Pierre Bastien & MIchel Banabila: Nuits Sans Nuit

Pierre Bastien and Michel Banabila return with Nuits Sans Nuit, their second collaboration following their Baba Soirée debut from 2023.

Recorded as an intuitive exchange between Rotterdam and Valencia, the album emerged from a simple ping-pong process: Banabila sculpted sounds and atmospheres, to which Bastien responded with his distinctive instrumental palette: flute-augmented cornet, mechanised log drum, and more. Mixed by Banabila, the result is a raw yet immersive work that resonates with a somnambulant, wide-awake presence.

Pierre Bastien: "The dreamlike quality of our recordings reminded me of a book I read years ago: ‘Nuits Sans Nuit Et Quelques Jours Sans Jour’ by Michel Leiris. Around that same time, some fifty years ago, I was playing in Nu Creative Methods with Bernard Pruvost, a duo that appears on the Nurse With Wound list. Since then, Pruvost has turned to painting, and his work is as dreamlike as our music. We asked him to contribute one of his paintings for the album cover."
"I don't know how to describe the feeling of these crazy times we live in," says Banabila. "Les plus désespérés sont les chants les plus beaux,” Bastien quotes De Musset.

Wordless yet deeply expressive, the album invites listeners into a space of contemplation, where meaning emerges through immersion — like ritual music carrying an unspoken message. Echoes of saudade, blues, fado, and soleá surface in the duo’s playful noise, reimagined through their singular vocabulary.



PIERRE BASTIEN Cornet augmented with rotary flutes (1), Sintir (2), Rabab and pipe (3), Roll piano (4), Mechanized steel drums (5), Prepared cornet (2, 6, 10, 11), Mechanized log drum / Sanza / Hand drum (7), Cornet and mechanized zheng (8), Mangbetu harp kundi, Talking drum tama (9).

MICHEL BANABILA Software instruments, Sampler, Melodica (9), Wooden flute (2), Found objects (1+11), Percussion (1, 2, 4), Field recording (5+6), Mexican Turtle Flute (9), E-bow effects (8), Voice (8), Mix.

Artwork:
'La closerie ferme ses portes avec une sauterelle' by Bernard Pruvost.
Design: Rutger Zuydervelt.
Mastering and vinyl cut by Kassian Troyer at Dubplates & Mastering.
All music composed by Pierre Bastien and Michel Banabila
Recorded in Rotterdam and Valencia, 2024.
Produced by Michel Banabila.
Pingipung 090.
© & ℗ 2025 Pingipung.
LC 09304

'Chaque morceau évoque une marche au clair de lune.' (Geoffroy Séré / POPNEWS)

The Unreal Realm

1. The Unreal Realm * 04:18
2. Lineage (featuring Salar Asid) * 14:57
3. The Process From Birth ** 11:36
4. Timeless Tide ** 06:28
5. Bogus Dominion (featuring Mete Erker) 02:58
6. Banabila & Machinefabriek - Inward Spiral 05:14
7. Pierre Bastien & Michel Banabila - Ambiance Subaquatique 08:15
8. Dave Liebman & Michel Banabila - Night Eyes 06:56
9. Mind Shifts * 11:42

* Excerpt from a score for Yin Yue's choreography 'Somewhere',
New York Live Arts - New York, june 20 - 22, 2024.

** Excerpt from a score for Yin Yue's choreography 'Timeless Tide', BalletMet - Columbus, march 15 - 23, 2024.

All tracks written & performed by Michel Banabila, except
06 written & performed by Michel Banabila & Rutger Zuydervelt,
07 written & performed by Pierre Bastien & Michel Banabila,
08 written & performed by Dave Liebman & Michel Banabila.

A special thanks to Maryana Golovchenko for the contributed sample (vocal snippet in Timeless Tide).

Design / artwork by Rutger Zuydervelt.
Mastering by Marlon Wolterink / White Noise Studio.

Night Eyes with Dave Liebman was previously released as a digital single (june 2023)

Music for Yin Yue commissioned by YYDC, New York, august 2023.
Dance commissioned by Northrop at The University of Minnesota, august 2023.
Album compiled & produced by Michel Banabila, 2024, Rotterdam.

REVIEWS / QUOTES:

DISCOGS
This album is not easy to describe in terms of style, but what is certain is that it far surpasses many contemporary works with similar ambitions. Listening is a tremendous experience and a treat for the ears. I noticed it a long time ago and here Mr. Michel Banabila just proves once again that he has virtually limitless creative potential. (Dove_m)

SUBJECTIVISTEN / HET SCHADUWKABINET:
Ik weet niet precies wat er achter de titel “het onwerkelijke rijk” schuil gaat, maar krijg er wel een idee bij. Er huist een bevreemdende sfeer in het album, die associaties oproept met de huidige maatschappij...

...Afwisselende kruisbestuivingen van ambient, drones, minimal music, neoklassiek, pianomuziek, tribale percussie geluiden, jazz en wereldse elementen. Banabila maakt hierbij mooi gebruik van stiltes en ruimtes, waardoor het veel aan de verbeeldingskracht van de luisteraar overlaat.
‘Een diepgravende schoonheid’. (Jan Willem Broek) CC RYDER:

Salar Asid is een van de musici die samen met Michel Banabila te horen is op diens nieuwe album, ‘The Unreal Realm’. In het nummer ‘Lineage’ speelt Asid de kamancheh, een fretloos snaarinstrument met een lange hals dat populair is in Azerbeidzjan, Iran en Turkije. ‘Lineage’ heeft een speelduur van vijftien minuten en is afkomstig uit een partituur voor de voorstelling ‘Somewhere’ van de Chinese danseres en choreografe Yin Yue, die in juni 2024 in première gaat bij New York Live Arts.

‘Lineage’ volgt op het langzame en donkere titelnummer van het album, een pianomeditatie en de opener van ‘The Unreal Realm’. ‘Lineage’ begint lichter van toon, met een sprankelende piano die een neoklassieke stroom van muziek op gang brengt, waarin de kamancheh van Salar Asid lange gestreken lijnen weeft.

Dan, na ongeveer zes minuten, transformeert de sfeer en bouwt zich een schurende en knarsende klankwereld op, gedragen door een minimalistische getijdenbeweging, met aan het einde daarvan, even, een zacht en etherisch instrumentaal koraal.’ De kunst die hier wordt gepresenteerd is van grote klasse’.’ ‘Een klein meesterwerk’ (Corné Evers)

Echo Transformations (Knekelhuis vinyl LP compilation)

Michel Banabila ‘Echo Transformations’ Album Out 13th of December 2021.

