The Digital Intervention

The Digital Intervention


Paul Kendall and Olivia Louvel were musically cemented by Dimitri Tikovoï after a Michael J. Sheehy concert in Paris October 2001. They started to work together in January 2002 and developed the project throughout the next year. A few days work at the idylic studio of Alan Wilder (Recoil) bore the fruits for Alan's string arrangement on the track "Coma Idyllique". The cover version of "La Coco"(1930) which is normally associated with Fréhel, would appear to be a bizarre inclusion until the lyrics cried take me (translation in English available on request , lazy anglais). This new version with Sébastien Libolt's (VRP/LaTrabant) accordion emerged, simple and naked in Capture's electronic wasteland. So finally we arrive at the starting point for this first Digital Intervention which are the usual suspects : sex, obsession, sensuality, addiction. Long live the funeral march ...

Paul Kendall began his obsession with sound from an early age, after hearing the possibilities of vari-speed on a tape-recorder. Although studying mathematics at York University, his reason for going there was the profile of the electronic music department. During this one year period he learnt how sound could be manipulated. Then he returned to London for a nine year period working in a bank! By chance Kendall met Daniel Miller of Mute Records and found they shared a love of electro-acoustic music. At this time the first "affordable" multitrack tape machine was produced by Fostex, b16. Daniel invited paul to assist in setting up a studio for Mute artists' to use. It wasn't too long before he started engineering for different Mute artists. His reputation progressed over a number of years working on very diverse projects. In 1996 The Parallel Series was launched to allow Kendall to return to his first musical love, electro-acoustic. Finally in 1997 he left Mute to have more time to develop his composition and his two small children. London was becoming suffocating and in february 2002 he moved to Paris, the home of concrète, enfin ...

Olivia Louvel began her studies with classical singing. At the age of fifteen, she discovered Kurt Weill and then became interested in the performance of contemporary vocal music. Between 1993 and 1995, she worked with the Cie Les Arts Sauts where she sang a composition from Meredith Monk for voice and cello, called Madwoman's Vision (Olivia sang 12m in the air...). She toured in the European festivals until finishing with the Perth Festival in Australia. In 1996 she entered the Superior National Conservatory of Dramatic Art in Paris. She worked with many different directors, such as Klaus Michael Grüber and Jean-Yves Ruf. In 2001, she was invited to sing with La Trabant-Sébastien Libolt in the Saint Denis Festival. Since then she has been working in the theatre and preparing new musical projects.


Press quotes


''Capture could become (…) our favorite pop music album" (Magic)

''Capture needs to be tamed, consumed but never ignored'' (Soit dit en passant)

''A challenge taken up by the Digital Intervention" (ARTE)