, according to urbandictionary.com, "slw: some1 ppl f*ck randomly on the street", but in fact the name is short for Sound Like Water. This refers to a concert originally scheduled to take place in a disaffected swimming pool at the end of a brief residence in Brussels in late 2006, which included several studio sessions and a live performance in which the audience was surrounded by – immersed in might be more appropriate – the music of Burkhard Beins (percussion, objects), Lucio Capece (soprano sax, bass clarinet and preparations), Rhodri Davies (harp, electroacoustic devices), and Toshimaru Nakamura (no-input mixing board). This uninterrupted 56-minute span of music should be played loud, but even at high volume it takes a while to get into; one senses the musicians too are sounding each other out for most of the first quarter of an hour. Things really get cooking about halfway through, with some ominous low end rumbles and thuds (Davies? Nakamura?) that send Beins into pulse mode, scraping stones and polystyrene around his drumheads, and tease out some gritty multiphonics from Capece's bass clarinet, building to a genuine climax (yes! complete with cymbal crashes!) five or so minutes later. Eventually the music retreats into more typically inscrutable EAI territory – pale eBowed sine tones lightly dusted with static drizzle, huffs, puffs, ticks and clicks – but it remains somehow scarred by the memory of the earlier explosion, like a conversation between four friends all studiously avoiding the elephant in the room. Eventually it picks up again five minutes or so before the end, coalescing around an obstinate mid-register drone (I think Davies is responsible for this one, but Nakamura's work in recent times has been so wide-ranging and unpredictable, I wouldn't be surprised if it was him), but fades out before it gets into any more trouble. Though each of the four musicians has been loosely associated with so-called reductionism – though Capece freely admits he doesn't know "what reductionism is or means" – what's particularly exciting about this release is how full and rich the music is. "We didn't want the music to be identified with silence or quietness," he writes, "but with the organization of the material. The volume was quite high, though I wouldn't say it was extremely high or that the music could be identified with 'noise' as a genre or attitude." The activity level is high too, and it's fascinating to follow individual trains of thought as they veer into sidings or disappear into tunnels along the way. Capece describes the group's approach as one of "relating sounds in a simultaneous and immediately successive way without developing ideas. Ending and re-developing. The idea was to use different material but as one idea, keeping the tension." As descriptions go, that strikes me as being pretty close to the "in the moment" aesthetic associated with an earlier generation of improvisers. Indeed, those who prefer their improv more "old school" might be pleasantly surprised by SLW. It's convincing proof that EAI has matured enough to acknowledge the value of the music it originally sought to distance itself from. What the world needs now, I'm told, is more liquidity – Sound Like Water is my idea of a liquid asset.–DW
http://www.paristransatlantic.com/magazine/monthly2008/11nov_text.html#8

. . .

A review on SLW in All About Jazz. By John Eyles.
SLW
Burkhard Beins / Lucio Capece / Rhodri Davies / Toshimaru Nakamura | Formed Records (2009)

By John Eyles

From Germany, Argentina, Wales, and Japan, an international super group no less! Just reading the participants' names raises one's hopes about this music and sets the pulse racing. Although this foursome has not recorded together before, through various collaborations too complex to detail here (including Elektro-Akoestisch Ensemble, The Sealed Knot, Q-O2, and the 2008 release on Formed Records Ij,—they are like a complex overlapping Venn Diagram) the participants have enough common history to ensure that they will be using a mutually understood musical vocabulary that draws on eai, drones, and the importance of restraint and silence. It is that mutual understanding that makes this album mouth-watering.
Recorded live in Les Halles, Brussels in October 2006, this is one continuous piece lasting fifty six minutes. At the recording, the audience sat in the centre surrounded by speakers. Apparently, the whole space was meant to be considered a swimming pool (the gig was originally intended to be held in a unused pool). The title SLW stands for "sound like water". This title helps put the recording in context, because it often does sound like water—falling, flowing, lapping, gushing, pouring...

Unsurprisingly, given the prevalence of electronics, the piece opens with a high frequency electronic drone, which is practically the signature sound of eai and of Toshimaru Nakimura's no-input mixing board. Gradually, that is overlaid with other sounds, many electronic, to produce a multi-layered collage. Rhodri Davies' harp is linked to electro acoustic devices and used as a sound source for a range of complex sounds. Lucio Capece's reed contributions are occasionally audible as the upper layer, although they sometimes sound as if they have struggled to the surface; when below the surface, they often provide a percussive effect that effectively combines with Burkhard Beins percussion, giving the piece an underlying pulse. Despite the water motif throughout the piece, there are prolonged passages of sustained tones that act as interludes and add drama and tension.
As originally intended, this is music designed to totally immerse the listener, music that relies upon listeners to surrender to it and immerse themselves. It is richly rewarding and repays repeated listening.
Personnel: Burkhard Beins: selected percussion, objects; Lucio Capece: soprano saxophone, bass clarinet, preparations; Rhodri Davies: harp, electro acoustic devices; Toshimaru Nakimura: no-input mixing board.

http://www.allaboutjazz.com/php/article.php?id=31582

. . .

A Review on SLW ( Beins- Capece- Davies- Nakamura) in The Wire. November 2008.

... "Perhaps geography was destiny, the performance took place in the damp and chilly burg of Brussels, Belgium, where the quartet convened for four days of rehearsals before recording. Rehearsal plus a myriad prior encounters between the various members contribute to the exquisite balance, scrupulous pacing, and rigorous cohesion that they achieve. While they work within a narrow dynamic range, the flux of filament- thin metallic and electronic textures is marked by quick mutation and considerable discontinuity; this rich piece of long- tone music will never be mistaken for drone.

Bill Meyer.

. . .

A review on SLW in Vital Weekly. September 2008.

BEINS/CAPECE/DAVIES/NAKAMURA - SLW (CD by Formed Records)

...The second release is by the instant quartet of Burkhard Beins (percussion, objects), Lucio Capece (soprano saxophone, bass clarinet, preparations), Rhodri Davies (harp, electro-acoustic devices) and Toshimaru Nakamura (no-input mixing board). Together they played on October 16th 2006 in Brussels and this almost hour long piece is the result. It's also the meeting of highly talented players in this field. Beins plays, I think, in the most traditional way, with occasional loud bangs on his kit - perhaps that's the only element we can truly recognize. The other instruments play sounds that are best described as a combination of feedback, drones and sine waves. The instrument as object is extremely important here, and also how it resonates when amplified. Each of the players has a wide array of techniques to approach this, ranging from sustained sounds, short, looped sound, with or without curves, silence, loud: this bumps all over the place to maintain a vivid and imaginative piece of music. Sometimes creepy soft, sometimes ear-shattering loud, but always engaging. A fine work by key players of modern improvisation. (FdW)
Address: http://www.formedrecords.com

http://www.vitalweekly.net/643.html

. . .

A review on SLW at Squidsaear
Burkhard Beins / Lucio Capece / Rhodri Davies / Toshimaru Nakamura SLW (formed.records)
2008-11-05

The duo is, generally speaking, the strongest combo for minimal improv: an intimate conversation rather than a monologue, but with enough space for the discussion to move forward without too many tangents or individuals pushing a point. There are also enough exceptions (AMM, Polwechsel, poire_z) to perhaps disprove the rule, but either way, when a new, larger grouping comes together and seems to gel immediately, the results can be quietly exciting.

Saxophonist/clarinetist Lucio Capece and no-input mixing board player Toshimaru Nakamura follow their previous formed.records release IJ to move from the quintessential duo to a highly intuitive quartet, adding Burkhard Beins on percussion and Rhodri Davies on harp. SLW was actually recorded the day before IJ, although the pair traveled from Brussels to Amsterdam to record the second session. The resulting album - a single track of close to an hour - is a slow whirlwind of sounds and textures, varying wildly in volume and relative tempos. But what stands out most here is how rarely the individual voices leap forward, as if the sum were less than the parts. Occasionally a scraped cymbal or fluttered reed rises to the fore, but more often the sounds are submerged and melded, roaming or throbbing, in a fascinating meld.

- Kurt Gottschalk

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IJ ( Nakamura- Capece). Formed Records

A review on "Ij" in All About Jazz.
http://www.allaboutjazz.com/php/article.php?id=28227
Ij
Toshimaru Nakamura / Lucio Capece | Formed Records (2008)

By John Eyles

On paper, no input mixing board (the output from the board is connected directly to the input, creating an electronic feedback loop) sounds like an unpromising instrument to play; at best very limited, at worst a non-event. Surprisingly, in the hands of its pioneer, Toshimaru Nakamura, it has become a seemingly limitless source of rich sounds which variously display the qualities of pure tone sine waves, white noise, synthesized sound, acoustic feedback and more. Often, it is tempting to describe the sounds by analogy—a hiss of steam, the chatter of jungle insects, the throb of an outboard motor. A temptation better resisted.
Arguably, Nakamura is heard to best effect in duos. In larger ensembles, his sounds can become lost, and difficult to fully appreciate; solo, they can sound as if they need some contrast, something to react to. Certainly, his duos with John Butcher and Keith Rowe are highly recommended. Ij can now be added to that list, as Nakamura pairs up with Berlin-based Argentinean saxophonist Lucio Capece.

On the first of the two long tracks here, for much of the time Nakamura lays down a drone, sometimes modulated to produce a rhythmic effect. Over this, Capece adds some minimalist sounds using pad noise and the merest hint of reed sound, with occasional feedback as punctuation. However, this is not music that should lull one into a false sense of security; ambient it is not. Just when it seems as though nothing much is going to happen, an awesome screaming surge of sound looms up out of nowhere, to thrilling effect.
The second piece opens with a long-held note from Capece, soon followed by some call-and-response between the two, Capece´s low level mouthpiece noise drawing forth electronic spikes from Nakamura. The music evolves through a range of such responses, with the sax seemingly leading the way, culminating in a deeply satisfying section that matches bass clarinet with low frequency pulses.
The music is immensely subtle, and reveals added details and nuances with every listen. Not easy listening, but very rewarding of time invested in it.
Personnel: Toshimaru Nakamura: no input mixing board; Lucio Capece: soprano saxophone, bass clarinet, preparations.
Style: Modern Jazz/Free Improvisation | Published: January 26, 2008

. . .

