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— Tobias Fischer at www.tokafi.com
"One of the great developments related to modern technology is that more and more visual artists are starting to work in the field of music, presenting fresh visions of sound. One of them is Juan Matos Capote. In his case, the relationship between eye and ear has always been a symbiotic one. In fact, his paintings and sculptures already dealt with written sounds, silence and synaesthesia. It should only be consistent, then, that his fledgling career as a musician should be occupied with optical phenomena, threedimensional compositions and with methods of reflecting and representing the world which surrounds us in music: His debut as a solo artist, "The Subway Aural Recordings" was scored over the course of years and documents his travels with the New York City tube system. The entire process of its creation marks him as an artist who cares next to nothing for the traditional terminologies of the music business or for seperating writing from recording and purpose from spontaneity. While scoring "The Subway Aural Recordings", he hid recording devices in his clothes all the time, keeping them switched on incessantly to capture every nuance of his environment and to include chance as a vital element. Consequently, the album sounds anything but a regular field recording and offers much more than just a couple of soundscapes built from the same source material. Instead, it offers living testimony of his idea of treating sounds as aural spaces through which the composition flows."


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