© 2017

Burkhard Beins / Lucio Capece / Martin Küchen / Paul Vogel
Fracture Mechanics
MIKROTON CD 56 | 2017

Edition of 300



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1. Transubstantiation
2. Pebble Snatch
3. Pendentive
4. Transmogrification

Burkhard Beins hand oscillator, monotron, e-bowed zither, snare drum and objects
Lucio Capece soprano saxophone, soprano saxophone samples, wireless speakers
Martin Küchen tenor saxophone, flute, radios, ipod, speakers
Paul Vogel air from another planet contained in terrestrial glassware

In October of 2014 Fracture Mechanics traveled to Ljubljana to play and record. The recording at Radio Student involved the transubstantiation of base liquids into nectar and thence by an alchemical process into music.

Fracture Mechanics, the scientific study of cracks in any form of material, is a well-chosen metaphor for the examination of music, sounds, shapes and their breaking points. The fact that this has given the word "fracture" a slight semantic degrading is of particular importance. Even more unorthodox expressions - such as "brötzmann-esque arousal" or "the buzzing valves à la Dörner"- will inevitably wear thin over time, so too the mechanics of sound - that is, the basic ideas about music and its performance must be subject to critical review and alteration. This quartet is particularly suited for such a task: Lucio Capece, Argentinian-Berliner perception worker (featuring on Echtzeitmusik Berlin and duo album with Chris Abrahams), Burkhard Beins, legendary echtzeitdrummer and Post-Punk fan (featuring on Echtzeitmusik Berlin, Glück's album, and Future Perfect with Serge Baghdassarians and Boris Baltschun), Martin Küchen, Lund based saxophonist and baguette baker (featuring on The Bakery, a duo with Keith Rowe), and last but not least, Swiss/Irish clarinetist and domestic glassware operator Paul Vogel (a new artist in our roster). Do not miss this excellent opportunity to become acquainted with some of Europe's most influential profiles when it comes to the treatment of drum-head friction, precise gurgling, conceptually static noises, analog synth putter, ultra minimalism, radio distortion aesthetics, and disassembled wind instruments.


Vital Weekly, Frans de Waard:
Following forty minutes of wall of sound approach it is perhaps good to step back, sit down and relax and the quartet that offers 'Fracture Mechanics' provide exactly the right soundtrack for that. We have here four veterans of the improvisation scene; Burkhard Beins (hand oscillator, monotron, e-bowed zither, snare drum and objects), Lucio Capece (soprano saxophone, soprano saxophone samples, wireless speakers and preparations), Martin Küchen (tenor saxophone, flute, radios, iPod, speakers) and Paul Vogel, who gets the most curious instrument credit in some time; 'air from another planet contained in terrestrial glassware', whatever that is. There is a short, introduction opening piece of people speaking (maybe the musicians), but the main portion are three very long pieces, with a total length of seventy minutes, of some very careful improvised music. Lots of very remote sine wave sounds from whatever sources and the saxophone of Capece sometimes being the only instrument that can be recognized for playing small waves above the abstract mass of sound that meanders below. There is a wealth of sound events happening, and sometimes it is way below the threshold of hearing, and sometimes quite a lot above that.