Pardonne-moi, Olivier!

coverPardonne-moi, Olivier!
16 oiseaux pour Olivier Messiaen

OCD035: Off-Record label /Broken Silence
Digital release on the 18th of November 2016.
Physical release on the 3th of Febbruary 2017.

Buy the CD on Bandcamp:

Økapi: Direction
Geoff Leigh: voice, soprano sax, flutes
Mike Cooper: guitars
Simone Memè: live visuals

Aldo Kapi’s Orchestra: Olivier Messiaen – Jon Appleton – Senking – David Berezan – Kyoka – Marc Tremblay – Aoki Takamasa + Tujiko Noriko – Paul Dolden – Ryoji Ikeda – Mochipet – Elsa Justel – Circuit Bent- Subjex – Mr. Ours & 4bstr4ck3r – Coh – Martin Leclerc – Herve Boghossian – Monty Brigham bird sounds collection – Adrian Moore – Signal – Christian Bouchard – Anemone – Kangding Ray – Louis Dufort – Hildur Gu›nadóttir – Wolfgang Voigt – Marc Tremblay – Atom Tm – The Three Suns – Åke Parmerud – Emptyset – Spontaneous Music Ensemble – Ivor Darreg



The album is a plunderphonic parabola of the imaginary world, mystical and ornitological, of the French composer of the XX century, Olivier Messiaen. A sort of birds’ catalogue, as Messiaen tried to do during his life.
As always, even in this case økapi composed a little sound-collagism opera, which includes a video development. This is the soundtrack of this “movie”.

For this A/V-project, økapi is co-working with the italian video-artist Simone Memé, part of the collective MoreTv-V.

Økapi – Memè – Pardonne-moi, Olivier! – Live performance per Circuiterie / Cinema Palazzo.

Because of his dixit plunderphonic nature, and for the occasion, økapi involved Geoff Leigh (sax/flute) and Mike Cooper (guitar) into his phantomatic virtual orchestra.

Geoff Leigh (voice, soprano sax, flutes). Well known for his work in the 70’s with Henry Cow, Hatfield And The North, Slapp Happy etc., Leigh then went on to play world music, post-rock, free jazz, and electro-acoustic music. For several years he has collaborated with Faust, and his current projects include The Artaud Beats (Chris Cutler, John Greaves, and Yumi Hara), Jump For Joy (Cutler, Hara, and long-standing Faust members JH Peron and Zappi Diermaier), Warrior Squares (English electronica group), and guitarist Makoto Kawabata (Acid Mothers Temple). Since 2009 he has toured Japan four times (with The Artaud Beats), and has played on numerous occasions in England, France, Belgium, Germany, Italy, Scandinavia, the Baltic countries, and Russia.

Mike Cooper (guitar). Currently lives in rome/italy and for the past 50 years has been an
international traveller and musical explorer pushing the boundaries of his music and art.
He is an improviser working with music, film and video; visual and installation art as well as
composing and performing live music for classic and contemporary silent film screenings.
His full biography and extensive discography can be viewed on his website:

Simone Memè is a Visual artist and Co-Founder of More*TV*v, a VJ and Video Artists Group, that works on Audio/video performances, mapping and VJing during DJ sets. More*TV*v has collaborated with electronic DJs and Music Producers as well as with various live bands creating unique and original live performances. Thanks to the group’s passion for art films, animation and video vanguard they’ve created a new language with a strong empathy between the sound waves and the public. As Co-founder of Aye Aye – Interactive Experiences, specialized in the production of interactive videos for museums, exhibitions and private clients, Memè also works on the design and the realization of interactive video contents.
The experience gained during live performances and a well trained ear, define his excellent improvisation skills, which have led to numerous collaborations with theater companies.



Rockerilla mag. april-2017
Rockerilla mag. april-2017
Rumore mag. - apr.2017
Rumore mag. – apr.2017
Blow-up - gen 2017
Blow-up – gen 2017
Mucchio Selvaggio - apr. 2017
Mucchio Selvaggio – apr. 2017

“Ritorna il mago della plunderphonia italiana “

Noisey vice (Lucriamo Passerotti):

“Giocoso ma serissimo, exotica OGM che suona paradossalmente più autentica e pura di ogni fonte, questo è forse il lavoro più bello e maturo di un artista come Økapi, che è un tipo schivo, ma che dovrebbe essere un vanto della nostra musica elettronica”

Gli Stati generali (Enrico Bettinello):

Un’intervista a Økapi per Soundreef:




Økapi – PruffoliLabel: Onglagoo Records
distr: Broken Silence / Goodfellas

released 22 May 2015

Lyrics: Roberto Cabot
Vocals: Mrs. Cornelius, Till Albrecht Jann
Cover: Wouter van Riessen
Inletcover: Leif Trenkler


  1. Pruffoli
  2. Chetamomil(la)
  3. Bad Bee
  4. Pruffoli
  5. Monastic Bingo
  6. Coffee E Ananna
  7. Going To Change Idea
  8. Bud Dub Sheep News
  9. Sheep News
  10. Mostrino
  11. Ti Chiamero 10
  12. Aldo Kapi
  13. La fuga di sandokan

Indie-Eye REC
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Merchants of Air
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Rif Raf Musiczine
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Musik an Sich
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BiP_HOp Generation – Radio Show
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Alza il volume – Radio Show
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Audio Texture – Radio Show
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1000000 exercices

1000000 exercices

Unreleased – 03 July 2013

La Saraghina

La Saraghina (Økapi Abrasive Remix)

from ‘Kaligola Disco Bazar – Remixed’ [2013]

follow the link for free download:

released 26 March 2013

Happily Reversed

Økapi – Happily Reversed


released 12 December 2012

Extra! Extra! Read all about it!
Looney Moon Experiment has managed to capture sounds from the mystical mammal known as Okapi! This rare Franco-Italian creature also answers to Filippo and has been behind turntables, in the studio, and swinging from grape vine to apple tree for over 20 years. Okapi was last seen dawning a lovely tricolor floral smock, catching cutup elements with his long microphone tongue, and producing the Happily Reverse EP. As the Okapi swept through the LMX house, it created experimentation in the augmentation of classical instrumentation. LMX swayed in ecstasy, releasing four exceptional movements within the quirky environment characteristically designed by the Okapi. Now available to the public, these rare sounds include warm soulful downtempo step, summer wine beach house, warped classical show tune trip-hop clownery, and a 50s house wife dusting the house. Happily Reverse EP promises to moog you and plop your brain right into a grand orchestral musical hall full of clown shoes.

Opera Riparata

Økapi & Aldo Kapi Orchestra
Opera Riparata – Tribute to Bruno Munari

Offset records – Officina TodoModo (italian CD)
Illegal-Art (International CD)

Released 07 July 2011

Audio :Økapi & Aldo Kapi Orchestra
Video: More*Tv*V

Opera Riparata (Fixed Opera) is a tribute to Bruno Munari and to his Broken Opera (created with Davide Mosconi).
Starting from the original text written in 1989 by Munari and Mosconi, the musician Økapi and the visual artist Infidel de-structure and re-compose 40 famous Operas, following the contemporary framework of digital remix (cutting, breaking down, juxtaposing and overlapping).
While Munari and Mosconi’s monumental game/engine forecasted several performers and the whole scenic equipment, the Fixed Opera re-handles the same elements of the Opera language using only digital audio and visual instruments.
The possibility of digitalizing amongst every kind of cultural product, and the easiness of their retrieval turns that “availability of the whole music history” described in the original project into something which today is more real than ever, and brings Munari’s words into a new level, more
prophetic than visionary as well. The Fixed Opera implies two different parts: studio session and live performance. In the first step, ÿkapi and Infidel work on parallel paths mashing up the 40 Operas in short audio/visual portions of 1′11” time length each. The strictness of the writing mode is controverted in the latter part, when these rational and individual means meet, crash and melt, following the logic and the spontaneity of contemporary improv modules.
Just like in a child’s play, the Fixed Opera, though following strict principles and methods of academic composition, at the same time thrives on keeping itself close to the aim of staying free from ties and rules. It therefore suggests curiosity as a way of knowledge and creation but also as a transgression from primary forms to reach an unexpected result.


“Paolini’s remix compositions possess the steely bounce of traditional electronic music, mixed with the sometimes menacing, sometimes whimsical vibe of opera. It’s an interesting juxtaposition and one that might sound discombobulating if it weren’t so fascinating.”

“The pay off is worth it though as within this gargantuan effort there are some incredible bits of music and ingenious use of classical compositions. It’s been getting some, justifiably good press, not least by Wired magazine and is a truly great project that I think in years to come will be looked on in the same way as projects such as Plunderphonics.”

“Paolini’s remix compositions include electronic music, menacing and whimsical vibe opera. A perfect mix of an odd but uniquely composed sound.”økapi/

“Økapi takes famous classical works and breaks them down into segments that are exactly 1 minute and 11 seconds, he then rearranges them and tweaks the hell out of them to create some of the most interesting sounds and tracks I have ever heard. At times ominous and other times whimsical this track is in a category of its own.”

“On first listen, I was not sure what I had gotten myself into. However, during the third time though, the initially incongruous composition started to make sense. Through constant sonic foreshadowing and revisiting, this instrumental hip hop-opera achieves level of seamlessness that is nothing short of amazing.”

“… a truly devilish sampling of opera mixed with contemporary sounds”

“Økapi is a maestro of the sample. Twisting hundreds of tiny sounds into a dense and emotive fabric, rich with as much left-field avant leanings as micro techno head nods. We dig..! Heady but also for the heads.”

“It is a must listen for fans of classical music, turntablism, or just generally innovative/cool music.”

“… it ‘borrows’ from a number of famous works of opera, breaks it down to its core, then gathers up the dust and residue and creates something uniquely new-yet-familiar, done in the way that Økapi fans have come to know and envy.”

“Always scouring for something original and unique, we came across a ‘manipulated classical opera’ album by turntablist Økapi.”

“… a master of turntables and computer tech who reaches far beyond the realms of intermittent sample splicing.”

“Weather you like mashups, classical operas or inventive producers, Opera Riparata is worth a listen… it’s a sign of a good thing, that Paolini is somewhat breaking through from the mold and is thankfully showcasing this type of talent now.”

Italian Reviews

Blow-up Music mag.
Rumore Music Mag

Frisky Frillt Fruits

Frisky Frillt Fruits

Invitro Records – INVITRO012

released 09 July 2010

An immense remixes compilation in the form of a tribute to the electronic music pioneer Jean Jacques Perrey. 29 of some of the hottest names of electronica, skweee, wonky, IDM participated in, remixing the unique tunes of “Jean Jacques Perrey and cosmic pocket : Froots” LP released earlier on InVitro. A crazy line-up featuring Fulgeance, Slugabed, Eero Johannes, Mochipet, Candie Hank, Jega, Kelpe, Freeform, Team Doyobi, Wevie Stonder, Subjex, Michael Fakesch and a lot more.

Mammal interpreter (ituri-mix)

Mammal interpreter (ituri-mix)

From the CD: Various Artists [Greatest It]: Greatest It [v/a 2010]

Ego Twister
WM Recordings
Peppermill Records
Cock Rock Disco
UpitUp Records
released 08 March 2010

Love Him

LOVE HIM – Økapi plays the music of Aldo Kapi
Love Him CD new releases (Illegal Art)
Love Him Vol.1 & Vol.2, a fantastic and original double 12″
vinyl electronic album (180gr.) (Offset Rec/Sonic Belligeranza)

First releases: 2 Vinyls (180gr) – Offset rec. – Sonic Belligeranza or Digital (CD) – Illegal Art

In the wild sampling black forest that strange giraffe commonly referred to as Økapi struts about tuning a more than 100 elements orchestra, all of which ruthlessly plundered, to celebrate the notorious Kyrgyz composer Aldo Kapi (1896-1952) in between scratch music, electro-acustic extravaganza e slot-machine soundtracks, break-NOT-core, experimental turntablism and bubble-gum audio are presented in this new release.

released 01 January 2009


John Adams – Alfredtoc – Askak Maboul – Assdroids – Les Baxter – Han Bennink – Jean-Michel Bernard – Hakim Bey – Biota – Carla Bley – Boswell Sisters – Lester Bowie – Cifariello Ciardi – John Clark – Ray Conniff – Conventum – Dick Dale – Yves Daoust – Deework – DevNull – Dim-Dim – Don Augusto – Dopecoara – Dr Nojoke – Dean Elliot – De-Fazz – Free Design – Die Form – Les Frères Jacques – Wolfgang Fuchs – France Galle – Gangpol & mit – Gianni Gebbia – Genjini – Giant dervish underwear – John Greaves – David Green (Infrabass) – Ferde Grofé – Hellfish – Shelley Hirsch – Joe Hisaishi – Lars Hollmer – Ryoji Ikeda – Tetsu Inoue – Isobrown – Leroy Jenkins – Kadash – Bert Kaempfert – Henry Kaiser – Georg Katzer – Mari Kimura – Eartha Kitt – Knifehandchop – Peter Kowald – Dan Lander – Hugues Le Bars – Michel Legrand – Ferner Liefen – Enoch Light – Paul Litton – Alan Lomax – Paul Lovens – Fay Lovsky – Michael Lowenstern – Paul deMarinis – Massacre – Nathan Michel – Christof Migone – Mills Brothers – Phil Minton – Mats/Morgan – Ikue Mori – Mon Oncle (J.Tati) – Music from Japan – No Safety – No secret in the Family – Matthew Ostrowski – Bob Osterdag – Outkast – Frank Pahl – Paola & Chiara – Evan Parker – Zeena Parkins – People like us – André Popp – Puls – Ptose – Radium -Rambo Amadeus – Ensemble Rayé – Hans Reichel – Ernst Reijseger – Renaldo & the Loaf – Henri René – Sam Rivers – Roger Roger – Jon Rose – François de Roubaix – Salle Gaveau – Satanicpornocultshop – Alain Savouret – David Shea – Alexander von Schlippenbach – Arnold Schönberg – Louis Sclavis – Günter Sommer – Yoshinori Sunahara – Tape Beatles – Temptations – Tep – John Tejada – Thiazsch – The Tiptons – Isao Tomita – U-totem – Mark Trayle – Richard Trythall – Roxanne Turcotte – Edgar Varese – Vicnet – Gregory Whitehead – Brian Woodbury – Otomo Yoshihide – Universe Zero – Zos Kia.