Listen to 'Echo Transformations' album:
Soundcloud: https://bit.ly/3k3U1Kv
Pre-order vinyl/digital: https://bit.ly/3ENgYtj
Rush Hour Distribution: https://bit.ly/3qawJGr

Find us here:
https://www.instagram.com/michel_banabila
http://www.instagram.com/knekelhuis_/

Mastering & remastering by Wouter Brandenburg
All tracks composed & performed by Michel Banabila
Executive produced by Mark van de Maat
Artwork by Keziah Philipps
Design by Steele Bonus
© 2021 Knekelhuis, under exclusive licence to Knekelhuis Records.

Michel Banabila is an indispensable part of the Dutch experimental music scene, where he has acquired a special place with many, in the 40 years that he has been releasing music. Michel is also just as active as a composer for the theater and ballet world, as well as for TV productions, to considerable fame. The threat of drowning in the sea of his oeuvre is real in view of the unprecedented amount of output, but once sailing unmissable monolithic rock formations loom up rapidly. Echo Transformations' is one of them. It's a magical album, where everything falls into place in a rich domain inspired by the Fourth World dimension. A world of sound arises from our imagination, stimulating the senses. A concept album where every sigh has its place and where no superfluous tone can be heard. What remains is to embrace the inevitable surrender that accompanies unstoppable change. This is Banabila at his best (knekelhuis, 2021)

Knekelhuis · Michel Banabila - Echo Transformations [KH042 Preview]

Movements (music for dance)

YIN YUE for PENNSYLVANIA BALLET:

A1 - DRAGONFLY II
Original soundtrack for the choreography 'A Trace of Inevitability'
by Yin Yue with Pennsylvania Ballet, in accordance with Yin Yue Dance Company & Pennsylvania Ballet.
This music was commissioned by Pennsylvania Ballet and premiered at 'World Premieres 2019' in the Merriam Theater, Philadelphia, USA, November 7th, 2019.

Musicians on Dragonfly II:
Peter Hollo: cello
Gareth Davis: bass clarinet
Oene van Geel: viola & stroh violin
Gulli Gudmundsson: el. bass, double bass & e-bow
Michel Banabila: midi instruments, sampling, electronics

PATRICK O’ BRIEN for CUNY DANCE INITIATIVE:

B1 - ILLICIT ACQUIREMENT
Composed for the choreography 'Enough' by Patrick O’Brien with Patrick O’Brien Dance Collective.
This music was commissioned by Patrick O’Brien with support from CUNY Dance Initiative and premiered in LaGuardia Performing Arts Center, New York, USA, November 14th, 2019.

CONNY JANSSEN for CONNY JANSSEN DANST:

C1 - CROWDS (Big Data Poetry Mix)

Was originally created for Big Data Poetry, an audio visual live performance by Geert Mul & Michel Banabila
 and was used in the choreography 'Home' by Conny Janssen for Conny Janssen Danst with Michel Banabila & Maarten Vos, and premiered in the Rotterdamse Schouwburg, Rotterdam, NL, January 20th, 2017.
C2 - I WON’T PLAY YOUR GAME
C3 - GUERRILLA TACTICS

C4 - NEW ENERGY FORMS
Were commissioned by Conny Janssen Danst for the choreography 'Zout' by Conny Janssen with Conny Janssen Danst & Anne Soldaat and premiered in the Rotterdamse Schouwburg, Rotterdam, NL, February 13th, 2011.

ANNABELLE LOPEZ OCHOA for SAN FRANCISCO BALLET and BJM DANSE MONTREAL

D1 - JUMP CUTS II
Was 
created for 'Guernica' in accordance with Annabelle Lopez Ochoa Company & San Francisco Ballet and premiered in the War Memorial Opera House, San Francisco, USA, April 24th, 2018.

D2 - A STRONG SENSE OF URGENCY

Was used in the choreography 'Zip Zap Zoom' by Annabelle Lopez Ochoa, in accordance with Annabelle Lopez Ochoa Company & BJM Danse. Zip Zap Zoom premiered in San Diego CA, USA, October 18th, 2009.

NORMAN RECORDS:
These eight tracks represent a decade of Banabila’s career - ‘Dragonfly II’ and ‘Illicit Acquirement’ premiered barely a month before 'Movements (Music For Dance)' came out while closing number ‘A Strong Sense of Urgency’ dates from 2009. When heard in this light it becomes fascinating to chart the development of Banabila’s practice across these ten years. The earlier pieces are concerned more purely with rhythm, channelling a cinematic sense of foreboding through driving drumlines that verge on techno at times. Vatican Shadow is not a million miles away, though the dance context inevitably gives tracks like ‘Crowds (Big Data Poetry Mix)’ a bit more of a high-art feel.

While this sound remains in the recent work, Banabila’s touch has become more deft of hand. This is apparent from before you even put ‘Dragonfly II’ and ‘Illicit Acquirement’ on - both tracks are afforded a whole side of wax here, their length a testament to Banabila’s widened scope. While they do eventually blossom into driving groove-based music - ‘Illicit Acquirement’ has a cool Venetian Snares-type thing going on - their opening passages are characterised by a hitherto-unheard lack of drums. There’s both Penguin Cafe and Steve Reich to ‘Dragonfly II’s nimble-fingered string work, and ‘Illicit Acquirement’ begins with some of the most abstracted sounds on 'Movements (Music For Dance)'. Banabila executes both moves expertly, successfully broadening his sonic palette without sacrificing the emotion and muscularity of those earlier compositions. (Fred MG)









Released December 25, 2019

All tracks composed, performed & produced by Michel Banabila.

Design: Yasar Saka / YAY Music & Media.
Front cover photo: Deberían Permitir (Buenos Aires, 2012)
by Mista Stagga Lee under CC 2.0 license
creativecommons.org/licenses/by/2.0
Back photo Yin Yue: Arian Molina Soca.

D2 (A Strong Sense Of Urgency) was licensed from Steamin'Soundworks with kind permission by Roel Kruize / published by Steamin’Songs. All rights reserved © + ℗ Steamin’Soundworks. More info: steamsounds.com

Joost Kroon: drums on Jump Cuts II.

Pressed at Deepgrooves, Leeuwarden.
Executive producer: Nico van Hemmen.
Mastering & remastering by Marlon Wolterink at White Noise Studio.

DISTRIBUTION:

NORMAN RECORDS (EU)
normanrecords.com/records/179690-michel-banabila-movements-music-for-dance

SQUIDCO (US)
www.squidco.com/r.cgi?p=28431

Cat. nr. NVH01TR.
2020 © + ℗ Tapu Records.

AMBIENTBLOG review

The Woods

This is a new collaboration: coming soon online to all portals, 'The Woods' (Sonicontinuum / 2019).
An 11 minute single by Alex Haas & Michel Banabila, featuring the amazing Bill Laswell.


