ER044 Valerio Tricoli / Werner Dafeldecker / Mattin - Le Diable probablement
by Valerio Tricoli / Werner Dafeldecker / Mattin
Cassette, Eclectic Reactions Records (Bilbao)

Last release for 2022 and number 44 on Eclectic Reactions Records entitled “Le Diable probablement” and which arises from the conjunction between none other than Valerio Tricoli, Werner Dafeldecker and Mattin. The versatile artist from Biscay, probably one of the most internationally known Basque figures in sound art and experimentation, responsible for countless projects (La grieta, Billy Bao...), albums and works in different formats (such as his latest book on Social Dissonance...) joins the Italian Valerio Tricoli (from acousmatics and who has released on labels such as PAN or Entr'acte) and the Austrian composer Werner Dafeldecker (multi-instrumentalist and improviser with works since 1991 on labels such as Room 40, GROB or Another Timbre) to offer us this conceptual and sound jewel. Half an hour long for a true initiation journey through sound experimentation, noise, electronics, sound synthesis, abstraction, industrial music, concrete music, drones and the darkness that pervades everything. Throughout five pieces, the different textures, tones, and more or less noisy structures, which are presented acoustically along with voices, interpretations, electronic and organic sounds, form... more

released December 17, 2022

All music by Valerio Tricoli, Werner Dafeldecker & Mattin.

Design by Eclectic Reactions.


The Wire, (London, #469, March 2023) by Daniel Neofetou

Le Diable Probablement is a surprising record for Bilbao noise and improv stalwart Mattin to be involved with at this time. In recent years, he has largely been engaged with a project of employing the audience as an instrument, as he elaborates in his 2022 book Social Dissonance. This entails generating destabilising situations among crowds at his gigs, and thus, as his thinking goes, enacting a kind of Brechtian alienation effect which challenges the categories governing people’s lives under capitalism. Aside from the extent to which all genuinely experimental music is in affinity with an aspiration to live and feel unencumbered by the profit motive, this coherent album of fully formed recordings seems to share little in common with such a project. The first track 'Transformation' provides a barrage of overdriven distortion from various indeterminate sources. Initially, this promises that Le Diable Probablement will also be an uncharacteristic record for Mattin’s two collaborators, Valerio Tricoli and Werner Dafeldecker, especially the latter, who is an inveterate staple of barely there free improv and modern composition. However, the next track 'Hasta Que No Se Extinga' is a model of less is more, consisting for most of its runtime of creaks and medium wave radio squiggles on a tinnitus-esque bed of white noise. The most remarkable tracks are 'Recovery Price' and 'Hunting Hauntologists', which lie somewhere in between these two extremes. The latter begins with a siren-like tone entwined within a glutinous web of digital signal processing bearing the unmistakable mark of Tricoli, and progresses to a passage of beats so minimal they recall the sound of a finger tapping an aux cable. The former is for the most part undergirded by a baggy chiming ostinato, ruptured by stabs of dissonance and snarled lyrics, and ends with the genuinely disarming glimpse of an ambient melody.

Number 1368
Week 1

January 2022


It has been quiet for Mattin for some time for reasons I don't know. I can't say I always enjoyed his releases, as sometimes the concept seemed of more importance than the actual music, but I liked the consistency of his output. He teams up with Valerio Tricoli, tape manipulator, and Werner Dafeldecker, multi-instrumentalist and improviser. The cover and information aren't particular about instruments, recordings dates and such banalities that reviewers like to mention. As I thought this trio was a bit of an odd combination, I had not many expectations, and I suspect that is a good thing. Without knowing what to get, I am pleasantly surprised by the five pieces/thirty minutes of music here. Music that isn't easily described. It's one thing or another. The proceedings are opened by 'Transformation', a brutal cut-up of noise sounds, modular electronics, reel-to-reel loops and a slow rhythm thud. It sets the tone for the release, which never gets very quiet or spaced out. That said, it's also not always noisy. In 'Hasta que no se extinga', I think Mattin adds voice, and the music is deep bass-like, but there is some excellent tension in this piece, of sounds buzzing in and out of the mix. In 'Recovery Prize', this trio attempts a song in an outsider mode, which is interestingly weird. At the same time, the title piece is a monster noisy punk piece, stomping and buzzing with synthesizers and distorted voices. The most extended piece is at the end, 'Hunting Hauntologists', in which there is a sort of culmination of all that we heard so far. The modular electronics beeping, noise drones, distorted vocals (no longer screaming), and Tricoli's tape manipulation add unsteady loops to the proceedings. An excellent release that put me on the wrong foot with each new piece it offered, and I would certainly not have minded hearing a few more of these surprise attacks. Hopefully, this trio sticks together for some more music. (FdW)
––– Address:

A2 (Prague, March 2023)

Půlhodinové album Le Diable probablement obsahuje pět skladeb, které možná zklamou skalní vyznavače improvizace svou organizovaností a uměřeností, avšak potěší ty, jimž jsou žánrové nálepky včetně té experimentální příliš těsné. Kdo očekává žár spojený s představou divokého přerodu, bude zaskočen chladem nahrávky. Přitom se zjevně nejedná o mrtvolnost, nýbrž o předpoklad konceptuálních přístupů, mezi něž patří i ty eklektické: „útvary“ je potřeba rozlišit a zchladit alespoň na takovou teplotu, aby je bylo možné uchopit a dál s nimi zacházet. Elektronika – ať už digitální, či analogová – zajišťuje nejen panoramatický tep, kolem nějž rotuje procesovaný hlas evokující písňový formát, ale též umožňuje uvážlivou kontrolu nad zvukem. Uvážlivost lze předvídat už na základě pověsti jednotlivých hráčů: Dafeldecker stál před třiceti lety u zrodu rakouské redukcionistické scény, s níž o dekádu později začíná spolupracovat Mattin; Tricoli osciluje mezi současnou kompozicí a organickou musique concrète. V rámci historie experimentální hudby stojí za připomenutí, že zatímco progresivní část Dafeldeckerovy generace přispěla „neidiomatickým“ přístupem k vymanění improvizace z jazzové tradice, mladší tvůrce láká obrátit pozornost proti vlastním zvyklostem – v Mattinově případě často využitím zcizených postupů, například rockových. Na podobné testování hranic dojde i nyní, v okamžiku, kdy se pozastavíme nad tím, jak delikátní hudba může být vyrobena ze zmrazeného polotovaru.
Patrik Pelikán