Okapi’s latest album, Love Him, is quirky, whimsical and brings a fresh ear and direction to experimental music. While other “artists” like Pitbull are using played out samples from number one hits over the last 10 years, Okapi is reinventing the use of the sample. He picks up where Pizzicato Five left off in the ’90s with the shibuya-kei movement by creating a truly “New Stereophonic Sound Spectacular.”
Okapi is Filippo Paolini, an Italian turntablist and sample cutup artist whose talent could fuel the next three volumes of Scratch documentaries. He combines and transforms samples of techno, glitch, 8-bit, jazz horns and piano to create a soulful landscape of light and airy tones similarly to Kid Koala. Okapi sounds like a mix of samba and bossa nova in 50 years when everything is operated by computers. Low frequency buzzes replace the Chocalho and backwards cymbal hits replace the Tan Tan. To put it plainly, if you like sonically elegant and eccentric music then Okapi will be playing repeatedly on your stereo for the next few weeks; but if you fear the unfamiliar, I warn you now this album isn’t for the faint of heart. (4/5)

Okapi…is the only known mammal to wash out its own ears with its tongue: just to catch the weird melodies of nature! Mashallah!!!!
Are these guys trying to have their way with me? I think so. Either way this is delightful high concept stuff. Alleging to be performing the compositions of early 20th century Kyrgyz composer Aldo Kapi, Okapi instead appears to be a masterful arrangement of extremely tasteful samples. Among the more than 100 participants listed in the “orchestra” are familiar and unfamiliar names from everywhere. Han Bennink, Lester Bowie, Dick Dale, Eartha Kitt, Knifehandchop,Ikue Mori, and Evan Parker are just a small sampling. Tongue is frequently in cheek, but remarkably, this record never steers itself into kitschy territory. This mix touches ably on jazz, ambient, dub, and a myriad of electro sub-genres I would surely mislabel. Noisy found-sound interludes mingle pleasantly with mellow post-bop as well as water sprinklers, alarm clocks, noisy synths or house beats. Each track has its own vibe, which on its own doesn’t seem too significant. Taken as a whole however, this is a unique, inventive, and surprisingly stimulating listen. Fans of Foetus, Meat Beat Manifesto, and FSOL may as well give this one a try.

ATTENTION to detail is clearly Okapi’s thing – as a promising newcomer, he had to e-mail pictures of his ‘working out’ to his record label suitors to prove that music of such intricacy had been made on his computer, and not simply lifted wholesale from elsewhere.
And rather than just creating a new collection of songs for his latest LP, Okapi has gone the trouble of creating an entirely fictional Kyrgistani composer, Wikipedia entry and all, for him to cover on Okapi Plays The Work Of Aldo Kapi (1914-1982).
This focus is applied brilliantly to an eclectic mix of tracks here, from the childlike plod of Bud Dub to the brassy big bands of Everything Must Change Part 2 to the techno stomp of The Next! – although Okapi never once settles into a groove throughout.
Music of this invention and intricacy, however schizophrenic it may be, surely demands a close look.

Ever since Girl Talks’ third record dropped, the relatively indie Illegal-Art label has been thrust into the spotlight. Founded in 1998 by a man under the pseudonym of Philo T. Farnsworth, the label is working hard to turn mash-up and glitch music into respectable genres.
With the expansion of this music, more and more talented computer-savvy musicians have moved out of their parents’ basements and into hip flats in Greenwich village. The latest of these artists (coming to an Urban Outfitters near you) is an Italian virtuoso of turntablism. He goes by the name of Okapi, and his eclectic mix of musical genres proves to be the perfect parallel to the half-zebra, half-girrafe hybrid species that he draws his name from.
Barely audible blips and cut-up acoustic drum samples flesh out the majority of the beats throughout “Love Him” (Okapis’ debut record). Thousands of samples spanning from motorcycles starting to German men whispering fill the rest of the voids in the soundscape. Small motifs tend to repeat themselves throughout the record to create a semblance of one calm cohesive piece of music, but every so often the relative calm atmosphere is interrupted by harsh radio static or grainy out-of-tune violin overtures.
It may not be the best music for doing anything active to; however, I have found this album’s niche in its ability to make homework time interesting. A track that is especially condusive to a studious environment is “Love Him,” the title track. The repeated orchestral lick and the seasick backbeat of synthesized chimes perfectly balances a maintained order with the type of attention deficit pop music that we have all come to know and love.
It is easy to tell that Okapi spent the majority of his time fleshing out the tracks in the dead center of the album. Opener “Oh No!” sets the album off as a sort of sonic palette cleanser that falls flat on a cheesy “ocean waves” sample that sounds like it was stolen straight out of a third-rate Wal-mart sleep aid CD. From this point on, the tracks achieve exponential greatness; it almost seems as if a weak opening track was intentionally used to make the rest of the album sound intelligent and catchy.
Exactly midway through the album there is a buildup, one that puts every previous buildup you have heard to shame. Diminished and discordant tones build on top of each other to the point of nausea, and just when you think it’s time to rip the headphones out of your skull a jazzy electronic number comes in with the catchiest sax line since Dave Brubeck dropped “Take Five.” It’s the little places like these–sparsley hidden throughout the album–that make it all worth it. It is a easter-egg hunt for even the most amateur audiophile which is why I hope that Okapi’s efforts won’t go without mainstream recognition.
(There is one such track that has a potential for the type of press he deserves–aptly titled “The Next!” I see it as physically impossible for this out-of-place distorted dance thriller to slip through the cracks of the ever-expanding and engrossing electronic scene, but stranger things have happened.)
It is worth mentioning that this artist––and indeed the majority of Illegal-Arts’ contributors––use a realistic “pay-what-you-want” system. I know, it’s not on Itunes, but it’s time to try expanding your horizons. If you haven’t already inferred, this music is not for everyone (I myself found it a bit strange to put the sound of a man peeing to the beat of a rotary telephone being dialed), but if you are someone who is just on the cusp, someone who wants the bridge between catchy and thought-provoking, straight-laced and experimental, Okapi is your man. Logan McMillen

Okapi, who released their debut EP last year, is now releasing their first full-length album. Unlike most albums that you will hear, this is more of a playful and experimental record; mixing shortened vignette type tracks with regular ones, Love Him is sure to keep anyone entertained.
The highlight of the album is the song “My Scream,” which is self explanatory; for most people listening to a scream may not be the most enjoyable idea, but the great lead into the song makes it bearable.
This is followed by “Aldo Kapi,” which sounds like Okapi took a bucket of children’s toys and began to play with them while letting a funkier version of the Jeopardy theme song play in the background.
This album is not for everyone, but for anyone willing to give Okapi a chance, it will be a surprising treat. Padraic Maroney

Insanity sure is considered to be a trait related to artistic geniuses. Perhaps one of these geniuses was the composer Aldo Kapi who lost a finger due to his musical experiments and was later forced into a mental asylum. Why am I talking about a classical composer when this is a alternative/indie site you ask? Well, the answer is that Italian sampling artist Okapi mixes some of Aldo Kapi’s work with his own to create a unique fusion of electronic and classical music. The result? A very interesting and sometimes beautiful piece of work.
Take track ‘Love Him’ for example. The small samples and the clicking loops are reminders of the more underground electronic music scene. Combine this with Kapi’s beautiful string work and you get a suprising mix that sounds fantastic.
Perhaps, some might consider the electronic factor of Okapi’s music to be insane itself. Take the random and scattered loops of ‘Aldo Kapi,’ the insane robotic vocal samples of ‘Secret Tongue’ or the ear piercing sounds (in a good way) of ‘My Scream.’ The samples are unlike anything you will hear of. They get right into you and you think to yourself ‘what was that sound?’ and then you carry on listening to find out more. Okapi then combines these flawlessly with Aldo Kapi’s work. Whether they’re only quite background pieces or more apparent parts accompanying the electronic elements, the combination of both artists work make for a diverse sound.
In essence, Aldo Kapi and Okapi certainly are two insane musicians but this insanity is what makes their music so good. The combination of the two makes for a captivating sound. The music is out of this world. (8,5/10) Alex Yau

Preconceived notions aside, this album greatly surprised me. Aldo Okapi was a Kyrgyz composer from Iran, in the late 19th century and endured a quite dramatic life. This album embodies his compositions and is endeavored by the Okapi Orchestra, composed of over 70 different individual musicians. In 1911, Okapi perfected his piano playing and this caused the loss of use of his right ring-finger, he completely dedicated himself to composing music. And now in 2010, we are able to hear his perfections fused into an entirely abstract compilation of songs.
Here are my favorite tracks (although I would recommend listening to the whole album through at least once): 2, 3, 4, 6, 8 (trumpet!), 10, 14, 16
Although I see no true comparisons, it has been noted that this music is in the realm of: Junk Culture, People Like Us, and Dan Deacon.
I give this album a whopping {A-} —for lack of the actual Okapi :s
*Symphonic, silly, abstract, funky, electronic, foreign, instrumental, avant garde, semi dance, ambient*. Sharevari

Italian turntablist Filippo Paolini, known as Okapi, has released a two-disc album titled Love Him that samples over 150 orchestral compositions from the mentally unstable Kyrgyz composer Aldo Kapi (1896-1952). Kapi was born to a wealthy Iranian industrialist and an Italian mother who sent him to Kyrgyzstan for his education. His interests gravitated towards the realm of music and soon he began composing his first symphonies. His early attempts to break free from structure and form led to recognition by a Tajikistan music conservatory. It was there that his distinguished compositions began garnering acclaim across Central Asia and later the World. Poet Ezra Pound was counted among his loyal supporters. Unfortunately, while composing his sixth symphony Kapi sank into a deep depression and the mental instability that haunted him his entire life overtook him as he was composing his finale. He passed away in 1952. His compositions have been unearthed in 2010 by Okapi, and Kapi’s broad lyrical range of compositions are finally being released to a larger audience via Paolini’s virtuoso sampling.
Great story huh? Completely fabricated. That’s right, the press release, the Wikipedia article, the meticulously researched information regarding French ambassadors to Afghanistan and honorary chairs at esteemed conservatories: lies, lies, lies. Lies that I fully digested until it came time to write this review. Suddenly the incongruities became apparent, aren’t Kapi and Paolini’s moniker Okapi awfully similar? Why was Aldo Kapi’s Wikipedia page removed? All of the references to post-Soviet outposts are obscure enough that they could be accepted at face value. Okapi had me: hook, line, and sinker. Luckily for him the content on “Love Him” makes up for my initial frustration at having to scrap my original review.
While Aldo Kapi may be fake, Okapi is the real deal. While he doesn’t have the pre-recorded oeuvre of a Kyrgyz composer to plunder, he does the sum of the recorded 20th century to freely sample from. Okapi extracts moments of sweeping orchestral swells and passages to underpin his avant-garde sample-based compositions. The recurrence of these snippets of classical music is one of the few constants in Okapi’s shifting-sand soundscapes, a checkpoint to catch the listener up after his most scatter-shot noise collages. When confronting his subject head-on Okapi emerges with flashes of lucidity: bowed strings over a frantic break-beat or plucked violins and horns put through a blender. At its most abstract, however, Love Him turns into somewhat of a gimmick, a contest of Okapi against himself to see how many anachronous and forgotten genres he can cram into a 4-minute song. Balkan punk, 20’s commercial jingles, homemade sound effects, kitsch vocal samples, sweeping ballroom pieces, and 8-bit glitch breaks all compete for top-billing during their brief moment of arrival before they depart back into the ether.
Love Him, for all of its overreaching aims and fraudulent claims, still has songs, real songs that are tightly structured and incredibly enjoyable experiments. “Ti Chiamero ’10” is one of those songs. Starting with a glitchy microhouse beat that broods under a sea of squiggly pitch-shifted horn-blasts and a recurring piano-line, sort of like an absurdist Pantha Du Prince, a gypsy violin sweeps in, stopping the piece dead in it tracks with a swirling air of Arabian Nights sensuality. For all of the coherency of tracks like “Ti Chiamero” there is an album full of tracks like “The Next!” that are simply thrilling genre mash-ups for the sake of thrilling genre mash-ups. “The Next!” starts with a wound-down orchestral swell that breaks into a post-industrial rave up. The title track “Love Him” is another song-song that imbeds itself deep in your subconscious. Swelling strings, electronic blips and bloops, and skittering electronics swirl and build into a teetering crescendo before an auditory cue pops the tension and the sound drops out only to slowly build back up again.
In many ways Love Him retains this “false summit” approach album-wide, building giant monuments to melody and rhythm only to dash them to pieces and run off with some wild hair of a new musical idea. Few musicians could withstand this haphazard race from genre to genre without relegating them to the “sound collage artist” dungeon. Okapi, on the other hand, engages his material enough to allow his pillaged pieces to make definite musical statements before being bulldozed beneath a million voices clamoring to be heard. Okapi also has a strong sense of when to let songs be songs, and when to let his proclivities for madcap sound effects and avant-turntablism reign supreme. Ryan Hall

If you only associate the word okapi, with the blue-tongued zebra-striped cousin of the giraffe, let me reintroduce you to Filippo Paolini – the Italian turntablist and recent Illegal Art signee. Paolini, also known as Økapi, utilizes his turntables and laptop to create atmospheres that range from orchestral pauses, breakbeat nostalgia, 8-bit melodies and the occasional Hawaiian soundscape.
Økapi is set to drop his Illegal Art debut, Love Him, on February 23rd. The record, which celebrates notorious Kyrgyz composer Aldo Kapi (with over a 100 musical elements), delicately maintains a balance of elemental turntablism with quirky innovation. Tristen Gacoscos

