Showing posts with label voices. Show all posts
Showing posts with label voices. Show all posts
Tuesday, 14 January 2020
Friday, 31 August 2018
VoizNoiz part 1 reissued on 2LP vinyl by Steamin' Soundworks
First album from the VoizNoiz series (CD / 2000 - Pork Recordings , Tone Casualties) reissued by Steamin' Soundworks on a 2LP vinyl album (ltd 234), including a 16 minute remix by Michel Banabila & Oene van Geel. Expected in October 2018, available via Norman Records. Fully remastered by Marlon Wolterink. 175G vinyl in hardback gatefold sleeve. Photography Jacky van Dijk / design Rutger Zuydervelt. More info at Steamin' Soundworks Bandcamp & Steamsounds.com
Remix (Side D) by Michel Banabila & Oene van Geel:
Remix (Side D) by Michel Banabila & Oene van Geel:
VoizNoiz on vinyl from Michel Banabila on Vimeo.
Saturday, 2 December 2017
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.
2LP vinyl record in a gatefold sleeve, featuring with archival pics, essay and artwork by Alan Briand.
Saturday, 4 February 2017
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
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
Saturday, 6 August 2016
Jump Cuts
Found sound from youtube. This month I started to sample voices and environmental sounds again... Combining lots of samples, often amazed by synchronicity. I couldn't stop, as I was enjoying it a lot, and two wonderful contributions by Joost Kroon and Maryana Golovchenko completed this little EP, that sounds perhaps more like my previous VoizNoiz albums. Furthermore I used some photos from recent trips for creating the artwork, inspired by the music. These recordings are available as a download, and track 1 & 3 are also available on CD
AMBIENT BLOG
When he introduced his recent digital-only EP-release Jump Cuts, Michel Banabila hesitantly apologized for the fact that it wasn’t exactly experimental music. But because he enjoyed making it so much he decided to release it to the public. While it may not exactly be abstract hardcore experimental music indeed, I can probably safely assume that this is still much too experimental to the ears of about 95% of radiomakers and – listeners. But what is more important: it’s a return-to-style to the music that bears the unique Banabila trademark. The kind of patchwork sounds he created for previous albums like Voiznoiz and Precious Images – let’s call it his pre-abstract-electronic era. The kind of music that also perfectly fits theatre, dance, documentary or movies soundtracks. A jump cut in film editing is a cut in which two sequential shots of the same subject are taken from camera positions that vary only slightly, giving the effect of jumping forwards in time. Banabila achieves the effect by synchronizing all kinds of seemingly unrelated found sounds and vocal snippets with a compelling background rhythm track. It’s easy to hear why Michel Banabila enjoyed creating these tracks so very much. I’d say: don’t worry about experimentalism…. more of this, please! (Peter van Cooten)
NIEUWE NOTEN:
‘Jump Cuts’ is het derde recente album en in tegenstelling tot ‘Music for Viola and Electronics II’ en ‘Error Log’ is dit album alleen digitaal te verkrijgen. Naast een gastbijdrage van drummer en percussionist Joost Kroon, die ook op ‘Music for Viola and Electronics II’ meewerkt, horen we zangeres Maryana Golovchenko. Verder maakt Banabila hier veel gebruik van veldopnames en allerhande samples. Dit album is tevens opvallend ritmisch, zeker in vergelijk met de twee andere albums. (Ben Taffijn)
UTILITY FOG - FBI RADIO:
Michel Banabila's latest EP sees him returning to rhythmic sampled vocals, with a pan-world music feel. In some ways it could be a throwback to the '90s ethnomusicology of Deep Forest or something – or even Jean-Michel Jarre's strange, groundbreaking Zoolook, but it has enough of a contemporary sheen to set it apart, particularly with the glitchy vocal interruptions. Calming dubby grooves and lovely disembodied vocals make for great travelling music (even if you're sitting on your sofa travelling in your head). (Peter Hollo)
MUSIC WON'T SAVE YOU:
