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Mattin: Songbook #7 [VINYL] (Munster Records)

Using historical references to rethink the present--the first 7 months of the Russian Revolution; and the accusal of Marius Plateau's murder by Germaine Berto--and working with Lucio Capece, Marcel Dickhage, Farahnaz Hatam, Moor Mother & Cathleen Schuster, Mattin performed this intense work of sound and narrative at the Digging The Global South Festival in Cologne, 2017.

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product information:

UPC: 8435008838614

Label: Munster Records
Catalog ID: MR 386LP
Squidco Product Code: 26657

Format: LP
Condition: New
Released: 2018
Country: Spain
Packaging: LP
Recorded live at Digging The Global South Festival in Stadtgarten, Cologne, Germany, on November 2nd, 2017. Mastered by Rashad Becker.


Lucio Capece-bass clarinet, sampler

Marcel Dickhage-voice, sampler, texts in German

Colin Hacklander-drums

Farahnaz Hatam-computer

Mattin-voice, texts in English

Moor Mother (Camae Ayewa)-electronics

Cathleen Schuster-voice, sampler, texts in German

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Artist Biographies:

"Lucio Capece: Argentinian musician based in Europe since 2002, specifically in Berlin since 2004.

Capece followed education as a classical guitarist and jazz saxophonist finishing studies at the Ginastera Conservatory in Morón, Buenos Aires (9 years career), and took self supported private lessons in Bass Clarinet (Martin Moore) , Saxophone and Jazz improvisation (Carlos Lastra, Gustavo Alsberg, Quique Sinesi) in Buenos Aires, Lyon (France, with Louis Sclavis), New York (meetings with Marilyn Crispell, Gerry Hemingway, Tim Berne, Hank Roberts, Jim Black) and Chicago. (Lessons and concerts with Gene Coleman)

In Argentina he was part as a performer and composer of the ensemble Avion Negro and the trio Casual, working in the area of Contemporary jazz.

Since the late 90´s he offered music in the context of Electro Acoustic Improvisation, focused in quietness, attentive listening and granular material.

Since 2011 he dedicates to offer works focused in the Perception experience, that he performs mainly in solo and in the context of occasional collaborations based in the same interest. He composes his own pieces that may include improvisation and different ways of writing.

He uses tools like Flying Speakers hanging from Helium Balloons, Speakers as Pendulums, Analog synthesiser, Sine Waves and Noise Generators, Drum Machines, Ultra- Violet Lights, Sensors as much as the instruments that he has played for 25 years: Bass Clarinet and Soprano Saxophone, adding recently a 100 years old Slide Saxophone.

He has also written compositions for Ensembles working the same aspects in the context of traditional Instrumentations.

He has performed his own sound interventions in spaces like The Cathedral of Bern (Zoom In Festival, 2012) The Mambo Museum in Bologna (Live Arts week 2012),the German Pavilion built by Mies Van der Rohe in Barcelona, the Halle des Expositions built by Alexandre Gustave Eiffel in Evreux, France ( L ´Atelier series) the Bauhaus Archive in Berlin, and the Colón Theatre in Buenos Aires where he offered an interactive installation for children.

Beyond instrumentation and tools, the main intention is to focus in the physical-social-spatial human experience.

Capece has played and released CD´s and LP´s with musicians like

Radu Malfatti, Keith Rowe, Mika Vainio, Vladislav Delay, David Sylvian,Kevin Drumm, Lee Patterson, Christian Kesten, Sergio Merce, Toshimaru Nakamura, Robin Hayward, Taku Sugimoto, Ilpo Vaisanen, Julia Eckhardt, Tisha Mukarji, Annette Krebs, Andrea Neumann, Axel Dörner, Angharad Davies, Rhodri Davies, Burkhard Beins, among others.

He has released Cd´s and LP´s in labels like B-Boim, Editions Mego ( Austria), Another Timbre, Hideous Replica, Entr´acte, Leaf ( UK), PAN (Germany), Potlatch, Drone Sweet Drone (France), Formed ( USA), Mikroton , Intonema (Russia), Organized Music from Thessaloniki ( Greece), No Seso (Argentina), etc

His collaboration record "Trahnie" ( Editions Mego) with Mika Vainio was considered among the best 10 records of the year in the category "Outer Limits" by the magazine The Wire, in 2009.