The Woods is a single from the upcoming album Ruins by Alex Haas. Alex Haas (born 1963, NYC, USA,) label owner of Sonicontinuum, has been working with many renowned artists including U2, Brian Eno, Eric Clapton, Kronos Quartet, Pat Metheny and Bill Laswell. His first collaboration with Dutch composer Michel Banabila started in April on Collector, a track from Banabila's album Uprooted (Tapu Records / 2019). They then decided to renew their collaboration on The Woods, and Alex invited his long time collaborator, Bill Laswell to join this recording. The Woods became an atmospheric organic blend of experimental ambient, 4th world exotica and lush electronics. Synths and treated guitars by Alex Haas are mixed with Banabila's electronically processed voices, keys and field recordings, together with deep bass sounds by Laswell. Mixed and produced by Alex Haas. mastered by Marlon Wolterink. The Orchard release date: November 22, 2019.



alexhaas.com
sonicontinuum.com
banabila.com
billlaswell.net



Alex Haas: synths & treated guitars.
Michel Banabila: voices, keys & field recording.
Bill Laswell: bass and pedals.

Photo and design: Alex Haas.
Mixed and produced by Alex Haas.
Composed by Alex Haas & Michel Banabila.
Mastering by Marlon Wolterink / White Noise Studio.

Catalog nr. AHS30917.
2019 © Sonicontinuum.

'And We Fall And We Murmur And We Sing'

Now on bandcamp: And We Fall And We Murmur And We Sing. (March 14th, 2019)
I collaborated on a second project with Martin Hoogeboom.
With Ulrich Langenbach, Aoki Satoru and Wodwo.



Previous collaboration with Martin Hoogeboom (January 14, 2016):

Michel Banabila & Willem Cramer: Texture Syndicate EP

Texture Syndicate from Michel Banabila on Vimeo.

Michel Banabila & Willem Cramer first worked together in Chi (1984-1986), (banabila.blogspot.com/2016/08/chi-original-recordings_6.html) and later in East Meets West (1990-1991), (banabila.blogspot.com/2016/08/east-meets-west-hoy-babo-hoy.html). In 1996 they collaborated with Chris Grem making a score and performing live in a dance production by Lieber Gorilla. (banabila.blogspot.com/2016/08/lieber-gorilla-visioenen.html) This 2018 EP is their first new collaboration in 22 years. Viola sounds were contributed by Oene van Geel and violin sounds were contributed by Salar Asid. Willem Cramer is a composer & multi instrumentalist, living and working (like Banabila) in Rotterdam. www.willemcramer.com/audio



Willem Cramer: ebow guitar, bass, synthesizer & programming.
Michel Banabila: sampler, turntable & synthesizer.
Oene van Geel: viola (1 & 2).
Salar Asid: violin (2).

Composed, recorded, & produced by Michel Banabila & Willem Cramer. Artwork by Michel Banabila.
A special thanks to Marc Weidenbaum for suggesting the album title.

Mix & mastering by Willem Cramer.
This release is a download only.
2018 © Tapu Records.
Cat. Nr. 025TR.

Imprints

Cok van Vuuren: electric guitar (5, 6).
Oene van Geel: viola (1, 2, 3), stroh violin (5).
Michel Banabila: turntable & sampler (1 - 7), synth (2 - 6), voice (5).

Artwork / design by Rutger Zuydervelt.
Mastering by Marlon Wolterink / White Noise Studio.
'A Sense Of Place' video by Nan Wang / NanWang Org.
Imprints promo video by Dejan Radovanovic / Ummagumma.
Recorded, composed, mixed & produced by Michel Banabila.
except track #3 composed by Michel Banabila & Oene van Geel.

Catalog nr. 024TR.
UPC 193483228464.
2018 © Tapu Records.
This album is a download only.

Nan Wang & Michel Banabila: A Sense Of Place from Michel Banabila on Vimeo.

Michel Banabila - Imprints from Michel Banabila on Vimeo.

trailer by Dejan Radovanovic.

Just Above The Surface

Listing boats, field recordings, loops, polyrhythms and sonic incantations: Just Above The Surface - Michel Banabila (new album) .


Artwork Gerco de Ruijter.

A CLOSER LISTEN: The title is an inversion of expectations; we’re used to reading the words, “just below the surface.” Sound artist Michel Banabila has been defying classifications for years, and here he does so once again. The irony is that while the attention is drawn to the sounds that lie just above the surface ~ tape noise, viola, bass clarinet ~ there’s still a lot going on just below. Take for example the dolphin noises in “The Ripple Effect” (which we believe to be Gareth Davis, sounding like a dolphin), providing imagery to accompany the track. Tumbling bass and boat samples reflect the ripples while the clarinet imitates the unpredictable nature of the sea. In the final minute, slow drum hits add drama while unexpected melodies emerge from the aether. Gerco D. Ruijter’s cover art is a perfect match for the music. Ruijter’s art finds abstraction in concrete images, typically snapped from above. In this image one might see the aforementioned ripples, but one might also see mountains or frosted plains. The same is true of Banabila’s music. “Snake Bite” features Oene van Geel and Salar Asid on viola and violin. For the first half, it sounds like an elegy until Banabila turns it into a dirge, exposing the dual nature of death and remembrance. The title “Out of Sync” highlights the friction, as loops circle at different speeds, the howls of dogs set against the cries of gulls. Again a breakthrough arrives in the final minute, a sudden synching akin to the saying that even a broken clock is correct twice a day. If we had a year-end list featuring track titles, we’d certainly include “Cassettes and Polaroids in the 21st Century.” Just as a great cover can draw attention to great music, a great title can prompt one to take a spin, especially when the track is instrumental. (In contrast, consider the title “Dreams” – not a Banabila track! – and ask yourself, “Am I curious about that song?”) Before we put the digital needle down, we’re already thinking about lost formats, engaging in pleasant nostalgia while wondering what the piece will sound like. Thanks to Marcin Barski’s contributions, it implies the abraded memories of bygone days. Once again, Banabila revisits the ripple effect, as if the entire project had been recorded on a quiet boat. The waves have died down. Just above the surface, all is calm. (Richard Allen)




Michel Banabila at OCCI, Amsterdam, 2017.

