Bilal Dídac
P. Lagarriga
MÚSICA/MUSIC
Bilal
Dídac P. Lagarriga's music
project Un caddie renversé dans l'herbe since 2000 (check
discogs, bandcamp, spotify, applemusic, youtube...)
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Instagram: @un_caddie_renverse_dans_herbe
YouTube channel: https://m.youtube.com/channel/UCqVp5D5CTxNqQ6es6atbZkw
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"Didac P. Lagarriga, a man
capable of atomising and blending a global array of influences without
succumbing to the cloying blandishments of "World Music" or
"fusion", just a series of steadily hypnotic, subtle and deeply
satisfying revolutions." (The Wire, UK)
"He never ceases to amaze us with its musical and minimalist rhymes
full of finesse and cosmopolitan influences. With a little curiosity and
a real desire to be astonished, the listener will undoubtedly be able
to find his place in the singular and attractive universe of Un Caddie
Renversé dans l'Herbe and understand, if need it, that it is possible
to approach music from singular angles without falling into caricature."
(Benzine magazine, France)
"A beautiful, unassuming blanket of multiethnic instrumentation arranged
via the artist's laptop, which acts merely as a locus for connecting the
various parts of this one-man, transcontinental ensemble. […] Un
Caddie escapes easy estimations, harping on his exploratory sound-grabbing
or fusionist approach, by creating songs that arrive with a haphazard
slowness, quietly building around simple, effective figures". (Brainwashed,
USA)
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N E W . A L B U M - DJANIRA, A TRIBUTE - 2 0 2 4 - Bandcamp
Djanira, a tribute - 14 tracks, 43 minutes
Djanira da Motta e Silva (1914-1979),
known artistically as just Djanira, was a Brazilian painter depicting
common people, religious themes and landscapes in a very particular way,
evidencing Brazil's diversity. This album is a tribute to her by Brazilian
born and Barcelona based Un caddie renversé dans l'herbe (aka Bilal
Dídac P. Lagarriga).
"I recorded the tracks inspired by Djanira's paintings and, at the
same time, I tried to be myself based on my own background, where experimentation
and sound research is paramount. I established starting points (the paintings)
for each track, which I titled according to the painting that inspired
it. The listener does not need to know these paintings to enjoy the music,
but the album comes with a pdf displaying each painting in case you want
to know the origin of each track or even listen to the album contemplating
these amazing works."
Tracklist
01. Inspired by Djanira’s painting Dança da cana verde
02. Inspired by Djanira’s painting Largo do Pelourinho.
03. Inspired by Djanira’s painting Os Orixás.
04. Inspired by Djanira’s painting Paisagem do sítio de Paraty
05. Inspired by Djanira’s painting Candomblé
06. Inspired by Djanira’s painting Costureira
07. Inspired by Djanira’s painting Estudo para painel de azulejos
08. Inspired by Djanira’s painting Caboclinhos
09. Inspired by Djanira’s painting Autorretrato
10. Inspired by Djanira’s painting Onírico
11. Inspired by Djanira’s painting Tocador de sanfona
12. Inspired by Djanira’s painting Mulher olhando na janela
13. Inspired by Djanira’s painting Ritual da puberdade
14. Inspired by Djanira’s painting Zona norte
DOWNLOAD
HERE A PDF WITH DJANIRA'S PAINTINGS LINKED TO EACH TRACK
Released April 27, 2024
Un Caddie Renversé dans
l'Herbe aka Bilal Dídac P. Lagarriga: mbira, kalimba, flute, electronica.
All tracks edited in Barcelona, 2022-2024, as a result of the research
supported by Barcelona City Council's grant Barcelona Crea 2022.
