DIATRIBES & ABDUL MOIMEME complaintes de marée basse

abdul moimême: two prepared guitars, metalic objects, springs, cymbals, metronome
d’incise: laptop, objects, various instruments, snare drums, bow, cymbals, gramophone
cyril bondi: drums, percussions, bow, cymbals, objects, small instruments

1. s’amarrer mp3
2. crustacés mp3
3. complainte de marée basse mp3
4. voile et vapeur mp3
5. entre les haut-fonds mp3
6. pavillon noir mp3
7. naufrage mp3

Download the complete album in .zip (47min08 / 320kbps mp3 / 124Mo)

CD, 18x14cm, in thin sleeve, 5eur.

Recorded in Lisbon, august 28 & 29, 2009, mixed by d’incise, mastered by Wolfgang Rüfenacht, font design by Sonia/.

After the trio with Phonotopy, but recorded a couple of month earlier, Diatribes proposes with Abdul Moimême a new electroacoustique oriented album, where the instrumentation distinction is lost to the benefit of a sounds ensemble strongly linked by skeazing ropes and under permanent tension. Some metalico-organics imporvisations develloping under harbour influence, superpostion of poetic evocations like an high-tech nostalgia.
Diatribes, a strongly libertarian ensemble, began its existence in a Geneva basement in Winter 2004. Adapting the improvised and experimental music languages of today, the duo is highly reactive, dynamic, percussive and/or textured. Initialy a trio, diatribes became a polymorphous formation, accuratly incomplete, extending each time its spectrum with guest musicians, from freejazz to electroacoustic improv, from loud sound wall to intimistic acoustic details, crossing the road of Barry Guy, Keith Rowe, Jason Kahn, Jacques Demierre, Christian Weber, Ernesto Rodriguez, Tomas Korber, Jean Bord�, Mick Beck, etc, travelling through europe to create new entities, with Adbul Moim�me in Portugal, Hannah Marshall in England, Rafal Mazur in Poland or HKM+ in Germany.
Abdul Moimême is an active member of the Portuguese improvised music scene, playing regularly with the “Variable Geometry Orchestra” and “Suspensão”, two groups led by violin player Ernesto Rodrigues. He is also member of the Granular collective.
In 1999 he started writing jazz critique in various Portuguese publications including « Flirt », « All Jazz », and Jazz.pt magazines, as well as « Publico » newspaper. In 2006 he created « Freemusic », a blog exclusively dedicated to the promotion of Portuguese improvised music.
In 2009 he published « Nekhephthu » [Creative Sources CS-102], a solo prepared electric guitar CD


Diatribes’ complaintes de marée basse is borne along by torrents and tremors of percussion, not without its quieter, collected pools at times, but generally clamorous and plangent. This updating of free improvisation remarkably renders the trio’s individual roles as anonymous as any aggregate of the electro-acoustic branch of improv, the specific sprung sounds and metal-scrapes seemingly sourceless.
Diatribes is the duo of D’Incise [a.k.a. Laurent Peter] and Cyril Bondi. Since 2004, they have released a slew of stuff, often with a third element added, here Lisbon-based guitarist Abdul Moimeme. Bondi has been involved in multiple hip hop projects and free improv ensembles. D’Incise likewise channels his ideas and approaches through disparate playing situations. On this occasion, the trio offer up several signal qualities of the free improv branch of things; the 47 minute release consists of seven tracks, seven concise skirmishes as opposed to the 74 and 70 minute respectively of RI 1.5442 and Dotolim; each player wields various percussion instruments, ala the era of the Art Ensemble of Chicago little instruments convention, a liberating approach to group improvisation that predictably became a time-stamped orthodoxy. No danger of stagnation in this trio’s approach- the percussive churns and swells of Diatribes, colored to fantastic effect by Moimeme’s two prepared guitars, are only occasionally of the diminuendo sort the AEC [and so many others] worked and reworked. While not averse to making big waves before subsiding into quieter squalls, the trio achieve much greater dynamic range and overall balance than that. Small sounds are raised by amplified springs, metronomes and cymbals; Moimeme dances over his modified guitars sounding at times like a balafon, pitched cymbals and, on track six, Pete Cosey; industrial park murk and metal scrapes yield to sections of muted but no less eventful buzzing and blooming noise.
This is really strong work, occasioning in me the rare feeling of regret that it will be lost to ears aversive to free improvisation, due to the area’s inarguable exhaustion on many fronts. I want to hear more from all three of these musicians-they’re not fucking around.
Jesse Goin / crow with no mouth