“Love Him” is Italian turntablist/producer Okapi’s tribute to eccentric Kyrgyz composer Aldo Kapi (1896-1952). The album is released on plunderphonic label Illegal Art, and reconstructs the composer’s works through hundreds of samples. Like Illegal Art’s most well-known release, Girl Talk’s “Night Ripper”, this album contains an alphabetized list of all the artists sampled. Obviously, instead of chart-topping pop and hip-hop acts, this album reads like a who’s-who of easy listening (Les Baxter, Bert Kaempfert, Enoch Light), avant-garde (Zeena Parkins, Edgard Varese, Ryoji Ikeda), netlabel (several Bedroom Research and Cock Rock Disco artists), and plenty of similar plunderphonic/cut-up artists (Satanicpornocultshop, Tape Beatles). Despite being a huge fan of several of the artists listed (especially Dev/Null, Knifehandchop, People Like Us, Hellfish, and the lone contemporary pop group listed, Outkast), I can’t place any of the individual samples.
In other words, despite being composed of samples, this is not some sort of guessing game puzzle for trainspotters. It’s also not some sort of completely humorless academic work; among the dialogue sounds used are a young girl demonstrating her scream over the telephone, a Speak-N-Spell, and a woman at a concert who’s so excited she can’t stop crying. The shorter tracks generally tend to work as musique concrete interludes, with the longer tracks being more rhythmic. A lot of the beats seem to be quite minimal, using sinewave clicks’n’cuts as the foundation for the samples. The tracks around the five minute length are afforded some time for repetition and building, with the shorter tracks being more ADD.
Oddly enough, somehow I wasn’t quite as overwhelmed by this album as I thought I was going to be, but that’s mainly because I’ve heard so much glitchy short-attention-span plunderphonic stuff already. I definitely don’t mean to discredit Okapi, who’s created a seamlessly arranged, fascinating work in tribute to a unique composer. 8/10 — Paul Simpson (2 June, 2010)

In the grand tradition of Girl Talk, Italian sampling artist Filippo Paolini (a.k.a Okapi) enlists Illegal Arts as the patron of his, 21st-century strain of studio turntablism on Love Him. Unlike labelmate Girl Talk, who simply cuts up pastiches of the mundane and is constantly under attack from those who question the validity/legality of his art, Okapi chooses to pay a modern homage to one of the early 20th century experimental composers Aldo Kapi. Paolini reworks Kapi’s Dadaist source material into micro loops, and he further refines it into IDM-influenced buzzes and blips putting the artist in the ranks of contemporary Warp artists like Autechre. He also stays true to Illegal Art’s manifesto of mash-up legitimacy by sketching guide maps to more legit cultural experimentalists like Reich or even Gurdjieff as reference points. He also manages to make the studio turntablist/mash-up concept more interesting and sophisticated than it has been to date.

Italian turntablist and sampling artist Okapi answers the question what would happen if you threw a thousand records into a Slap Chop, chopped them up, and then attempted to reassemble them back together. Using more records, samples, scratching, editing and just plain craziness than you can think of Okapi has become the Don of slicing and dicing sounds together to get all sorts of new sounds that sound like their own sub-genre of music. I’m not exactly sure how he does what he does, but it’s impressive that he can construct sound collages as convincingly good as he does and he does it repeatedly on his album Love Him Okapi Plays the Music of Aldo Kapi.
Love Him is a heady mix of samples that assault your hearing from every angle. It’s like chopped, diced, and pureed into a series of blips, bleeps, beats, found sounds, and more all to the tune of something approaching a real song. He doesn’t always get there but it’s truly fascinating to hear just how weird Okapi gets on each song. It’s not like much of what you’re hearing on Love Him makes much sense, but my guess is that it’s not supposed to and that’s the point. Chaotic and literally all over the place, this is the soundtrack to the inner workings of a tornado. Love Him has it all, from animal sounds to car crashes to lounge music, it’s all in there and finds a home next to thirty other sounds that don’t really belong.
Okapi might scare a few people with his disorganized and atonal approach to making music. Thankfully for everyone’s sanity he manages not to get lost in his ocean of samples, but he does rearrange stuff to the point where you can’t really hear what songs he’s sampled, chopped, or rearranged. It’s insane stuff that’s a tribute to his editing, turtablism, and creative skills. Love Him isn’t music in the conventional sense but that’s what makes it entertaining. I thouroughly enjoyed listening to the inner workings of Okapi’s mind throughout Love Him, he’s a fascinating “songwriter,” and his “songs,” are pretty ingenious and mini-marvels.

If you’re into Italian turntablists and obscure Kyrgyz composers, then Okapi’s Love Him (out today) is the record for you. He riffs on Aldo Kapi’s symphonies using over 100 different elements, making a sometimes jarring, always intriguing lineup of 16 tracks. I found it a tad difficult to listen to while tapping my keyboard at work, but it did make a nice soundtrack for my morning run. The minimalist samples provided just enough rhythm without feeling like I should be in a black-lit room with a fog machine.
So what exactly is an Okapi, you ask? And what does it have to do with music? Here it is, straight from the artist:
One of its strangest characteristics is that it is the only known mammal to wash out its own ears with its tongue: just to catch the weird melodies of nature. He adores those ferocious and vindictive chants that make him sway…and he fights relentlessly for the domination and hegemony of incorrect and unlistenable music…

This stuff’s tingly fun. From your squeaky bathtub rubber duck to the ballroom dancefloor to Disney and beyond, Filippo Paolini aka Økapi (like the giraffe-zebra hybrid rainforest mammal), directs an engaging journey through bits and pieces of audio masterfully spliced together, perfectly rhythmic with not a second of lagtime in Aldo Kapi.
Økapi’s Love Him celebrates Aldo Kapi, a mentally unstable, fictitious Kyrgyz composer dreamed up by Paolini. Elaborate? Perhaps. Worth it? Certainly. The album’s out 2/23/2010 in two volumes brought to us (on vinyl or digital download) by Illegal Art. Listen to clips of each of the 23 songs here and here. Sounds like an Adult Swim adventure. Sweet.

Illegal Art is a label known for it’s sample-tastic roster (Girl Talk, Steinski, etc.), so that should give you a good idea of what to expect from the label’s latest release, Økapi’s “Love Him.” The album has a street date of February 23rd, and despite Økapi’s heavy sampling of Kyrgyz composer Aldo Kapi, the sound he makes is like something you’ve never heard before. In fact, if you want to check out that sound, check out the MP3 above. It’s an exclusive premiere here at The End of Irony. More information on Økapi from Illegal Art after the jump.
On Love Him, Italian turntablist and sampling artist, Økapi (Filippo Paolini), masterfully conducts a plundered symphony of more than 100 elements to celebrate the notorious Kyrgyz composer Aldo Kapi (1896-1952). Somewhere in between record digging, electro-acoustic tomfoolerly and slot-machine soundcards, lies the break-NOT-core, bubble-gum experimentalism of this new full-length from Italy’s own “Daft Giraffe.”
Making his music entirely from pre-existing recordings, Filippo is very open about his sources and even attempts to contact every living artist he samples. He recently commented that, with only one exception, he has always received positive praise and encouragement, with many of the artists not even recognizing their own work within the Økapi mixes.
The previous Økapi full-length, Where’s The Beef?, was released in 2003, on the at-the-time buzzed Inflatabl label run by Matt Haines (aka the Rip-Off Artist). Oddly, both the label and Haines disappeared completely from the electronic music scene shortly after the Økapi release (you can still find the occasional used copy on Amazon). Other notable Økapi material includes a remix for Caprezzo (on EMI), one of the biggest Italian hip-hop artists.
In addition to his solo work, Filippo has recorded in the duo Metaxu and with the trio Dogno. He has performed live for national Italian State radio broadcasts (RAI) with renowned avant-turntablist, Christian Marclay and collaborates with numerous international artist such as Mike Cooper, Peter Brotzmann, Mike Patton, Matt Gustafson, Zu, Damo Suzuki, Andy EX, and Metamkine.
For the CD/digital release of Love Him, Illegal Art compiled tracks from two separate European vinyl releases (on the labels Belligeranza and KLM last year), each focused on different years of Aldo Kapi’s compostional output (Vol. 1 from 1927-1952 and Vol. 2 from 1914-1926). With this release, Økapi officially joins the Illegal Art label alongside other sampling-obssessed artists such as Girl Talk, Junk Culture, The Bran Flakes, Steinski, Oh Astro, People Like Us, Wobbly, etc.

If you only associate the word okapi, with the blue-tongued zebra-striped cousin of the giraffe, let me reintroduce you to Filippo Paolini – the Italian turntablist and recent Illegal Art signee.  Paolini, also known as Økapi, utilizes his turntables and laptop to create atmospheres that range from orchestral pauses, breakbeat nostalgia, 8-bit melodies and the occasional Hawaiian soundscape.
Økapi is set to drop his Illegal Art debut, Love Him, on February 23rd.  The record, which celebrates notorious Kyrgyz composer Aldo Kapi (with over a 100 musical elements), delicately maintains a balance of elemental turntablism with quirky innovation.

Allegedly, Aldo Kapi was a Kyrgyz composer whose imperfections on piano led him to experiment and buck classical convention.
For as interesting as his story seems, however, it appears all too fake, particularly in this age of digital duplicity.  Perhaps tellingly, the only information on Kapi comes from Økapi, an Italian cutup artist named Filippo Paolini, and the information on Kapi’s Wikipedia entry is exactly the same.  No other photos of Kapi can be found, nor can information on his supposedly famous parents.
Nevertheless, it doesn’t particularly matter, and it wouldn’t be the first time that an elaborate story was made to publicize an album.  The bottom line is that the first of these two themed albums by Paolini is great.
A semi-IDM affair with glitch elements and chopped vocal cuts, Love Him is a cut-and-paste musician’s dream, recalling artists such as End and Tipsy.  Samples of soothing, sweeping strings and woodwinds paint a pretty backdrop that wavers between classical and lounge, before cutting into short upbeat bursts, frequently calling upon snare rolls and clattering bits.

BOOMKAT (Vinyls)
A genre-crossing journey into virtuoso turntablism with Okapi, aka Italian cutup artist Filippo Paolini, who has previously released work as one half of duo Metaxu and one third of trio Dogon, collaborating along the way with that elder statesman of the turntable, Christian Marclay. These sample-hopping narratives have a strongly humourous streak running through them, inevitably inviting Negativland comparisons, yet the music here tends to be less of a blur, instead forming beautifully produced fragmentary tracts that incorporate snatches of playful abstract electronics, old easy listening records and passages of dialogue. The overall effect is an absorbing musical narrative that’s full of wit and sleight of hand.

Compiling tracks from both volumes of his Love Him records on KML Sonic Invaders, this Illegal Art CD is the work of Italian cutup artist Filippo Paolini, who has previously released work as one half of duo Metaxu and one third of trio Dogon, collaborating along the way with that elder statesman of the turntable, Christian Marclay. These sample-hopping narratives have a strongly humourous streak running through them, inevitably inviting Negativland comparisons, yet the music here tends to be less of a blur, instead forming beautifully produced fragmentary tracts that incorporate snatches of playful abstract electronics, old easy listening records and passages of dialogue. The overall effect is an absorbing musical narrative that’s full of wit and sleight of hand. “On Love Him, Italian turntablist and sampling artist, Økapi (Filippo Paolini), masterfully conducts a plundered symphony of more than 100 elements to celebrate the notorious Kyrgyz composer Aldo Kapi (1896-1952). Somewhere in between record digging, electro-acoustic tomfoolerly and slot-machine soundcards, lies the break-NOT-core, bubble-gum experimentalism of this new full-length from Italy’s own “Daft Giraffe.


Filippo Paolini in arte Okapi è uno dei più grandi prestigiatori nell’arte sublime del cut up sonoro. Conosce a menadito decine e decine di tecniche per il mixaggio ed oltre ad avere un naturale portamento per la produzione sopra le righe, si distingue come tra i più atipici – e funambolici – dj in circolazione. Ispirandosi all’opera del fantomatico compositore Aldo Kapi, il nostro mette insieme un tributo che più delle rime fa tesoro delle innumerevoli fonti sonore cui attinge, in un continuo gioco di specchi e rifrazioni. Attraversando le stanze della musica contemporanea come i paradisiaci scenari dell’easy listening, Love Him viene fuori come un sussidiario di scelte surreali ed avanguardiste, in cui piccole orchestrine in riva al mare vengono spazzate via dal vento di qualche brutista del white noise. L’avremmo chiamato break beat fosse stata una musica rigorosamente attenta al ritmo ed alle etichette di comodo, l’avremmo battezzata plunderphonia se gli unici depositari del sapere fossero stati Negativeland e Bob Ostertag, l’avremmo chiamato hip-hop fossimo rimasti ad ammirare le superbe doti dell’ennesimo turntablist.
In realtà ci sono diversi elementi complenatari in questo disco: una costruzione che più che ragionata sembra il frutto di un’alchimista, non solo un mago della consolle, ma anche uno di quei crate digger dalla discografia invidiabile…
C’è un grande senso dell’azione nella musica di Okapi, con vere e proprie porzioni cinematiche. Un senso della misura nell’eccesso, questo il paradosso da cui scaturiscono le magie di Love Him, un lavoro che finisce con lo stupire, grazie alla sua puntualità nel rincorrere mille e più oggetti del desiderio (musicale). Una forma che tradotta diventa poi composita, stupendo per il lavoro di edting finale. Dopo numerose apparizioni al fianco di nomi tutelari della scena avant mondiale – Mike Cooper, Peter Brotzmann, Mike Patton, Matt Gustafson, Zu, Damo Suzuki, Andy EX e Metamkine – Okapi riparte autonomamente per un viaggio che sa di folklore spaziale

