(Free Improvisation, Electroacoustic) [WEB] Abdul Moimeme - Mekhaanu (La Foret Des Mecanismes Sauvages) - 2012, FLAC (tracks), lossless

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Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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As an adolescent I attended a Barre Phillips concert in Lisbon. Perplexed by what I had just heard, I went backstage to ask him about the sources of his inspiration. His answer mainly referred to natural phenomena such as the ‘sunrise’ and ‘birds singing’, with Igor Stravinsky’s name included somewhere in between. Expecting to hear the names of other outstanding musicians, I was slightly disappointed with the reply because I considered music as something complacently detached from the surrounding world. Ironically, I now find it increasingly difficult to discern the barriers between the two. The more I listen to the ‘sonic ecosystems’ we live in, the more I discover fascinating relationships and random juxtapositions that spontaneously align in my ears as ‘readymade compositions’.
My current improvisations are frequently compared to the sounds of moving mechanisms. When I play I have no such intention in mind, but the analogy is a reasonable reminder of how, in a digitalized era, the majority of the world’s labour force still works under 19th Century conditions, pulling and tugging at roaring machines. Apart from this sobering fact, industrial sites tend to be interesting places, both spatially and sonically, otherwise industrial archaeology might never have existed. Whether we like it or not, our daily lives are also permeated by mechanical sounds. If we care to pay attention to their patterns, we will begin to hear the first murmurs of “la forêt des mécanismes sauvages”, a territory where wild mechanisms live unbridled by any human restraint. Irrespective of this imagery, I invite listeners to freely create their own associations as the present soundscapes unfold.
As in my previous solo work, Nekhephthu (cs 102), all the pieces contained in this release are improvised. Playing two prepared guitars simultaneously, I usually decide each setup on the spur-of-the-moment; avoiding the use of already tested and thus ‘contaminated’ combinations. The only electronics used here include the dry sounds of two amplifiers and a pre-amp, which can sometimes be overdriven. Otherwise, no pedals, loops or overdubs have been used and thus the effects you hear are exclusively obtained from the resonance of the objects or instruments with which I modulate the guitars’ natural timbre, played in a ‘live’ setting. - Abdul Moimême, Lisbon, 19 January 2012
In this release, the ingenious Abdul Moimême simultaneously plays two prepared guitars (which means a guitar that has its timbre altered by objects placed on or between its strings). He sets the instruments in motion and lets them sing to each other, nudging them in different directions as the seven tunes progress. The result is a kaleidoscope of resonance: there’s undertones and overtones, clangs and urgent pulsations, scrapes and ancient echoes, arctic winds and dinosaur roars—a veritable feast of sound. In fact the title of the CD means « the forest of wild mechanisms, » which is an apt description of the compelling world that Moimême creates.
This music is immensely pliable to the imagination, which is part of the joy of listening. In the liner notes Moimême states: « I invite listeners to freely create their own associations as the present soundscapes unfold. » And indeed, « Mécanismes Pi, » which has an enigmatic percussive noise like distant marching, as well as a burgeoning drone, could be identified as the sounds inside Godzilla’s ear as he rampages through Tokyo. And the squiggles of high-pitched noise in « Qu’ils appellent Saturne » could be the song of an alien creature living in a subterranean pod on Saturn. But whatever this music sets off in the imagination, it has a wild beauty and a freshness that’s highly enjoyable throughout. - Florence Wetzel / all bout jazz
Studio-recorded in August 2011, in the guitarist’s home city of Lisbon, Mekhaanu—La Forêt des Mécanismes Sauvages, features Moimême improvising using his own set-up of amplified and prepared guitars. With several past releases on the Portuguese Creative Sources label, he has mainly collaborated with his Portuguese countrymen, the most notable exception being his 2010 recording with Diatribe. The obvious precursor to Mekhaanu—La Forêt des Mécanismes Sauvages is his previous solo recording Nekhephthu (Creative Sources, 2008.)
Moimême plays two prepared guitars simultaneously, eschewing the use of pedals, loops or overdubs? the only electronics he employs are for the purpose of amplification. So, anything that sounds as if were produced using « effects » actually originates from resonances of the instruments or the objects used to prepare them. Given Moimême’s use of preparations such as attached springs, metallic bars and plates, he has inevitably been compared to Keith Rowe who pioneered the use of such preparations with guitar. However, such comparisons are not supported by the actual music produced by Moimême, which features the trademark sounds of electric guitars far more than Rowe’s, which has progressively diverged from the sound of a real guitar. To be fair to both musicians, it is probably best to describe Moimême as a post-Rowe guitarist.
Moimême generates an impressively broad spectrum of sounds from his instruments and is adept at using the two guitars to produce contrasting sounds which complement one another well, repeatedly creating the impression that two separate guitarists are interacting and trading phrases. Typically, he pairs sounds which differ radically in pitch or tone, such as high-pitched feedback set off against a low-end rumble. The end result is invariably an appealingly deep soundscape with plenty of detail which makes for stimulating and dramatic listening. - John Eyles / all bout jazz

Abdul Moimême: Fender Stratocaster and a self made solid body electric guitar, both amplified separately and prepared with small and large objects. In track #2, prepared Gibson Les Paul and a Rickenbacker lap guitar inside a grand piano.