Reduce da una nuova collaborazione con Rutger Zuydervelt (“Error Log”), Michel Banabila racchiude in un Ep digitale una serie di divertite variazioni su field recordings e samples vocali, rimaneggiate e plasmate in quattro brani dalla poliedrica resa sonora. In “Jump Cuts” l’artista olandese torna ad applicare l’approccio istintivo e impressionista di lavori quali “Voiznoiz” e “Precious Images”, discostandosi in parte da sperimentazioni dotate piuttosto di una matrice cerebrale o concettuale. Se nei brani collocati in testa e in coda della breve tracklist il naturalismo elettro-acustico elettro-acustico della materia grezza delle registrazioni affiora in superficie appena contornata da oscillazioni avvolgenti e minute screziature, nei due pezzi centrali sono le componenti ritmiche a prendere decisamente il sopravvento, sotto forma di pulsazioni sintetiche che, lungo i nove minuti della title track, assumono cadenze incalzanti. Il tutto sembra rispondere a un’estemporaneità persino divertita, che contribuisce a desacralizzate l’essenza stessa del linguaggio sperimentale di Banabila, evidenziandone al contempo potenzialità insospettate e appunto discendenti dalla capacità dell’artista olandese di cogliere l’attimo, assemblandone gli elementi e modellandolo secondo la mutevole ispirazione del momento. (Raffaello Russo)
NOWAMUZYKA:
Michel Banabila to muzyk, kompozytor i producent. Jego kariera zaczęła się wraz z wypuszczeniem albumu „Voiz Noiz” w 2000 roku, który został bardzo dobrze oceniony przez krytyków. Wyprodukował wiele ścieżek dźwiękowych do filmów pełnometrażowych, dokumentalnych, jak i sztuk teatralnych. Holender ma na swoim koncie mnóstwo różnych kolaboracji. W ubiegłym roku wydał znakomitą EP-kę wraz z kolektywem Cloud Ensemble (recenzja). Zaś w tym roku opublikował kilka interesujących wydawnictw: Michel Banabila & Oene van Geel – „Music for viola and electronics II” (recenzja), Banabila & Machinefabriek – „Error Log” i Banabila, Erker, & Samson – „Viewpoint”. Najświeższą jego pozycją jest solowa EP-ka, pt. „Jump Cuts” (Tapu Records, czerwiec 2015). Inspiracją do stworzenia tego materiału były sample z YouTube’a pochodzące z amatorskich klipów. Na EP-ce znalazły się cztery kompozycje, dzięki którym twórca wraca do swoich korzeni, a mianowicie do tego, co prezentował m.in. na krążku „VoizNoiz”. Banabila zaprosił do współpracy dwóch artystów: Joosta Kroona – (perkusja w „Jump Cuts”) i Maryanę Golovchenko – (wokal w „Field Trip”). Z kolei sam odpowiada za gitary, syntezatory, field recording, głos, pad kaoss, meksykański flet turtle, elektronikę i instrumenty perkusyjne. Minialbum „Jump Cuts” to niezwykle ciekawa fuzja przeróżnych brzmień, od elektroniki, jazzu, krautrocka, etno aż po downtempo, ambient czy muzykę eksperymentalną. (Łukasz Komła)
WSZYSTKIE STANY SKUPIENIA:
Jeśli spędzacie popołudnie na jutiubach, to możecie równie dobrze posłuchać najświeższego materiału od Michel Banabila. Jump Cuts to cztery ciekawe utwory inspirowane amatorskimi filmikami na wyżej wspomnianym portalu. Wiele się dzieje w tej przestrzeni. Zarówno muzycznie, jak i instrumentalnie. Szkoda tylko, że tak szybko mija.
GONZO CIRCUS 129:
Op het alleen digitaal verkijgbare Jump Cuts laat Banabila zich van een toegankelijke kant zien. 'Field Trip' is met zijn ritme en betoverende stem van Maryana Golovchenko misschien wel zijn meest poppy nummer ooit opgenomen. Tussen haar stem zijn veel omgevingsgeluiden te horen en dat is ook elders op dit album het geval. Zoals in het lange ambient-achtige eerste deel van de titeltrack waarin het tempo gaandeweg word opgevoerd door ritmische percussie. In 'Take Me There' zit je dankzij gemelanklanken en omgevingsgeluiden ineens in Nederlands Indie. In 'Tortoise' waan je je door de combinatie met trompet in een nummer van Jon Hassell. Bij de bandcamp-versie van 'Jump Cuts' zit een gratis bonustrack met alleen maar rustige elektronica en field recordings. (Oscar Smit)
Released June 21, 2015.
Michel Banabila: guitar, keys, field recordings, voices, kaoss pad, samples from youtube amateur video recordings, mexican turtle flute (with ZPlane treatment), electronics, percussion, logic audio, melodyne and artwork.