Anni fa girovagavo su un lercio blog che recava il nome di “Dothemongoloid”, mi appassionai, e cominciai a leggere avidamente tutto, post e risposte, che nella maggior parte dei casi finivano a bestemmie ed insulti vari. Era un po’ il paese dei balocchi, pieno di cose, argomenti che andavano dalla lotta al drum and bass ai papaboys o ancora a strani racconti su oscuri bar romani dove veniva servito nettare allucinogeno.
Non la faccio lunga, il blog chiuse, con una cermonia a suon di birra in un pub di San Lorenzo, e se l’ho citato, oltre ad esser sopraffatto dalla nostalgia, è perché è lì che ho conosciuto il nome di Økapi.
All’epoca stava per pubblicare il suo primo album solista, “Where’s the beef?” per la statunitense Inflatabl, attesi un po  per averlo, ma questo tempo fù ripagato da una delle musiche più fresche ed articolate che ricordassi da tempo.
Seguì una ricerca spasmodica che portò alla luce tutto un microcosmo fatto di strani personaggi, colori stravaganti ed estetica retrò dal gusto inarrivabile. Questa sfera di luce aveva un luogo d’ascolto pubblico che si chiama Radio DD, una piccola radio online nata sul tetto dell’ Half Die Festival, dove una serie di artisti distribuivano deliziosi dolcetti elettronici in bilico perfetto tra ironia e sperimentazione.
Anche lì ci fù un punto di contatto che segnò l’apice del movimento, questo è senza ombra di dubbio lo show pomeridiano nell’edizione 2005 di Dissonanze, una delle esperienze più innovative che, l’ormai galattico festival, abbia messo in produzione.
La radio è ancora online con tutto il suo archivio storico, vi conviene fare un salto per capire bene di cosa parlo.
Tornando ad Økapi, venni a conoscenza del suo progetto dal nome Metaxu, diviso con un genio assoluto della sperimentazione italiana come Maurizio Martusciello, che diede vita a 3 album tra il 2000 ed il 2004.
Poi Filippo Paolini, questo il suo nome all’anagrafe, ha proseguito per la sua strada, facendo evolvere un personale concetto legato al taglia e cuci.
Ora arrivano questi due nuovi vinili pubblicati dalla -Belligeranza (costola downbeat di Sonic Belligeranza) che ci consegnano Økapi in una forma a dir poco smagliante, e subito veniamo sommersi da questo mondo fantastico dove la provenienza del suono è l’unica cosa che non oseremmo mai chiedere, per paura di doverci addentrare in un meccanismo più grande di noi.
In questa musica c’è semplicemente tutto, dalla fanfara dei bersaglieri alle registrazioni di poppate e musiche per tv di chissà quale anno.
Ok il solito minestrone spacciato per musica sperimentale penserà qualcuno, no, assolutamente, l’artista crea estetica per mezzo di frammenti, è tutto un percorso che ha a che fare col lusso, con l’istruzione e con le cose belle viste da occhi che non sono stati protagonisti, gli occhi di chi avrebbe tanto voluto.
E’ una musica che può avere un’interpretazione politica, raccontando sfarzi, stili e costumi associabili alle varie decadi della bella Italia, utilizzando un atteggiamento introspettivo, melodico e sognante, con una forma che per assurdo è pop.
Non vi dico altro, due dischi imprescindibili.

Love Him figura come tributo a un compositore (inesistente) kirghizo di nome Aldo Kapi suonato da Okapi assieme alla (altrettanto inesistente) Aldo Kapi Orchestra. Okapi è uno dei più grandi dj barra compositori italiani, uno di quegli atipici personaggi del giro Roma che vivono più dentro la loro testa di quanto lo facciano nello spazio fisico. Uno di quelli che quando hanno un’idea la realizzano a prescindere dalla sua appetibilità e/o vendibilità. Questa caratteristica, unita ovviamente al fatto che la musica di Okapi spacca pesantemente, lo ha portato a collaborare con (più o meno) tutti quelli con cui ci si aspetta, ivi compresi (e soprattutto) Zu ed amici. Parlando del disco, potreste immaginarvi a musica se riuscite ad unire il Morricone della raccolta su Ipecac a certe cose nu-jazz, tagliati con generose dosi di lounge e momenti di follia vera (tipo un theremin rumorosissimo che parta a buffo su un sottofondo d’archi) e un mood a metà tra situazionismo e LOAL. Un discone. Francesco Farabegoli

C’è stato un periodo, nei Novanta, in cui l’ars combinatoria della Plunderfonia pareva la forma sonora più idonea a rappresentare la zeitgeist della nascente cultura globalizzata. Oswald e Negativland a parte, il genere ha stentato però a produrre opere durature. Ci prova con eccellenti risultati Okapi (animale un po’ zebra e un po’ giraffa, alias Filippo Paolini da Roma, autore nel 2005 dell’apprezzato Where’s the Beef?), mescolando dosi eguali di certosino “plagiarismo” su fonti vintage pop-exotiche (con dovizia di orchestre easy) e prelievi da numi avantgarde e ritmata electronica. Il tutto è ingegnosamente plasmato con complice ironia e polso saldo nell’originale e spesso sontuosa architettura dei brani, ciascuno con una sua precisa identità che rispecchia in toto la cifra stilistica dell’autore: strambo ma sempre godibile, dall’audio design attuale e spontaneo eppure rigorosissimo. Suddiviso in due lp 12” di spesso vinile, sottotitolati Vol.1 Recent (1927-1952) e Vol. 2 Early (1914-1926), Love Him (sarà ristampato in cd a gennaio su Illegal Art, etichetta storica dell’attivismo plunderfonico) ha come cornice concettuale il rinvenimento dell’opera di un oscuro compositore italo-iraniano, tal Aldo Kapi (1896-1952): provate un po’ a cercarlo su Wikipedia. (9/10) Vittore Baroni

Segnatevi il nome: Økapi. Segnatevelo, perché il suo Love Him è una delle faccende più deliziose e divertenti che vi possano capitare in mano. E riesce ad esserlo senza perdere nulla in nobiltà artistica e voglia di giocare con stilemi alti. Una quadratura del cerchio davvero molto rara. Segnatevelo, perché pur essendo italiano (Filippo Paolini, recita l’anagrafe) qua dalle nostre parti di
Økapi si parla ancora davvero troppo poco. Lui ci scherza su: “Ma infatti! Mi ignorano! Questa negligenza da parte dei media è imperdonabile. Purtroppo neanche la diffusione della notizia del giugno 2006 del ritrovamento di tracce dell’okapi (animale davvero esistente, date un occhio su Wikipedia, NdI), dato per estinto, nel Parco Nazionale Virunga in Congo è servita a qualcosa. Evidentemente mi diveo inventare qualche altra leggenda…”. Già, perché il figliolo ha il gusto dell’invenzione. Love Him è accreditato infatti a lui e alla fantomatica Aldo Kapi Orchestra, lì dove Aldo Kapi è un, ehm, compositore nato nel Kirghizistan alla fine del diciannovesimo secolo. “E’ che mi serviva un’orchestra, un capro espiatorio e un alter ego su cui riversare tutta la mia evidente megalomania. Semplice, no? Se sbaglio qualcosa o sbaglierò qualcosa in futuro, la colpa sarà sempre di Aldo, chiaro? Comodo!”. Dici che qualcuno ci casca? “Beh, la voce su Wikipedia c’è. Ma non diciamo troppo forte, ché i poliziotti wikipediani potrebbero avere qualcosa da ridere sulla pubblicazione della biografia e rimuoverla. Lì sta benissimo”.
Sta benissimo anche Love Him nei nostri player. Un album che è un fuoco d’artificio continuo spalmato su una ventina abbondante di tracce. Una quantità di idee e di spunti mostruosa. Generosità creativa è un eufemismo. “Ho impiegato in effetti più di un anno per completare il disco. In alcuni casi e per alcuni pezzi, sono passati dei mesi dalla concezione iniziale fino alla chiusura definitiva, quella da fare quando davvero tutto è stato rifinito. Il mio è un lungo e meticoloso lavoro di ricamo sonico su cui esercito poi un controllo di qualità ben preciso: faccio scorrere sempre tempo abbondante e vari cambi di umore prima di riascoltare il tutto. Voglio infatti maturare il necessario distacco prima di applicare le ultime modifiche, quelle definitive”. Devi destreggiarti fra una quantità incredibile di stimoli sonori; “Ascolto musica tutto il giorno, senza distinzioni e limitazione di generi. Di solito mi segno su un’agenda ciò che mi colpisce di più, memorizzando così singoli suoni, timbri, melodie e cambi armonici che poi riciclerò. Alcune volte, per pura sfida, posso anche lavorare su frammenti sonori provenienti da tracce decisamente brutte, giusto per vedere se anche lì c’è qualcosa da salvare. Anzi, prima o poi mi piacerebbe lavorare su un progetto campionando solo tutto ciò che trovo di più inascoltabile. Chissà, potrebbe diventare il mio capolavoro definitivo!”.
Ciò che abbiamo veramente amato in questo album è stata la capacità di essere coraggioso ed ingegnoso, sperimentale proprio fino a lambire i confini della musique concrete, senza però perdere nulla in fruibilità: scorre infatti che è un piacere. “La vita è troppo breve per continuare a proporre ad un ascoltatore ormai sazio certe sperimentazioni musicali fini a se stesse. La noia è palpabile, soprattutto in certi contesti di ricerca. Sono convinto che oggi la vera chiave da seguire sia quella di porre comunque attenzione al proprio pubblico, ricordando che anch’esso va divertito, non è solo questione di soddisfare se stessi”. Insomma, l’atipicità di Økapi sta nel fatto che usa metodologie da sperimentatore colto per costruire architettare che potrebbero andare bene nei ben più nazionalpopolari dancefloor… qual è il rapporto di Filippo con la club culture? “Premetto che non sono un nottambulo; almeno, non più. Non frequento spesso i club, se non ci suono. Sicuramente visto che i miei set sono piuttosto ballerini devo continuamente fare i conti con quella realtà, ma preferisco suonare in prima serata, o meglio ancora di giorno nei festival estivi. In quei contesti, ho la sensazione di avere di fronte un pubblico meno distratto e forse più reattive. Anche se il meglio per me resta spiazzare: suonare musica per bambini ad un rave, o hardtekno in auditorium; Le musiche dei dancefloor notturni sono comunque sempre fonte di ispirazione, soprattutto per i suoni”.

Ci si addentra nel territorio del nonsense col nuovo di Okapi. Non pago di flirtare con generi (dalla plunderfonia al break-core) e artisti (da Zu a Peter Brotzmann, passando per Damo Suzuki e Mike Patton) tra i più diversi, in Love Him Filippo Paolini in arte Okapi va di apologia dell’inesistente.
Love Him è infatti un doveroso omaggio al fantomatico compositore kirghiso Aldo Kapi in doppio volume vinilico (pubblicano KML e Sonic Belligeranza, produce Scarrymonster, mentre il cd è targato Illegal Art), suddiviso filologicamente in Vol. 1: Recent (1927-1952) e Vol. 2: Early (1914-1926). Tra sampling estremo e gusto per la frammentazione/ricomposizione di input sonori tra i più diversi, Love Him si avvale di una sensibilità – quella di Okapi/Aldo Kapi – fuori dalla norma. Surreale, dada, astratta. In grado cioè di fagocitare contemporanea e easy listening, funk deragliante e ghiribizzi sonici, white noise e plagiarismo oltre che plastici riferimenti al pop più asincrono, al breakcore più gretto, alla plunderphonia più radicale in nome di un djing funambolico e deviato. Ne esce una pastosa musica delle musiche che in un tutt’uno banalmente definiremmo blob metamusicale. Roba che si respira addosso, che si annusa prima di assaggiarsi e rivomitarsi fuori in forse sempre accattivanti, mobili, cangianti.
Certo, le premesse del suono plundephonico al passaggio tra i due millenni erano altre, così il portato militante e di rottura del plagiarismo quando ancora il timore per il saccheggio sonoro era reale (chiedere ai Negativland); ma ad oggi resta questa, forse, l’unica forma di musica in grado di rappresentare l’imbastardimento contemporaneo. E Okapi resta maestro nell’evocare paesaggi sonori strambi e sfaccettati in microsuite intelligibili, oltre che una militanza off, sul crinale tra situazionismo e protesta, che ormai sembra archeologia (post)industriale. (7,2/10) Stefano Pifferi

Geniale manipolatore di suoni che ama reinventarsi con ogni sua release, ecco arrivare la nuova prova su lunga distanza di Okapi, questa volta addirittura su due vinili venduti separatamente. Il nuovo progetto presenta un’idea decisamente estemporanea, quella di suonare le opere di un fantomatico Aldo Kapi, vissuto nella prima metà del secolo scorso e di cui è anche rinvenibile una breve biografia su Wikipedia. Un’operazione di depistaggio che, tralasciando l’interessante trovata mediatica, convince al 100% nella sua proposta musicale. Il primo volume presenta un rimescolamento ritmico decisamente vario e coinvolgente, in cui violini si combinano a melodie provenienti da un’altra epoca e loop irresistibili si alternano a intromissioni vocali e intermezzi stranianti. Con il secondo volume la musica non cambia, ma si spinge ancor più avventurosamente in visioni lisergiche fatte di jazz anni 40, elementi mediterranei, cut-up che segue l’esempio della scena di San Francisco e invenzioni degne di DJ Me DJ You. Con questa nuova prova viene naturale affiancare il lavoro di Okapi all’eccellente produzione di Daedelus, forse l’unico nome a cui sembra riconducibile una verve così fresca e un’immaginazione così fervida nella contaminazione di suoni. Sarà anche merito delle numerose ed eccellenti collaborazioni che lo hanno visto al fianco di personaggi come Mike Patton, Zu e Dalek (il video qui a fianco ne è un esempio). Erano anni che aspettavamo uno sperimentatore italiano che sapesse mischiare ironia musicale e capacità di sperimentale, ma con questo doppio vinile sembra ormai certo che Okapi possa fare da portabandiera della nuova generazione di iconoclasti nostrani. A cura di Michele Casella