AMBIENTBLOG:
Just Above The Service, his latest release, is released almost casually, unannounced. It is a digital only release, which is an understandable choice at this time – but I feel a bit sorry for those that treasure all things physical… this music deserves to be available on a less ethereal level. Because of the music, but also because of the stunning cover artwork by Gerco de Ruijter. There are six long tracks (most around 9 minutes) and a (shorter) closing track which is taken from a Disquiet community release dedicated to Bassel Khartabil (coder and open-source advocate from Syria, imprisoned and executed). With the exception of the last track, the material for this album was created with parts and fragments made for a live performance. Banabila’s flawless wide-screen production is created with the help of some friends he worked with before (Oene van Geel, viola, Salar Asid, violin). As far as I know it is the first time that Gareth Davis adds his bass clarinet sound to Banabila’s music: on the shuddering opener The Ripple Effect. Martin Barski adds tape sound on Tapes and Polaroids in the 21st Century (great title!) It is fascinating how easily Banabila navigates between different kinds of styles and moods, even within the span of one single track. From emotional, melancholic to abstract experimental, from subdued calm to a threatening tribal rhythm that makes your palms sweat. And the transitions never sound forced. (Peter van Cooten)


Gareth Davis

IRREGULAR CRATES:
Why isn’t Michel Banabila more famous? This is music which deserves large cinema screens and at least as much press as Nils Frahm and his Erased Tapes cronies! I’ve a few of Banabila’s releases – I came across them through my buddy Rutger Zuyderveldt aka Machinefabriek – very attentive Netherlands sound designer folks the pair of them – and their four albums together. Banabila is more overtly ‘musical’ than Rutger, and these tracks present a nice worldview and warm electronics which you could imagine being on reel to reel tapes. And one thing I like about Michel’s work is that it’s not afraid to be emotional at times… very warm. There’s impressive instrumentation and very good mixing. Listing boats, field recordings, loops, polyrhythms and sonic incantations. I wrote that without even reading the title ‘Just Above The Surface’ and it does what it says. I feel I am following a day, perhaps a few, from boats on surfaces of different depths. It’s as if we start on marsh land with all the rich birdlife and move through passages where we witness – from a distance – activity far out at sea. Can’t always make out the horizons as the album but I’m happy at this surprise release and the journey I’ve been on. Ferry to Holland please (Dr. Chris Dooks)

WSZYSTKIE STANY SKUPIENIA:
Ziennik pokładowy = doprawdy straciłem rachubę ile już czasu płyniemy po tych nieznanych człowiekowi wodach. mapy pokładowe od wielu mil zdają się zgodnie rozrysowywać nasze wielkie zagubienie. jaskółczy niepokój koją skutecznie ataki lekkiej agarofobii i przyjemnej maligny słonecznej - błogosławiony udar wielkiego dnia. kapitan nasz, Michel Banabila, wydaje się mieć w tym wszystkim plan specjalny. od początku wędrówki zapętlał wrażenia z prawdziwie marynarskim sznytem, roztaczał wokół chmury dźwiękowych wrażeń, mieszał syntetyczne z prawdziwie organicznym. a wszystko to miksturą doświadczenia, co każe się sobie poddać. i niby leżę w miejscu, lecz kołyszę się coraz śmielej. dryfuję, niemącony życiem, prosto w egzotykę kolejnego Wdechu.


Released January 10, 2018.

All tracks composed & performed by Michel Banabila.

Gareth Davis: bass clarinet on The Ripple Effect.
Additional sampled parts contributed with kind permission by:
Oene van Geel (viola) and Salar Asid (violin) on Snake Bite.
Marcin Barski (tapes) on Cassettes and Polaroids in the 21st Century.

Title of track 4 borrowed with kind permission by Bence Meijer.
Some of the material in this album was originally made for an ableton live performance at the Haperende Mens Festival, Amsterdam, December 2017. haperendemens.nl

Track 6 added with kind permission of Rupert Lally & Marc Weidenbaum. Source: afutureincommons.bandcamp.com/album/a-future-in-commons-a-tribute-to-bassel-khartabil



1-5 recorded in December 2017, Rotterdam.
6 recorded in August 2017, Rotterdam.
Mastering: Marlon Wolterink / White Noise Studio
whitenoisestudio.com

This album is a download only.

2018 © Tapu Records / 021TR

Trespassing

Trespassing is out now. A Séance Centre release. Available at Rush Hour

2LP vinyl record in a gatefold sleeve, featuring with archival pics, essay and artwork by Alan Briand.

Just in, this double LP with works by @michel_banabila.. LP1 is a comp. of works spanning over 20 years that acts as a bridge between his earliest work and his contemporary practice. LP2 is a reissue of his early masterpiece Marilli. Nice one on @seance_centre ! #rushhourstore

A post shared by Rush Hour Store (@rushhourstore) on Dec 4, 2017 at 3:46am PST

After a seemingly endless wait 02SC Michel Banabila’s Trespassing 2LP is finally available and sounding incredible! #michelbanabila #seancecentre #02SC

A post shared by Séance Centre (@seance_centre) on Dec 4, 2017 at 10:16am PST

#TTLexpansions: Collection of genre bending material from long-serving Dutch experimentalist Michel Banabila. The release compiles examples of Banabilla's "excursions into otherworldly and imagined realms," and the results will take you there along with him. "Trespassing" includes tracks recorded between 1987 and 2017, which move between humid, percussion-led workouts, exotic ambience, dark and creepy soundscapes and sticky electro-acoustic fusion. The second record, "Marilli," was originally released in 1983 and appears as an LSD inspired DIY tribute to David Byrne and Brian Eno's "My Life In The Bush Of Ghosts." The highly sought-after album is presented here in its entirety for the first time since its original release. If you've been feeling the releases on Music From Memory or any of the recent spate of Japanese reissues we recommend you check this one out. Twenty tracks in all. Released by Seance Centre on double vinyl housed in a gatefold sleeve.⠀ ╲➸link in bio╲⠀@michel_banabila @seance_centre

A post shared by @ turntablelab on Feb 14, 2018 at 3:14pm PST

Michel Banabila, Eric Vloeimans, Mehmet Polat: New Land

Just finished new recordings with two great musicians; Mehmet Polat & Eric Vloeimans.



With Eric I recorded before on our award winning album VoizNoiz 3 - Urban Jazz Scapes (2002)

and with Mehmet I recorded before on Migrations (2010).

I also played live together with Mehmet and Eric in Rotterdam in 2011.



New Land track titles:

1.Michel Banabila & Mehmet Polat - In A Dark Time (03:07)
2.Michel Banabila & Mehmet Polat - Dream Stories (02:03)
3.Michel Banabila & Eric Vloeimans - Autumnal Equinox (01:12)
4.Michel Banabila & Eric Vloeimans - Forest Road (01:47)
5.Michel Banabila & Eric Vloeimans - Trust In You (02:06)
6.Michel Banabila & Mehmet Polat - Jabal Haraz (04:34)
7.Michel Banabila & Eric Vloeimans - Little Steps (01:56)
8.Michel Banabila & Mehmet Polat - Aerial View (01:00)
9.Michel Banabila & Eric Vloeimans - Looking Back (03:06)
10.Michel Banabila & Mehmet Polat - In Search For A Quiet Place (04:26)
11.Michel Banabila & Eric Vloeimans - Plume (02:20)
12.Michel Banabila & Eric Vloeimans - Speed Walk (03:52)
13.Michel Banabila - Eric Vloeimans - Mehmet Polat - Forest Road - Discovery Mix (04:52)

New Land credits:

Mehmet Polat: oud.
Eric Vloeimans: trumpet.
Michel Banabila: keys & electronics.