A review on "IJ" in Bagatellen :
http://www.bagatellen.com/archives/reviews/001776.html

This one crept up on me. At first blush, its cool, relaxed nature conformed more or less to what I might have expected from this duo going in (not a bad thing!) but concentrated listens revealed--I shouldn’t be surprised--additional layers of subtlety, more of them each time through.
Two longish pieces, Nakamura wielding his trusty nimb, Capece on soprano saxophone and bass clarinet (each subject to “preparations”). The sounds themselves, by now, run along contours we’ve come to expect: electronic crackles and hums with a softly rhythmic character from Nakamura, reeds-as-breath-funnels from Capece; it’s not the novelty of the sounds that ultimately impresses but their placement, their mutual accommodation sculpted in consistently imaginative and playful ways. Most of the conversation is at a low volume level though there’s always the lurking eventuality of a raucous squawk to keep things honest. The music percolates near the start, each musician quietly gabbing, racing in tiny, delicate circles around each other, the communication rapid fire but deft, no stepping on toes. The first piece morphs imperceptibly from its polite onset to a much nastier interchange, Nakamura coaxing corrosive, bitter tones from his board, Capece migrating to the purer, though no less abrasive region of his soprano. It’s a marvelous subsection, a side of town I’d hope they visit more often.
The second track begins harshly but soon settles into a lovely, quiet area, sounding like nothing so much as a marshland in the evening, albeit interrupted on occasion by steam exhaust from the local factory. There’s more of a concentration on held tones here, sometimes very close in pitch, here and there attaining an overt level of expressiveness not generally encountered in this genre. Difficult to avoid while keening on a saxophone, I imagine, but whatever the case, Capece pulls it off without the slightest feeling of having used it as a “crutch”. Again, the piece ebbs into near silence, a fine section of muted squeaks, before the bass clarinet makes its first appearance and a series of intertwining drones emerge, Capece ultimately finding himself in quasi-didgeridoo territory during a rapturous several minutes toward the end of the improv where the rhythmic aspect that earlier poked out its head reasserts itself more prominently. Wonderful, rich stuff right here.

Always enjoyable, occasionally spectacular, “Ij” is one of the better discs I’ve heard in the last few months.

Posted by Brian Olewnick on September 3, 2007 5:34 AM

. . .

A review on IJ in "Dusted Magazine", by Jason Bivins

Finally, it’s hard to imagine many contemporary improvisers more distinctive than Toshimaru Nakamura, who has not only developed a highly personal language on the no-input mixing board but who fearlessly enters all manner of challenging situations, regardless of how far afield they may seem to sit from his work with Sachiko M or Keith Rowe, for example. Consider ij (Formed 106), a powerful duo with Lucio Capece (soprano saxophone, bass clarinet, preparations). One’s immediate expectation is that these two improvisations will consist of a lot of controlled overblowing to blend in with high-pitched sine waves, almost the eai version of Steve Lacy and Evan Parker’s Chirps. Not so fast. The first piece grumbles and crackles with industrial intensity, as Capece squawks here and adds some gruff pulses via close-miking there. The sound is dense with thick hums, a buzzing hive of activity, and Capece creates some truly nasty feedback effects. The second piece opens with what sounds like bass clarinet, straining in the upper register and wrestling with some serpentine feedback. It quickly boils down to something more bitty and pointillistic, with low groans and mumbles, wheezes and croaks like the music has the flu. There’s also some fantastic glissing and sine-waves fifteen minutes in, before it descends slowly into a fine conclusion, with a quickly-oscillating lower register pulse (bowed glass and amplifier punishment) and buzzing bass clarinet. Another winner from Formed.

By Jason Bivins
http://www.dustedmagazine.com/features/656
. . .

A review on Ij In the italian version of All About Jazz

Ij /Lucio Capece & Toshimaru Nakamura . Formed Records (2007)

Enrico Bettinello

Di tante immagini che vengono alla mente - spesso inadeguate - per descrivere la musica del duo composto da Lucio Capece e Toshimaru Nakamura [ma anche di molti altri progetti di area riduzionista, di cui l'etichetta Formed è efficace testimone], quella che mi sembra più onesta mi spinge a immaginare una serie di minuscole creature intente a rosicchiare il silenzio partendo dai bordi.
Ij è composto da due lunghe sedute di rosicchiamento, con Nakamura a esplorare le spettrali cavità espressive di un mixer e Capace che dal sax soprano e dal clarinetto basso [ance agli estremi], anche preparati, trae soffi, rigurgiti, respiri, tracce di fili d'aria, a volte annodati. Perché abbia un senso, l'ascolto del disco richiede un ambiente molto silenzioso e uno stato di vigile assenza da parte di chi vi si sottopone.

È infatti musica di dettagli, di impercettibili spostamenti molecolari, che richiede di diventare piccolissimi per farsi impaurire da un fragore lontano che quasi non si sente; musica che chiede una complicità quasi fideistica all’ascoltatore, in attesa fremente dell'apparizione di un segno, di un suono, arreso a un naufragio che si può accettare solo sotto forma di poesia.
http://italia.allaboutjazz.com/php/article.php?id=2400

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BB . Solo. Absurd.

A Review on " BB" in Touching Extremes
http://spazioinwind.libero.it/extremes/touchingAD.htm

LUCIO CAPECE - BB ( A question of re_entry)
A nice item under the guise of a DVD that presents saxophonist Lucio Capece in two video extracts from different performances, the first recorded in Berlin in 2006, the second in Buenos Aires the year before. In the former, Capece exploits the ambience's hush and his own acoustic devices, which include selected plastic boxes, sawed-off cans, a vibrator, several mouthpieces and various gadgets, to offer an essay of single tones alimented by knowledgeable circular breathing techniques, a minimal improvisation that shows the player's ability to extract juices even from apparently meaningless gestures. It's a good occasion for people who can't watch these things live to finally comprehend how artists of this caliber generate those unconceivable sounds that on record are only vaguely imaginable. In the Buenos Aires performance, Capece uses a mixer and saxophone feedback for his needs; beware, though - Graham Halliwell's slight undulation it ain't. The music is indeed a torrent of noise and harsh dissonance, the artist causing the most unbearable squeals following an involuntary choreography during which he walks around the site, bending the saxophone to find new ways of altering the normal perception of its timbre. It's difficult to digest but rewarding nevertheless, probably a little more than the Berlin track despite a mere 10-minute duration. In both cases, the camera work is pretty rough, yet it looks perfect for the raw energy that Capece is able to conjure up from his excursions.

Massimo Ricci.

. . .

- Review in Bagatellen about "BB"
http://www.bagatellen.com/archives/reviews/001809.html
Lucio Capece - bb
a question of re_entry
#5

“bb” is a DVD release featuring two live solo performances by Lucio Capece, one in Berlin (2006), the other from Buenos Aires (2004). For the Berlin set, he plays a curved soprano saxophone with a goodly amount of “preparations” while the earlier concert finds him using a mixing board and saxophone feedback.

The acoustic set proceeds in an almost stately manner, Capece pacing a very deliberate course, pausing unhurriedly between segments. It’s generally quiet, the sounds achieved via quasi-normal use of the mouthpiece falling into breathy territory. These are augmented by techniques such as bowing the side of the saxophone, blowing into the instrument with a backwards facing trumpet mouthpiece (often utilizing circular breathing), inserting or dropping various objects into the bell to cause vibrations (coins at one point, I think, a vibrating dildo at another), covering said bell with an assortment of containers, etc. For this listener, Capece balances on the divide between a solid musical exposition and a display of cool approaches. There were any number of times where I would have liked to have heard (and seen) him linger for a while, more deeply exploring given attack. The dildo, for instance (really!) allowed him to generate sound and vary it with key fingering, all the while bowing the mouthpiece—an excellent, crunchy combination of sounds! He does recycle a few of the techniques over the course of the 23 or so minutes of this piece and it’s interesting to hear the juxtaposition of sound events alongside each other in differing sequences. Listened to this way, almost like a slideshow, it’s fine but I admit to missing an overall cohesion. The camera work is clear and largely unobtrusive.

The second work is an entirely other animal. It’s of a piece, Capece sweeping the soprano (which has a wire descending into its bell, presumably attached to a mic of some kind) around him, generating feedback thusly as well as producing strong, low groans by manipulating the keys. There’s an underlying gravelly rumble throughout, creating a marvelous mixture of tones and textures. Here, the photography is appropriately frenetic though never aggravatingly so. Ten and a half minutes of pure, rich noise. Eventually he escalates things further by blowing into the mouthpiece-less tube producing virtual air raid alarms. A great performance, worth getting the disc for on its own.
a question of re_entry (via absurd)

Posted by Brian Olewnick on October 10, 2007 6:11 PM

. . .

BB . Review in Vital Weekly.
http://www.void.gr/absurd/index2.htm

Despite the many, many releases reviewed so far in the field of improvised music, there is hardly a thing to see. Seeing is believing sometimes, or perhaps it takes away some of the magic? Lucio Capece hails from Argentina and now lives in Berlin. On this DVD-R two live pieces from 2005, and two different approaches to playing the soprano saxophone. The first piece is recorded at Labor Sonor in Berlin and sees him playing 'soprano saxophone and preparations'. In this piece he plays the saxophone with various objects, such as a bow, a plastic case and blows the mouthpiece separate from the saxophone. All is amplified and in between picking up various objects there is silence. In this twenty-two minute he carefully plays around with the notion of silence and brings out soft spoken touches on his instrument. Which is in total contrast of the piece recorded at the No Spaghetti festival in Buenos Aires later in 2005. Here he moves the saxophone around to create a wall of feedback, and he hardly blows the thing. How exactly this feedback is made doesn't become clear, but seeing the noise being made is a great thing. These two entirely different approaches to playing two different ways of improvisation makes this a great document.

Frans de Waard
5/27/2007
http://www.earlabs.org/text/review.asp?reviewID=336

. . .
A French Review on BB.

LUCIO CAPECE
Bb
Dvdr A Question Of Re-entry 2007
Voici un DVD live comme on a rarement l’occasion d’en voir. Tout d’abord le support en lui même : un dvdr dans un boîtier plastique noir au format cd avec un l’artwork plus que simplet. Ensuite, ce qu’il offre musicalement. Pour commencer il faut présenter le personnage : Lucio Capece est argentin, il « joue » du saxophone (soprano) en solo mais aussi au sein de groupes ou en duo avec d’autres artistes adeptes comme lui de l’expérimentation (Toshimaru Nakamura, Axel Dorner, Mattin, etc.) . Les guillemets sont ici très importantes car jamais vous n’entendrez (et ici verrez) un solo de saxo comme on peut l’entendre dans une formation jazz classique. A travers ce DVD qui contient 2 live très différents, Lucio Capece expérimente toutes les façons d’utiliser cet instrument des plus classique. Sur le premier live qui est un concert à Berlin de 2006, le saxophone est utiliser ici presque comme un « objet ». Assis sur une chaise avec à coté de lui un petite table ou est posé une multitude de choses, Lucio est prêt pour son show. Ainsi s’il commence par souffler dans son instrument, il n’en sort que des drones de vent, variant au gré des touches. Le son est alors modulé et travaillé en faisant intervenir différents objets souvent très simple, placé devant ou dedans le saxo : boîtier de tour de cd avec lequel il crée des variantes dans le son en l’éloignant ou en le rapprochant, balle de ping pong qui crée des frottements, vibromasseur (en fonctionnement s’il vous plait !), mais aussi archer frotté le long du saxo ou sur le bec et bien d’autres expériences que je vous laisse le plaisir de découvrir. Au final c’est un live de 23 petites minutes ou l’on est tour à tour surpris, scotché et entraîné au gré des sons et de l’ambiance qui règne. Le second live, d’un peu plus de 10 minutes, se déroule quant à lui à Buenos Aires au No Spaghetti festival de 2005. Toujours assis sur une chaise, ici la musique n’a rien a voir ; grâce à un procédé de feed back et quelques pédales, il nous balance ici un show dans la pure tradition hard noise, tendu et violent. Bon… je sais pas trop comment sa marche mais c’est impressionnant. Ultra concentré, il bouge lentement son instrument dans tous les sens, faisant varié les tonalités au gré des touches et des mouvements. Il se lève même nous offrant alors presque une danse transcendée par la musique. Le concert se finit assis, dans une grosse montée pour se couper net et laissé le public, comme le spectateur, scotché par ce qu’il vient de vivre. Trop court à mon goût, il me donne envie de le revoir après son passage au festival NPAI à Partenay en 2006. Comme dans ce DVD, il avez joué de son instrument de façon acoustique mais aussi d’une façon débraillée au sein du groupe qu’il a créé avec Mattin au nom plus que révélateur : No More Music.

http://www.stnt.org/chronique.php?i=2033

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Universal Prostitution .NMM ( Mattin- Capece) Absurd- 8mm- Ideal

A review on NMM´s "Universal Prostitution", on Vital Weekly.

