diatribes + Barry Guy
"Multitude"


with:
Barry Guy (doublebass)
d'incise (laptop, objects)
Cyril Bondi (drums, percussions)
Benoît Moreau (clarinet on n3)

recorded on january 19th and the 20th 2009 in Geneva
released by CAVE 12 label
c12o01, 2010

edited as 200ex with 21x15cm screenprinted digisleeve.























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From the same band:





Press:

"Foisonnante, nerveuse et bouillonnante rencontre entre cette insatiable entité-duo improvisée genevoise, les super-actifs/activistes et salvateurs Diatribes et l'un des IMMENSES maîtres à penser de la musique improvisée européenne, la magistral et virtuose contrebassiste anglais Barry Guy. Une première session fortement réussie à été enregistré/archivée il y a de ça quelques temps. Un résultat-témoignage prenant-emblématique de très belle qualité dans le genre improvisation électro-acoustique pour que, après concertation avec les intéressés et suite à la proposition/initiative du duo Diatribes, la cave12 se joigne à eux pour la sortie d'un cd masterisé sous sa propre étiquette. Jeu de tensions, frottements, hyper réaction entre les cordes, les percussions et l'électronique, avec comme charpente-ossature principale l'incroyable infinie-richesse de la contrebasse de Barry Guy. Un jeu nerveux, poussant le duo Diatribes dans des poussés retranchements d'interactions soutenues-obligatoires, rendant l'appareil à Barry Guy de manière ma foi, amplement relevée. Et, croyez-nous, face à un maître pareil, ce n'est pas chose aisée. Le dialogue est réellement présent, tenu, riche, strident, organique, vivant et diversifié tout le long de ces belles plages-témoins-shots-haïkus. Un beau challenge passé avec brio pour ce duo méritant, et le désir de témoigner, par notre biais, de la vitalité, belle teneur/rigueur et essentielle aventure non aisée pratiquée par Diatribes, nécessaire relève et hautement capable entité de lexpérimentation genevoise."
sixto / cave12

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"Se bem que uma boa parte daquilo a que se chama "musica improvisada" tenha o carácter nervoso e hiperactivo que encontramos em "Multitude", nao se pode dizer que a junçao do contrabaixista veterano Barry Guy ao mais jovem duo de D'Incise (computador, objectos amplificados) e Cyril Bondi (bateria, percussao) percorra caminhos ja muito ouvidos. Os Diatribes afastam-se neste registo ao vivo das conotaçoes free jazz de outras colaboraçoes suas, e Guy troca a logica de escalas pela de texturas, à semelhança do que vem fazendo com o Electro-Acoustic Ensemble de Evan Parker. Neste contexto, com mais espaço de intervenção, o que resulta numa delícia para quantos, como nós, o admiram. O clarinetista Benoît Moreau participa numa das faixas, com o mesmo sentido colectivista que os restantes intervenientes ou seja, enquanto parte de um todo."
Rui Eduardo Paes/jazz.pt

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"UK improvising double bass player of no small stature Barry Guy lends his considerable skills to the Diatribes team, a Swiss duo comprising drummer Cyril Bondi and D'Incise with his laptop and objects. On Multitude (CAVE12 ORCHESTRA C12 O 01), joined on one track by the clarinet of Benoit Moreau, the group produce some quite startling effects as they mine their way into each episode with an insistent, nagging approach. Drummer Bondi is on particularly good harrowing form on these January 2009 sessions, while bassist Guy's skill is in quietly concealing his enormous talent behind phrases of understated economy and grace. But listen closely to what he's doing and you'll find he packs more musical content and energy into ten seconds of bass sawing than you or I could carry inside a lunchbox. There's also a good deal of non-musical junkyard charm emerging from the battered metallic objects of D'Incise as they make their clonky way into the day's events. I seem to recall Diatribes like to use every opportunity to expound their Marxist rhetoric, and indeed the title of the opening cut 'Le Grand Jeu Financier' can be read as a sharp critical statement in the current sick world of recession, bank crashes, and toxic debts."
Ed Pinsent/The Sound Projector

