In the second volume of their collaboration, Banabila and Van Geel explore further into their neo-classical mix of viola improvisations, ambient textures, minimal compositions, and modular experiments.
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Label: Tapu Records
Catalog ID: BGII
Squidco Product Code: 20543
Recorded by Michael Banabila.
Michel Banabila-composer, keyboards, synthesizer, radio
Oene van Geel-violin
Keimpe De Jong-contrabass clarinet
Joost Kroon-percussion, metals
Keimpe De Jong-sounds
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• Show Bio for Michel Banabila
"Michel Banabila, born 1961, is a sound artist, composer, and producer. Banabila releases music since 1983 and has produced musical scores for numerous films, documentaries, theatre plays and choreographies. He worked / performed in The Netherlands, Poland, Lebanon, UK, South Africa, Russia, Japan, Spain, China, USA and Belgium. Banabila is especially keen on mixing disciplines and music styles, using elements and influences from jazz, electronic music, classical and world music. Therefore there is no particular genre to categorize Banabila's music. In addition to acoustic instrumentation, Banabila uses electronics, field recordings, and snippets from radio, tv and internet. He collaborated with different types of artists like Anton Goudsmit, Erkan Oğur, Hanyo van Oosterom, Holger Czukay, Joshua Samson, Machinefabriek, Mete Erker, Oene van Geel, Radboud Mens, Salar Asid, Sandhya Sanjana, Scanner, Yaşar Saka , Eric Vloeimans, and Zenial, among others.
Besides making albums and musical scores, Banabila works with theatre, dance and visual art on more conceptual artistic projects. He builds a database with samples; uses the city environment as a recording studio, collects fragments of spoken texts, which he composes into soundscapes, audio/visual installations and performances. Using recordings of speech in several languages Banabila experiments with the tonality of words and the "sound system" of languages. Banabila worked on various projects with video artists Geert Mul, Olga Mink, and photographer Gerco de Ruijter. With Geert Mul he has an audiovisual set, Big Data Poetry, which they performed live in venues like The Barbican (London) during the Logan Symposium 2014, Yukunkun (Beirut) during the Global Week For Syria 2014, and TENT (Rotterdam) during Sound Spectrums 2012. With Olga Mink he performed at the LUX Festival (Sevilla), the VAD Festival (Girona) and the State Of The Image Festival (Arnhem) in 2006. For Gerco de Ruijter he did sound design for several stop-frame animations, like the critically acclaimed Crops, shown in the Hirhshorn Museum (2013 / Washington DC) and Ringdijk at Panorama Mesdag (2016 / The Hague)"-Michel Banabila Website (http://www.banabila.com/biography)
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• Show Bio for Oene van Geel
"Violist / composer Oene van Geel (1973) is a true adventurer in music. Influenced by jazz, chamber music, Indian music and free improvisation, he has applied his virtuoso improvisation skills and his composition talents to a wide scope of musical activities. He toured in Europe, India, Japan, the USA and Canada.
As a player he is currently active with: Zapp4, Estafest, The Nordanians, Haanstra & van Geel and a duo with Matteo Mijderwijk. Besides these groups he is regularly invited as an improvising guest soloist.
He has won the Boy Edgar Award (2013), the Sena Performers Toonzetters Award (2012, with Zapp4) Kersjes Award (2005, with Zapp4), the Deloitte Jazz Award (2002), Dutch Jazz Competition (2001) and the Jur Naessens Music Award (2000).
Oene composes for his own groups, but also writes for other ensembles / soloists such as:
The David Kweksilber Big Band, Osiris Trio, New European Ensemble, Calefax, Ensemble Black Pencil, Amstel Quartet, Steven Kamperman Quintet, Frederieke Saeijs, Remy van Kesteren & Eric Vloeimans, Eric Bosgraaf, Jeugd Orkest Nederland, Amsterdam Sinfonietta, Matangi Quartet, Tetzepi bigtet, Ricciotti Ensemble, Nikolay Shugaev, David Braid and many others.
In 2015 Oene wrote his first viola concerto for Emlyn Stam and the New European Ensemble (premiered 18 December at the Bimhuis, Amsterdam).
Oene often gets commissions by festivals such as: Het Nederlands Vioolconcours (2016), Cello Biennale Amsterdam (2016 and 2008), 25 years Osiris Trio (2014), Storioni Festival (2013), Orlando Festival (2012), North Sea Jazz Festival (2005), SJU Jazz Festival (2002), Marathon Festival Oosterpoort (2002).