the duo’s subtle distinguishing mark develops out of Bondi’s relationship to free jazz and d’incise’s relationship to ambient electronica and free improvisation. As environmentally diffused as the sounds may become, Bondi is often knitting at pulse, creating polyrhythms and a momentum that animates the whole, keeping it moving while d’incise pulls sounds from the ether or the street. The spontaneous character of the music is insistently maintained by working constantly with other players, as if Diatribes is only complete when it’s Bondi, d’incise and someone else, as if Diatribes is a principle that always includes the other. The duo has recently released three works, each with a third musician; as different as the guests are, Diatribes manages to create a distinct identity.
On Complaintes de Marée Basse with the Lisbon-based guitarist Abdul Moimême, the three musicians seem to be much more aligned in their approach. Moimême plays two prepared table-top guitars, metal objects and small instruments, and both he and d’incise have cymbals in their list of instruments. The playful sound sources extend to Moimême playing metronome and d’incise gramophone. At times the sound is almost industrial—the scraping of metal, the sound of large objects falling—at others it has the most remarkable delicacy, fragile glissandi and barely audible string scrapings. Identity and perspective are constantly changing here. Little noises arise and are gradually subsumed into louder ones or else disappear like unknown but evidently endangered insects in a distant ecosystem. A snare drum rhythm beats against the scratch of a gramophone needle on an exit groove. The sounds are at times so intimate you feel that you are ear-next to a bowed cymbal or a mallet-struck string; at other times the sonic vocabulary of random echoing metal suggests a freight yard, industrial noise in which sound is only a side effect of another process. It is this shifting perspective, this fluctuating succession of different scales—from closet to airplane hangar—that makes this the remarkable dreamscape that it is.
Invisibility, anonymity, and pseudonymity are clearly important here (another Diatribes performance with HKM+ and other German musicians was “recorded in an abandoned building in Leipzig”), for this is music shaped by the acuity of consciousness and the porous frontier of identity, whether of the sound, the instrument or the maker. Watching this music being made might diminish its sonic appeal; living here only in the ear, it elaborates on mysteries of identity which are matters of both cognition and psychology. It’s fitting that some of the works themselves inhabit an area both grey and plural, as limited edition works of art or downloads.
Stuart Broomer/pointofdeparture.org

Tonight I have been listening to another CD involving the Swiss duo Diatribes, who are D’Incise (laptop, assorted bits of percussion and a gramophone) and Cyril Bondi (percussion and objects). On this disc, a release that is also available as a free download on the excellent Insubordinations netlabel here sees them joined by a prepared guitarist named Abdul Moiéme, though I suspect that that name may well be a pseudonym. So as you can go and get the music for free anyway, part of me does wonder why I am reviewing it here, but its quite an enjoyable release so here goes anyway.
Diatribes have always struck me as belonging firmly in the AMM tradition of improvisation, building their music in a laminal manner, buzzing electronics and metallic, often bowed percussion swelling and subsiding slowly. The addition of the prepared guitars here leads me to think that way even more, as although Moiéme’s contributions are quite varied, and as cheap and lazy a comparison as it may be, every so often sounds appear (vibrating springs, metal against pick up etc) that remind me of Keith Rowe. Add this to the streams of percussion and its hard not to find the classic AMM sound evoked. To be clear though, this isn’t a bad thing at all. There is plenty of depth and variety in this release, which before I forget to tell you is named, Complaintes de marée basse. (Laments of low tide? beautiful if this is the case, and quite fitting) but across the seven tracks there is an underlying sensation of dark, brooding slowness, and that feeling of gathering clouds that was present in so many of the trio AMM albums just before the heavens opened. Complaintes de marée bass has seven tracks though, and so ‘the arc’ isn’t as prevalent here and the pieces build to their little mini climaxes without quite the same sense of grandeur, but the image of low waves washing up on a beach at low tide is certainly a fitting one.
Although the guitar stands out in places, its generally quite hard to split the three musicians apart here, but this doesn’t matter as listening carefully is all about the blending and collision of the amassed tiny details and textures that are built up to make this music. There is nothing groundbreaking here, and no one element stands out as worth noting above all others, but none of this matters. The music here is a great example of modern electroacoustic free improvisation as it should be done, sounds merging and folding together in one moment, colliding and contrasting the next. Everything progresses gradually, but it does keep progressing, so there is little repetition or any resorting to drones.
What more is there to say? Not a great deal really. I played Complaintes de marée bass through four times overall today and it didn’t wear thin at all, the detail in the music allowing it to sound different each time as I heard new elements in it on each subsequent spin. The music is available for free, so if you enjoy this area of music (and if you don’t, why are you reading this blog?!) then I recommend you download it and take a listen. If its not your cup of tea then you’ve lost no more than forty-seven minutes of your time, but if you like it, as I suspect you may, then why not click the paypal button at the Insubordinations site and support them by buying a physical copy of the CD.
Richard Pinell/the watchfull ear

