[…] Mattin attacks everything worth hating in contemporary improvised, noise and ‘experimental’ music: everything precious, contemplative, or non-committal. A Mattin performance is not likely to offer ’satisfaction’ to its prospective audience; the ‘experimental’ music fanboys are likely to be vexed not only by the sheer unpleasantness of the performance itself, but also by its lack of innovation, its refusal of novelty.
Not that beauty is foreign to Mattin’s work. It’s just that the beauty inherent in his work refuses to be aesthetic, refuses to form the pleasant background to our complicity in our own self-alienation. It is a beauty as strange and disorienting as anything we encounter in the world.[…]
(Excerpt of the introduction by Alexander Locascio)