As a player and / or composer he was involved in theatre productions with the following companies / directors: Silbersee, Holland Opera, Marcel Sijm, Hollands Diep, Boukje Schweigman, Eric Vaarzon Morel, Saartje van Camp, Tafel van Vijf (Herman van Baar), De Wereldband and the Sonnevanck theatre.
Oene has a special interest in dance: he often works with dancer/ choreographer Kenzo Kusuda, dancer/ choreographer Heather Ware and he will do a collaboration with choreographer Kalpana Raghuraman in 2018."-Oene van Geel Website (http://oenevangeel.com/biography/)
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1. Hephaestus 12:51
2. Chaos 11:00
3. Vleugels 08:26
4. Radio Spelonk 05:31
5. Kino Mikro 09:23
sample the album:
"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."-Tapu RecordsQuotes, reviews:
Michel Banabila's and Oene van Geel's Music for viola and electronics I & II is wonderfully immersive, expansive, and intimate. If there's one word that comes to mind, over and over it's cinematic. The listener is swept up in a storyline that's played out by two superb actors, in this instance, Oene von Geel's viola and Banabila's electronic counterpoint of mood and temperament. The overall result is a sonic dance that fills the space and the heart. Let's encourage these two superb musicians keep collaborating. Highly recommended for headphones. Five stars. (Don Hill)
After they met when working together on Cloud Ensemble, Michel Banabila and Oene van Geel extended their collaboration which resulted in 2014's "Music for Viola and Electronics".
Both were so very enthusiastic about the new musical world that they had opened up, that they kept working on "Music for Viola and Electronics II", which is released this month. Judging by the (strikingly beautiful!) aerial landscape photography of Gerco de Ruijer on the cover, their collaboration will probably not end here: the crop of the (geometric) landscape on the Volume I cover photo is only partially harvested - by hand, line by line... a difficult, strenuous, but most rewarding work. Even for those that follow Banabila's work throughout the years, "Music for Viola and Electronics" is a bit hard to classify, because it's different from most of what he did before. At least, it seems that way: according to Michel himself, it's simply a next step - the logical consequence of everything he has done in the past.
The combination of Michel's modular Doepfer electronics with the warm natural sounds of Oene's viola opens up completely new perspectives. In some way, it is easier to say what this music is nót, than to describe what it ís. It cértainly is a roller coaster of emotions and dynamics, which probably is demonstrated best at the beginning of Volume I: after opening with the carefully restrained, almosts zen-like "Sinus en Snaar", complete turmoil kicks in with the aptly named "Dondergod" ("Thunder God"). It's probably best to put on safety belts before you play this on high volume! "Music for Viola and Electronics II" builds further on the same concepts as the first volume. Some extra musical guests are introduced on several tracks: Keimpe de Jong (contrabass clarinet), Joost Kroon (drums and metals), Emile Visser (cello), and Eric Vloeimans (trumpet). There are some distinct references to somewhat less 'experimental' musical territories. For instance, "Kino Mikro" and "Vleugels" both have a rather cinematic arrangement (the latter taking a surprising turn midway with frantic drumming backed by a string section that sounds like a metal band - a surprising moodswitch effectively breaking the constraints of minimalism). Unlike many other albums that choose to focus on one particular atmosphere, these albums are more like a kaleidoscope of fragmented emotions. This may be a bit confusing at first listen, but it proves to be very rewarding if you carry through and keep listening ! (Peter van Cooten)
UTILITY FOG (FBI Radio):
Music for viola and electronics II follows the same sonic path as part 1 but adds further instrumentation: bass clarinet, cello, trumpet, drums. It's not all experimental modular electronics & extended techniques, but nor is it all lush world beats & string melodies - it strikes a nice balance. They've both stayed on my virtual turntable a lot recently. (Peter Hollo)
VITAL WEEKLY 976:
In the last six months they worked on new music, again using their set-up of electronics, which is for Banabila a doepfer A-100 analog modular system, radio, logic pro and keyboards (the latter on all tracks) and Van Geel plays viola and 5 string violin. I was highly surprised by their release, and obviously the second release is not the similar surprise (it could be, of course, but it just isn't) but it further explores the nature of violin playing and electronics. 'Chaos' comes close to the world of free jazz, with some wild electronics too and a fine orchestral ending. In the longest piece, 'Hephaestus', that also is the opening they set the compass to all things drone like and atmospheric, along with the modular synth cracking up like rainfall and some sparse drumming, making it all a very intense piece. A top-class release of some highly exciting electronic music meeting classical instruments. (FdW)
The Squid's Ear!
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