Artwork by Bilal Dídac P. Lagarriga.
https://uncaddierenversdanslherbe.bandcamp.com/album/djanira-a-tribute
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P I A N O M A R -Mixtape- 2 0 2 4- Mixcloud
Pianomar mixtape
A mixtape based on Bilal Dídac P. Lagarriga's novel Pianomar (published in Spanish by Galeria H2O, Barcelona, 2024). A 1 hour mix of styles from african jazz to brazilian beats, minimal piano, electronica and experimental music.
https://www.mixcloud.com/bilal_didac/pianomar-mixtape/
DO
Download high res image of Pianomar dj session
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N I G H T U R N S - 2 0 2 2 - P U B L I S H E D - B Y - C E L L U L E 7 5 / D E K O R D E R
Nighturns
18 tracks, 53 minutes
Un Caddie Renversé dans l'Herbe aka Bilal Dídac P. Lagarriga:
mbira, kalimba, balaphon, vibraphone, melodica, flute, electronica.
Collaborations:
o Du Balimb (xilophone and marimba on tracks 1, 2, 5)
o Maktar Diop (voice on track 7)
o Daara Touba taalibés (Koranic school pupils) (chant on track
9)
o Djibi Fall (voice on track 15)
o Cheikh Fall (chant on track 10)
o Mbacke Baye Falls (chant on track 18)
o Eulàlia Fanar (cello on track 4)
o Ahmed G (clarinet on track 5 and saxo on track 14)
o Pela (voice on track 3 reciting the poem "Kulu-Kulu di Lalayu"
by Haji Hasan Mustapa)
Soundscapes and ritual chants
recorded in Mbacke, Diourbel and Touba (Senegal), 2017-2020.
Piano (tracks 5 and 12) recorded in Radio Contrabanda, Barcelona, 1995.
All tracks edited in Barcelona, 2021-2022.
Artwork & Mastering by Marc Richter
https://cellule75.bandcamp.com/album/nighturns
. . . NIGHTURNS REVIEWS . . .
in Nighturns, the latest recording by Un Caddie Renversé dans l’Herbe,
the moniker of Bilal Dídac P. Lagarriga, the combination of African
instruments – such as balaphon, mbira and kalimba – together
with the use of found voices and traditional classical instruments, results
in a powerful, highly involving and passionate amalgam. The influences
that go into this project are very diverse. The sounds are mixed and processed
using computers and software that make it decidedly more practical and
immediate to compare the acoustic recordings of varying quality that are
the result of explorations in specific locations and experiences with
distinctly exotic and delimited cultures and social practises. It is these
random field recordings or recordings sought out in precise contexts that
determine the grain of the various compositions, which also cultivate
an instrumental wisdom made of accuracy, sensitivity and love of a lively
and organic flow. It is “a self-made music”,” says the
Barcelona-based Brazilian master, unintentionally subverting the Burroughsian
maxim that the author is the one “who is on the spot”,”
a place – both physical and mental – where it is possible to
change the order of the elements without substantially altering the essence
of things. The things, in this case, are nothing more than simple sounds,
pure vibrational energy captured and detourned for a more structured and
coherent listening. Lagarriga is no stranger to using ethnic instruments
and rhythmic structures combined with electronics, techniques that were
also used on Like A Packed Cupboard But Quite…, an album released
on Dekorder in 2004. Memory for Lagarriga is at the same time a dis-memory,
music that has been lost and then found again, a nocturnal drifting through
the sandy, dimly lit streets of West Africa or through the retrieval of
old recordings, for example of devotional poems recited by pupils of a
Koranic school or broadcasts from an Arabic radio station. There is intricate
and suggestive percussion, ritual chants and organic sounds. And yet,
the overall impression one gets from listening is one of deconstructive
minimalism, somewhat magical, but still with a decidedly conceptual and
combinatorial feel.
Neural,
Critical digital culture and media arts (Italia)
-
15 années se sont écoulées
depuis le dernier album de Bilal Dídac P. Lagarriga aka Un Caddie
Renversé dans l’Herbe et Nighturns. 15 anes c’est long,
mais c’est le temps qu’il a fallu à l’artiste pour
retrouver l’envie de composer. Une éternité parsemée
d’expériences personnnelles et de découvertes, de voyages
et d’écriture, de pertes et de rencontres.
Né au Brésil
et installé à Barcelone depuis son enfance, Un Caddie Renversé
dans l’Herbe croise les cultures de l’Afrique aux déconstructions
d’une dystopie éclatée, futurisme minimal gorgé
de percussions éclatantes et de sonorités organiques à
la beauté universelle.