Okapi & Aldo Kapi Orchestra
La figura di Aldo Kapi, compositore nato in Kyrgyzstan nel 1896 da padre iraniano e madre italiana attorno al quale si sviluppa tutta la storia di quest’album, è lo strumento ideale utilizzato da Okapi per collocare la propria musica in un luogo immaginario, generato dalla fantasia e da un irresistibile spirito ludico. La sua Aldo Kapi’s orchestra non è altro che un esemble di ologrammi che di volta in volta assumono il volto di Les Baxter, Han Bennink, Biota, Alan Lomax, Temptations, Die Form, Ryoji Ikeda, Paul Lovens, Ikue Mori, Paola & Chiara, Jon Rose, Arnold Schomberg e mille altri artisti che appaiono e scompaiono secondo la volontà del direttore, in base alle diverse inflessioni che assume il flusso sonoro.
Si spazia dall’esotismo di “Ti chiamerò 10” alla sofferta spiritualità “black” di “Everything Must Change II”, dal nonsense dada di “Death of Henry II” ai beats liquidi a metà fra Kubin e F.X.Randomiz della title-track, senza soluzione di continuità. Il materiale è così vario e ricco da sessere contenuto su due diversi albums che possono essere venduti separatamente e illustrano i due diversi periodi (“Early 1914-1926” e “Recent 1927-1952”) del fantomatico musicista kirghiso a cui è dedicato questo lavoro, sebbene la musica contenuta al loro interno mantenga sempre un forte senso di omogeneità, contraddistinta da una chirurgica opera di montaggio sonoro in cui la lezione plunderphonica viene rielaborata secondo lo spiccato senso armonico e la notevole vena umoristica dell’autore. E a dicembre tutti a Bishkek per la prima mondiale di “Love Him”!
(7/8) Massimiliano Busti (BLOW UP)

Jeśli macie jakiś namacalny dowód istnienia Aldo Kapiego, to bardzo o taki proszę, bo z punktu widzenia wyszukiwarki internetowej wydaje się, że istnienie tego Kirgiza jest po prostu wątpliwe, a w moim egzemplarzu “Encyklopedii Muzycznej” nic na jego temat nie piszą. A w zasadzie to jestem nawet przekonany, że włoski turntablista występujący jako Okapi po prostu stwierdził, że wymyślony kirgiski kompozytor awangardowy z początków XX wieku (1914-1952) będzie ściemą tak trudną do udowodnienia, że wręcz idealną. Jedyny słaby punkt tej ściemy to fakt, że nazwisko Aldo Kapi zawiera w sobie nazwę projektu – Okapi. Tu już widać jak na dłoni ścieg krzyżykowy. Natomiast biogram, który publikuje autor we wkładce swojej płyty – kolejnej we Włoszech, ale na świecie pierwszej, wydanej w barwach świetnego Illegal Artu – jest lekturą bardzo, ale to bardzo wiarygodną. Prawdę mówiąc bardziej mi się chce w to wierzyć niż we wszystko, co widzę za oknem.

Tak się zdarzyło, że właśnie płyta Okapi jest moim soundtrackiem do podróży po Warszawie w tych smutnych – ale i dziwnych – dniach. Muzyka zszyta z filigranowych sampli, lekko zabawkowa w charakterze dobieranych dźwięków, ale nie nazbyt zabawowa jako całość, bo mimo gęstych rytmów nie jest to album do tańca. Nie jest to niczym nie skrępowana plądrofoniczna prywatka, jak u Girl Talk. “Love Him” ma chwilami charakter muzyki klasycznej, filmowej, eksperymentalnej, momentami egzotycznej. Z elementami jazzu. Tylko w paru momentach pojawia się rytmika microhouse’u, a raz hard techno. Tak, aż tak różnorodna to płyta! Filippo Paolini (tak się nazywa Okapi prywatnie) wylicza na końcu listę swoich źródeł (czym już zupełnie pogrąża koncept kirgiskiego kompozytora). Od Johna Adamsa i Aksak Maboul, przez Ryoji Ikedę i Alana Lomaxa, po Arnolda Schönberga i The Temptations, Edgarda Varèse’a. Niewiele znajdziecie tu fragmentów oczywistych, wszystko to razem, sklejone samplerskim klejem Rzymianina prezentuje się jak najzupełniej spójne autorskie nagranie.

Na stronie Illegal Artu jak zwykle mp3 za friko i płyta za cenę regulowaną. Z wydanym nieco wcześniej Junk Culture trochę przydołowali, ale dopóki będą trzymali taki poziom jak na Okapi, nie przestanę ich tu promować. Na koniec w najgłębszym sekrecie fragment tej płyty: (7/10)

Os anos vão passando e o mundo imenso do sampling e da colagem continua tão atraente como nos dias em que uma tesoura e cola eram as ferramentas do cut & paste. Agora, citando os velhos, é tudo mais fácil e acessível, e qualquer um pode roubar a música de toda a gente e torná-la sua. Sim, é verdade, mas isso apenas faz com que apenas as árvores mais altas recebam o Sol de que tanto precisam. Filippo Paolini é um conhecido turntablist italiano que já ajudou Zu, Mike Patton, Dalek, entre outros, e que com a ajuda do computador decidiu homenagear Aldo Kapi (compositor da Kirguízia, 1896-1952) com pedaços da música de Ikue Mori, John Adams, Les Baxter, Peter Kowald, Eartha Kitt, Zeena Parkins, John Tejada, Lester Bowie, Alan Lomax ou Temptations, entre muitos, muitos outros nomes. A recomposição é alucinante, feita com muito amor e devoção pela continuidade, sem nunca querer mostrar as costuras ou a cola. Mais deslumbrante ainda é o modo como tudo acaba por soar a uma riquíssima banda sonora imaginária, vinda de um tempo passado que sonhava com o futuro, ora parecendo nascida da hard-drive de Herbert, ora criada por um Raymond Scott em estado adiantado de alucinação. O termo plunderphonics ganha aqui um inesperado e valioso aliado. John Oswald estará, decerto, contente com este novo membro da família. E nós também.

Observing the Armies in the Battlefield

Observing the Armies in the Battlefield
Observing the Armies in the Battlefield
Zu – Observing the Armies in the Battlefield 7″ picture disc(45rpm) Luca T. Mai – Baritone Sax
Massimo Pupillo – Bass
Jacopo Battaglia – Drums
Okapi – Turntables/Sample
Reeks – Synth/Sampler

Released 29 May 2007

Zu defies genres, destroys boundaries and categories about what a rock or jazz combo is and how it behaves. No-wave, funk, hardcore-punk, jazz , and mathematics held together in an instrumental three-piece. On their debut picture disc, Zu teams up with Italian turntable manipulator, Okapi for three new tracks of heavy, free jazz skronk wrapped around manipulated vinyl samples ranging from spoken word records to warped musical oddities. The picture disc features amazing artwork from long time Zu collaborator, Scarful.

A1 : Observing the Armies in the Battlefield
B1: The Last Portrait of him Holding a Knife in his Right Hand
B2: Point Final
“This is similar to big chunks of Ruins-damaged stop-start Improv mook, but the sax on top is pretty cool and the intercut additions, presumably by turntablist Okapi, add a certain throbbing whatsis to the proceedings.” -The Wire
“Precise, innovative future space-funk, like if Voivod rocked the fretless bass” -Dusted Magazine
“a ferocious dose of the band’s genre-defying, hardcore-jazz-funk-sludge intensity… a heavy no-wave dirge with angular, choppy drumming and heavy bass riffage, layered with manipulated samples of orchestral vinyl records and bits of spoken word twisted into hallucinogenic code.”

Tribute to John Peel

 Tribute to John Peel - Session #5
Tribute to John Peel – Session #5
Tribute to John Peel – Session #5 [jpt005]
This fifth session is our largest to date, with no less than 13 artists featured.
It illustrates the many different routes taken by the creative minds of the electronic music scene nowadays.
Indulge yourself and keep your ears open!
This audio is part of the collection: Tribute To John Peel
Creative Commons license: Attribution-NonCommercial-NoDerivsReleased 3/6/2006
> Download the whole session #5 (151.1Mb)
> Download the hi-res cover (2.0Mb)
Satanicpornocultshop – Dandelion feat John Peel
Okapi – Massaggi
Aliplays – Ola
Liberation Jumpsuit – Du Francais?
Line – All I Need Today
Softwear – Sky is Broken and i’m Waitin’ For my Friend
TOOb – After (Vent remix)
Lodestar – Message to Peel
Krou – Pink and Gold
Zero Ping – Assassination Postcard feat. BJ Cole on steel guitar
ClaudiusMaximus – Polizeitgeist
Sonicvariable – #X connect 0 0 0 0
Tsukimono – Simple sentences but difficult words



From the CD: zarbing
una produzione EdisonStudio
edizioni LaFrontiera (LFDL 19401) e Rai Trade (RTP0090)
Distribuzione CNI

released 01 June 2006

Edison Studio electronics
Mahammad Ghavi Helm persian percussion and voice

Luigi Ceccarelli
De Zarb a Daf, for zarb, daf and electronics
Alessandro Cipriani
Bi Ma (Devoid of Self), for metal percussions, daf, voice and electronics
Fabio Cifariello Ciardi
Altri Passaggi, for two zarbs, two dafs and electronics
Mauro Cardi
Alba, for zarb and electronics

La Mia Parte Intollerante

La Mia Parte Intollerante (Okapi Rivoltante Remix)

First release:
Label: Emi Music Italy ‎– 00946 359772 2 6
Format: CD, Maxi-Single

Remix ufficiale de “La mia parte intollerante” di CapaRezza prodotto dal compositore di musica elettronica Okapi.
Brano tratto dal Singolo “La mia parte intollerante” edito nel 2006.

released 01 January 2006


Beta by Zu vs. Økapi

From the CD – Various – What’s Your Function? (A Tribute To Franco Battiato)
Label: Sillyboy ‎– SB007

“Franco Battiato is a Latin Ziggy hovering above planet Earth waiting for his moment…A truly visionary artist striking chest-beating uplifting possibilities in all but the most cynical of us.” -Julian Cope-

released 24 September 2004

Zu vs. Økapi


Okapi – Bah! [csr025] (2004)

Artwork: Okapi
Illustration: Camilla Falsini
Check out more information about this free album on its Comfort Stand release page.
This audio is part of the collection: Comfort Stand
Author: Okapi
Date: 05.09.04
Creative Commons license: Attribution-NonCommercial
download: zip (41MB)

released 05.09.2004

*Zu are: Massimo Pupillo (bass), Jacopo Battaglia (drums)
& Luca T.Mai (alto/baritone sax)
*Dada Swing are: Bernardo Santarelli (drums),
Manuela Marugj (guitar) & Nino Pizzino (bass)
*Metaxu are: Maurizio Martusciello/Martux (sampler)
& Filippo Paolini/Okapi (sampler,turntables, tapes & cds)

Spiritual Healing Remix

Spiritual Healing Remix

Label: Psychotica Records ‎– PSY012, Wallace Records ‎– wallace58
Format: Vinyl, 7″, 45 RPM

released 01 January 2004

Artwork [Cover Artwork And Comic Booklet] – Miguel Angel Martin*
Dälek Vs Zu Vs Økapi
Bass – Massimo*
Drums – Jacopo*
Saxophone – Luca*
Turntables – Økapi*

Who Is Playing In The Shadow Of Whom?

Who Is Playing In The Shadow Of Whom?

first release: Wallace records – distr. AUDIOGLOBE
Bass – Massimo Pupillo
Drums – Maurizio Martusciello
Turntables, Sampler – Økapi

released 05 November 2003

Artwork By – Camilla Falsini

Where’s the beef?

Where’s the beef?

Økapi – Filippo Paolini: Sampler, turntables, tapes & cd’s
Økapi first solo release
all tracks 2003
CD release 2005 – Inflatabl labl (USA)
Illustration: Camilla Falsini

released 23 May 2003


Rumore – L’americana Inflatabl, prima di dare alle stampe quest’opera prima, ha addirittura richiesto a Okapi (alias il romano Filippo Paolini, già Metaxu e Dogon) la “prova” di esserne proprio lui l’autore, tanta era l’incredulità nei confronti della sua “plunderfonica” magnificenza: sono stati poi convinti da schermate di computer che mostravano il certosino lavoro svolto su un’infinità di fonti, in uno spettro che va da Arvo Part a Les Baxter. Già collaboratore del fuoriclasse Marclay, Paolini ha un controllo del taglia-e-incolla paragonabile a un John Oswald, di cui condivide lo humor dadaista e il rigore stilistico : niente gag fini a se stesse e facili effettismi, bensì grande attenzione alla geometria complessiva dei brani e un gusto personalissimo che sunteggia il meglio di tuntablism e glitch-pop in una strepitosa incredibly strange lunge music. – Vittore Baroni

Blow up – Per fare un grande disco bisogna essere innanzitutto dei voraci ascoltatori. E Filippo Paolini, titolare della sigla Okapi, nonché figura di spicco in Metaxu e Dogon, lo è di sicuro. Dal suo primo disco solista si capisce, e non solo per via della chilometrica lista annotata in copertina, come egli abbia ingurgitato e digerito prorio di tutto, dalla musica dei cartoni animati alle grandi orchestre, dall’exotica al jazz, passando per l’elettronica, improvvisazione, etnica, musica classica e colonne sonore…Fin qui forse niente di eccezionale, risulta però davvero incredibile l’abilità del turntablist e manipolatore capitolino nel catturare i vari frammenti, decontestualizzarli e sminuzzarli, e poi ricombinare infinitesimali porzioni di suono con pazienza da amanuense, divertito senso dell’umorismo (e del ridicolo) e formidabile proprietà compositiva. Così nel cut’n’paste vertiginoso si passa ad esempio da Sheep News, tutta belati di pecora e svolazzi orchestrali, alla Fuga di Sandokan, giocattolosa presa in giro di un certo esotismo di maniera, ma è tutto il disco a rivelarsi uno scoppiettante e spassoso tripudio di fantasie musicali in technicolor. (8) – Nicola Catalano

