born 1977, Lisbon.


7th December 2017
Yet another review from "Cai Bem" Lp at touching extremes

Having a set of players tackling tools they’re not accustomed to is a somewhat unsafe proposal. However, Cai-Bem – the newest release by minor legend David Maranha, of Osso Exotico renown – eschews the disasters of disorderly improvisation more or less completely.
The duration is that of a classic vinyl LP, around twenty minutes per side. The instrumentation – comprising organ, bass, drums, shruti box and voice – is improved by an object this writer is particularly affectioned to: a Fostex 4-tape cassette recorder, namely the very first means through which he attempted his own “creative” pastiches as a youngster. Needless to say, the old machine is exercised much better here by Miguel Abras, who – conjointly with the leader, Margarida Garcia and Manuel Mota – brings forth a whole cosmos of ectoplasmic sonorities especially typified by noticeable oscillations, persistent acute frequencies and heavy-footed pseudo rhythms.
In general, the work contains a high percentage of ritualism. Firm gestural patterns emerge from a gathering of scarcely palpable textures; a valuable recipe for rendering our system of reclusive defense a little unsteady. The muddy mix must not be perceived as a factor decreasing the overall efficiency; on the contrary, the sense of occlusion experienced while listening to the music via headphones was helpful in transforming the current pessimistic visions into pliable substances for an unidentified typology of so-called comfort.
We can’t be sure about what’s heard in a given moment; unquestionably, a copious dose of processing and filtering – in addition to a (presumed) manipulation of the speed controls – contribute to an unusual “lucid numbness” that never ceases to shield the listener from external influences. Think Pink Floyd circa Ummagumma covered by Faust, and you’re halfway there.
Interesting record. Not one for the ages, but gripping enough to justify several replays.

23rd November 2017
New review from "Cai Bem" Lp 

Interesting this album is titled Cai-Bem. The Portuguese to English translation loosely means goes good or sits well. David Maranha's new full length on Tanuki Records steers far from ambient float and spiritual fluff. These sounds do not sit well and the going is in another direction from good. So Cai-Bem? A smile when it came time to name this or some knowledge yet to be understood by the listening world. Theses musicians have created, or opened is a better term, a small dimensional valve. Noise is elongated and pulled from our reality. A droning epic slipping through a spacial gap too small for so much talent. This creates a sonic environment that is slightly uncomfortable. Like sound is being pulled out of you rather than flowing into your thoughts. Cai-Bem is an oddity with twisted beauty so askew, music scholars will need to investigate.
David Maranha gathered multiple hands in the composition of the album. His fellow creators moved in new directions, all playing unaccustomed instruments. This group includes Margarida Garcia, Miguel Abras, Manuel Mota, and of course David Maranha. With organ, bass, shruti box, drums, vocals, and tape manipulation, Cai-Bem is a slow sonic upheaval. High pitched droning mixed with deep cyclic resonating bass. Out of phase percussion keeps the lid from screwing on tight. Like a high pressure leak, the entire listen is in the dangerous red zone of exploding. Thanks to this experienced bomb disposal unit, these sounds let off tremendous energy, with no harm to consciousnesses in close proximity. Aural breath just behind your shoulder, the sound sending shivers, the source shrouded in obscurity. A truly haunting escapade through a black and white negative of Cai-Bem.
This is the first full length vinyl release for the Belgium label Tanuki Records. Number twenty eight in the Tanuki catalog. The going will be difficult for future vinyl label releases to equal this metaphysical debut. A completely unique sonic experience. Available from the labels bandcamp page.
-Lost in a Sea of Sound 

3rd November 2017
duo with Filipe Felizardo, 

Casa da Cultura, Setúbal, 22h
Rua Detrás da Guarda, n.os 26 a 34
2900-347 Setúbal

27th October 2017
Concert and Release of LP "Cai Bem" from Tanuki Records
with Manuel Mota, David Maranha and Manuel Abras, 22h

Galeria Zé dos Bois
Rua da Barroca, no 59
1200-049 Lisboa Portugal
t. + 351 213 430 205

19th October 2017
a Review from Cai Bem by Frans de Waard, Vital Weekly:

DAVID MARANHA - CAI BEM (LP by Tanuki Records)

