(Modern Classical, Electroacoustic, Cinematic) Michel Banabila & Oene van Geel - Music For Viola and Electronics II - 2015 (Tapu Records # 004TR), FLAC (tracks), lossless

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Путь: ...\Michel Banabila and Oene van Geel - Music For Viola And Electronics II {WEB-FLAC} (2015)
1 -=- 01. Hephaestus.flac -=- CDDA (100%)
2 -=- 02. Chaos.flac -=- CDDA (100%)
3 -=- 03. Vleugels.flac -=- CDDA (100%)
4 -=- 04. Radio Spelonk.flac -=- CDDA (100%)
5 -=- 05. Kino Mikro.flac -=- CDDA (100%)
Сводка 100,00% CDDA
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On Music for viola and electronics II, Banabila and Van Geel explore further into their neo classical mix of viola improvisations, ambient textures, minimal compositions, and modular experiments.
After their collabs on 'Music for viola and electronics', (2014) Michel Banabila and Oene van Geel decided to continue their recording sessions, again combining viola with electronics.
This time they invited Eric Vloeimans on trumpet, Keimpe de Jong on contrabas clarinet, Joost Kroon on drums, Emile Visser on cello and Radboud Mens for Ableton programming. Emile plays in Zapp String Quartet with Oene, Eric performed live with Oene and The Nordenians, Eric and Michel worked before on their award winning album VoizNoiz 3, Keimpe and Michel performed together in a theatre play, Radboud and Michel worked on ZoomWorld and many other projects together. The artwork is again by photographer Gerco de Ruijter.
Diverse. This is the first word that must be used in describing Music For Viola And Electronics 2. Electronic musician Michel Banabila and Violist Oene van Geel explore more territory on one album than seems possible. They touch on free jazz, industrial beats, drones, noise, groove jamming, and compositional elements reminiscent of Steve Reich and even Andrew Loyd Webber. Yet, the album flows nicely and is amazingly coherent despite the wide variation. Another word one might use is "cinematic." The album feels at times like a soundtrack. That's not to say that it is destined to be used as background music, but that the music has a narrative. It is a dramatic, emotional journey, similar to cinematic music. This quality is most pronounced on the third track, "Vleugels". This piece begins with looped melodic viola, reminding the listener of the classical minimalism of the 1960s. It then weaves its way into a rich emotional composition with thick tonal harmonies. When electronic drum beats ramp up to a rock feel, the music begins to sound like a modern Broadway musical. On the other end of the spectrum is the final piece on the album, which features chaotic string punches and layered synth tones, which sound like insects buzzing. Somehow it all falls together into a coherent musical statement. Every musical destination flows seamlessly into the next in a natural and logical manner. The end result is a beautifully pleasant album. Rarely are experimental albums this accessible; Banabila and van Geel have put together an album that can be fully appreciated by any avant-garde fan, without enraging their neighbors. (Christopher Mandel)

Michel Banabila: Eurorack A-100 modular system (2, 5), radio (4), logic pro and keys (1, 2, 3, 4, 5)
Oene van Geel: viola (1, 2, 3, 4, 5) and 5 string violin (4)
Keimpe de Jong: contrabass clarinet (1,2)
Joost Kroon: drums, metals (3)
Radboud Mens: ableton programming (5)
Emile Visser: cello (2, 3, 5)
Eric Vloeimans: trumpet (2, 3, 5)