Michel Banabila & Mehmet Polat. (2011)


Eric Vloeimans & Michel Banabila. (2011)

Buy the album on bandcamp:

Sound Years

Sound Years (limited edition 33 rpm transparent 175 gr heavy weight vinyl)



Side A
(this side has the tracks jointed, making it one uninterrupted mix):

A1. Close To The Moon (previously unreleased / 2016)
A2. Earth Visitor (from Earth Visitor / 2016)
A3. E.T. (from Traces / 2007)
A4. Gorlice (from Live in Gorlice / 2014)
A5. 47 Voice Loops (from 47 Voice Loops / 2013)


Side B
(this side has the tracks jointed, making it one uninterrupted mix):

B1. Stone Bridge (from Hilarious Expedition / 2005)
B2. Niki Jumpei (from Gardening / 2012)
B3. TAPE (mix 3) (from Bouwwerk / 2010)
B4. Shortwave (from Hilarious Expedition / 2005)
B5. Radio Spelonk (from Music for viola and electronics II / 2015) with Oene van Geel
B6. Vuka Vuka! intro (from Songs from Vuka Vuka! / 2005)
B7. The Turtle Came Back (from Gardening / 2012)
B8. Yarra (from Travelog / 2013) with Machinefabriek






Released February 2, 2017

All tracks composed by Michel Banabila except:
'Radio Spelonk' by Banabila & Van Geel.
'Yarra' by Banabila & Zuydervelt.



Mastering: Marlon Wolterink at White Noise Studio.

Photography: Gerco de Ruijter.
Layout: Rutger Zuydervelt.



Discogs.

UPC 753907987683.
Pressing: MPO France.
Manufactured by Mobineko.

2016 ℗ Tapu Records / 020TR

Inactuelles - Musiques Singulières review: Earth Visitor

A review by Dionys Della Luce

OOR

Vandaag een fijne recensie in muziekkrant OOR voor mijn Bureau B's Early Works album,
dank Oscar Smit !



"... compilatie vol slow music + tijdloos ambient-meesterwerk.."

Precious Images

A Steamin' Soundworks production. 2CD album, 32 tracks.

CD 1 = compilation.
CD 2 = new tracks.

Steamin' Songs Publishing.


SONOMU.NET : Precious Images.

Unfolding Michel Banabila´s Precious Memories is like opening up an old chest filled with old wind-up toys and brightly-wrapped candies. You want to bury both arms up to the elbow, pulling out one trinket after the other to play with, admire, or slowly savour before moving on to the next. Subtitled ”Datafiles 1999-2008”, this double omnibus includes tracks selected from all his releases on Dutch label Steamin´ Soundworks beginning in 1999. He is a man of many genres, or perhaps more correctly, he is trans-genre, for there seems to be no particular base from which he prefers to work. He just composes. And collaborates eagerly, to the listener´s delight. The first disc displays a range that is giddily eclectic and includes a few clunky little pieces that could have served as interludes on a latter-day Tom Waits record (”Wonderful Mistakes”, ”Sorokin Blues”, ”One for the Road”), a song in collaboration with Moroccoan Sufi singer Bahia El Idrissi, a hyperreal tribal dance ("Do Something About It!"), edgy electro-funk (”Heavy Gravity”) and a groovy bit of space age bachelor pad jazz showcasing Eric Vloeimans´ trumpet (”Damned”). Some of the programmed rhythms will remind you of Brian Eno´s ”Another Green World ” or ”Nerve Net”, like ”A Strong Sense of Urgency”. Central to most of the pieces is the human voice, often dozens of them threaded together to create a kind of dada poetry. What unites them all is the way Banabila tweaks and crafts them just enough to defy expectations. Take for example the slow and laidback late night jazz session ”A Virtual Meeting”, with muted trumpet, bass clarinet and fleet-fingered piano cruising prettily above quiet squonks and squeeks. A perfectly executed hybrid. Although Banabila appears to relish combining the digital with the acoustic, there are some nice, purely electronic pieces featured as well, like ”Low Pulse + High Noiz”. There is little on the first disc you could call "ambient", except perhaps the two pieces which conclude it, in particlar the beautiful ”Voiz Recycled”, with its smattering of Jon Hassell-like horn, that I would happily hear extended far beyond its eight-and-a-half minutes. Disc two contains music made for television and theatre in 2008. Banabila claims not only to be inspired by photography, video, film and theatre, but also to ”think” in terms of transforming visual impression into sound. Perhaps necessarily, most of the pieces featured here do not have the strong personalities of many of the tracks on its sister disc, since they were intended to complement a foreground. But there are moments when the music is too engrossing to merely take in passively. The sweet meanderings of ”Migrations” is an exciting musical journey that could very well represent a trip around the globe or at least reflect how the globe is setting up shop in and influencing Europe. It´s a true mongrel and all the more loveable for it. Another attention-grabber, "Ears Tell Us Where We Are in Space", showcases Dutch guitarist Anton Goudsmit and is hauntingly introspective, with a slight Jaco Pastorius patina. The album ends with a slow ambient descent beginning with ”Night”, continuing with ”Crime Scene” – hardboiled noir again featuring the sensitive, muted monochromes of Vloeimans - and the dark ”A Moody Guy´s Audible Dream” with Polish electronics wiz Zenial. As an introduction to the work of Michel Banabila it is laudable. As a retrospective over his recent career, it is something for him to be very proud of. (Stephen Fruitman).



released October 13, 2008.









Buy at CD Baby

VoizNoiz 3 - Urban Jazz Scapes: Banabila & Vloeimans / winner Edison Jazz Award Netherlands 2003

Edison Jazz Award 2003. From the Edison jury report (July 10th, 2003):
"This is jazz in its most revealing form. It is a pleasure for the antennas and senses of music lovers with an open, aural mind."