For the first time Tanuki Records from Brussels release a full length LP and for this they have one or
two new pieces by David Maranha; it depends if you think of a record as two sides of one piece split in
two. With this one it is no doubt the latter. He’s best known as an organ player with some exciting loud
minimal music, but I first heard him with the more delicate Portuguese group Osso Exotico. For this
new album Maranha takes note of Gavin Bryars who said it is good to refresh what you are doing and
go back to the beginning, and switch roles. So the organ player Maranha plays drums here, Margarida
Garcia organ (normally bass), Manuel Mota on bass (guitar) and Miguel Abras on ‘multi-track magnetic
cassette tape deck, voice and shruti box’ (I have no idea what his usual instrument is). I gather they
convened together and tape was switched on and they started playing, on in a single day (but perhaps
not in a single session). Maranha later spend a few days in mixing this material. There is throughout a
sort of drone thing going on, maybe on the large stabs of the organ, whereas the other instruments,
bass and drums foremost, are in a free improvised music, going about, whereas the role of Abras is f
reer than that; he provides some of the weirdo sounds (high pitched, slowed down voices) that float as
in free space through these two sides. The drums sound a bit far away and I am not sure if that is an
intentional decision from Maranha or not. The mood is quite dark and obscured; like rolling thunder
sounded in the distance at night. It is also a bit noisy I guess with that piercing tone lingering on
somewhere, and it made me wonder if noise is the original background of Maranha. If so, I didn’t know.
This is not really music to aim and please, I think, but something of a well-orchestrated nightmare.
Like musicians, music lovers should also be willing to refresh and rethink and embrace something
new. This is good place to do that if you want to hear Maranha doing something out of the ordinary
and yet fitting perfectly. (FdW)
––– Address:


18th October 2017
duo with Filipe Felizardo, 22h

Galeria Zé dos Bois
Rua da Barroca, no 59
1200-049 Lisboa Portugal
t. + 351 213 430 205


12th September 2017
Out now:

Earth Rundown

Duo of myself with Manuel Mota, both on guitars
Sloow Tapes, Brussels, Belgium

10 September 2017
out now:

Cai Bem

with Manuel Mota, David Maranha and Manuel Abras
Tanuki Records #28, Brussels, Belgium 


6th August 2017
A review (in Dutch) from last weekend's performances:

Kippenvel en symbiose
Graindelavoix, het vocaal gezelschap van en rond Björn Schmelzer, presenteert eeuwenoude vocale muziek in een hedendaagse context. Ze waren twee jaar geleden al te gast opn TAZ en lieten toen een onuitwisbare indruk na.
Hun nieuwste productie gaat over slaap, of liever over het gebrek daaraan, de verstoorde of de uitgestelde slaap. And underneath the everlasting arms is een soort archeologiche vertelling over de slapeloosheid, met de Completen – het allerlaatste getijdengebed van de dag – als rode draad. Die gebedsgezangen (polyfonieën van Josquin, Gombert, Sheppard en Lassus) werden door Schmelzer verweven met ’incantaties’ van schrijver Samuel Beckett, zelf een notoire slapeloze ziel.
Graindelavoix focust niet op de historische reproductie van oude muziek, maar zet intensiteit en beleving centraal. Geen klassieke kooropstelling dus in de Petrus en Pauluskerk. Het publiek zit, ligt en leunt verspreid over de ruimte. Dat maakt niet iedereen even blij, stellen we vast wanneer een dame naast ons op het tapijt ploft en “hier ben ik echt te oud voor” mompelt.
De hedendaagse en vernieuwende visie op polyfonie van het gezelschap kan ook een jong publiek bekoren. We zien bijna evenveel sneakers en hoodies als keurige veterschoenen. De zangers bewegen zich doorheen de kerk en tonen zich vanuit verschillende invalshoeken, nu eens schaars bijgelicht door een sober, maar warm peertje, dan weer nauwelijks zichtbaar in het donker. Het lichtspel is uitgepuurd, de dramaturgie sober en afgemeten, waardoor de zangers alle ruimte krijgen. Ze bewegen ritmisch langs en door elkaar, soms schijnbaar ritueel rondjes draaiend onder het zachte schijnsel van een enkele lamp.

Maar misschien doet dat er allemaal weinig toe. Je kan geen flauw idee hebben wie Beckett was, lak hebben aan oude en polyfonische muziek, een hekel hebben aan kerken en gebeden en toch diep geraakt en bewogen worden door Graindelavoix. Wat er echt toe doet en waarom je ooit een performance van dit gezelschap moet gezien hebben is dit: hoe een stem fragiel maar zelfzeker lijkt op te stijgen en aan te zwellen, waarop een andere stem naadloos inhaakt, en nog een, en nog een, tot een krachtig nieuw en gelaagd geluid de ruimte en je bewustzijn vult. Hoe de blik van een zanger die van een andere grijpt en ze intens gelukkig glimlachend naar elkaar zingen, als in een uniek moment van symbiose. Dat je bij momenten geen idee hebt wat er gezongen of gedeclameerd wordt, maar desalniettemin tot in elke vezel ontroerd raakt. (Bieke Purnelle)


3rd and 4th of August 2017 
I will be working in Oostende with Graindelavoix 
on the polyphony/Beckett production 
for the Theater Aan Zee Festival. Performances start at 10pm.