Blow up – Provate a prepararvi un cocktail sonoro in cui versate parti eguali di John Cage, Ray Conniff, Biota, Doris Day, Throbbing Gristle, Dick Hyman, Han Bennink, Kid 606, Steve Lacy, Les Baxter, Furt e Jacques Tati. Potrebbe stendervi al tappeto e invece no: risulterà inebriante e rivitalizzante come un elisir la cui formula magica è nascosta nella mente di Okapi, musicista sui generis già membro di Metaxu e Dogon nonché specie di archivio a due zampe di uno sterminato universo di anomalie sonore carpite qui e là grazie ad interminabili peregrinazioni nella rete o fra le intercapedini della sua notevole collezione di dischi.
“Where’s the Beef ?” è il contenitore che racchiude un’esperienza di ascolti pluriennali rivolti soprattutto all’individuazione di quanto di più bizzarro ed improbabile sia stato prodotto negli ultimi cinquant’anni dall’industria discografica internazionale, qui rielaborato mostrando un grande equilibrio nel montaggio ed un’estrema (e sorprendente) sensibilita melodica: “Per importare i campioni sono partito da piccole improvvisazioni con vinili e cd, smembravo poi il tutto in micro-frammenti (certe volte anche di un solo suono) per poi meticolosamente riassemblare tutto come se fosse un puzzle…Molto spesso non scelgo coscientemente le fonti sonore che userò. Prendo 4 dischi a caso (belli o brutti) e inizio ad improvvisare in maniera piuttosto radicale… Poi, come ho detto prima, inizia il lavoro di copia e incolla. Per questo primo lavoro non ho usato nessun effetto esterno e nell’editing dei campioni ho evitato di filtrare i frammenti. Al massimo qualche fade e riverbero, ma cercando comunque di eliminare la riconoscibilità delle sorgenti. Ho elencato nelle note di copertina tutti i musicisti presenti nella suite, però sfido chiunque a riconoscerli!”.
Frutto di una gestazione lunga e complessa, il cd viene oggi pubblicata dall’etichetta americana Inflatabl Labl. curata da Matt Haines aka Rip Off Artist: “Il disco è nato 1 anno fa nel giro di due mesi piuttosto intensi e interamente montato con un vecchissimo pc. Per ora in America sta ottenendo un successo che non m’aspettavo, e me ne accorgo soprattutto leggendo chart e playlist delle radio universitarie. Mi diverte il fatto che non sia recepito soltanto come un lavoro di musica elettronica e che venga proposto ad un pubblico molto vario. Finora sono uscite molte recensioni positive su riviste americane e canadesi, ma attendo ancora un riscontro dall’Europa”.
A metà fra composizione plagiarista e cut up, “Where’s the Beef” sembra in realtà creatura a se’, caratterizzata da un flusso narrativo costante e coinvolgente in cui si afferma pienamente la personalità dell’autore: “Ho cercato di creare qualcosa di sperimentale (oh che brutta parola!) ma allo stesso tempo leggero, mescolando le carte temporali e stilistiche della musica che ho amato. A distanza di anni ora ci vedo molte ingenuità e ci sono tracce che, se potessi, forse eliminerei. Penso che i prossimi lavori saranno completamente diversi, ma in ogni caso cercherò sempre di sottolineare lo spirito ludico, cosa per me fondamentale!”. – Massimiliano Busti

RomaStyle – Esce finalmente per l’americana Inflatabl Where’s the beef, primo album solista di Okapi. Il manifesto dada di uno dei nomi cardine della scena elettronica romana più avant e spericolata. Un episodio significativo su “Where’s the beef”, primo lavoro solista di Okapi, è il seguente: Matt Haines, aka The Rip Off Artist, prima di decidere se pubblicare o meno l’album sulla sua Inflatabl ha voluto togliersi un sospetto. Colpito dall’enorme numero di sample riportati nella scheda tecnica del promo, Haines si è chiesto se per caso Okapi non stesse semplicemente utilizzando brani interi di musica altrui, vista la straordinaria omogeneità delle diverse tracce. Chiede dunque a Okapi una “prova” del suo lavoro: riceve in cambio delle schermate prese direttamente da una versione antidiluviana di Acid, in cui compaiono centinaia di minuscoli frammenti di campioni, tutti assemblati in un unico flusso sonoro. “Semplicemente incredibile”, è il commento di Haines, messo a bella posta sul sito della stessa Inflatabl. Che poche righe più giù recita, testualmente: “Questa è senz’altro la musica più bella che la nostra etichetta abbia mai prodotto”.
Facciamo un passo indietro. Per la cronaca Okapi altri non è che Filippo Paolini, da Roma. Qualcuno già lo conoscerà per il suo coinvolgimento nel progetto Metaxu, insieme a Maurizio Martuscello, o per i Dogon, insieme agli Zu. Altri probabilmente lo conosceranno per essere il curatore del sito Glubibulgà (, straordinario concentrato di stranezze scovate qua e là nella rete. Personalmente il mio primo contatto con lui risale a oltre dieci anni fa, quando trovai a un banchetto del Forte Prenestino una cassetta dall’esplicativo titolo de “La rivoluzione industriale”. Era uno di quei nastri autoprodotti, composto a mo’ di compilation da un ignoto curatore che metteva in fila le sue tracce preferite di “industrial music”. Sulla copertina fotocopiata in bianco e nero, l’unico credit disponibile era quello della fantomatica etichetta pirata che ne aveva curato la diffusione: Slap Press. Un nome che nel corso degli anni ha continuato a ricorrere, messo in calce a progetti di tutti i tipi. Uno dei più recenti consisteva in una serie di raccolte intitolate “Music for Children”, un concentrato di strange music e follie soniche di ogni sorta, a volte talmente assurde da domandarsi “ma dove l’avranno trovato questo?”. Rispetto a “La rivoluzione industriale” era cambiato il supporto: dal nastro si era passati al cd. Ma la mente dell’operazione rimaneva la stessa: Filippo Paolini aka Slap Press aka Okapi, agitatore culturale e autentica enciclopedia musicale al tempo stesso, un personaggio che evidentemente non ha paura di passare in maniera indefessa dalle asperità dell’industrial sound alle gioiose canzoncine per bambini degli anni ’50.
L’episodio che ho raccontato dovrebbe già di per sé essere indicativo di come l’approccio alla materia musicale di Filippo Paolini sia eterodosso e spiazzante. A fare da collante tra le diverse incarnazioni del nostro, resta l’interesse per le sonorità meno allineate e inusuali, che siano queste di taglio elettronico, pop, o più vagamente “sperimentali”. Quindi se avete presente le elucubrazioni elettroacustiche di Metaxu, o il jazzcore sporcato di elettronica di Dogon, sappiate che Okapi viaggia per altri lidi. “Where’s the beef” è il primo album a uscire sotto questo moniker, ed è veramente, come recita il sito di Inflatabl, un lavoro incredibile. Concettualmente siamo molto vicini al cut and paste di gente come People Like Us e Wobbly, decisamente virato in chiave pop. Ma il fatto che l’album esca per un’etichetta come Iflatabl, nota perlopiù per le sue produzioni di elettronica dance ricercata e sopra le righe, aiuta a individuare altre chiavi di lettura. In primo luogo, “Where’s the beef” è un lavoro divertente, oserei dire “frizzante” se non fosse che detesto il termine. Il continuo uso di campioni presi dalle “Music for children” di cui sopra, da musichette strange e canzoni anteguerra, produce un bombardamento di schizzi saltellanti e svirgolate assurdiste, capaci – è vero – di mettere immediatamente di buon umore. Ma le cose non sono mai come sembrano, e infatti la lista dei sample continua con gente come Arvo Part, John Adams, Steve Reich e John Cage, col risultato che soprattutto la parte centrale dell’album trasudi di umori inquieti e atmosfere dense. Ogni tanto le tracce assumono la forma di un abstract hip hop che non sfigurerebbe in casa Anticon, più spesso siamo nei pressi di un’elettronica sperimentale e ironica al tempo stesso, in un ideale incrocio tra Matmos, Daedelus e Mouse On Mars. Ma ugualmente i nomi servono a poco, tanta è la peculiarità dell’album nel suo insieme. La cosa più chiara semmai è che Filippo Paolini, nel suo progetto Okapi, fa tesoro della sua esperienza di turntablist creativo (chi l’ha visto ai piatti sa cosa intendo), che tra l’altro l’ha portato recentemente ad esibirsi per la Rai insieme al maestro assoluto Christian Marclay.
Descrivere a parole “Where’s the beef” non è cosa facile. Si rischia di mancare il bersaglio e di fornire indicazioni depistanti. Certo è che se volete il solito disco di “elettronica sperimentale”, “Where’s the Beef” potrebbe – a seconda dei casi – urtarvi i nervi o incastrarvi in degenerazioni cerebrali. Forse il metodo più semplice per accostare l’album è partire dalla copertina, opera di Camilla Falsini delle Serpe In Seno, il trio di illustratrici romane che negli ultimi mesi è diventato un autentico culto sia nella capitale che fuori. Le atmosfere surreali, tra il grottesco e l’allucinato, che riempiono i sample di Okapi sono in fondo già tutte lì. Ma delle Serpe In Seno parleremo a breve, promesso. Per il momento potreste cominciare dai “suoni scorretti” di Glubibulgà, e da lì partire per un’odissea sonica che mette insieme Gargantua e Pantagruele, spericolatezze dada, magnetofoni in bianco e nero e coloratissimi squarci iperpop. – Thalido

Rockerilla – Già al lavoro coi mirabili Metaxu e Dogon, Okapi arriva al debutto solista con un disco che ha tutto l’aspetto di uno sfogo. Un’ondata di stimoli sonori provenienti da epoche diverse ma riassemblate con elegante maestria, roba da far pensare ad un Daedelus di provenienza italiana caduto in amore con sample di vecchi album in vinile. La sua predilezione per gli archi e per le malinconiche sountrack di fine anni sessanta si intreccia con momenti di grazia alla Progressive Form (Stek-house”) o con divertenti marcette per cartoon d’autore (”Pruffoli”). Le raffinatezze di “Coffee…e a nanna” accomunano “where’s the beef?” agli esordi di Balduin, ma l’album di Okapi possiede molte più sfumature che permettono una virata verso una maggior ricercatezza formale. Staremo a vedere quale indirizzo prevarrà in un prossimo (auspicabile) lavoro. **** – Michele Casella

Neural – Un flusso sonoro senza sosta alcuna, frutto d’infiniti montaggi ma volutamente delicato nella manipolazione finale dei tantissimi suoni raccolti, ridotti a brandelli in sample che diventano particelle elementari. Ardite le provenienze, insolite le procedure (o quasi) per la scena nostrana, fanno dell’esordio sotto il moniker di Okapi (in realtà Filippo Paolini, ovvero parte di Metaxu e Dogon) un felice esempio della maestria e multiforme italica creatività (che s’esprime in questo caso grazie alla produzione statunitense della Infatabl Labl, etichetta di Matt Haines/The Rip Off Artist). S’intrecciano i sapori che riportano alla prima elettronica exotica (ricordate Dick Hyman), virati dall’esperienza acquisita come turntablist d’avanguardia (a fianco nientemeno che di Christian Marclay), celando il più possibile le origini, limando i passaggi, con leggerezza e naturale propensione per le sonorità aliene. Ventitrè le tracce, dodici intermezzi e undici brani, combinazioni tagliate e taglienti d’un attitudine ‘plunderfonica’ virale. Efficace anche l’artwork opera di Camilla Falsini delle Serpe In Seno, trio di illustratrici romane ultimamente assai attivo. – Aurelio Cianciotta