Edison Jazz Award verslag, 2003:
Soms word je gewoon aangenaam verrast, soms ook maakt muziek je met een mokerslag wakker. VoizNoiz 3, het derde album van geluidstovenaar Michel Banabila speelt allerlij interessante spelletjes met de zintuigen. Eerst komt het geruisloos als achtergrondmuziek voorbij maar daarna grijpt het je hardhandig bij de keel. Na de toch twee eerder opvallende delen (VoizNoiz 1 en 2) gaat de in Rotterdam woonachtige Banabila samen met Nederlands beroemdste jazztrompettist Eric Vloeimans hand in hand een bruggetje over en betreedt een muzikaal landschap waar beiden nooit eerder waren geweest. Dat heeft alles te maken met de onorthodoxe aanpak van Banabila en het onwaarschijnlijke improvisatietalent van Vloeimans. Banabila's intrigerende spelletjes van samples vol stadsgeluiden en menselijke stemmen maar ook door mensenhanden ingespeelde partijen inspireerde de trompettist tot een aantal werkelijk adembenemend mooie solo's die hier fragmentarisch maar daardoor oh zo spannend aan je voorbij trekken. Urban Jazz Scapes, de subtitel van deze CD, dekt dan ook maar half de lading. Je krijgt de neiging om dit werkstuk te categoriseren in de dance- en lounge-hoek maar daardoor doe je de autonome kwaliteit van VoizNoiz 3 danig tekort. Dit is het resultaat van een danige zoektocht van twee totaal verschillende muzikanten. Een zoektocht die nog maar net is begonnen maar nu al volledig tot de verbazing spreekt en ook de jury van de Edison overrompelde. Dit is jazz in de meest grensoverschrijdende vorm. Dit is een genot voor de voelsprieten en zintuigen van muziekliefhebbers met een open auditieve geest. Dit is een waardige winnaar van een Edison.



NRC:
Het moest er een keer van komen en nu is het dan zover; Eric Vloeimans waagt zich op het pad van de Nu-jazz. Nederlands beste jazztrompettist volgt daarmee in de voetsporen van collega's Cong Vu, Nils Petter Molvaer en Eric Truffaz. En in dat internationale veld kan Vloeimans moeiteloos meekomen. Dat is grotendeels zijn eigen verdienste ; zijn bekende fluwelen toon kietelt de trommelvliezen. Vloeimans gebruikt veel minder effectpedalen dan Vu en heeft een gevarieerdere toon dan Molvaer, waardoor de elf nummers op VoizNoiz 3 een eerlijke en pure uitstraling houden. De blazer heeft het ook wel bijzonder getroffen met zijn partners in dit project. Samplekunstenaar Michel Banabila blinkt uit in het compileren van geluidsdecors die een duidelijke sfeer ademen zonder opdringerig te worden. Stadsgeluiden, ondefinieerbare radiostatische kraakjes, gespreksflarden, gebubbel en geratel vormen de ingredienten voor een stijlvol, bijna filmisch klankuniversum. Een volwaardige band met drummer, gitarist, turntablist en rietblazer houdt de cd ritmisch in het juiste spoor. Het eindresultaat is een verzameling sfeertekeningen die zich ongehaast ontvouwen en zich behaagelijk tot in de verste hoeken van het vertrek nestelen. Dit is loungemuziek van hoog niveau. (Edo Dijksterhuis)

Vloeimans, Polat & Banabila Live (Grounds R'dam) from Michel Banabila on Vimeo.

JAZZ NU / BD / DE STEM:
Soms word je gewoon aangenaam verrast, soms ook maakt muziek je met een mokerslag wakker. VoizNoiz 3, het derde album van geluidstovenaar Michel Banabila speelt interessante spelletjes met je zintuigen. Eerst komt het geruisloos als achtergrondmuziek voorbij maar daarna grijpt het je hardhandig bij de keel. Na de toch twee eerdere opvallende delen (VoizNoiz 1 en 2) gaat de in Rotterdam woonachtige Banabila samen met Nederlands beroemdste jazztrompettist Eric Vloeimans hand in hand een bruggetje over en betreedt een muzikaal landschap waar beiden nooit eerder waren geweest. Dat heeft alles te maken met de onorthodoxe aanpak van Banabila en het onwaarschijnlijke improvisatietalent van Vloeimans. Banabila's intrigerende spelletjes van samples vol stadsgeluiden en menselijke stemmen maar ook door mensenhanden ingespeelde partijen inspireerde de trompettist tot een aantal werkelijk adembenemend mooie solo's die hier fragmentarisch maar daardoor o zo spannend aan je voorbij trekken. Urban Jazz Scapes, de subtitel van deze cd, dekt dan ook maar half de lading. Je krijgt de neiging om dit werkstuk te categoriseren in de dance- en lounge-hoek maar daardoor doe je de autonome kwaliteit van VoizNoiz 3 danig tekort. Dit is het resultaat van een natuurlijke zoektocht van twee totaal verschillende muzikanten. Een zoektocht die nog maar net is begonnen maar nu al volledig tot de verbazing spreekt. (Jean-Paul Heck)


Aloha:
Jazzy was de beeldende collage muziek van geluidsarchitect Michel Banabila al eerder, met name in het VoizNoiz project. Dus dat hij voor het derde deel van deze Urban Sound Scapes - voor deze gelegenheid veranderd in Urban Jazz Scapes - een samenwerking zou aangaan met Nederlands hotste trompettist Eric Vloeimans, was niet zozeer een logische als wel een voorvoelbare stap. Een stap die bovendien erg goed uitpakt. De chemie tussen Banabila's uit electronisch gemanipuleerd stemmenmateriaal gebouwde sampletaal en Vloeimans' veelal filmische improvisaties zorgt voor een spannend geheel dat eigentijds klinkt zonder in hippe hokjes als ambientjazz of nu-jazz te vervallen. De Rotterdammers lijken tikkertje te spelen, een kenmerkend VoizNoiz-element, een spel waar de soms in de verbeelding geboren, dan weer daadwerkelijk door gasten van vlees en bloed ingespeelde ritmes als water doorheen spoelen. Pure hersengymnastiek, zonder er bij na te hoeven denken. (Swie Tio)



VOLKSKRANT:
Er komen werelden vol bijzondere klanken voorbij terwijl de grote lijn nooit uit het oog wordt verloren. VoizNoiz 3 is een superspannende organische plaat die van zowel jazzfans als popliefhebbers het hart zal laten smelten. (Koen Schouten)


Photo by Paul Bergen.