He has worked with dancers and choreographers David Lakein (Amsterdam), Ayara Hernandez (Berlin) and doing interventions in public spaces in Buenos Aires together with the choreographer Andrea Servera (Ex member of the legendary collective "El Descueve")

As a performer he has worked with Pauline Oliveros, Peter Ablinger, Antoine Beuger, Michael Pisaro, Alex Arteaga, Christian Wolff, Phill Niblock as part of the Ensembles Q-O2 from Belgium, and Konzert Minimal from Berlin, together with the musicians Johnny Chang, Koen Nutters and Hannes Lingens.

He organises since 5 years the one day Festival "Perceptive Turns" in Berlin."

-Lucio Capece Website (

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"Colin Hacklander is an avant-garde percussionist, drummer and composer, with a background in post-tonal theory and electronic music." He has recorded with Iancu Dumitrescu & Ana-Maria Avram, and Mattin.

-Hacklander / Hatam (

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"Farahnaz Hatam was born and raised in Tehran, Iran. She is a an experimental musician working with SuperCollider sound synthesis programming environment and also modular synthesisers. She is interested in sound as sculptural material and as a medium in which ideas are communicated.

She lives and works in Berlin where she co-founded N.K., Berlin's legendary space for the avant-garde and non-mainstream culture. Hatam works currently as a musical director for theater; performs solo, in the Hatam / Hacklander duo, and occasionally as a specialist DJ. Her upcoming project LABOUR will debut this summer at Berlin Atonal."

-Digital in Berlin (

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Sound artist Mattin (aka Mattin Artiach) was born in 1977 in Getxo, Euskadi, Spain. He is a member of Belaska, Billy Bao, Deflag Haemorrhage / Haien Kontra, La Grieta, Josetxo Grieta, No More Music, Regler, Sakada. He is the Founder of w.m.o/rEAI, Harsh Noise, Noise, Noise Rock, Free Improvisation, Onkyo. (

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"Philadelphia-based Moor Mother (formerly Moor Mother Goddess) is the solo outlet for Maryland-born artist Camae Ayewa. Moor Mother's music combines social issues with a visceral blend of hardcore electronics and her intense poetry, as if Saul Williams and Noname joined Death Grips. Ayewa - who is also an educator, coach, and social activist - grew up rapping and "playing guitar" with broomstick handles, influenced as much by Patti LaBelle, Public Enemy, and the Beastie Boys as Malcolm X and Maya Angelou. As a teenager, she delved into the punk scene, preferring its hard edge and D.I.Y. spirit as a vehicle for authentic expression. Ayewa created her Moor Mother project in 2012, after her politically charged hip-hop punk group the Mighty Paradocs went on hiatus. Blending spoken word, jazz rhythms, harsh dissonance, and an almost industrial rawness, Ayewa shifted her focus to beats and textures, which would bring her socially conscious lyrics to life. Her debut EP, Alpha Serpentis, was released at the end of 2012. In the ensuing years - in addition to co-founding the Rockers! Philadelphia series with the AfroFuturist Affair's Rasheedah Phillips and the Black Quantum Futurism Collective - she would release dozens more. Her LP Fetish Bones (Don Giovanni Records) was issued in 2016. Focusing on historical trauma and the black experience, Ayewa utilized Afrocentric tribal beats and abrasive, unsettling textures, resulting in a cathartic expression of pain and bloodletting (Neil Z. Yeung). Another project, Irreversible Entanglements, co-led with Keir Neuringer and Luke Stewart, released its self-titled debut on Don Giovanni Records and International Anthem in December 2017."

-Jazz Right Now (

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track listing:


1. January 07:00

2. February 07:00

3. April 07:00


1. May 07:02

2. June 07:00

3. July 10:43
sample the album:

descriptions, reviews, &c.

"Songbook #7 features Farahnaz Hatam, Colin Hacklander, Lucio Capece, Moor Mother, Cathleen Schuster & Marcel Dickhage and was recorded in November 2017 at Digging the Global South Festival in Cologne, while Europe was (still is) slowly going down. Exactly 100 years ago Europe was really crumbling. However, there was a proposition for a collective future in process. This songbook takes two moments as historical inspiration in order to rethink the present:

1) The first seven months of 1917 in revolutionary Russia.

2) The figure of Germaine Berton (pictured on the cover), the anarchist who in 1923 was accused of murdering Marius Plateau, director of the far-right organization French Action League.