VITAL WEEKLY

NO MORE MUSIC - UNIVERSAL PROSTITUTION (CD by Absurd)
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)

Address: http://www.void.gr/absurd

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NMM ( No Seso Records). Black Cover.

A Review on NMM ( duo Mattin- Capece), in The Wire.

The Wire
Outer Limits
Sam Davies
274
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.

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KAMMERLARM (Dörner- Hayward- Capece). Azul Discografica.

A review on Kammerlarm in Bagatellen.

. Kammerlärm. Lucio Capece, Axel Dörner, Robin Hayward.
http://azuldiscografica.com/

Dörner (trumpet) had recently released duo albums with both Capece (soprano saxophone, bass clarinet) and Hayward (tuba) so “Kammerlärm” comes as a natural enough progression. Electronics are once again eschewed allowing us to deal with a purely acoustic wind trio and the results are hard-won and invigorating. The music is “more difficult” than the duo recordings, I found, grainier, more tenuous as a result of being stretched more broadly, taking several listens to accommodate itself. There’s wit to be found, even so. Part of the first track has one of the fellows imitating bongos by manipulating keys or valves while someone else does some rhythmic breathing that resembles soft tambourine accents. At least that’s what I heard and it had me chuckling.

The second piece, the longest at 23 minutes, attenuates matters to an even greater extent, the plosives, shudders and burrs wafting about like steam from engines idling on a frigid evening. It may evaporate a bit toward the end, but a lovely scene has been presented. The third subtly fills in the spaces, just barely encroaching on territory that might be considered “rich”. Only tinges of caloric content though, and those tinges are delightful, writhing tendrils of flavor that scurry out and retreat. It’s a lovely bit of music and one of the most enjoyable examples of acoustic improv I’ve heard in quite a while. Well worth a listen, as is the entire album.

Posted by Brian Olewnick on June 8, 2007 7:42 AM
http://www.bagatellen.com/archives/reviews/001707.html

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DÖRNER- CAPECE (L´ Innomable)

A review on Dörner- Capece, in the Polish magazine Gaz- eta.

AXEL DÖRNER/LUCIO CAPECE
Axel Dorner / Lucio Capece
[L'Innomable, www.linnomable.com]

On their self-titled debut, German trumpeter Axel Dorner gets together with Argentinean saxophonist Lucio Capece for an hour-long feast for the senses. For anyone familiar with Dorner's work knows he doesn't use the trumpet to play simple motifs or expound harsh blows. Rather, he prefers to bathe the palette with a variety of soft-spoken spittle, caressing breaths along with intensely windy demure. Capece sprinkles the proceedings with a slew of alien-sounding soprano bursts and bass clarinet farts. When I say alien, I mean just that. Much of the time, I'd sit and wonder if this wasn't a field recording of the wild outdoors. The wind sound escaping from Dorner's horn and Capece's sax is so much akin to the real thing. At the end of the first piece, Dorner's playing kicks up a notch and the intensity level rises somewhat but never is this a fully direct noise fest or anything of the kind. Even the percussive sounds that Capece draws out slowly from his bass clarinet are subdued in nature. By the second track, the sound becomes somewhat more granular in nature. It's not just the forced-out breath that takes centre stage, but this circular buzz-saw sound that keeps on appearing. To call this recording anything less than fascinating and addictive would be a disservice. Highly recommended.

- Tom Sekowski

http://www.gaz-eta.vivo.pl/gaz-eta/recenzje/gazeta.php?nr=55&id=s_30

. . .

A Review on Dörner- Capece in Bagatellen.

Axel Dörner- Lucio Capece
L´innomable.
www.linnomable.com

"Admittedly, I find it somehow refreshing on its own merits to hear a good, new recording that’s entirely composed on non-electronic sounds. Nothing at all, of course, against current-driven noises but it’s always a good thing, even if only as a listener, to be able to step out of a given stream and stand momentarily on the shore, taking in the surroundings from a slightly different vantage. A relatively minor concern anyway; it’s the musicians themselves who make the difference whether plying their art with computers or sticks ‘n’ stones. Here, Dörner eschews his laptop, sticking to trumpet while Capece, too, abandons any electronica, summoning air through soprano saxophone and bass clarinet.

Two long, untitled improvisations. The first spends most of its first half in breath-tone territory before shifting into long, held notes of varying purity or granularity. But it’s less about the nature of the sounds themselves than their paired spacing, the gentle dovetailing and spatial undulations that occur. The pacing is calm, considered. Care seems to be taken to contrast the sounds effectively, allowing space for each while still, more often than not, weaving a strand that can be heard as a whole. The remaining track is only marginally different, the tones again tending toward the drawn out, the textures tumbling from sputtering air columns to burbles to dark hums. Near the beginning, Capece engages in some playing that sounds rather electronic, in fact. But again, it’s all about the spatial dance of the two lines, the silences between and the relationships found among the tones. The disc is very “unspectacular” to that extent, almost demure, but all the richer for that."

A very good recording.

Posted by Brian Olewnick on April 17, 2007 5:13 PM
http://www.bagatellen.com/archives/reviews/001650.html

. . .
Dörner- Capece
by Massimo Ricci
from Touching Extremes

AXEL DÖRNER / LUCIO CAPECE - Axel Dörner / Lucio
Capece (L'innomable )

OK, so reductionism is not dead after all. Looking at
the names that give birth to this duo, one should have
known better. Two long improvisations for trumpet,
soprano saxophone and clarinet: air, air and again
air, whistling, whispering, even singing, with,
without, within a structure. Furthermore - get this -
there are "real" notes, too: long, sibilant notes
emitting crackles, nurturing their components,
accompanying their own harmonics until they are
confused with the flux of our mental activity - which
gets often interrupted by a respectful silence.
Dörner's trumpet irradiates arrhythmical gaseous
clouds, at times falling in slow descending glissandos
like a sunset over a marine horizon; Capece believes
that the clarinet is an animal, feeding it with filthy
energies and repressed fury but also doing his best to
make it sound like a dozen racing cars driven by wild
boars. A lot of information is contained by an
involucre that, on a superficial look, sounds poor in
terms of colour and timbre. Raise your aerials,
because there are hundreds of nuances in there: about
three/four minutes into the second track one feels
like having parked, the engine still on, smack-dab in
the middle of a car wash. After that, you'll probably
go looking into the drain hole because of the gurgling
spirals coming from the back of your head. And when
the end approaches, the hiss, the drone and the burble
shake their hands, deciding that war is not a healthy
method to determine the end of sonic intolerance.
Pseudo desert winds blow, droplets are heard; a
purring metalanguage is proposed. On a second thought
- reductionism? Who cares if the results are
interesting enough.

www.touchingextremes.org

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KYRIAKIDES- CAPECE ( Two mp3 releases at Audiotong)

YANNIS KYRIAKIDES & LUCIO CAPECE - JUNCTION (MP3 by audioTong)
YANNIS KYRIAKIDES & LUCIO CAPECE - LIVE IN BRUSSELS (MP3 by audioTong)
Yannis Kyriakides on laptop and Lucio Capece on soprano saxophone and bass clarinet met in a small studio in Paris in January 2003 to record the album "Juncture" which is now available online from the fine audioTong label. Capece makes use of a whole array of extended playing techniques to create long sustained tones, short throbs and bubbling, hissing and squeaking textures that match perfectly with Kyriakides' mostly subdued electronic pulses and ticks. With a few exceptions the duo doesn't go for the large crescendos, but organizes the sound horizontally, creating vivid fields of small acoustic events. Tension is gradually built and resolved and things are kept in motion all the time, with quiet passages, sometimes just above the threshold of audibility, alternating with more fragmented playing.Together with these studio tracks audioTong also releases a live recording of Kyriakides and Capece at the Van Vlaanderen Festival in Brussels in 2004. Again they play laptop and wind instruments and again the result is fascinating. The first of the two sets starts in a quiet way, along the line of the 'classic' improv approach, with soft gliding electronic tones and the careful hiss and bubbling of the acoustic instruments. Gradually the volume is raised and the playing gets more and more hectic. The dense textured noise is then transformed into a beautiful drone passage, which is built upon the warm sound of the bass clarinet framed by subtle electronics. The second set stays in the drone area throughout. Over the course of about 20 minutes a variety of delicate warm and clear sounds is woven together, ranging from loop-like repetitive structures to stretched-out amorphous fields. Once more this demonstrates the duo's ability for carefully reacting on each other's playing and theirsubtle sense for structure, variety and the interaction of electronic and acoustic sounds.Both albums are certainly among the best online-releases I've come across recently, and proof again that there is high quality music available online that well deserves finding an audience. (MSS)
http://www.vitalweekly.net/541.html

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LIVE REVIEW. Solo.

Solo set at NPAI Festival. Parthenay. France. July 2006.

A review of the solo concert:
Musique olfactive... Lucio Capece
Enlevez de la musique les mélodies, et même les notes, que reste-t-il ? Des sons plus ou moins purs. On cherche à comprendre ce qu’on entend, mais ça ne vient pas tout de suite, il faut dire que Lucio Capece a pour thème le temps. Autant alors se laisser porter par les sensations, un peu comme avec les odeurs. Avez-vous remarqué, elles transportent parfois les souvenirs, on met parfois un peu de temps à les identifier, mais lorsqu’on y arrive, on est surpris par la vigueur de la sensation. Sa musique, c’est un peu cela, le saxophone nous éloigne des classiques, mais pour gagner de nouveaux espaces, comme l’albatros il se rit de l’archet, qui donc ne sert pas qu’au violon, une musique ludique en somme pratiquée même avec un vibro ! (Thierry Wattez)
http://194.250.166.231/plc/lettre/article.php3?id_article=49

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AMBER ( Eckhardt- Davies- Hayward- Capece) Creative Sources

A review on Amber. In Bagatellen, by Jason Bivins.