Diatribes is an expandable Swiss duo featuring D’Incise and Cyril Bondi on an array of objects and percussive materials that they hit, stroke and bow under the auspices of a laptop. The press release reports collaborations with people of the calibre of Keith Rowe and Jason Kahn, the latter’s spiritual presence indeed defining the most “unevenly static” segments such as the excellent “Voile Et Vapeur”, the conclusive part of “Pavillon Noir” and the final “Naufrage”, whose merging of bowed cymbals and thundering low frequencies is truly impressive. Portuguese Moimême (maltreating a couple of guitars besides using additional metallic devices and zinging springs) has been seen around the realms of Ernesto Rodrigues’ activity, both as a releasing musician on Creative Sources and a member of the Variable Geometry Orchestra. Complaintes De Marée Basse is a brilliant record, no ifs and buts. By severing every connection to concepts of themes, melodies and harmonies, the performers let a resonantly grumbling creature take centre stage in a blend of shabby reverberations, randomized irritabilities and proficient exploitation of the musical qualities of noise. Stains of corroded guitar strings and anti-patterns depicted on a snare drum are enhanced by a silent intercommunication between subterranean coincidences, the flood of an intelligent wrongdoing constituting – quite absurdly, one might say – a sort of “industrial balm” for ears too used to commonplace masked with fake Buddha smiles.
Massimo Ricci / Touching Extremes

Swiss improvising duo Diatribes offer us another new collaboration, following their memorable team-up with the UK’s Barry Guy which resulted in a strong piece of free grumbly-music with some political undertones. On Complaintes De Marée Basse, Abdul Moimême joins D’Incise and Cyril Bondi to create what they call an “electro-acoustic oriented album”. This phrase may refer to the two prepared guitars (hopefully electric, amplified, and strewn with fragments of junk) that Abdul wields like two massive metallic clubs, ready to smite all opponents of liberty and free expression. Better take cover when this sauce-box starts rubbing his poisoned strings, as he seems equipped to summon the force of an electrical storm (in his quiet and brooding way, of course). His gloom-laden thunderclaps sit well with the skittery multiple percussion effects, bowed objects and laptop twitterments from the two Swiss madcaps on these 2009 recordings made in Lisbon.
Ed Pinsent/the sound projector

Diatribes walks a unique path, between European free improvisation and microsonic experimentation. The duo of D’incise and Cyril Bondi between them are credited, on Complaintes de Marée Basse, with playing laptop, objects, snare drums, bow, cymbals, gramophone, drums, percussions, bow, cymbals, as well as « various instruments. » Somehow, despite that plethora of material, they manage to bring a third player into the mix, Abdul Moimême (equally equipped: « two prepared guitars, metalic objects, springs, cymbals, metronome »), and still sound subdued, remote, even tiny at times, all that noisy detail distilled to the point of being nearly silent. Exactly how many free improvisers can you fit on the head of a pin? Perhaps the answer is three. The first track, « Pavillon Noir, » is by far the most hectic of the batch, and once the album proceeds past it, all the banging and clanking and scraping gets ratcheted down to the point where it sounds like field recordings of a particularly busy old furnace, especially on « Voile et Vapeur, » in which the interplay is at once bleak and fanciful.