Muziekrant OOR:
Michel Banabila uit Rotterdam is al jaren en jaren met ambient-achtig moois in de weer. Eric Vloeimans, trompettist uit datzelfde Rotterdam, geniet onderhand bijna wereldfaam in jazzkringen met zijn fraaie talent. Omdat trompettisten doorgaans voorop schijnen te lopen in crossovers van jazz naar wereldmuziek en electronica (denk Miles Davis,Don Cherry,Jon Hassel,Nils Petter Molvaer, Eric Truffaz), was het een kwestie van tijd eer Vloeimans die kant op zou stuiteren. In de persoon Banabila, die er het derde deel van zijn VoizNoiz-serie voor inruimde, trof hij de ideale partner. Vloeimans rekt zijn prachtige, melodisch rijke spel uit over de altijd boeiende sample-collages van Banabila, die een zekere ritmische component bovendien noiit uit de weg gaat, zonder dat beide partners ooit op de dansvloer terecht komen. Als de boel een enkele keer ('Damned') zelfs ouderwets en uitgesproken jazzy klinkt, is er sprake van een forse knipoog. Vloeimans en Banabila zetten hier spannende dingen neer, vol klamme verbeelding en bevrijdende openheid. (Jacob Haagsma).

Discogs

Released January 1, 2002.

Eric Vloeimans – trumpet.
Michel Banabila – sampler.
Bobby - tapes & turntable.
Hans Greeve - drums and guitar.
Frank vd Kooy - sax en bassclarinet.
Guus Bakker - double bass.
Yasar Saka - voice-processing.

Edison Jazz

Challenge Records / JJ Tracks.

All tracks recorded & produced by Banabila.

Eric Vloeimans website

VoizNoiz - Urban Sound Scapes

Electronic. CD &12inch vinyl (Pork Recordings / Tone Casualties)

WAX MAGAZINE:
A thoroughly engaging, amusing and charming debut from new Pork signing Michael Banabila. Slightly more random than your usual Pork output, but still retaining the essential ingredients, Banabila strings together 20 soothing skunk funk oddities that delight and bemuse in equal portions. Tender beats, oddball samples, live instrumentation and vocal snippets weave together to make a warming abstract picture, one of those ones that looks good whichever way you hang it. (Nov 2000)

ALL MUSIC GUIDE:
The strength of this fascinating found-sound pastiche will be enough to send fans of musique concrete, advanced turntablism, and trip-hop scouring the import bins. Most of the material that comprises these 20 tracks comes from field recordings of human voices speaking, singing, declaiming, and arguing, all of them reportedly made in the streets, buildings, and train stations of Holland and Yemen. The recordings are cut up and pasted together in sometimes eerie and frequently downright funky ways: the result sometimes sounds like a collaboration between Jon Hassell and African Head Charge (as on the danceable "Do Something About It" and the even more Hassell-ish "Sorokin Blues") and sometimes like a cross between Tricky and the Residents (as on the darkly funky and melodically quirky "Chickensoap). On "Where?" the snippets of speaking and singing are arranged by pitch, and the result is a sort of techno version of hocketing; it's an example of medieval technique meeting 21st century technology, and the result is wonderful. This is an exquisite album by an artist who deserves much wider recognition. (Rick Anderson).



KORTEX Electronica:
VoizNoiz c'est avant tout, des collages sonores mélodiques et urbains. C'est aussi Michel Banabila et une fantastique collaboration de musiciens de Rotterdam. L'ensemble ainsi crée s'aventure dans des territoires voisinants l'Acid Jazz, le trip hop et la peinture sonore abstraite. VoizNoiz c'est un film qui défile dans notre tête : l'ambiance cinématographique propagée par les différentes pièces de l'album s'impose à notre esprit et nous fait voyager un peu partout à travers le monde à l'aide d'un fond musical riche doublé de différents échantillons hétéroclites. Chaque mouvement est pourtant bien clair, et on peut facilement associer les pièces à tel ou tel événement fictif. VoizNoiz est un album diversifié qui bénéficie pourtant d'un solide fil conducteur qui permet à l'auditeur de ne pas se perdre au sein des myriades de sonorités exploitées par Michel Banabila et ses copains. Une belle et amusante expérience auditive. (Yanik Trudeau)

'Where ?' by MAITE KLIS & YUNFENG FU from Michel Banabila on Vimeo.

ALTERNATIVE PRESS:
Post modern assemblage of found sounds and vocal fragments. Sound collage can often be more conceptually interesting than listenable. Michel Banabila handily avoids this on the unclassifiable VoizNoiz. He uses location recordings from Holland and Yemen, along with live guitar, voices, bass and percussion to construct what he calls "urban sound scapes". Banabila assembles riffs from found-sound and vocal fragments into oddly conversational grooves. This approach recalls Coil, but without their inward-looking menace. VoizNoiz is every bit as post-modern as the work of today's DSP-terrorists, but it's a much easier listen. (Kent Williams).

COOL AND STRANGE MUSIC:
Holland's Michel Banabila is one of those rare musicians who can take an avant-garde conception and turn it into a highly entertaining work of art. VoizNoiz is a masterpiece of found sounds and voices used rhythmically and humorously with obvious nods to Jean Michel Jarre's classic collaboration with Laurie Anderson, Zoolook, without the dark psychological edge, and Coil, without the homo-erotic magick. VoizNoiz is an update of the genre into contemporary trip-hop, with touches of exotica and Asian house music. There is a slight Carribean edge in some parts, but the jack-hammer editing of the sound montage is so intense that by the time one is able to digest an influence, it has been replaced by something completely different. Think of a tropical island version of Tipsy, only more cartoony (which is no surprise as the executive producer is the legendary animator Gabor Csupo.) Though the CD is separated into 20 different tracks, I defy anyone to figure out which one is which without looking at the track indicator. It's like a lovingly unified vision of schizophrenia done Tex Avery style. (Wilhelm Murg)



PITCHFORKMEDIA:
The Pork folks discovered Banabila and flourished this remarkable disc with "Mono/Metro," a holler-sampling-and-contorting fragment of genius that Moby would stomp Fairfield County, Connecticut into the subsoil for. (Paul Cooper).

'Where ?' by TIM VAN HELSDINGEN from Michel Banabila on Vimeo.

Banabila, Club Cult, Moscow, 2005.