Finally, one of the strongest, most beguiling releases of this batch is Amber (CS031). A wickedly good quartet – Rhodri Davies (harp), Robin Hayward (tuba), Julia Eckhardt (viola), and Lucio Capecce (soprano saxophone, bass clarinet) – deliver two rich improvisations, recorded in April 2004 in Berlin. Four acoustic instruments are reduced to their granular essence, and these instrumentalists reconstruct sound through their expert, knowing use of breath and articulation. The huge round sound from Hayward's tuba, the gentle hiss and release from lightly bowed strings or reedwork, and the always unpredictable Davies work in concert to create a singular sound. Whether bowed, breathed, plucked, or struck, the instruments slowly merge into one another to produce a rich palette where tones blend, colors combine, and shapes shift. What's even better is the way in which the quartet frequently achieves – through exactly this kind of blending – a sound that is very close to electronic music, with nuances of feedback, sine tones, and so forth (I suspect Davies may be using an Ebow here). In general the mood is very still and quiet, so that the few passages of raucousness and aggression have more power. One of the better discs I've heard so far this year.

http://www.bagatellen.com/archives/features/000915.html

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SPACE-TIME MODULATOR. Solo. NMM ( No Seso)

A Review on "Space- Time Modulator" ( solo) and the first NMM ( duo with Mattin)
On Vital Weekly.

LUCIO CAPECE - SPACE/TIME MODULATOR (CDR by Noseso Records)
NO MORE MUSIC - AT THE SERVICE OF CAPITAL (CDR by Noseso Records)
Originally from Argentina but now in what some think is the centre of the musical universe, Berlin: Lucio Capece, who plays bass clarinet, soprano saxophone and mixer feedback. Of these two CDR releases, 'Space/Time Modulator' is a solo release. It contains the lengthy title piece and two shorter pieces. The title piece is inspired by Laszlo Moholy Nagy, who built a mechanic ensemble between 1922 and 1930, made up of an electric structure, in synthetic material and metal grilles, with mirrors and lamps. Capese uses a similar, albeit somewhat free set up, to play around with three forms of sounds: feedback recorded on to two different mini discs set to random and the soprano saxophone and bass clarinet, recorded by two microphones, and two volume controllers: one for the left and one for the right channel. In the almost forty-four minute piece this leads to quite some intense results. Sometimes the sound drops out, drops back in, and throughout the piece changes. Some of the frequencies are of course quite nasty, but it's never too long. The shorter version of the same piece of two minutes is very silent and passes without noting. The third piece, 'Mixer In Feedback Modified By Inside Amplified Saxophone', uses sound material by Julia Eckhardt on viola and for some strange reason doesn't sound too similar from the previous two pieces.
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)
http://www.vitalweekly.net/541.html

Pieces regarding social aspects of Music-Issues

2011-12-09T21:11:00.000+01:00

"The Borders play Sunno(((" is a piece composed by Lucio Capece to be performed in duo with Christian Kesten, at Instal Festival, Glasgow, on the 12th November 2010.

Photos showing this performance can be watched here

http://krakow.zenfolio.com/capecekesten1110/h19c2dc92#h19c2dc92

The borders play Sunno((((
(by Lucio Capece, based in texts by Guy Debord plus self created texts and selected quotes).

The idea of the piece is to make visible aspects of the music performance situation, that we usually give for granted. We pay special attention to the inertia of our time towards general separation and closeness inside groups that tend to separate from each other.
Separations among scenes, between music and music lovers when it´s considered as a collectible object, between performers and audience, between positive and negative aspects in a maniqueist simplistic way. Closeness inside he scenes, towards intimacy as a way to protect from the spectacular and anonymity, against the outside. If the event works around the idea of observing the music practice from a certain perspective, the observer can also be observed from the same distance, surely from the opposite side, that can be several ones.

This is a performance of 2 halves, during the first half Lucio will play music as Christian moves around whispering to the audience and handing out small pieces of paper with writing on and bowls of soup. Lucio will be playing a low frequency amplified by a tiny speaker. Some cardboard tubes with different length and diameter , will be placed close to speaker , changing the basic sustained note´s pitch. The music is an extremely quiet version of a doom metal style composition. For this first part the lights should be very low just bright enough for people to see what is going on with a special on Lucio who will be in the centre of the space. The cardboard tubes will have some small lights inside, so when the tubes are moved and placed on the tiny speaker, the light of each tube will point the ceiling, or different spots of the room or members of the audience.
After 15 minutes Lucio and Christian will move and sit on a small stage behind the line of the Pros’ curtains this side of the room should stay dark with some subtle lighting on them.
Before doing that, Christian says:
You are invited to read or not the texts that we have given to you, using the microphones or not.
The audience will be invited to come and read the phrases on the pieces of paper they have been given into 3 microphones 1 in front of each seating bank. The lights on the audience should be turned up slowly at this point. As the text is read out 3 technicians (operating the curtains, Fog Machine and a recording of it) will interpret what is being said by closing the curtains in front of the artists a little each time and operating the small smoke machine and it´s recording in the same way.
The criterions that the technicians will follow to react are detailed in their specific scores, posted below. These criterions require interpretation of what has been read in different dimensions ( sonic, ethic, intentions shown by the readers, creativity) .
The curtains are closed and the house lights are fully up. Then as people leave there will be simple credits projected on the wall besides the exit door.

------------------------------------------

TEXTS:

1-Critic of Separation. Guy Debord
A complete translation of the original text can be read here
http://www.bopsecrets.org/SI/debord.films/separation.htm
The texts offered in small papers to the audience are several short excerpts.

2- Blank papers. Seeveral blank papers are offered to the audience. Christian whispers different kind of self created quiet sounds by the ears of one person at each time.

3- Self Created texts and Quotes:

-International division of labor has been applied successfully to avant garde music. The musicians have accepted it and are part of the process. Don´t musicians do that when they have one project that fits in the profile of each venue?
Or the other way around, Don´t the musicians do the same when they produce according to the need of one specific scene?
Do they not fit rather too well into the categories?
-Acousmatics. Name given to the disciples of Pythagoras who, for five years, listened to his teachings hidden behind a curtain, without seeing him, while observing a strict silence. Larousee Dictionary.
-Overinformation produces music that speaks about music, done by and for people that listens to and does the same kind of music. Do we still have the capacity to make music that speaks about life? Whatever it means. Or is lifed reserved for ignorant people and old successful artists who became a commodity fetish? Maybe we should make life become a fetish commodity, and then it would be easier to speak about it. Probably that´s what we do when we make music that speaks about our records collection. Probably that´s what we do when we speak about music as a strange object.
-Performance artists that observe the music problematic from outside, look like a safe scientist with glasses and gloves that observes a primitive creature.
-The higer value that some perfomance and conceptual artists give to a one second effective idea over a long life effort, shows the triumph of publicity, not only as a technique to sell commodities, but regarding its capacity to impose a creative work dynamic.
-Avant garde art became the art of curators and critics. They have divided new art into categories for their better understanding. Artists have accepted these categories in order to find work, and produce works according to these divisions and frames.
-Are we going to make a new little scene of improvisers becoming performance artists?
-The music scene is boring. In a party with friends the most interesting people are the “civilian” ones, those friends who are employees in a company, or those ones that opened a little company themselves, or something like that.
From an interview to the french group AIR.
-But it is still nice to have someone in the audience than having nobody, even if he is on a guest list.
Taku Sugimoto.
-Studies in music theory should no longer use the terms
"consonance" and "dissonance" when describing the quality of isolated, non-functional intervals.
James Tenney. A History of Consonance and Dissonance
-Do we need to have someone on stage pretending to make us think?
-Sharp contrast is a banal idea. Alvin Lucier.
-If you do not know the oirgin of the quote, you do not understand the piece.
-Quotes ( Related to “Empty Words”, by John Cage and “I´m sitting in a room” by Alvin Lucier)
. A slight sound at evening lifts me up by the ears, and makes life seem inexpressibly serene and grand. It may be Uranus, or it may be in the shutter.Henry David Thoreau
.We regard this activity not so much as a demonstration of a social fact, but more as a way to smooth out any irregularities our speech may have.
.The hoodie is usually related in our imagination with violence, clandestine life, hip hop and robbery. Is because of that, that the work and developments done by BBDO Argentina intends to revert that image, giving the Hoodie a more personal meaning, letting you know that Hoodie is a moment, a mood in which the person connects with himself. This is transmitted showing the private life, intimacy and sensitivity of these three sport men. (From a Hoodie Publicity in Argentina)
http://sitemarca.wordpress.com/2009/01/05/nike-revive-al-buzo-con-capucha-en-su-nueva-campana-europea/

---------------------------------------------
INSTRUCTIONS OFFERED TO TECHNICIANS
(CURTAINS, FOG MACHINE, RECORDED SOUND OF THE FOG MACHINE)

All the parameters are executed after the person speaks, with the exception of Fog Sound Speaker.
Curtains do never close completely. The performers stay by the center of the small space and the curtain never covers them.
If several people are doing something at the same time, the technicians have to chose one of these persons and react according to what this person does, with the exception of Fog Sound Total PA, indicated below.

CURTAINS

-Curtains reading (if the audience member reads):
If the person READS
.a POSITIVE statement :you open level 1-
If its already open until it´s top, close and open again, letting it in the same position where it was before.
.a NEGATIVE statement: you close level 2.
If its already closed until it´s top, open and close again, letting it in the same position where it was before.

2 ½ 1 ½ 2------2 ½ 1 ½ 2
------------artists ----------

-Curtains No Microphones:
If someone says something without mics.:
POSITIVE: Open level ½
If its already open until it´s top then close level ½

NEGATIVE: Close level 1/2
Idem Note
If it´s already close until it´s top then open level ½

-Curtains No Reading:
If someone SAYS or DOES something creative, NO READING (with or without mics): No reaction.

FOG MACHINE

.If someone reads and is NEGATIVE: Fog level 1.
Read and is POSITIVE: Fog level 2.
.If someone SAYS or DOES something creative, NO READING: No reaction

FOG SOUND TOTAL PA:

.If someone READS without mics and says something NEGATIVE.
.If more than one person are speaking or doing something ON THE MICS at the same time, Play the sound while they are still doing it .

Fog Sound one Speaker:
.If someone READS WITHOUT MICS . Play it while the person is still speaking. It does not matter if is positive or negative.