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"Multitude" porte très bien son nom, alternant calme acoustique et vrais assauts d'affirmation bruitiste. DIATRIBES & BARRY GUY ont su mettre en forme un disque court et fort, dont ils n'ont pas nécessairement voulu gommer toutes les aspérités comme en témoigne la version écorchée du "grand jeu financier" et trés vivante du destructuré "Le poids des humeurs" (sorte d'Autechre acoustique), en roue libre et toute contrebasse tranchante dehors. Certes, cela pourra apparaître, à première lecture de cette introduction, comme une nouvelle tentative de domestication du magistral et virtuose contrebassiste anglais Barry Guy. Jeu de tensions, frottements... un son cradingue, des ronronnements électroniques, une batterie extrêmement brute, des larsens et froissements métalliques. Equipé de vis, clous, morceaux de carton ou d'étoffe, ce disque laisse déborder les aspérités entre les cordes, les percussions et l'électronique. Par la répétition, les déferlantes, les percussions et les guitares préparées, des sources frénétiques qui se superposent. Des couches sonores et résonnantes, des pièces polyrythmiques éblouissantes dans lesquelles se concassent Radian et Suboko, Anthony Pateras et Xenakis. Le résultat est convainquant, réussissant de capter l'énergie des improvisions lancées comme une idée le temps d'une rencontre. On referme cet album, complément épuisé mais heureux de l'exercice la vitalité fougueuse."
Laurent Guérel/Essmaa

***

"I was previously not familiar with Diatribes, though the list of collaborators they have worked with at their website makes impressive reading. I must say that its maybe as long as a decade since I last heard Barry Guy's music, either live or on disc, so in some ways this music comes to me entirely fresh. It is an interesting affair anyway. The easy, lazy option here would be for me to dismiss the music on this CD as busy, scratchy old school improv and either pass over this CD without review or give it short shrift. Trying not to be lazy or take the easy option then I have listened to this CD four times tonight, with one of those listens completely focussed, doing nothing else at the same time. While this is relatively frenetic, energetic improvisation that doesn't leave a lot of room to breathe, there is a really nice balance of textures going on here that makes listening vertically down into the music, as opposed to listening horizontally along to it is a rewarding experience.
Multitude isn't really easy listening. Although the sounds come thick and fast there is actually quite a limited spectrum of sounds to be heard here, so what matters is how these few simple elements combine, perhaps even more so than where they actually go. The basic Diatribes duo combine electonics, through the enigmatically named D'incise's laptop and objects and Bondi's entirely acoustic percussion. They remind me a little of Bark! the Furt offshoot group that matches up thick and fast synthesised sounds with stormy flurries of drums, but there is nothing here quite that frantic, the tendency for each track seeming to be to find a particular level, a certain atmosphere and then stay there, with little dynamic change or alteration in pace or density through to the end. Barry Guy adds a further musicality to this, a wonderful touch, a remarkable ability to listen into the stream of sound emanating from the Swiss musicians and somehow play into a through their contributions rather than sit on top of them.
Listening carefully to this music was actually less of a challenge than I thought it might have been, and instead rather an enjoyable experience. Dissecting the music with my ears, separating the instruments out, listening to how the shards of digital samples mix and blend with the scrape of a bowed cymbal or how the groan or thud of the bass picks its way between the chaotic shapes of the other musicians. Never in solo mode, eschewing any sense of "the maestro" in the music, Guy gets it just right, nothing flash, always working for the greater good of a collective music. He pitches his bass to find time with the younger musicians rather than the other way around. he plucks, strums, bows, scrapes and is physically all over his instrument in these recordings.
Despite the feeling of tension that this music brings, the pieces do flow nicely, sometimes sounding like several overwound alarm clocks at once, but always allowing the listener down into the music should they choose to do anything more than allow the music to flow past. Listening to a typical track tends to be about separating the different contributions in my head and then putting them mentally back together as they play, enjoying the individual intricacies of the different layers, but then considering the cumulative impact of it all.
I won't pretend that I wouldn't prefer the music here to be slower, and with a lot more space added so as to allow sounds to really be themselves rather than one tiny part of a dense forest, but as it is the music has its charms. It isn't completely impenetrable, not by any means, and individual sounds can all be heard, but the pace they shoot past at makes it hard to draw mental lines around them. I sense the playing here, particularly by Guy is exceptionally strong, the result of very careful, responsive listening. its just all a bit too fast and furious for my personal taste. Still a pretty good improv outing, and one that will certainly delight listeners waiting at the busier end of the scale."
Richard Pinnell/thewatchfulear.com

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"Orgie d'objets: C'est finalement arrivé. Le camp d'été des ballounes et le camp d'été des outils de construction se sont arrangés pour qu'en soirée, après que les moniteurs de camp soient bien endormis, ils se rencontrent au milieu du lac, sur l'ile du Grand castor. Demandez-moi pas comment, mais les outils de construction ont pu mettre la main sur quelques bouteilles d'alcool et, ce qui était supposé n'être qu'une soirée innocente d'échange de sous-vêtements, s'est transformée en quelque chose d'indescriptible et de trop vulgaire pour les pages du Tout va bien. Au moins, quelqu'un a eu la conscience d'esprit d'enregistrer le tout sur son iphone pour que les générations à suivre puissent comprendre jusqu'où l'on est prêt à pousser les limites de la morale quand la pression des paires carbure à l'alcool et que la lune n'est qu'un minuscule croissant, peignant d'un jaune sale nos corps nus."
PJL/douzepouces/CISM FM