Il Manifesto – Alias – Virtuoso ai limiti del plagio, avvezzo a creare “qualcosa di bello usando solo campioni di musica brutta”, Filippo Paolini racconta la gioia di mettere ordine in un mondo di suoni governato dal caos. Stasera al Forte Prenestino.
Dice: tieni presente che Økapi non lo conosce nessuno. Ma come, non lo sai? “L’okapi è un mammifero scoperto da un ingegnere acusmatico nel 1901 e vive allo stato selvaggio nella foresta di Ituri nell’Alto Zaire…. È conosciuto anche come ‘giraffa scema della foresta’. È l’unico mammifero in grado di pulirsi le orecchie con la sua stessa lingua, pur di riuscire a captare le melodie bislacche della natura!… In questi ultimi anni ha suonato per i riti tribali dei Dogon (Massimo_Zu e Martux_m) e per i deliri intimisti dei Metaxu, ma spesso predilige la solitudine e così pubblica in solo un inno alla protofonia (Where’s the beef?) per Inlfatabl.rec (piccola etichetta di una prateria americana)”.
Quella che hai appena letto è parte dell’autobiografia romanzata del nostro Økapi, alias Filippo Paolini, che ha trascorso gli anni dell’infanzia e dell’adolescenza seguendo la famiglia in giro per il mondo. Infatti, è con una certa noncuranza che rilascia dichiarazioni del tipo: “ho vissuto 4 anni alle bermuda”, oppure “mia madre si è risposata con un italiano quando avevo 6 anni, infatti non ho idea di cosa faccio qui!!!”, o ancora “la mia madrelingua è stata l’inglese, il bello è che l’ho completamente scordato; penso ancora in francese, nonostante i 25 anni (vive in italia da 25 anni, ndr)”. Come che sia, in barba all’idea che i bambini abbiano bisogno di stabilità e di riferimenti certi, Økapi/Filippo dà l’impressione di essere un uomo allegro, un uomo che si vuole bene, e quindi la sua opera, da cui è impossibile distinguerlo e, si direbbe, distoglierlo, poiché è un perfezionista, la sua opera, si diceva, è leggibile direttamente sul piano del gesto, perché tutto il resto, ossia il fraintendibile, egli lo evita. E cosa fa? raccoglie frammenti a centinaia, “soprattutto tra le cose che non mi somigliano”, come dice, e li riunisce e assembla e armonizza fino a ‘creare’ un nuovo pezzo, operazione certosina che può prendergli, nei casi più disperati, anche una settimana di tempo. Lo chiamano plagiarismo e – chiaro – confina col plagio, un’adiacenza che rivela il lato sensuale della contaminazione e se ne appropria. Su di lui, sul suo modo, circola il seguente aneddoto: prima di ‘firmarlo’, il proprietario della Inflatabl volle assicurarsi che Økapi non commettesse plagio utilizzando intere sezioni di musica rubata; Filippo (Paolini) gli mandò alcune tracce di lavoro, dove frammenti minuscoli formavano visibilmente un intero totalmente nuovo e originale, e lo convinse. È infatti difficilissimo risalire alle fonti da cui trae i suoi campionamenti. “Qualche anno fa trovai splendida l’idea di Solex di fare musica usando solo campioni di musica brutta per creare qualcosa di bello”, e ancora: “non so – dice – assomiglio molto a casa mia… prima di fare qualsiasi cosa, tutto deve essere pulito e ordinato… ma giuro, non so perché… la sera poi, dopo aver trafficato tutto il giorno, qui dentro (nello studio, ndr) c’è il kaos totale, e al mattino è un piacere immenso rimettere tutto al suo posto… e forse per la musica faccio lo stesso”, come se alla sua mente la musica prodotta in generale non fosse che confusione da risistemare con gioia: decisamente un passo avanti rispetto al giudizio, contenuto in Solex (musicista olandese), su cosa sia bello, anzi, al concetto stesso di bello.
Where’s the beef? contiene 23 tracce, 12 intermezzi e 11 brani: “gli intermezzi sono più legati all’improvvisazione e all’elettroacustica ma sono brevi semplicemente perchè penso che sicuramente divertono me, ma meno l’ascoltatore”; i brani, durevoli, come canzoni, intorno ai 3 minuti e mezzo, sono un curioso concentrato di ironia e dolcezza, la cui intima coerenza è incredibile se si conoscono i presupposti, viceversa è la rappresentazione dell’anima semplice del musicista Økapi, una semplicità costruita, come in architettura, sulla tensione degli elementi. Se i campioni che utilizza fossero i tasselli di un puzzle, egli li userebbe come se provenissero da un tangram, dove la figura non è data a priori, perché spesso, come dice, pur avendo un’idea di partenza, “provando alcune combinazione sono affascinato dall’imprevedibile risultato e quindi cambio rotta: totale deriva!”. Menzione speciale per la traccia numero 2, Sheep News, che – l’ho sperimentato – può da sola trasformare in meglio un pomeriggio di cattive vibrazioni.
Notizie utili: il disco di cui abbiamo(in un certo senso) parlato è distribuito da, in alternativa è reperibile contattando direttamente l’autore sul suo (magnifico) sito Chi bruciasse dalla voglia di ascoltare Okapi dal vivo può farlo stasera stessa, verso mezzanotte, alla mostra del fumetto di Forte Prenetino. Chi invece cercasse l’ormai famigerata “Pignottimi d’Aprosi!” può trovarla online nella selecta #3 di Radiodd ( – Mauro Mazzetti

EAR/Rational Music – “Okapi is Filippo Paolini, an Italian turntablist and sample cutup artist. Filippo has recorded as one half of the duo Metaxu (with Maurizio Martusciello) and also the trio Dogon, and he’s performed on RAI (Italian state radio) and collaborated with noted avant-turntablist Christian Marclay.
Where’s the Beef? marks the first solo album from Okapi. Okapi uses his turntables and computer to create music completely outside of the hip-hop school of chopped up music. Instead he has created an album that veers from orchestral to lounge to quirky experimental music, while maintaining a delicate and spacious sound throughout. His skill at sample manipulation is really quite amazing.
Matt Haines, aka The Rip Off Artist and the owner of the label, has asked repeatedly ‘how does he do that?!’ (And Matt’s no slouch behind the sampler controls!) In fact, before the label would sign Filippo they asked for proof that he wasn’t just lifting entire sections of music from other sources. When he sent screen shots of his computer, there it was: hundreds of miniscule sample fragments, all connected into an seamless whole. Simply incredible.”
This is no doubt the most beautiful music INFLATABL has released so far.

Groove magazine – Emerging from the RIAA-bating school that has produced Negativland, Kid606 and dj Rupture, italian turntable wizard Okapi is the Dean Martin of the sampler set, bashing out super-lounge, kitchy hip-hop and supernatural narratives on his tables and MPC. He’s what you’d imagine Kid606’s more polite brother, or Kid Koala’s obnoxious, Sinatra-obsessed sibling would sound like-energetic, insightful and ever the prankster.
Sutured together from around two million bits, bobs, and pieces, Where’s the beef? is a sample-maven’s wet dream come true, crammed with enough sarcastic turntablism to make the X-Ecutioners sit up and take notice. While it’s a marvel of phonographic science, those looking for actual songs will find little solace in the blippy “Monatic Bingo”, or the dervish-like stabs of “Break Pitt”. Even the most interesting and intricate ideas here are splintered “gratta e annusa” ends just as its getting interesting and “Coffee…e a Nanna” needs about two more minutes to percolate into perfection.
Paolini’s technique is without flaw, and should he develop songwriting chops to match, he’s likely to drag his two turntables and microphone straight into the limelight.- Jason Jackowiak

Vital – Staalplaat – It’s the new Inflatabl Labl release! And here’s the story: as I got this cd, the first time I listened to it was on a disc-man and with headphones, while walking outside in the city from one place to other. Being curious to hear it, I stopped and sat on a bench near a children’s playground, amused by the music. Suddenly a foot-ball rolled over in front of me and then is when I noticed the little boy who was playing by himself, shooting the ball in different directions on the grass field in front of the bench I was sitting on. Then I realised he was actually looking for a companion to play with. Pity I didn’t have much time and wasn’t that much in a mood for that, so I just stood up, still with headphones and Okapi’s cd playing, and just shoot the ball back to him. That’s the moment when Okapi’s music was most suitable with the general atmosphere, the idea of playfulness. Okapi is the Italian turntablist and sample cutup artist Filippo Paolini. I’ve heard him before as a part of Metaxu and Dogon, where the styles are contemporary electro-acoustic and jazzcore of a quite captivating kind. This, however, is his first solo album, totally different compared to Metaxu. There are 23 tracks on the album, all excursions into the playfulness of sounds, getting nearest maybe to jazz and more abstract hip-hop, with all the samples and beats skillfully combined and connected. Having in mind that Inflatabl Labl is (or tends to be) mostly a dance oriented label, may give a better and more complete picture of the music. From one of my more favourite dance labels, comes this certainly the most directly playful music they’ve released so far. Eccelente! -(BR)

Gaz-Eta – “Where’s the Beef?” is a debut solo release by an Italian turntablist and sample cutup artists Okapi, aka Filippo Paolini. Better known as one half of Metaxu [with Maurizio Martusciello] as well as an important member of Dogon, Filippo turns the spotlight on the art of borrowing or stealing [as some call it]. Stealing [or plunderphonia, as it’s come to be known] is a delicate term. I mean, are you really stealing if you’re only appropriating tiny, miniscule half a second sections of an original piece to make a larger piece, that in turn becomes your own. You put hundreds of these smaller sections into one great big whole and it sounds like an entirely new creation. Who does Okapi steal from, you ask? Nobody is safe in his world. People such as John Adams, Alva-Noto, Arvo Part, Willem Breuker, John Cage, Gamelan Music of Bali, Kid 606, Barre Phillips, Sun Ra, Vomit Lunch, Zelwer, ZNR and hundreds of others. He does it with such precision and grace that in no sense or form will you be able to recognize the original source recordings. His aim is not to glorify the source record, but to make a new, coherent piece that stands on its own two feet. The end result is not chaotic by any means, but rather maintains an aura of an orchestrated calm [which could easily fall in the realm of orchestral music even] and collective peace. His sampler, turntable, tapes and CDs all come in handy on his journey. [Filippo is so efficient in placing little snippets of other people’s work that before Inflatabl Labl would sign him, its’ owner, The Rip Off Artist asked him for proof that he wasn’t simply lifting entire sections of music from other sources. As proof, Filippo sent screen shots of his computer, where tiny sample fragments where clearly visible as part of a new, connected whole.] The trip is essentially a success as traces of lifted works became the tools in the process to create the new work. If we take the beef to be original source material, then this CD is very appropriately titled – “Where’s the Beef?”, as the beef is nowhere to be found. – Tom Sekowski

Loop – Son veinte y tres temas en este álbum que cubre una amplia gama de estilos musicales y artistas quienes están mencionados en los créditos del disco, ya que este músico italiano quien utiliza tornamesas y software musical crea un álbum ecléctico de sonidos sampleados que han sido cortado por Filippo Paolini.
Lo que es interesante en este CD es que Paolini reúne y mezcla diferentes sonidos que entregan al escucha la sensación que una pieza ambient puede ser mezclada perfectamente con una música exótica/Lounge, o música contemporánea encajar muy bien con tambores tribales, o una sesión de jazz fusionarse con música del Lejano Oriente, o bien con los microritmos digitales.
Ciertamente este collage de música está compuesto con mucho gusto porque crea diferentes historias y situaciones que son absolutamente impredecibles. Más info. en

Twenty three tracks on the album that spread over a wind range of music styles and artists who are in the credits of the CD inner sleeve, as this Italian artist who uses his turntables and musical software create an eclectic album with a numberless of sample sounds cut-up by Filippo Paolini.
What’s amazing about this CD is that Paolini joins and mixes different sounds that give to the listener the feeling that a ambient piece can be mix-up properly with an exotica/lounge music or a contemporary music can fix so well with tribal drums, or a jazz session blended with an Eastern music or digital microrhythm. Certainly this collage of music is composed with a very good taste because create different stories and situations which absolutely unpredictable. More info. at – Guillermo Escudero

Autres Directions – Økapi marque une rupture nette dans le catalogue du label Inflatabl, propre label et refuge de The Rip Off Artist. Bien loin des artistes électroniques à la musique dansante qui sont hébergés par cette structure, l’ italien Filippo Paolini travaille à partir de platines, et nous l’avions découvert par sa participation au duo Metaxu (sur No Type Records).
Le premier choc est visuel. Loin des pochettes plutôt graphiques qui composent l’artwork d’Inflatabl, la couverture d’Økapi est une jolie illustre enfantine. Le second est auditif : l’artiste italien manipule les sons et délivre une musique souple et ludique, qui mélange allègrement samples datés et orchestraux, esprit hip-hop, pincée de house et soupçon de jazz, plus quelques expérimentations. L’ensemble ressemble à des vignettes d’un autres temps (23 en 50 minutes) que viennent parfois compléter des rythmiques plus précises et actuelles. Paolini découvre et dépoussière de vieux fragments musicaux, les colle minutieusement pour obtenir des musiques qui sonnent comme provenant d’enregistrements des années 30 à 50, puis les retraite avec modernité, soit dans la structure, soit dans le rythme. L’univers onirique de Where’s The Beef peut parfois être rapproché de celui de Daedelus.
Where’s The Beef est une chouette surprise, amusante, relevée, variée. Et une double bonne surprise quand on connaît le label Inflatabl. – stephane

Absm-log – J’ai craqué récemment pour cet album tout plein de candeur sorti sur le label Inflatabl de The Rip Off Artist.
Økapi (alias Filippo Paolini) est un amateur de platines vynil et de découpes de sons qui sur cet album a manipulé un nombre incalculable de petits fragments sonores des plus divers comme base de création d’une nouvelle oeuvre à part entière. Ca peut sembler chaotique au début tellement les sonorités sont multiples mais on se rend très vite compte au fil de l’écoute non seulement de l’énorme travail effectué mais surtout de la cohérence du résultat, réellement magnifique.
Økapi a utilisé à la fois les platines vynil et l’ordinateur pour créer quelque chose qui est issu des techniques Hip-Hop et Dance mais qui s’en échappe complètement, qui part dans des expérimentations sonores et se forme son propre univers musical, minimaliste et riche à la fois.
Les morceaux relèvent pour certains de mécaniques très rigolotes et pour d’autres donnent l’impression d’organismes balbutiants, de petits insectes que l’on observe à la loupe faire leurs premiers pas comme sur « Monastic bingo ». D’autres enfin comme « Chetamomil(la) » créent de superbes ambiances jazzy ou orientales. Quelques belles nappent assez cinématiques viennent également orner l’album. C’est très varié, c’est très fin et c’est surtout réalisé toujours avec beaucoup d’humour et de fraîcheur (pour exemple ce petit jazz pour mouton de « Sheep news »)
« Where’s the Beef? » est vraiment un album superbe, une sorte d’ovni musical qui surprend par la dextérité et la finesse de ce travail de fourmi qu’a du effectué Filippo Paolini pour réaliser ces créations mais aussi par l’aspect à la fois ludique et très abouti des morceaux.
Une question me taraude cependant: ce n’est pas la voix de Takeshi Kitano sur le tout dernier morceau? – ABSM Log

Igloo Magazine – Okapi is Filippo Paolini who just has a bright, bold style ala Senor Wences meets Meco meets Negativland (sans doom) sampling yesteryear’s quirky Paramount production soundtracks and making them his own. Where’s the Beef? plays like a veritable panoply of lil snippets and hanging chads with lots of humor and just enough soul. If you’re looking for something that is both cartoonish and irreverently smart-ass, this will be in your player a good long time. It plays like a 50’s spy themed commercial for dishwashing liquid. It’s a twisted tongue-in-cheek sleeper; Samba here, Road Runner there –just a thrill-seeker’s ear-fest. If you saw the scene in The (remade) Stepford Wives where Nicole Kidman is walking through the technicolor supermarket, yeah, it’s like that! I love the ease that he uses to play time machine, going from the tick-tock time machine, turning back the hands of the clock to the pulse of post 4 a.m. dancefloor sounds of “Stek House” to the eerie Hawaiian themes toyed with on “Spendo Bene!.” These short snippets are like lil’ burlesque haikus, all shortened and to the point. What makes this different than the cut-ups of others is that the samples are well blended, finely integrated, like a sound landscape that is so intentional and prefabricated that it could put SIM City to shame. Ten thumbs up! – TJ Norris