.If you do not hear what the person says do something according to the audience reaction, if the audience does not react :Do whatever you perceive.

.If Nothing happens, and there is no reaction by the audience.

Fog: Minute 7- Fog Level 2
Curtains: Minute 10- Close level 2
Fog Sound PA: Minute 12

-----------------------------------------------------

About "The Society Of Spectacle"
Some words about the piece "About "The Society of Spectacle" Guy Debord 1967. (Improvised piece- Instructions by Lucio Capece)", released as part of the Cd Wedding Ceremony, and whose score can be checked here:
http://www.cathnor.com/LucioCapece.pdf

Debord´s book " The Society of Spectacle", written more than 40 years ago, remains an illuminating tool to read our everyday life, and the immense influence of spectacle in our collective and personal behavior.
It was written when this power was probably millions of times weaker than what it is today and exposes questions and thinking that will provide more and more light in the upcoming years.
Considered a classic for many people it surprises me to see how unknown it stays not only for people who does not dedicate too much time to read, but also to intellectuals and musicians that I know.

Beyond the social aspects that the book treats with evident intelligence and commitment I find in the book specially interesting the possibility of reading how spectacular can be my behavior as a musician, what kind of sounds express the type of relations that he describes, what kind of presence on stage, under stage, with other colleagues or with the audience. Considered as a political work, I admire his talent to elaborate it, and somehow his high expectations in humanity. I take the book as an ascetic tool, that may help me to offer the best of me to other people. The social and revolutionary aspects of it, go beyond my possibilities and my expectations of a better society.
Is not my intention to show the book as a compilation of truths to be followed, or to mention Debord as a leader to follow. To put him in the position of a revolutionary leader to be followed, and not to take his work as a tool, even to be put in question, goes against what he says, and did, in my opinion. His work was far too revolutionary to become a T- shirt fetish, or a business for anybody. That explains the fact that his work stays diffused almost from mouth to mouth, helped nowadays by internet.
When the performer in the piece reads the texts to the audience softly and close to their ears I tried to express the fact that his work stays as an intimate and almost person to person ideas exchange possibility.

When I brought the piece to the project I had in my mind Debord´s book, but also Alvin Lucier´s “ I´m sitting in a room”, as well as thinking about the effect that Radu Malfatti´s music produces in me when I listen to it.
About Lucier´s piece. I wondered what might happen if instead of , given a sound element, a certain process puts in evidence the roll of the room, a piece would put in evidence the roll of the audience, after giving the audience certain elements. I think that Radu Malfatti´s music has put in question the music practice, and the spectacularity of it, in a deep way, being at the same time highly well constructed and beautiful music, but not conceptual post-music.
After listening to his music it impresses me the psicological and spiritual effect that this music creates in me, also how more things I can listen about what Is sounding in the room where I listening or outside. I was wondering how the audience may reaction nowadays, after Radu´s music, as a given sound element and Debord´s book as a text element. In this way I remember always “Empty Words” by Cage, and I always think what would happen if Cage could do that performance today. In this sense I enjoyed the musical reaction of the audience. Im conscious that there were some minutes of tension, and someone getting upset, others thinking what to do. But then some people did some loops, others took only some words. When I listen to the recording I find that is good music. Instead of being the room , or the things that I hear while I listen to Radu´s music, it s the audience, after those given elements.
While in some specific scenes to invite the audience is as classic as a sonate it surprises me somehow how some people, in some specific scenes that consider themselves avant garde, can become so aggressive when this happens. I wonder why the fact of inviting the audience to participate is often related to provocation and “oppression liberation” (?).The audience had the option to do nothing, but it was a main aspect of the thing to invite the audience to take a decision, and to give them certain conditions to do it, in the way improvisers have to resolve situations on stage. This relates also with Debord´s book and aspects of situationism.

About having the piece on the CD.
The piece is part of the CD considering that there is something like 60 minutes of music that I find beautiful before it. I think that it worths having it there and that it is coherent with the work we did. For those ones who are not interested in the voices it can be a one time listening piece,or at least the first 7 minutes of it can deserve repeated listening, and I like it in that way. There is the option of stopping the CD player or programming it or editing it with Audacity if someone wants this.
Beyond what it says and means, I think that the piece has a strong presence in the CD and that is coherent with the importance given to the “outside”, that happens during all the previous pieces. But in a different way, that is the explicit participation of the audience playing, and analyzing what is happening at that precise moment. This makes for my taste the CD quite unique and the presence of the piece an effective collaboration with the rest of the material. Including it in the CD, It was my intention to create together with the other pieces, different arrows towards the outside. The presence of the score in the label´s website has the intention to give the website an activity into the perception of the CD, that goes beyond the usual ones of announcing and selling it.

A few other aspects that specially interest me :

-The possibility of giving to a space- event a function that differs from the one the space is being used or has been created for. Vooruit´s building itself went from being a socialist cooperative building to a multidisciplinary art center.
http://vooruit.be/en/gebouw

Art has opened to new forms in the last century like performance, installations, conceptual art ,music theatre and so on, that changed our idea of art, and the function that it may have in society.
I find specially interesting to perceive what happens when the things move slightly out of what is expected from the event. The event is not any more recognizable as a concert, or a reading session, or a performance. The events that opened the perception of art became established forms themselves, as forms. We expect that whatever may happen in a performance session, and that the space can be the centre of the work in an installation, etc. And we go prepared for that to the event. To move slightly among this categories, or just slightly out of all of them, in my opinion, can open the situation much more than being into a discipline that is already accepted and installed as that.

New Music in a social context. I wonder how often contemporary artists wonder what social effect has what they do. It looks to me that very often new ideas in art try to answer to the previous great idea, trying to suggest a development of it. This dynamic very often leaves the people that are not part of that exclusive language development, totally out of it´s message, having this art work only social implications in the strict circle of people where it was created. The point seems to be, very often, to satisfy specific circles of people interested in the same item. What can be ok, somehow. Even though, we can wonder how far these artists are conscious that having access to a certain knowledge, is a privilege reserved for specific social classes-countries. And if at any moment they think in a way to make this knowledge available to people that are not part of that specific circle. The question becomes more esential when these artist use resources coming from governments (that in the bets ocassions take money from the population taxes, and in the worst ones, from evident ways of States or companies imperialism).These resources are supposed to be used in the name of the cultural development of the country that provides the money. I wonder about "every day people", how do they enjoy these creations. In terms of spaces where these works are shown, in terms of understanding what si going on, etc...

The layers of language. When we suggested Debord´s text to the audience we offered a text that was speaking about us, the performance situation, in situ. When some members of the audience began to read it in a personal way, Debord´s text became part of the spectacle (in a critical way, though), a spectacle that was based in music that I consider as unspectacular as possible. I wonder if Debord making the films "La Societé du Spectacle" and "Contre le cinema" was not somehow taken by the spectacle dynamic. I wonder if it is possible not to be part of it.

-------------------------------------------

Issues
Exhibition at the Bauhaus Archive: From Art to Life.
"Durable, inexpensive and beautiful"

http://www.bauhaus.de/uploads/media/_BH-flyer-druck_02-opt-
Is it possible to enjoy contemporary ´s art knowledge in everyday´s people life?
Do the artist care about this, or they are too busy writing applications?
Why when something is beautiful and has the potential to become popular becomes crap in order to be popular? Or why what does not pay attention to these issues stays "arty", even if it could be enjoyed by a larger group of people, and is owned by a few rich intellectuals or the usual official boring institutions?

Extended Moholy Nagy´s Modulator project

2011-12-08T23:05:00.002+01:00

EXTENDED MODULATOR PROJECT
Premiered at Bauhaus Archive, Berlin. 24th of october 2007

Lucio Capece ( Soprano saxophone, Bass clarinet, Composition, Project)
Axel Dörner (Trumpet, Composition)
Robin Hayward (Tuba, Composition)
Ana Maria Rodriguez (Sound Difussion)
Michael Vorfeld ( Lights installation and Performance)
Steffi Weismann (Camera, Video edition, Projection)

"Licht- Raum Modulator"- (1922- 1930) László Moholy- Nagy.

László Moholy- Nagy built the “Light- Space Modulator” between 1922 and 1930, assisted by a team consisting of an architect and a mechanic, with additional support from the German electrical company AEG .
It is a mechanic asssemblage, made up of an electrical structure of synthetic material and metal grills, together with mirrors and lamps. Three articulated movements take place simultaneously in three sectors of the kinetic sculpure.
The three sectors move at different velocities in a 2 minutes cycle, producing endless combinations each time the Modulator is turned on.

Moholy Nagy apparently built the “Light- Space Modulator” with the intention of using it
in the sixth part of his experimental film «‹Lichtspiel, schwarz-weiß-grau.”
The first five parts were supposed to show and work with different forms of light.
But only the sixth part was filmed , consisting of carefully composed combinations of lights, shadows, reflections, movement and filming techniques based on edited shots of the sculpture in action.

The kinetic sculpture , also called “ Light Prop for an electric stage” was therefore built for the sole purpose of this film. Over the years it has however become an imporant work of art in its own right, of primary influence as one of the great pioneering kinetic sculptures of the last century.

Moholy Nagy used the sculpture in different ways through the years, even planning to use it as part of an avant-garde theatrical performance.
This should come as no surprise bearing in mind his ideas about art :

“Art educates the receptive faculties and it revitalizes the creative abilities”
(“Vision in Motion” p. 28).
“ We must therefore replace the static principle of classical art with the dynamic principle of universal life, Stated practically: instead of static material construction (material and form relations), dynamic construction (vital constructivism and force relations) must evolve, in which the material is employed only as the carrier of forces”.
(“ Vision in Motion” p. 238)

It is not the intention of this project to make music “for” Moholy Nagy’s work, but to work with the creative potential of the object he created, adding the dimension of sound, using the possibilities offered by recent technologies, along with recent musical developments. This involves rethinking the approach towards sound performance, relating it to movement, light and the space through and together with the “Light Space Modulator”.

PROGRAM

1- Ein Lichtspiel Schwarz- Weiss- Grau” (7 Minutes)
Video Projection of ‘ Ein Lichtspiel Schwarz- Weiss- Grau’. 16 mm film created by László Moholy Nagy in 1932.
Acoustic Version with sound diffusion.