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"Diatribes is a duo from Geneva and consists of d'Incise on laptop/objects and Cyril Bondi on drums. D'Incise is very active with improvised music, free-jazz and electro-acoustic music. He is also running the netlabel Insubordinations. Diatribes started in 2004 and collaborated with a huge amount of guest musicians. The last combination is with the double bass player Barry Guy. Barry Guy is one of the world's leading bass soloists and improvisers, played in a lot of ensembles and is also as a composer of new music.
Multitude starts as a highspeed train. The first three compositions are full of maniac compositions. The drums and bass freely play restless around and the electronic sounds fits well to these acoustic improvisations. The race ended during the fourth composition and the slow played bass combines the moving drums and laptop regurgitations. "Ne plus avoir peur des montres" goes wild again with high tones in combination with the very low and slow tones of the bass and ended in a complex improvisation. The last two tracks explore the different moods and speeds. After a free dynamic intercourse the album ends with a peacefull alternation of fleeding tones. These moments of rest are very welcome. This album is well-played, dynamic, complex and a feast for the lover of improvised music. Highly recommended."
JKH/vital weekly 728

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Christian Steulet - Le Courrier - 26 juin 2010

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"Cave 12 und das Diatribes-Duo D'Incise (laptop, objects) & Cyril Bondi (drums, percussions) gehören nach Geneva, ihre Begegnung mit dem Kontrabass von Barry Guy ins Forschungsgebiet der elektro-akustischen Improvisation. Während die Kollegen im CERN Isotopen, Higgs-Teilchen und Bottom-Quark nachspüren, konzentrieren sich diese Drei auf die klanglichen Aspekte von Teilchenbeschleunigungen und Partikelkollisionen. Bei 'corrosion du possible' erhöht noch hitziger Klarinettenbeschuss durch Benoît Moreau die Temperatur. Druck und Beschleunigung erhöhen das Noise-Niveau derart, dass laptopgenerierte und ohne Strom erzeugte Geräuschpartikelwolken und Klangfelder weitgehend ununterscheidbar werden. Guy setzt oft Arcotechniken ein und singt stellenweise so süss wie ein Cello, er kurvt als Dopplereffekt durch den Raum oder pflückt Protonen aus Molekülketten. Bondi tickelt und schabt mit Becken oder rappelt, knirscht und schrillt wie ein Schrottauto, bevor es endgültig auf Würfelform gepresst ist. D'Incise ist als Phantom vom Dienst schwer zu fassen, klickt und scheppert er mit Objects an Objects, oder tönt er die Blasenkammer mit Drones? 'Un peu plus rouge' rast und flirrt lange auf besonders hoher Betriebstemperatur, bevor es federnd, klopfend, klackend abkühlt zu einem Tamtam aus alter Zeit. Zuletzt knurscht und rauscht es bei 'exil' aber noch einmal ganz vehement, und ich taumle teilchenbeschleunigt davon mit der gefestigten Überzeugung, dass Guy der LHC, der Large Hadron Collider unter den Bassisten ist.
Rigobert Dittmann/Bad Alchemy

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"Freischärler aus Genf am See, dass es so etwas gibt. Dort, wo man - hätten sich nicht vor Jahren die Wege mit den lässigen Verrückten von Goz of Kermeur gekreuzt - hundert Prozent Geldadel angesiedelt vermutete. Aber vielleicht schärft ja die stinkreiche Umgebung die Opposition; der Titel dieser experimentellen Platte - ausgeliehen von den linken Politphilosophen Negri/Hardt - spräche dafür. Freejazz, Elektroakustik, Elektronik, das sind die vorherrschenden Ausdrucksmittel der gedanklich und personell offenen Diatribes. Gern laden die Noch-nicht-30-Jährigen sich Gäste für ein Wunschkonzert ein. Ein grosser Meister wie Barry Guy kann da keinesfalls ein Fehlgriff sein. Improvisationen an Computer, Kontrabass und Perkussion nehmen vielerlei Gestalt an, die Beweglichkeit äussert sich in Richtungs - und Perspektivenwechsel. Mit Fortdauer der "Multitude" zieht sich die Angelegenheit allerdings etwas in die Länge. Immerhin erzeugt "Multitude" zwanzig Minuten lang Brisanz."
Felix/freiStil 32