A l’occasion de la sortie de la compilation Marées de hauteurs diverses, j’en profite pour écrire quelques notes sur le disque qui a inspiré les sept musiciens de cette compilation. Il s’agit de Complaintes de marée basse, une suite de sept improvisations par le duo Diatribes, c’est-à-dire d’incise (ordinateur, objets, caisse claire, cymbales, archets, etc.) en compagnie de Cyril Bondi à la batterie et aux percussions, duo auquel se greffe le guitariste portugais Abdul Moimême (deux guitares préparées, objets métalliques, cymbales, métronome, etc.). La suite de Complaintes rassemble des improvisations plutôt variées, souvent très axées sur les percussions et toutes sortes de sons indéterminés, notamment grâce aux archets et harmoniques parfois multiphoniques, mais aussi et surtout grâce à la multitude d’objets utilisés. Des improvisations parfois calmes à tendance ambient, parfois très énergiques et rythmiques, avec également quelques touches rock distordu par moments. Le trio possède une dynamique sonore très collective où les objets et les percussions de chacun se mélangent sans non plus se confondre. L’interaction est plutôt solide et sensible entre ces trois musiciens qui collaborent régulièrement ensemble depuis plusieurs années maintenant. Et cette interaction génère des textures sonores singulières, où des percussions arythmiques se mêlent à des nappes lisses et grinçantes; car l’attention aux textures est primordiale durant ces improvisations, et le trio s’évertue continuellement à explorer les sources sonores les plus diverses, musicales ou non, tout en les confondant et en cachant plus ou moins leur origine.
Julien Hérault / Improv-sphere

Obwohl Vieles der Phantasie überlassen bleibt, ist die Begegnung des Genfer Improduos Diatribes mit dem portugiesischen Gitarristen Moimême programmatisch ein ‚Seestück‘. Alle Drei arbeiten mit perkussiven Mitteln, mit Krimskrams, Cymbals, Snare Drums, Stahlfedern, allen voran Drummer Cyril Bondi. D‘Incise operiert dazu mit Laptop, der vom Variable Geometry Orchestra her bekannte Portugiese spielt gleich zwei Gitarren, präpariert. So stellen sie maritime Bilder vor das innere Auge, Schiffsrümpfe, die sich knarrend aneinander reiben, den Lebensraum von Krustentieren, das Spiel von Tiefenströmungen mit Wrackteilen, das Schleifen und Kratzen an Untiefen, das Lotsen durch Nebelschleier und diesige Sicht, zuletzt dennoch Schiffbruch. Der Grund der See ist ein Park mit schwarzen Pavillons. Weniger bildhaft gehört, rumoren hier überwiegend metallische Geräusche in einem ständigen Fluss aus dongender, knurschender, sirrender Unruhe. Meist klickern, pluckern und knarzen sechs Hände wie kleine Brandungswellen nur mit Kieseln und Metallstückchen. Mal pflügt ein Geisterschiff durch den Dunst und Fetzen von einem alten Grammophon wehen vorüber. ‚Pavillon Noir‘ wird geprägt durch erst wuseliges, dann repetitives Drumming, sirrende und knistrige Elektronik und gitarristisches Drahtharfen, wie Moimême es so deutlich und intensiv nur hier offeriert, mit Crescendo- und Decrescendowellen. ‚Naufrage‘ klangmalt zuletzt statt einen großen Crash die ominösen Liebkosungen, mit denen der Meeresgrund einen Neuankömmling erkundet. [ba 68 rbd]
Bad Alchemy/Rigobert Dittmann

Voici une deuxième parution physique pour l’étiquette web Insubordinations. Il s’agit d’une collaboration entre le duo suisse Diatribes (l’électronicien-percussionniste D’Incise et le percussionniste Cyril Bondi) et le guitariste portugais Abdul Moimême (ne me questionnez pas sur son nom, je n’en ai aucune idée). Complaintes de marée basse est donc un disque très percussif, Moimême faisant grand usage de préparations sur sa guitare, la transformant en mini-orchestre de gamelan, conjugué aux manipulations percussives de Diatribes. C’est un disque un peu obtus mais vif, aux interactions parfois contradictoires (ce qui n’est pas une mauvaise chose). Certains trouveront qu’il manque de variété, mais sa palette sonore limitée me plaît, en fait.
Here’s the netlabel Insubordinations’s second physical release: a collaboration between Swiss duo Diatribes (electronician/percussionist D’Incise and percussionist Cyril Bondi) and Portuguese guitarist Abdul Moimême. Complaintes de marée basse is a very percussive record, since Moimême uses mostly guitar preparations, turning his instrument into a mini-gamelan – combined to Diatribes’ percussive manipulations. This record is a little difficult to get into but vivid, with occasionally contradictory interactions (which is not a bad thing). Some will find it lacking diversity, but I actually find its limited sound palette enticing.
François Couture/monsieur delire