“ The film demonstrates the refined values of the black- white- gray gradations of the photogram (the camera less photography ) in continuous motion. At the same time it uses all possible means of the film technique such us superimpositions, at places seven times, prisms, mirroring and moving light. Through systematic use of light and shadow in motion it tries to conquer the peculiar dimension of the film, the dimension of space-time. The ‘Space Light Modulator’ kinetic sculpture is used as a subject’
(Laszlo Moholy Nagy “‘Vision in Motion’ p. 288)

Film Script by Láslo Moholy- Nagy (Vision in Motion p. 289)

The shadow of the rotating Light Prop
The superimposition of metal details with the shadows.; The
shadow revolving ,slowly the shadow of a ball surrounded by
strong light, moving up and down over the original shadow.
The light Prop turns; it is seen from above, below, frontwards,
backwards, in normal, accelerated, retarded, reversed motion.
Close-up of details-
A big black shinny ball rolls from left to right. From right to
left. Over again.
Positive, negative pictures, fades, prisms; dissolving.
Movements, queerly shifting grills.
“Drunken” screen, lattices.
Views through small openings; through automatically changing
diaphragms.
Distortion of reflections. Pendulum.
Blinding moving light flashes. Revolving spiral, reappearing,,
again and again. Rotation increases; all concrete shapes dissolve in light.

2- Kinetic Sound Sculpture (16 Minutes)

Artists perform together with the kinetic sculpture which also functions as a musical score.The musicians play their instruments choosing one or more elements from the sculpture, following its movements carefully. Pitched or non-pitched sounds (‘”noises’’) are played, depending on the characteristics of the chosen element.
Each musician choses elements from one of the three axes of the sculpture.
Specific extended instrumental techniques, created and developed by the musicians themselves, make it possible to follow one or several elements at the same time.

3- Ein Lichtspiel Schwarz- Weiss- Grau” (7 Minutes)
Video Projection of ‘ Ein Lichtspiel Schwarz- Weiss- Grau’. 16 mm film created by László Moholy Nagy in 1932.
Electronic version composed by Axel Dörner.

4- Colour-Pitch-Intensity-Time (20 Minutes)

“The “Light Prop” was exhibited at the exposition of the Werkbund in Paris in 1930.
It was driven by motor and equipped with 128 electric bulbs in different colors operated by a drum switch “

(László Moholy Nagy ‘’ Vision in Motion’’)

Colour-Pitch-Instensity-Time is a microtonal piece that uses the Moholy Nagy’s lighting instructions as a music score, relating light and sound to each other following precise and mathematical criteria.
A reduced creative version of the light installation designed by Moholy Nagy has been built by lights artist and musician Michael Vorfeld. This uses 13 bulbs ( 10 times less than the original version). The musicians play a 20 minutes sound version of the lights score created by Moholy-Nagy (10 times longer than the original version.)
The amount of bulbs specified by Moholy Nagy are used to determine levels of intensity, according to techniques reminscent of the total serialist composition school. (10 bulbs as a maximum, 1 bulb as a minimum)
Fades in and out, as well as intensities, are performed manually by the artist.
The sounds are pitched according to a special tuning, related to the colors used by Moholy Nagy in the sculpture’s installation. The spectral frequencies of the colours red, yellow, green and blue have been transposed down, bringing them in to the audible frequency range of 430 to 670 Htz. These frequencies are played on the 3 instruments in various octave transpositions. The “colour” white is represented through imitating white noise on the instruments.

PROJECT SUPPORTED BY INM
Thanks to Hattula Moholy- Nagy, INM, Conny Maiwald and Bauhaus Archive, especially to Mr Klaus Weber and Mrs Bärbel Mees.

Archive- Past Projects.

2011-12-07T01:05:00.001+01:00

Some Concerts -Projects done in 2011

17th to 21 st of January. Trio tour with Radu Malfatti and Kevin Drumm

17th January. Cave 12- Geneve
19th- Instants Chavires- Paris
20th- Malterie- Lille
21st- Q-O2 - Brussels

20th February. 17hs.
Duo with Johnny Chang (Viola) performing "Dedekind Duos 1-50)
Composition by Antoine Beuger.
I play Bass Clarinet.
O´Tannembaum-Berlin.

28th February- Duo with Lee Patterson-
Labor Sonor-Kule- Berlin.

2nd of march
O Tannenbaum
Sonnenallee 27
Berlin-Neukölln
20.30h

Two sets:

Lucio Capece - bass clarinet
Morten J Olsen - rotating bass drum
Werner Dafeldecker - double bass

then

Lucio Capece - bass clarinet
Johnny Chang - viola
Koen Nutters - double bass
Nils Ostendorf - trumpet
Michael Thieke - clarinet
play Antoine Beuger Kiarostami Quintets

4th March
4 solos at NK project Berlin.
Tisha Mukarji. Inside Paino
Lucio Capece. DP Eq´s-Cardboard Tubes
Lee Patterson. Amplified processes, electronics
Mika Vainio. Electronics

5th march.
Trio with Axel Dörner and Christian Kesten.
Miss Hecker. Berlin.

Concierto en UNA CASA , Buenos Aires.
Jueves 24 de Marzo 2011. 21hs
Tres solos y un trio.

-Sergio Merce. Saxo Microtonal.
-Christof Kurzmann. Lloop.
-Lucio Capece .Tubos de cartón y ecualizadores ( I play cardboard tubes and equalizers),
en el trio saxo soprano y preparados.
Una Casa. San Telmo- Buenos Aires. 21 hs

10th April.Ausland Berlin.
Evening with Tisha Mukarji-Angharad Davies.
Tim Parkinson, Axel Dörner.
I play in an ensemble piece "Heikou" composed by Radu Malfatti and a self-composed solo piece for Soprano Sax, Ipod and balloon.

27th april. Duo with Christian Kesten. New piece for voice and soprano saxophone. New Piece for Cardboard tubes, DO Equalizers, voice and paper.
Rigaer Str. 71 – 73, Berlin Friedrichshain
http://www.ninosconsentidos.es/berlin

May- Tour with Vladislav Delay Quartet
Thu 5 LISBON, TEATRO MARIA MATOS
Fri 6 PARIS, LES INSTANTS CHAVIRES
Sat 7 BREST, FREE SONORE
Sun 8 NANTES, PANNONICA
Thu 12 Valencia, Ensems Festival

17th May. o Tannembaum Berlin.
Florenski Septet by Antoine Beuger
Pierre Borel, alto saxophone
Lucio Capece, bass clarinet
Johnny Chang, viola
Heather Frasch, flute
Koen Nutters, upright bass
Nils Ostendorf, trumpet
Boris Baltschun, sine tones

28th may. Duo with Kostis Kilymis.
So Wie So. Berlin Neuköln.

31st May. Quiet Cue-Berlin
ap'strophe meets Kammerlärm
Dimitra Lazaridou Chatzigoga (Athens, Citar)
Ferran Fages (Barcelona, Guitar)
Axel Dörner (tr)
Robin Hayward (tb)
Lucio Capece (Bass Clarinet, Soprano Saxophone)

11th June- Ausland, solo Piece. Concert series organized by Mario De Vega, related with the idea of Instability.
I will use Cardboard Tubes, DP equalizers, Big Balloon filled with Helium, PA, 4 mini speakers.

23rd June o Tannembaum Berlin.
Ockeghem Octet, piece by Antoine Beuger.

13th July. Meinong Nonet. Composed by Antoine Beuger. Performed at O´Tannembaum, Berlin.
This time including Antoine Beuger in the group´s line up.

21-24 July. Konfrontationen Festival.
Quartet with Mika Vainio, Kevin Drumm and Axel Dörner

21st August. New Music for Kids. With Zeitkraizer. Haus der Kulturen der Welt. Berlin

22nd August- Vladislav Delay Quartet- Brussels.
Warandepark- 19hs. Free entrance. Organized by Ancienne Belgique.

2nd-4th spetember Oslo-
Grand Orchestra (playing wire less speaker hanging from Balloon filled with Helium) and trio with Lasse Marhaug and John Hegre. (Soprano sax, Bass clarinet, preps)

19th September- Duo with Lee Patterson- Satelita. Köln, Germany.

21st September. Kultur-able, Berlin- 21hs
Manfred Werder solo Performance.
Trio Toshimaru Nakamura- Axel Dörner- Lucio Capece
http://www.kultur-able.com/

24th September- Vladislav Delay Quartet.
Den Hague, Today's Art Festival

25th September- Duo with Radu Malfatti. Exploratorium, Berlin.

Japan-
29th September- Trio with Moe Kamura- Taku Sugimoto-Tokio
http://www.l-e-osaki.org/?m=20110929

Two concerts in Japan with the Vladislav Delay Quartet.
30th-Cay Spiral Hall - Tokio.
2nd October -Museum Of Contremp. Art - Tokio.

4th october. O´Tannembaum-Berlin. 21hs.
Lucio Capece, bass clarinet
Johnny Chang, violin
Dominic Lash, double bass

plays

Manfred Werder:
stück 2004 (3)
3 performers (page 99- )
&
untitled trio / Lash, Capece, Chang

28th October. Exchanges Project. With Johnny Chang, Luke Munn, Annette Krebs.
Quiet Cue. Berlin.

2nd November.
Michael Pisaro´s Harmony Series
O´Tannembaum

3rd November- SLIDING FULCRUM. Ausland, Berlin
Valerio Tricoli ( Revox)
Morten Olsen (Drums)
I play Soprano Saxophone.

6th November
Polytope- Trio with Burkhard Beins and Antoine Chessex.
West Germany, Berlin.

11th November.
Kromo Relax. Project by Ana Maria Rodriguez and Michael Vorfeld.
Labor Gras. Berlin

15th November
NK. Antoine Beuger´s Ashbery Tunings

Upcoming Concerts.

25th November.
Richard-Sorge-Str. 25a, Berlin-Friedrichshain
Acoustic Cinematics
FILM IN SOUNDS #22: Luis Buñuel - Simon of the Desert
Mexiko 1965, 45 Min. - Regie: Luis Buñuel.

Christian Kesten: Stimme
Morten Olsen (Norwegen): Bass Drum
Christian Magnusson (Schweden): Trompete
Lucio Capece (Argentinien): Bassklarinette, Charango- Time line-Line up.

7th december. O´Tannembaum- Berlin.
Harmony Series 2- 3 (Michael Pisaro)
21hs

Koen Nutters (Bass)- Johhny Chang (violin)- Hans Lingens (Accordion)
I play Bass Clarinet.

------------------------------

25th January
Michael Pisaro. Harmony Series 4
Johnny Chang Violin
Koen Nutters Bass
Hanes Lingens accordion
Nils Ostendrf trumpet
I play Bass Clarinet

O´Tannembaum Berlin.

-------------------------------

Some concerts-Projects done in 2010

Werner Dafeldecker (Double Bass)
Lucio Capece ( Soprano sax, Bass Clarinet)

13th January- Trondheim.
14th January.All Ears Festival, Norway.
15th January. Bergen.

19th January. Duo with Mika Vainio and duo with Eric Thielemans. Atwerp. Belgium.
Baff.

22nd January. Vladislav Delay Quartet. Bios. Athens. Greece.

24th January.
Trio with Alan Courtis and Ignaz Schick. Raum 18. Berlin
Same evening. Mattin solo set.

27th February. Bass Clarinet solo. Una Casa, Buenos Aires. Charhizma Evening.