Chez lui, le monde est une cour des miracles aux mouvements excentrés,
axes en pivotement aux allures de mantras universels.
Nighturns est le journal de bord d’une existence passée à
se nourrir des autres et construire une personnalité multiple aux
ramifications entrecoupées d’intériorité et
de lumière, de philosophie et d’humanité.
Les loops et les field recordings donnent à entendre un monde sublimé
par l’acte de création, les balafons, xylophones et autres
rythmiques étoffent l’ensemble avec élégance,
fuyant par la petitesse pour nous faire pénétrer dans l’immensité
de la bienveillance. Vital.
Roland Torres, Silence
and Sound (France)
-
Out of sight, out of mind, I
guess. That's what I thought when I saw the same Un Caddie Renversé
dans l'Herbe again, after many years of silnce. I don't know why Didac
P. Lagarriga didn't release any music between 2006 and 2022. I reviewed
many of his works before, if not all, going by what Discogs lists. One
of the labels releasing his music, was Marc Richter's Dekorder label.
These days Richter has a new label, Celulle 75, and it's time for another
release by Lagarriga. In the intervening years he
comverted to the Islam, and started to investigate Africa's spirituality,
especially West-Africa. He also pusblished twelve books in Spanish and
Catalan, poetry and essays. All of this he works into his music, which
is a strange but exciting wild ride of music, atmospheres, chants, electronics
bleeps. The result is one of the stranger releases I heard in a while.
Inconsistency is my essence, is what the music says to me. Everything
is laid out sparsely as each of the eightteen pieces is a miniamlist sketch
of a few sounds. Think some chanting, field recording (maybe; or Lagarriga's
doing? I don't know), tribal rhytms, but sometimes fed through a synth,
adding an alien charcater to the sound. Some kalimba sounds, a mbira,
balaphon, flute, spoken word. Imagine a travelogue from Africa, but taking
you occasionally outer space. Maybe you can say this is a personal album
(aren't all albums personal?), as if the composer took a bunch of snapshots,
to be reminded later on of the experience,
but back home, it seemed that some of these recordings were corrupted;
or if the recordist took the liberty to add some sounds, maybe on the
spot, as if an interaction with local musicians. The more I hear this
CD, the less I know about it, or understand it. But all the same, I found
this a highly fascinating release.
Frans de Waard, Vital
Weekly
Live
at Espai Nyamnyam - Mieres, 12-2023
Barcelona,
2022. Photo by Isaac Prunera
Argentina,
2000.
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Witteveen+Bos Art+Technology
Award 2014
by Geert-Jan Hobijn
With IlpoVaisanen, John Hegre, Un Caddie Renversé dans l'Herbe,
Muslimgauze, Jim O'Rourke,
Staalplaat soundsystem
This release consists of a book,
a record player, a 7" single and a small electronic sound device.
The 48-page book shows some of Hobijns work through several photos, an
introduction by Douglas Kahn, and an essay by Jorinde Seijdel.
The 7" single contains 20 locked grooves on each side that you can
play manually using the needle attached to the bookcover or using a regular
turntable. The locked grooves on the a-side are taken from the Yokomono
loop records and the locked grooves on the b-side are from Yokomono 02
(empty ) so you can scratch them and creat your own rhythms.
The electronic sound device is an instrument that can be played by moving
your fingers across the light-sensitive sensor.
https://staalplaat.bandcamp.com/album/witteveen-bos-art-technology-award-2014
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"Atlas saltA (map
lies, border lies)" - minicd (Dekorder, 2005. Hamburg)
"Like a packed
cupboard but quite..." - LP/CD - (Dekorder, 2004. Hamburg)
"Now there's a
weird taste in my mouth" minicd (dekorder, 2003. Hamburg)
"Some Nenu Songs"
- CD - (ooze.b\E2p, 2002. Barcelona)
"Polyhedric tetrapak" feat. remixes by Dj Olive, Alejandra &
Aeron, Stephen Vitiello, Erik m and OnCe11
- CD - (ooze.b\E2p, 2001. Barcelona)
"Totlop pak" - CD
- (ooze.b\E2p, 2000. Barcelona)
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