Plus tôt, à Lisbonne, le même Abdul Moimême et Diatribes ont enregistré Complaintes de marée basse. La guitare préparée côtoie là les laptop et objets de D’incise et les percussions et frêles percussions de Cyril Bondi. La musique est rampante, jouant de bourdons épais, puis, à mi-parcours, la batterie se permet un rythme auquel se mesureront les intervenants avec plus d’intensité. Le mirage d’une pâle rencontre Keith Rowe / Ingar Zach s’efface alors, au profit d’un ouvrage plus original qui vaut bien qu’on l’écoute.
Guillaume Belhomme / le son du grisli

Não é a primeira vez que os suíços Diatribes (a saber: D’Incise em electrónica, objectos amplificados e percussão, e Cyril Bondi em bateria e percussão) procuram a companhia de músicos portugueses na sua travessia europeia para “criar novas entidades polimorfas”, o que resultou em encontros, cá, com Paulo Curado e João Pedro Viegas, tal como em outras paragens aconteceu com Barry Guy, Keith Rowe, Jason Kahn, Jacques Demierre, Christian Weber, Tomas Korber e Mick Beck, entre outros. No que a parcerias lusas respeita, acontece que esta documentada em “Complaintes de Marée Basse” é, sem dúvida, a mais bem sucedida. O interlocutor da dupla é Abdul Moimême com as suas guitarras eléctricas dispostas na horizontal, preparadas e atacadas (literal e simultaneamente) com objectos que, pelas suas natureza e dimensões, são intencionalmente invasivos. Este integra-se da melhor maneira no universo tenso e percussivo, feito ora de crepitações minimalistas, ora de súbitas agitações texturais, deste muito interessante projecto. Tanto assim que muitas das vezes é impossível discernir quem faz o quê, o que é a maior ambição da música improvisada colectivamente. Moimême (pseudónimo de Rui Horta Santos, crítico da jazz.pt e, até recentemente, do Público) está, decididamente, a tornar-se numa figura de referência
rui eduardo paes / jazz.pt

Complaintes de marée basse: sette improvvisazioni caratterizzate da atmosfere sospese, per me piuttosto intriganti ed emozionali.
mauro graziani

Schweiziska duon Diatribes består av D´Incise på laptop, slagverk, diverse elektronik och Cyril Bondi på trummor. De spelar en krängande böljande musik som framgångsrikt blandar akustiska klanger med rostkantad elektronik. Det skaver, knuffas, bråkas och känns allmänt otryggt. Det är som om de hade transplanterat något av nervsystemet från den tidiga upproriska fria improvisationsmusiken. Anarko-impro.
Duon bildades för ungefär fem år sedan och har sedan dess haft en rad samarbetsprojekt, bland annat med Barry Guy. Denna CD är inspelad i Lissabon tillsammans med gitarristen Abdul Moimême. Han för med sig två preparerade gitarrer och diverse metallgrejer till det gemensamma boet. Den metalliskt-akutiska klangen som rytmiskt kan bölja som i en snedtänd gamelangorkester ger skivan sin karaktär. Det är mjukt och hårt på samma gång.
Rörelserna i musiken är famlande, trevande och inriktade på ständiga klimax. De kommer också. Det är ett möte fyllt av passager, där musikerna finner varandra i ganska enkla figurer. Rytmer bultar uppfordrande, metallklangerna skapar en dramatisk scenografi. De hanterar stegringarna och vägarna dit på samma förrädiskt enkla sätt. Även om ljuden trängs med varandra ryms lyssnaren mer än väl. Det är en ovanligt utåtriktad musik.
Samtidigt känns det som om de har ett budskap, om än allmänt, som riktar sig mot de upphaussade kulturella uttrycken i konsumtionssamhället.
Det är ingen tillfällighet att skivbolaget redan i sitt namn vägrar underordna sig och därtill på hemsidan valt en paroll för verksamheten: ”A bas la société spectaculaire marchande.” Att vilja störta det spektakulärt kommersiella samhället indetifierar dem som medlemmar i samma familj som Staalplaats serie Mort aux vaches (Ner med borgarna!). Musiken är också besläktad. Skavande elektrokustiska föreställningar som skär, och där brytpunkterna är många. En musik som vägrar foga in sig och foga ihop sig. Men utan demonstrationstågets trosvisshet.
Thomas Millroth/ soundofmusic.nu

This recordings are under Creative Commons license. Copy, share, burn, P2P, offer, thank you for that, but please keep the whole record complete with all its element