28th February. La Plata Argentina. Duo with Sergio Merce. Duo with Jose de Diego.

13th march. 15hs
14th march- 18 hs
Duo with dancer Andrea Servera (!).
Ex Train Station. Parque Avellaneda. Buenos Aires- Ciudanza Festival.

26th march

Conciertos en el LIMb0 / Museo de Arte Moderno de Buenos Aires
Viernes 26 de marzo de 2010, 20:00 horas
Lucio Capece [Argentina]
Alianza Francesa de Buenos Aires
Av. Córdoba 946
+info:
http://www.limb0.org
http://www.conciertosenellimb0.blogspot.com

2nd April. Electron Festival, Geneva. Vladislav Delay Quartet
3rd April. Electron festival in collaboration with Cave 12. Solo. Marfa, complete version.

11 april - Duo Hernan Vives (Tiorb, CIttern)- Lucio Capece ( Bass Clarinet, Sruti Box). Pieces composed together.
Domus Artis Av. Triunvirato 4311. Villa Urquiza 4522 8294. info@domusartis.com.ar .

23-24-25 april. Estructura Suspendida.
Dance-Video-Lights piece.
Andrea Servera, Karin idelson, Sebastian Schachtek,Fabiana Capriotti, Bibi Andersen, Andrea Fernandez, Pablo Kun.
Casa de la Cultura de Buenos Aires. Ciclo Miradas.

13th May. Bologna, Italy. Angelica Festival. Duo with Radu Malfatti.

14th May. Hamburg, Duo with Birgit Ulher.

Fr, 14.05.2010, 21:00 Uhr
blurred edges - PGAM Konzert 2

Lucio Capece(Berlin), soprano saxofon, bass clarinet, sruti box
- Birgit Ulher, trumpet, radio, mutes, speaker

12th June. Duo with Christian Kesten ( Voice). Ausland, Berlin. Same evening: David Lacey and Paul Vogel.

24th June.
Russia. Saint Petersburg. Solo, Marfa complete version.
(Soprano sax-Bass clarinet and preparations- Sruti Box- electronics)
http://tac.spb.ru/

Wednesday 4th August.
trio with Morten Olsen: Bass Drum
Chris Heenan: Contrabass Clarinet
So Wie So- Berlin

Friday 6th August
duo with Birgit Ulher, trumpet, radio, mutes, speaker
Lucio Capece, soprano saxophone, bass clarinet, preparations
Theaterhaus Berlin

Friday 13th August
Duo with Werner Dafeldecker ( Reel to reel tape recorder, Tape Delay)
I play Bass Clarinet and branches
Quiet Cue. Berlin

29th august- Trio with Burkhard Beins ( selected percussion) and Antoine Chessex ( tenor sax)
Hauptbahnhof train station Berlin- 22hs

30th august- Christian Kesten´s Project.
Hauptbahnhof train station Berlin- 22h
-----------------

11th Sepetember.
Duo with Radu Malfatti- Oslo.
Organized by Dans for Voksne.
Iladalen Kirke
Søren Jaabæks gate 5
0460 Oslo

16th september- Vladislav Delay Quartet ( featuring Mika Vainio and Derek Shirley)
Festsaal Kreuzberg- Berlin
Echtzeitmusiktage Festival

18th september-
Duo with Mika Vainio
Ausland Berlin
Echtzeitmuziktage Festival

-----------------

30th September to 4th October
Tour in Greece with Kostis Kylimis ( electronics) and NIkos Veliotis ( Cello)
1/10, Thessaloniki; Facta Non Verba
2/10, Xanthi; Spiti Politismou FEX
3/10, Athens; Knot Gallery
------------------

24th of october-
Duo with Martin Küchen ( Alto sax, Baritone Sax, things). I play Soprano sax-Bass Clarinet,things.
Quiet Cue. Berlin.
Live streaming. 20.45 hs, German Time.
http://quietcue.blogspot.com/

12th-14th November.
Install Festival. Glasgow, Scotland.
Playing in duo with Christian Kesten a one time performance, something very different to what we usually do.
Playing also a piece by Jean Luc Guionnet and Eric La Casa.
www.arika.org.uk

25th November
O Tannenbaum- Berlin
Performing "Peckinpah Trio", by Antoine Beuger
Johnny Chang: Viola
Koen NUtters: Double Bass
I play Bass Clarinet

29th November. Labor Sonor- Kule, Berlin.
Trio with Valerio Tricoli ( reel to reel tape)-Morten Olsen ( Drums)
I play DP Eq´s

11th of december- Mex- Dortmund, Germany
Solo set. Soprano Saxophone and things. DP Eq´s (First time new electronic solo set)

18th december
Sensilia Project in Argentina.
Minou Maguna- Benton Bainbridge: Video
Mika Vainio-Lucio Capece: Music
TACEC La Plata.
http://www.teatroargentino.ic.gba.gov.ar/2010/tacec_2010/sensilia.html
-----------------------------------

May 2010-

Interviews and Review in Argentina. A sort of personal portrait and an interview with the dancer Andrea Servera have been published in a newspaper in Argentina. Both in Spanish.
http://www.lanacion.com.ar/nota.asp?nota_id=1257041
http://www.lanacion.com.ar/nota.asp?nota_id=1257041

A review of the performance mentioned in the interview ca be read here
http://www.lanacion.com.ar/nota.asp?nota_id=1258842

-----------------------------------
Some Projects- Concerts done in 2009

24th January- Dublin.
Solo and trio with Paul Vogel and David Lacey.

Three Solo concerts in Poland.

2.02. Krakow, Alchemia (Solo + duo with Krzysztof Trzewiczek)
3.02. Warszawa, Powiekszenie (Solo before Robert Piotrowicz and Oren Ambarchi)
5.02. Gdansk, CSW Laznia (solo)

3rd April. Solo set and duo with Sergio Merce.
Archibrazo. Buenos Aires.

10th of June. Manchester

Marfa. Solo piece. .Complete version:
WEDNESDAY 10th JUNE at the most Sofa-centric venue in town: ISLINGTON MILL, James street, Salford, (for the sat-nav savvy: M3 5HW) doors opening: 8.00pm, your financial outlay: a mere £5.

- 11th June. Cafe Oto. London.
Unnamed Festival. Quartet with Lee Patterson, Louisa Martin and Rhodri Davies.

- 30th June. House Concert. Berlin
Performing the piece "Monteverdi" by Johnnny Chang.

-3rd July- White Rabbit. Berlin.
Solo. Marfa ( Parts 1 and 3)

- 5th July- Duo with Radu Malfatti.
Kulturbunker Köln - Mülheim e.V.
Berlinerstr. 20
51063 Köln

- 6th July- Solo. Kule. Labor Sonor . Berlin.

- 20th July. Kule- Berlin
Compositions written and played by
Christian Kesten- Andrea Neumann-Diego Chamy- Axel Dörner- Lucio Capece.

-10th september. 22hs. Duo with Christian Kesten ( voice, things)
Ohrenstrand mobil im Hauptbahnhof
Berliner Hauptbahnhof (Zentrale Mitte, Ebene 0)
Hauptbahnhof train station.
http://ohrenstrand.de/hbf_10.9.htm

-3rd October. Solo and collaborations.
Free Music Festival (Follow the sound). Antwerp, Belgium.

-Vladislav Delay Quartet ( featuring Vladislav Delay, Mika Vainio, Derek Shirley and Lucio Capece)
22nd October. Poznan.
23rd October .Czech Republic, Prague, Stimul Festival
7th November.Serbia, Belgrade, Dispatch Festival.

29th October. Duo with Michel Doneda. Wendel. Berlin
Schlesische Straße 42. 22hs.
http://www.wendel.nstp.de

12th November.UK, London, Union Chapel. Duo with Vladislav Delay

26th November. Duo with Birgit Ulher. Miss Hecker. Berlin

4th-5th December.
Komischer eingang (odd entrance)
a dance performance by Lupita Pulpo
Concept/ performance by: Ayara Hernández Holz and Felix Marchand
Sound design: Lucio Capece
Tanzfabrik- Berlin.

-9th December

Jesus Club Berlin

Werner Dafeldecker ( Double bass)
Morten Olsen ( bass Drum)
Lucio Capece ( Bass Clarinet)

-19th December

Solo " Marfa" Complete version. Q-O2 Brussels.

-------------------------------------------------
Some concerts and Projects done in 2008

- 4th of april 2008.
Ausland Berlin.
Lucio Capece. Bass Clarinet Solo.
- 7th april 2008 - Rhodri Davies- Lucio Capece duo. Labor Sonor- Kule- Berlin
Rhodri Davies: Electric Harp- effects
Lucio Capece: Sruti Box- effects
- 11th april. 2008.
Vladislav Delay Quartet. (My Favourite Thing festival)
Vladislav Delay- Mika Vainio- Derek Shirley- Lucio Capece.
Radialsystem V. Berlin

- May 2008
Axel Dörner- Kevin Drumm- Mika Vainio- Lucio Capece Quartet
.3rd-7th may residency. Vooruit. Gent. Belgium.
.8th may . Concert. Vooruit.
.10th may. MAMCO (Contemporary Art Museum). Geneve. Organized by Cave 12.
.12th may. Teatro Fondamenta Nuove. Venezia, Italy.
.13th may. Instants Chavirés. Paris. France
.14th may. Musée d´ Art Moderne et Contemporain. Strasbourg. France.

-24th May 2008. House Musik Festival Berlin.
Keith Rowe- Toshimaru Nakamura- Robin Hayward- Lucio Capece quartet.
"Evocations"
The music of Leonin treated as a middle-age painting.

Kolmarer Strasse 5 / Museumsverbund Pankow / prenzlauer 227
Léonin (* um 1150; † um 1210)
http://www.kammerensemble.de

Léonin (* um 1150; † um 1210)

Medieval Icons are typically paintings on wood, often small, though some in churches and monasteries may be as large as a table top.
After ten or eight centuries in many of these paintings the background surfaces can be seen as part of the figure itself, coming out with spots that almost do not allow to see the original figure, but only partially, and almost nothing in some cases.
This process is produced by the fact that some parts of the painting have been somehow deleted by time, or by organisms living in the wood or damaged in wars, let´s say by the work that the wood and time made on the painting. The wood, time... the background, in a small or a table top dimension, as an alive element that modifies the figure.
The group will perform Leonin´s music taking the process that modifies these paintings as an interpretation source.