Cyclic Defrost – Welcome to the zany, somewhat childish world of Italian turntablist and producer Filippo Paolini. The childishness is in reference to the tone of the album, to the level of playfulness, to the youthful exuberance and sheer energy of the music, not necessarily because of the picture book cover art and song titles like sheep news, odd dead dog, chicken candies and monastic bingo. Whilst humour definitely plays an important role in Okapi, Paolini exhibits a bizarre and dexterous approach to sampling; expertly reassembling minute fragments of sound together to craft together a series of cheeky vaguely kitsch electronic jigs and odd sound sculptures that seemingly haphazardly form new pieces. At times there’s a link to the yearning nostalgia of LA producer Daedelus, however Paolini operates in a much broader less beat orientated environment. And the music whilst at times is quite experimental and complex, it always feels so light, colorful and chaotically cheeky. So whilst Okapi makes it clear he knows his chops, touching upon multiple genres and techniques, he is much more content to produce nursery rhyme breakbeats, silly staticy swirls and happy bursts of frenzied glitches that may have your brain dancing, but will definitely have any three year old within earshot bugging out like they just ate a giant plate of sugar. – Bob Baker Fish

Vertical Form – Italian turntabilist Okapi (aka Filippo Paolini) is schooled very much in the sample twattery school of deck cutups, sharing a year photo with Cassette Boy, DJ Yoda and (to an extent…) VVM. Dicing and slicing a whole Virgin Megastore of material into the mix, Okapi seems to thrive on awkward juxtapositions meaning one minute we’re being hammered by a barrage of Craig David and Doris Day, the next we’re enjoying some Sun Ra and DJ Krush. Well sequenced, never too heavy handed with the comic choices and at times quite emotive (he likes his film-scores!), ‘Where’s the Beef’ also has a significant soft spot for Kid 606 style breakcore, peppering it sporadically throughout and making it mucho appealing for the Tigerbeat aficionados out there. Fast paced and belligerent, Okapi is more bothered about the result than the ingredients he uses to get there and with charmingly nutritious output like this I doubt Jamie Oliver will even raise an eyebrow…

Oscilator webzine – I have recently received a copy of the first solo lp by Filippo Paolini a.k.a. Okapi. This Italian artist, on American label, brings us his very complex work in the 23 pieces packed on the cd. Sources of the sound which this very skilful turntablist creates range from John Cage, Sun Ra to Kid 606… Everything is laid down nicely and “Where’s the Beef?” is one pleasant and different experience… I could live without few ethno samples which are thrown in, but overall I like the old skool lounge, jazzy, atmosphere of this record.

Inpress Magazine (Australia) – Welcome to the zany, somewhat childish world of Italian turntablist and producer Filippo Paolini. The childishness is in reference to the tone of the album, to the level of playfulness, to the youthful exuberance and sheer energy of the music, not necessarily because of the picture book cover art and song titles like sheep news, odd dead dog, chicken candies and monastic bingo. Whilst humour definitely plays an important role in Okapi, Paolini exhibits a bizarre and dexterous approach to sampling; expertly reassembling minute fragments of sound together to craft together a series of cheeky vaguely kitsch electronic jigs and odd sound sculptures that seemingly haphazardly form new pieces. At times there’s a link to the yearning nostalgia of LA producer Daedelus, however Paolini operates in a much broader less beat orientated environment. And the music whilst at times is quite experimental and complex, it always feels so light, colorful and chaotically cheeky. So whilst Okapi makes it clear he knows his chops, touching upon multiple genres and techniques, he is much more content to produce nursery rhyme breakbeats, silly staticy swirls and happy bursts of frenzied glitches that may have your brain dancing, but will definitely have any three year old within earshot bugging out like they just ate a giant plate of sugar. – Bob Baker Fish

De-bug – Ah, Inflatabl … das Label vom Rip-Off-Artist ist immer für den funkigsten Sound-Terror gut. Und findet die unglaublichsten Typen in ihren italienischen Dörfern, die sich mit Rechnern auf die Wiese setzen und tagelang an den feinsten Sample-Cut-Up-Tracks arbeiten, die die Welt je gesehen hat. Dabei ist Okapi anerkannter Turntable-Spieler und beherrscht seinen Sample-Editor wie kein Zweiter. Einmal quer durch die Musikgeschichte und zurück. Clicks vs. Klarinette, Polka vs. Amen, verträumt vs. hektisch und immer die Klarheit, dass der digitale See so tief und rein wie nichts anderes ist. Ein Highspeed-Atom-Heart mit orchestraler Vergangeheit und Freude an der Bambule der digitalen Wirklichkeit.

Ah…Inflatabl…Rip-Off Artist’s label is always good for the funkiest sound-terror. further he is able to find the most incredible personas in their italian villages, sitting on the grass with their computers, working for days on the finest sample- cut-up tracks the world has ever seen. okapi is a recognized turntable player and controls his sample-editor like no other. crossing music history once back and forward. clicks vs. clarinet, polka vs. amen, dreamy vs. hectic and always knowing that the digital ocean is so deep and clear like nothing else. a high-speed atom heart (!) with orchestral background and joy on the “bambule” [??] of digital reality. – thaddi

Warp rec. – Okapi is Filippo Paolini, an Italian turntablist who has previously collaborated with Christian Marclay. This is an interesting and varied release on the Rip Off Artist’s Infatabl label proving that anything’s possible with some good source material and a sampler.

Sonomu – Matt Haine´s still-relatively young label releases one of the most impressive debuts in a while. Okapi is a young fellow named Filippo Paolini by his mom and dad, who gives birth to a musical world all his own by combining the most diverse sources imaginable.
Wholly constructed on sampler, turntables, tapes and CDs, you might be tempted to think Plunderphonics or broken beats, but that is too lazy a categorization. The sheer ease with which Okapi sways from drum´n´bass, easy listening shopping music, electronic buzz and squall, Loony Toon soundtracking, a lovely tabla and violin mini-concerto, jazz stylings and oil filter commercials displays both enormous talent, a nimble mind, and a fine sense of humour.
Opening with a faux 20th Century-Fox fanfare, Okapi somehow manages to tease sounds out of an enormous roster of recorded words and music, hardly ever betraying their source, other than on the inner sleeve: Arvo Pärt, Samuel Barber and Francis Poulenc, Alva Noto, Kid 606 and Ø, Ray Conniff, Bert Kaempfert and Doris Day, Lester Bowie, Sun Ra, Univers Zero, Jaques Tati and the Marx Brothers. It is indeed a remarkable feat that, on the one hand, it is nearly impossible for the listener to identify the source material (though no North American, at least, will have trouble with the title track´s source, outtakes from a 1980s hamburger commercial); while on the other, Okapi constructs an album that is so wonderfully diverse and yet so entertainly cohesive. – Stephen Fruitman – V 70. letech povýšila tvorba The Residents práci ve studiu na rovnocenný hudební nástroj. V dnešní dobe mužeme brát za hudební nástroj také pocítac, sampler, gramofon, magnetofon apod. Presne s temito “nástroji” pracuje Ital Filippo Paolini, který si nechává ríkat Okapi. Spolecne s Mauriziem Martusciellim tvorí vážneji pojatý elektro-akustický projekt Metaxu (viz jejich rok staré dílko venované válecným datum posledního století Rumors of… War), podílí se na tvorbe tria Dogon a jako redaktor italského státního rozhlasu spolupracuje se známým avantgardním krotitelem gramofonu Christianem Merclayem. Vratme se ale k objektu našeho zájmu, dlouhohrajícímu debutu projektu Okapi nazvanému Where’s The Beef?.
Jak už název i obal desky naznacuje, nepujde o žádnou temnotu. Fillippo své gramofony nevyužívá k presentaci hip-hopových skills, ale svou pozornost obrací nazpet do 60. – 80. let. Prehrabuje se na smetišti lounge music a nemilosrdne vytrhává jednotlivé fragmenty zaprášených kýcovitých skladeb, aby z nich sestavil po letech skládacku novou, nepomerne experimentálnejší, presto v mých uších mnohem barevnejší a zábavnejší. Tento základ doplnuje další vlnou sberu (viz druhá strana bookletu), který jen dokreslí všežravost hudebních impulsu Okapiho od Alva Noto pres DJ Krushe až k Arvo Pärtovi nebo Gamelan music of Bali. Pres takto širokou paletu vstupních dat pusobí jednotlivé skladby celistve a žive.
Dokonce tak suverénne, že šéf vydavatelství Matt Haines, sám zdatný zvukový experimentátor prezentující svou hudbu pod pseudonymem The Rip Off Artist, si pred podpisem smlouvy vyžádal dukaz, že Filippo neprezentuje ve svých skladbách celé skladby nekoho jiného. Filippo jako dukaz poslal screenshooty jednotlivých skladeb, tak jak je kolážoval ve svém pocítaci. Na nich se zjevily stovky jednotlivých zvukových mikrocástecek v jednotlivých stopách, které tvorí každou správnou plnokrevnou Okapi skladbu. Jedenáct delších skladeb se nese v duchu downtempového dada, tu posunutého smerem ke click’n’cut, jinde pripomínajícího retro legrácky podobne naladených People Like Us. Do celkového poctu 23 príspevku dorovnává Filippo sumu více experimentálními predely, kde se naplno projevila jeho vášen pro hudebne elektronické experimenty všeho druhu. Album Where’s The Beef? je sonická groteska pro znalé. Verím, že kdyby Monthy Pithonuv létající cirkus hledal vhodný hudební doplnek ke svým skecum, hudba Okapi by jim sedla do noty.
75% – Pavel Zelinka

Opuszine – I’ll confess… I was tempted to write off Where’s The Beef? almost within the first 30 seconds, partly because of the silly title (which conjured up all sorts of bad notions) and partly because of the cheesy Casio trumpet fanfare that begins the disc on a rather whimsical note. However, in Økapi’s case, that sense of whimsy is by no means a liability, but rather the disc’s saving grace.
Although the band’s sole member, one Filippo Paolini, is listed as handling samplers, turntables, tapes, and CDs, this is no wannabe bedroom hip-hopper. Rather, the often amusing collages and soundscapes are more inline with the dazzling constructions of, say, The Avalanches. Although the compositions on Where’s The Beef? are nowhere near as intricate and convoluted as those on Since I Left You, Paolini shares the same interest in taking the most disparate of sounds – be it the “bah” of sheeps, sweeping string arrangements, slivers of glitch, meandering horns, Spike Jones-like breaks, chopped up newscasts – and apparently juxtaposing them in the most un-obvious manners possible.
The results are sometimes a bit off the mark – I’d estimate that nearly a third of the disc is more filler than anything else – but then it works, the songs on Where’s The Beef? can yield some startling results. For example, the evocative passage of “Chetamomil(la)”, whose plucked strings, piping flutes, and lazily-strummed guitars conjure up scenes of chilling on a tropical beach, relaxing with a cool drink in hand whilst basking in the golden setting sun. “Stek-House” is full of percolating gurgles, glitches, and stuttering beats. At times, it seems reminiscent of Pizzicato Five’s driving Shibuya pop pastiche, only in a much more muted form.
“Prufolli” is reminiscent of Plone’s whimsical, playful analog melodies, with shimmering synth sounds playing off more humorous, random noises that, for lack of a better description, sound like clown horns. However, “La Fuga Di Sandokan” takes on a much darker, more serious tone – exotic textures and tabla-like percussion combine with orchestral stabs and spiralling strings to create a piece that might function quite well as a score for an espionage thriller. And some garbled voices, which sound like intercepted transmissions, only add to the effect.
Adding to the disc’s overall mercurial nature is the fact that this piece is then further reinterpreted and re-imagined. The insistent rhythms and textures are there, but new sounds are slowly worked into the mix – elegiac guitar drones, some subtle breakbeats, slightly more skewed strings.
It’s this sort of playfulness, this willingness to experiment and tinker with even his own compositions, that ultimately proves to be Økapi’s true appeal. Sure, there are times where you have to wade through some fluff and dross to get to the good stuff, but the good stuff is there, if you’re willing to be patient.
That being said, part of me wishes that Økapi would settle down and get a bit more focused. He hints at so many fascinating sounds, tinkering with them for only a few seconds, perhaps a minute or two at the most, before jumping onto the next one like some hyperactive kid – and I wish he’d more fully explore some of them. But at the same time, I realize that Økapi becoming more focused could easily rob his music of the very spontaneity that makes it so intriguing (and frustrating) in the first place. – Jason Morehead

Skug – Journal für Musik – »The Great Plunder Suite« mag zwar nicht unbedingt der originellste Titel seit der Erfindung des Tonträgers sein, was sich dahinter verbirgt, hat aber durchaus besondere Qualitäten. Dozenten an der »how to abuse turntables, tapes and samples school« waren im Falle von okapi a.k.a. Filipo Paolini John Oswald und Christian Marclay, mit letzterem hat er, ebenso wie mit Metamkine-Musikern, schon zusammengearbeitet. Wobei von, sagen wir mal Strenge und dem Ernst, die z.B. in Metamkines Musik liegen, hier nichts zu merken ist. Sichtbar wird dies schon am Herr Rossi-Style gestaltetem Cover, hörbar an den verwendeten Sounds. minimalistisch bis orchestral, jazzig bis housig, musique concrete von rascheln und knacksen bis zu Drehorgeln. Vor allem aber immer ein Lächeln evozierend. Plunder music zum tanzen, bringt Leben sowohl in abgesoffene Gehirnwindungen als auch müde Beine. – Stefan Parnreiter



From the CD Dada Swing ‎– Cut, Cut, Cut …
Label: Cochon Records ‎– COCH 011
Format: CD
Country: US

released 01 January 2003

Before And After Dogon

Before And After Dogon
Bass – Massimo Pupillo
Drums – Maurizio Martusciello
Turntables, Sampler – Økapi

Artwork By [Acrylic On Wood] – Camilla Falsini

released 23 May 2001

Recorded at Zu Studio, Rome, Italy
Mastered at Martux Studio
File under: Polka

first release: Wallace Records 2001
CD with 11 Tracks, 38:21 Total Time
Tracks 12-14 seem to appear on the sleeve only!