Opera Riparata - Tribute to Bruno Munari - Available for liveset - 2014/15Presentation of the new CD
ØKAPI & ALDO KAPI'S ORCHESTRA - Opera Riparata (Fixed Opera)
ěkapi is Filippo Paolini, an Italian turntablist and sample cutup artist. Filippo has recorded several solo albums, as well as recording in the duo Metaxu and with the trio Dogon. He has performed live for national Italian State radio broadcasts (RAI) with renowned avant-turntablist, Christian Marclay and collaborates with numerous international artists such as Mike Cooper, Peter Brotzmann, Mike Patton, Matt Gustafson, Zu, Damo Suzuki, Andy EX, Kawabata Makoto, Metamkine... ěKapi's album releases illustrate his unique and edgy use of turntables and computer beyond the hip-hop school of chopped up music, creating music that veers from orchestral to lounge with quirky experimental electronics that maintain a delicate and spacious sound throughout.
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 ěkapi and the visual artist More*Tv*V 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, ěkapi and More*Tv*V 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.
31 - Borodin - Prince Igor - Polovtsian Dances by ěkapi
30 - Verdi - Aida - Act 2, scene 1, Chi mai fra gl'inni e i plausi by ěkapi
40 - Cherubini - Medea - Taci, Giason by ěkapi
ěkapi & Aldo Kapi Orchestra
Opera Riparata - Tribute to Bruno Munari
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.
More*Tv*V [deadalive]: It is a collective of live performers [vjset] created in Rome in 2005. Being lovers of indie-arthouse cinema, they found a new way to show videos and extracts of films that not many people did go to watch at screenings organized by them as well.
Re-editing original materials and filters corrected ones, they sync with the music beats a video stream composed by cinema classic spanning from the mute period to contemporary filmmakers.
Although the music beat is always fast paced, around 180bpm, the visual stream partly follows the speed. There's no research for synchronicity, but instead more for empathy. The frames try to be representative of emotions and/or moods created by the soundwaves and by the attending crowd.