- 29th of may 2008.
Christian Kesten - Lucio Capece duo.
Kunstfabrik. Berlin.
- 23rd of august.
Hausmanns gate 34, 0182 Oslo. 21hs. Solo set.
- 24th of August. Stillscape. Norway. Solo set.
http://www.stillscape.no/
-30th of August.
Resonant Water.
Antoine Chessex, Robin Hayward, Derek Shirley, Lucio Capece.
Berlin. st-Johannes Kirche.
Auguststr 90. 20hs
- 5th september
Brusci- Capece
Lucio Capece: Ss, Bcl, Sruti Box.
Lorenzo Brusci: Self designed speakers, diffusion.
http://albertoukebana.blogspot.com/
- 10th of september-
Lucio Capece Solo set.
Satellita. Köln
www.satellita.de
- 4th November
Raed Yassin- Gene Coleman- Lucio Capece trio
Steim- Amsterdam
- SLW ( Beins, Capece, Davies, Nakamura) in Norway.
6th November. Iladalen kirke, Søren Jaabæks gate 5. Oslo
7th November. Lydgalleriet. Bergen

---------------------------------------------------------------------

Some Concerts and projects done in 2007

.January 2007 - Solo concert. Minton´s Cd store. Buenos Aires.
.May 2007-Tour with Toshimaru Nakamura. Ljubljana ( Castle)- Belgrade (Ring- Ring Festival) - Köln ( Kulturbunker-)
- Radu Malfatti Project. ( Julia Eckhardt- Christian Kesten- Lucio Capece- Toshimaru Nakamura- Radu Malfatti- Taku Sugimoto)- Gent ( Vooruit) Brussels ( Q-O2 venue)

.July 2007- SLW ( Beins- Capece- Davies- Nakamura) festival NPAI.
Parthenay- France.
.September 2007- Tour NMM ( Mattin- Capece). Norway.
.October 2007 - Mika Vainio- Lucio Capece duo..Brussels ( Argos Festival)
- Kevin Drumm- Lucio Capece duo. Brussels (Q-O2 venue)
- Extended Modulator Project- Performances with the “ Space- Light Modulator”, kinetic sculpture created by
László Moholy- Nagy in 1922-1930
Project directed by Lucio Capece. Music composed and played by Axel Dörner- Robin Hayward and Lucio Capece. Ana Maria Rodroguez: Sound Difussion. Michael Vorfeld: Lights Installation. Berlin- Bauhaus Archive.

In last october the project at the Bauhaus Archive in Berlin finally took place. I perfomed together with Axel Dörner, Robin Hayward, Michael Vorfeld in lights installation and Ana Maria Rodriguez in sound difussion. We worked together with the " Space- Light Modulator" the kinetic sculpture built by László Moholy- Nagy in 1922- 30.
The project was really demanding, but happened beautifully. To perform with the Modulator, with these musicians, and at the Bauhaus Archive was just incredible for me. The place was full and the audience response was very positive.
I deeply thank to all the artists involved, specially to Axel and Robin that worked so much with me composing the music, to Steffi Weisman and Mr. Klaus Weber and Mrs. Barbel Mees from The Bauhaus Archive. They were deeply helpful and patient, trying to find the ways to make the project possible.
Mattin made fantastic flyers and Valerio Tricoli helped with the transportation. Conny my girlfreind helped with everything and she is still working on the papers.
INM gave it´s generous support. Thanks so much.

.November 2007. Keith Rowe- Toshimaru Nakamura and Lucio Capece trio.
Ciclo de Música Contemporánea. Centro de Experimentación del Teatro Colón- Buenos Aires.

Treatise Performance:
Keith Rowe- Toshimaru Nakamura- Gabriel Paiuk- Sergio Merce- Zelmar Garin- Lucio Capece. Conservatorio de la Ciudad de Buenos Aires.

Toshimaru Nakamura, E° ( Cristian Carracedo, Leandro Barzabal, Jose de Diego), Alan Courtis, Sergio Merce, Gabriel Paiuk, Lucio Capece. Different groups and combinations. Sociedad Odontológica de La Plata. La Plata. Argentina

Keith Rowe and Toshimaru Nakamura doing field recordings. Uruguay River. National Park" El Palmar" . Argentina.

-----------------------------------------------------------------

An email interview has been published at
http://www.addlimb.org/

Among the opinions of several musicians, mine can be found at:
http://www.addlimb.org/eng/pages/interviews/interv_Lucio_Capece.html

--------------------------------------------------------------------

- DO-UNDO. 4th to 7th of october 2006. Residence working in Q-O2 project "Do Undo Recycling G" in Aalst, Belgium.
http://www.netwerk-art.be/
Several musicians recomposed material played by Julia Eckhardt and recorded by Ludo Engels.
I played a piece for soprano saxophone and a tape built with Julia`s sounds. The saxophone was played filtering the sound in different manual ways. The tape was played in a fragmentary way by sources of different fidelity (dat, CD, tape, etc) and amplified by speakers of differents qualities in several points of the space. The piece was called " Fi- Space Filtering". I also performed in Anne Wellmer´s "Green piece".
It was a great time there. I met my friend Sergio Merce who played a beautiful piece. Jim Denley ( unfortunatelly not there), Stefan Quix, Els Van Riel, Manu Holterbach, Silvia Platzer, Stevie Wishart, and others were also involved. Thanks to Q- O2 to Netwerk, and to Sophie for the excellent food.
DVD Video available showing this performance.

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- LINKS GEHEN-RECHTS STEHEN.
In september 2006 I was part of the performance of a video-sound composition by Ana Maria and Steffi Weissmann in the Kontraste Sound Art Festival, Krems/AT
I performed a quite complex piece composed by Ana Maria, together with Lucia Mense (Recorder) and Steffi Weissmann (video) and Ana Maria in sound difussion.
http://www.klangraum.at

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Some Concerts and Projects done in 2006

- SLW. Quartet residency and concert with Burkhard Beins, Rhodri Davies and Toshimaru Nakamura. Les Halles. Brussels- Belgium. October 2006.

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Some concerts and Projects done in 2005-2004-2003-2002

- Amber ( Eckhardt- Hayward- Davies- Capece). Tour Belgium- Holland.
2005

- Duo Merce- Capece.
Experimenta. Buenos Aures. 2005

- Berlin- Buenos Aires Quintet
Andrea Neumann, Robin Hayward, Sergio Merce, Gabriel Paiuk, Lucio Capece.
Goethe Institut. Buenos Aires- 2004

- Treatise Project.
keith Rowe- Axel Dörner- Andrea Neumann- Burkhard Beins- Sergio Merce- Alex waterman- Gabriel Paiuk- Lucio Capece
residency at Les Bains- Connective, Brussels. Tour in Belgium, France, Holland. 2003

- Duo Merce- Capece. Tour May 2002
http://www.mercecapece.8k.com/

- May 5-12 th: Brussel (Belgium). Les Bains: Connective. Rue Berthelotstraat 34 B-1190 Bruxelles- Brussel. Tel/ Fax: +32 2534 48 55 www.musiclab.be E-mail: lbc@pi.be Concerts, workshops, Shared improvised concerts, collective composition.

- May 13th: Amsterdam (Netherlands). Kraakgeluiden in de binnenstad. Overtom 301, Amsterdam. In the cinema upstairs (2nd floor) 9.30 pm; http://www.euronet.nl/users/fuhler/kraakgeluiden.htm

- May 17 th: London (U.K.); The Centurion. Deptford,London U.K. 1 Deptford Broadway, SE 8 (DLR Deptford Bridge). 9.00 pm http:// www.l-m-c.org.uk/

- May 19th: London (U.K). Red Rose Club. 129 Seven Sisters Rd, London N7. 020 7263 7265; http://www.l-m-c.org.uk/

- May 20th: Berlin (Germany). Labor Sonor. Kule. Augustrasse 10 Berlin-Mitte. 9.30 pm; http//www.echtzeitmusik.de/

- May 24-25-26th Szczecin (Poland): Musica Genera Festival 2002

- May 24 th: Sergio Merce / Boris Balstchun / Serge Baghdassarians. Officina, Szczecin, Lenartowicza 3-4 18.00 hs

- May 25th: Duets: John Butcher / Nikos Veliotis / Tony Buck / David Stacktenas / Lucio Capece. Teatr Kana,Szczecin, pl.sww. Piotra i Pawla 4/5 20.30 hs

- May 26th: Domenico Sciajno / 1 Kristoff K Roll / Lucio Capece. Teatr Kana. 20.30 hs.; http://rwert.art.pl/festival/htm

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PHOTOS ARCHIVE

Flying Hautzinger- Oslo 2nd september 2011

Vladislav Delay Quartet. Lisbon. 5th may 2011.

Ausland. Berlin. Concert with Angharad Davies, Tisha Mukarji, Tim Parkinson, Axel Dörner.
April 2011.

Some Photos 2010-2011. Tour with Kostis Kilymis and Nikos Veliotis (Greece- October 2010)- Tour with Radu Malfatti and Kevin Drumm
(January 2011-Swiss-France-Belgium)- Sensilia Project ( with Mika Vainio-Minou Maguna-Benton CBainbridge-La Plata Argentina, dec 2010)

St Petersburg- June 2010- Solo set.

Performances with dancer Andrea Servera. Buenos Aires. february, april 2010.

With Radu Malfatti, after playing as a duo at Angelica Festival. Bologna- May 2010-

Playing with Birgit Ulher at Blurred Edges Festival- Hamburg-May 2010

Hernan Vives (Tiorb)

Sergio Merce ( tenor sax-no tape portastudio) QQ ( designer and musician)

Playing solo at Una Casa, Buenos Aires-march 2010 ( Thanks to Charles for the photo)

Vladislav Delay- Lucio Capece- Duo concert at Union Chapel, London. 12th November 2009. Photo courtesy The Leaf Label.

Trahnie. February 2009. Photo by Nora below. Thanks Nora.

Vladislav Delay Quartet ( Delay- Vainio- Shirley- Capece). Dis-Patch Festival- Belgrade. 7th November 2009. Photo courtesy Dis-Patch, Residentadvisor.

With Lee Patterson and Rhodri Davies. London. Cafe Oto. June 2009. Photo, thanks to Al Jones.

Recording session with Lee Patterson. London. June 2009

Tim Goldie and Trahnie. Brooklyn.NY-2009

Toshimaru Nakamura in Merlo, Argentina. November 2007.

NMM ( Mattin- Capece). Oslo. 2006. 2007

Manchester. June 2009

Meehan- Capece- Rowe. Amsterdam 2004

Malfatti- Gent 2007

Sugimoto- Malfatti.

Chujman- Nasuti- Merce Sergio and Christian. Merlo. 2005

Toshimaru Nakamura- Belgrade. 2007

Capece- Krebs- Meehan- Dörner. Berlin 2004

Capece- Rhodri Davies- Brussels. 2006

SLW- October 2006. Brussels.

Buenos Aires 2005. Playing with Pornois. MALBA Museum.

Avion Negro Cassette.

Snow in Merlo. 2007

Capece- Nakamura- Brussels. 2006

Kevin Drumm- Axel Dörner. House Concert. Berlin 2007

QQ- Snow in Merlo 2. 2007

Merlo Mio. Ever.