Pork Recordings

Steamsounds Publishing

Buy at CD BABY





EARPOLLUTION : VoizNoiz 2
Michel Banabila has an ear for sound and a pulse which runs through his fingers. Taking a nearly limitless number of samples, he finds a common pulse that they gravitate towards, and produces groovy - nearly trip-hop style - songs. There are no voices other than the stolen ghosts which become halting, tripping verse-chorus-verse arrangements under his skillful manipulation. "Voiz IX" is a wheezing street orchestra, a tiny marching band made up of two kids banging on trash cans, one over the hill tuba (worked over by a much younger player with a decent set of lungs), a couple of single-stringed guitars, a kid with an old radio sporting exposed wiring, and a drum major with a three-dollar megaphone. Banabila reworks all these elements (and the echoes which their street performance leave rattling down the long alleys) into something else, something a little less than a recognizable tune and more into a musique concrete abstraction. At the other end of the spectrum is the following track, "Speak," which hums along at 144 bpm, hammering and jabbering beneath a cut-up vocal track that speaks in starts and stutters. Like all good pastiches, you find comfort in the recognizable elements and thrill in their unexpected juxtaposition. Banabila's work on VoizNoiz II is a soundtrack to the urban chaos which is the overwhelming reality of city living. (Mark Teppo)

INK 19 : VoizNoiz 2
Considering you can give a whole group of people a fancy recording studio, tons of personal attention and pampering and they create audible crap, artists such as Banabila are all the more wonderful. His sophomore release in the Urban Sound Scapes series, Banabila recorded VoizNoiz 2 completely in his home studio. Mainly, sounds are used to create "words" of sound that speak in the language in which we hear. There is a world flavor, a little "trip-hop" label floating around, and one visionary artist behind every moving track. Creepy, loungy, jazzy, sexy, mysterious, fun, and artsy, this is for anyone who's bored with their current musical interests. This album makes you open so many musical doors. A few standout tracks: "Heavy Gravity," the bouncy, tribal "U Beat," sporadic "Speak," and "To The Angels." Learn a new language with Banabila, the language of sound. (Vanessa Bormann)



ALL MUSIC GUIDE : VoizNoiz 2
The second volume in Banabila's series of Urban Soundscapes is much like the first, a kaleidoscopically funky collage of found sound, aural experimentation, trip-hop beats, and promiscuous sampling. As on his first effort, a willfully bizarre sonic design sense is constantly counterbalanced by a thoroughly populist approach to the groove ‹ there is nothing on this disc listeners won't be proud to dance to and nothing that won't catch them by surprise if they listen hard enough. A few examples: the creaking door, splashing water, and severely altered voices on "Voiz VIII" that rub sensuously up against metallic guitars and a thick, slow groove ; the lurching, Tom Waits-ish "One for the Road," with its turntable-scratching and locomotive sample; and the slow-building "Dinoh Dinoh," which starts off with layers of deeply tweaked voice samples and slides into an irresistible mid-tempo breakbeat with horn section and Hammond organ. The avant-garde is at its best when it's funky, and funk is at its best when it's avant-garde. (Rick Anderson)


Steamin' Songs Publishing released October 9, 2001

Forgotten Worlds: Michel Banabila & Hanyo van Oosterom

Remixed & remastered by Jurgen Brouwer.

All music composed by Hanyo van Oosterom & Michel Banabila, except
Byzantium by Van Oosterom / Banabila / Catalpinar,
Bamboo Dreamhouse by Van Oosterom / Banabila & Derwort, and
Siyare by Van Oosterom / Banabila / Guije.
Produced by Hanyo van Oosterom aka The Flying Dutchman for DAM (Dutch Ambient Music)

Released May 15, 1997.

Hanyo van Oosterom (The Flying Dutchman / White Eagle Jones):
Drums, fretles bass, synths, strings, rhythm guitar, koto, radio voices, additional samples, spanish guitar, drones, percussion, synthesized pipes, distant vocal, loops, balafon, temple gong, brushes, organ, string piano, pot drum, pot brushes, wah wah guitar, rhodes, sampled guitar, bongo, low vocal.

Michel Banabila:
Vocal, water percussion,robot overtones, oriental strings, additional samples, percussion, wind shout, voices, starstrings, resonance scratch, piano, bells, singing bowl, slash percussion, melodica, birdsounds, vocoder, glasses, high voices, keys.

Tanar Catalpinar:
Lead vocal on track 1 & 11.

Age Kat : distant solo guitar on 1 & 11.

Jacobus Derwort : bamboo flute on track 3.

Omar Ka : lead vocal on track 5.

Cheickh Mbacke Guije : chorus & bongo on track 9.

Des Traces Retrouvées

Part 1 (45 RPM vinyl)



www.discogs.com/Michel-Banabila-Des-Traces-Retrouvees/release/850396

Track 4 is available on CD & vinyl LP, fully remastered, via Bureau B / Tapete Records (June 2016):
'EARLY WORKS - THINGS POPPING UP FROM THE PAST'

released October 19, 1984

Performed & written by Michel Banabila
Bass (V) by Peter van Straten
Guitar (V) Otto Janszen
Cover by Biquénôssà, Boudewijn van der Wagt
Photography by Mathieu Benistant
Recorded & mixed by Peter Riebeek

TRICHORD / MB191084
---------------------------------------------

Part 2 (45 RPM vinyl)



www.discogs.com/Michel-Banabila-Des-Traces-Retrouvees-2/release/1734791

released May 30, 1985

Denise Anken: vocal (I)
Michel Banabila: found objects, tape treatments, pianola, bottlesounds, percussion (I & II)
I, II, III & VI recorded at Studio 150 Amsterdam.
IV & V recorded at Peter Hoeks studio.
Photography by Matthieu Benistant.
Trichord Records / MB300585

---------------------------------------------

Part 3 (cassette)



www.discogs.com/Michel-Banabila-Des-Traces-Retrouvees-3/release/2658866

released December 1, 1987

Track 2 (October), track 6 (The Call) and track 9 (The Workers) are available via Bureau B / Tapete Records, June 2016, on vinyl and CD, fully remastered : 'Early Works - Things popping up from the past' soundcloud.com/bureau-1/bb227-michel-banabila-early-works

All tracks composed by Michel Banabila.
1, 3, 4, 5 © Steamin' Songs publishing.
2, 6, 9 © Tapete Songs publishing.


Bass – Pien Selliger (track: 14)
Design [Inlaycard design] – Jurgen Brouwer
Engineer – Jurgen Brouwer (tracks: 1- 9, 11-14), Peter Hoeks (tracks: 10)
Flute – Koos Derwort (track: 13)
Ovation guitar – Piet Legerstee (track: 2)
Mastered by [digital mastering At The Mix-lab] – Jurgen Brouwer
Percussion – Michel Banabila (tracks: 11 + 14)
Photography – Matthieu Benistant
Producer – Banabila, Brouwer.
Sampler [S10-sampler] – Michel Banabila
Sounds [soundprogressing] – Gerard van Wolferen (track: 8), Kees Went (track: 8)
Synthesizer [synthesizerprogramming] – Willem Cramer (tracks: 5 ,8, 13)
Voice – Michel Banabila (track: 1)
Woodwind [sipsi] – Michel Banabila (track: 10)

Oscar Smit / OOR

Michel Banabila ‎– Des Traces Retrouvees, Trichord 🇳🇱 1984. I. #michelbanabila #ambient #minimal #drone

A video posted by Time is Away (@timeisaway) on Aug 2, 2016 at 1:29am PDT