In a time of war and fascism, those were two very different answers: a collective attempt at social transformation and a desperate lonely gesture. Neither response really managed to succeed to overthrow capitalism but they had a motivation and a clear way to act, something that seems to be lacking right now. If previous songbooks dealt with the tension between improvisation and song structure, between an emphasis on the production of the moment and having a conceptual framework, here the tension is produced by conflating the present with the past, and in doing so the tension between communism and anarchism is also explored. The tension between the individual and the collective is also present in the making of the record (especially in track 6, a discussion of its own objectives and degrees of success). A review of "Songbook #6" actually took Mattin as the name of the group, which puts into question what Mattin is: just another example of the fiction of selfhood.

Songbook #7 digs into some of the most important issues today: dissolution and disappointment of the social fabric, the rise of fascism, lack of coherence in a collective vision for the future and the shortcomings of democracy in a capitalist system. These times feel like being stuck in a gif, and here the response is to look for different understandings of time and history.

If you want some musical references you can imagine one of those collaborations between Red Crayola and Art and Language if it was produced by Roberta Settels, or if Rabit was asked to do a remix of Nono's "La Fabbrica Illuminata", taking into account the Altoforno di Cornigliano factory's demolition in 2005. This great line-up tries to think the present through the lenses of radical historical moments and in doing so it achieves a music both arcane and futuristic. Layers of avant-garde tradition culminate into a set of songs that go beyond themselves. In times of increasing desperation here emerges a strange record: a disintegrated manifesto exploring the truth of disagreement.

This record was made collectively by:

Lucio Capece: bass clarinet, sampler
Marcel Dickhage: voice, sampler, texts in German
Colin Hacklander: drums
Farahnaz Hatam: computer
Mattin: voice, texts in English
Moor Mother: electronics
Cathleen Schuster: voice, sampler, texts in German

Recorded live at Digging The Global South Festivalon the 2th of November 2017, Stadtgarten, Cologne"-Mattin

"With Mattin, the political is always primary, sometimes overtly, sometimes implicit. How this "works" might well be of secondary importance to Mattin and, occasionally, with the audience but more often there's great tension in effect, an abiding interest in confrontation and the creation of (necessary) discomfort in complacent listeners. Unsurprisingly, this results in a full gamut of reactions from full immersion to repellence. Whatever one's previous reactions, 'Songbook #7' is, to these ears, the most successful and bracing example to date of Mattin's melding of the sonic and the political.

This is a live performance (on vinyl) from 2017, with a septet consisting of Lucio Capece (bass clarinet, sampler), Marcel Dickhage (voice, sampler, German texts), Colin Hacklander (drums), Farahanz Hatam (computer), Mattin (voice, English texts), Moor Mother (electronics) and Cathleen Schuster (voice, sampler, German texts). I pause to mention that, if nothing else, I'm very happy to have been introduced to the work of Moor Mother (Camae Ayewa) whose own work is fantastic and highly recommended. The performance is organized into seven "songs", titled January through July. The text includes multiple historical allusions to the Russian Revolution and Germaine Berton's (pictured) assassination of the rightist Marius Plateau, mixing in contemporary references (including "Bannon the lenninist [sic]", Dick Cheney, audience targeting and a semi-satirical (?) re-imagining of Lenin's ten theses). These are most often voiced (mumbled, garbled, screamed) by Mattin with some amount of electronic distortion. All of this, however, is largely subsumed in a mightily impressive vortex of sound provided by all the electronics and, importantly, Capece's wonderful bass clarinet and Hacklander's throbbing drums. There's a great sense of chaos, briefly emerging order--or violence--and subsidence back into seething chaos; very hard to describe except to remark on its fascinating combination of density and clarity. On a purely aural level, portions of 'Songbook #7' are as exciting as anything I've ever heard from Mattin, a striking blend of text and sound, strident, paranoiac and explosive.

Mattin's performances have often been concerned with audience involvement, sometimes forcible, and an interesting thing occurs a bit into Side B--remember, this is a live show, though I have the impression that Mattin may have deconstructed and reconstructed the performance after the fact. The music ceases and the musicians begin to talk. Quietly, slowly, one at a time, discussing contemporary alienation, noise-making, the contradiction between art-making and civil disobedience, power and more. A female voice (audience member?) poses questions to which people--I recognize Mattin's voice, but others as well--offer hesitant responses. From here, we descend back into shuddering chaos.

A great recording, strong on its own and quite different from anything else out there."-Brian Olewnick, Just Outside

This album has been reviewed on our magazine:

The Squid
The Squid's Ear!

Get additional information at Brian Olewnick's Just Outside
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Vinyl Recordings
Organized Sound and Sample Based Music
Electro-Acoustic Improv
Sound, Noise, &c.
Organized Sound and Sample Based Music
Unusual Vocal Forms
Spoken Word
New in Experimental & Electronic Music

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