Joost Kroon: drums & percussion [3]
Maryana Golovchenko: additional vocal [4]
008TR - 2015 © Tapu records
All tracks composed by Michel Banabila.
AMBIENT BLOG
When he introduced his recent digital-only EP-release Jump Cuts, Michel Banabila hesitantly apologized for the fact that it wasn’t exactly experimental music. But because he enjoyed making it so much he decided to release it to the public. While it may not exactly be abstract hardcore experimental music indeed, I can probably safely assume that this is still much too experimental to the ears of about 95% of radiomakers and – listeners. But what is more important: it’s a return-to-style to the music that bears the unique Banabila trademark. The kind of patchwork sounds he created for previous albums like Voiznoiz and Precious Images – let’s call it his pre-abstract-electronic era. The kind of music that also perfectly fits theatre, dance, documentary or movies soundtracks. A jump cut in film editing is a cut in which two sequential shots of the same subject are taken from camera positions that vary only slightly, giving the effect of jumping forwards in time. Banabila achieves the effect by synchronizing all kinds of seemingly unrelated found sounds and vocal snippets with a compelling background rhythm track. It’s easy to hear why Michel Banabila enjoyed creating these tracks so very much. I’d say: don’t worry about experimentalism…. more of this, please! (Peter van Cooten)
NIEUWE NOTEN:
‘Jump Cuts’ is het derde recente album en in tegenstelling tot ‘Music for Viola and Electronics II’ en ‘Error Log’ is dit album alleen digitaal te verkrijgen. Naast een gastbijdrage van drummer en percussionist Joost Kroon, die ook op ‘Music for Viola and Electronics II’ meewerkt, horen we zangeres Maryana Golovchenko. Verder maakt Banabila hier veel gebruik van veldopnames en allerhande samples. Dit album is tevens opvallend ritmisch, zeker in vergelijk met de twee andere albums. (Ben Taffijn)
UTILITY FOG - FBI RADIO:
Michel Banabila's latest EP sees him returning to rhythmic sampled vocals, with a pan-world music feel. In some ways it could be a throwback to the '90s ethnomusicology of Deep Forest or something – or even Jean-Michel Jarre's strange, groundbreaking Zoolook, but it has enough of a contemporary sheen to set it apart, particularly with the glitchy vocal interruptions. Calming dubby grooves and lovely disembodied vocals make for great travelling music (even if you're sitting on your sofa travelling in your head). (Peter Hollo)
MUSIC WON'T SAVE YOU:
Reduce da una nuova collaborazione con Rutger Zuydervelt (“Error Log”), Michel Banabila racchiude in un Ep digitale una serie di divertite variazioni su field recordings e samples vocali, rimaneggiate e plasmate in quattro brani dalla poliedrica resa sonora. In “Jump Cuts” l’artista olandese torna ad applicare l’approccio istintivo e impressionista di lavori quali “Voiznoiz” e “Precious Images”, discostandosi in parte da sperimentazioni dotate piuttosto di una matrice cerebrale o concettuale. Se nei brani collocati in testa e in coda della breve tracklist il naturalismo elettro-acustico elettro-acustico della materia grezza delle registrazioni affiora in superficie appena contornata da oscillazioni avvolgenti e minute screziature, nei due pezzi centrali sono le componenti ritmiche a prendere decisamente il sopravvento, sotto forma di pulsazioni sintetiche che, lungo i nove minuti della title track, assumono cadenze incalzanti. Il tutto sembra rispondere a un’estemporaneità persino divertita, che contribuisce a desacralizzate l’essenza stessa del linguaggio sperimentale di Banabila, evidenziandone al contempo potenzialità insospettate e appunto discendenti dalla capacità dell’artista olandese di cogliere l’attimo, assemblandone gli elementi e modellandolo secondo la mutevole ispirazione del momento. (Raffaello Russo)
NOWAMUZYKA:
Michel Banabila to muzyk, kompozytor i producent. Jego kariera zaczęła się wraz z wypuszczeniem albumu „Voiz Noiz” w 2000 roku, który został bardzo dobrze oceniony przez krytyków. Wyprodukował wiele ścieżek dźwiękowych do filmów pełnometrażowych, dokumentalnych, jak i sztuk teatralnych. Holender ma na swoim koncie mnóstwo różnych kolaboracji. W ubiegłym roku wydał znakomitą EP-kę wraz z kolektywem Cloud Ensemble (recenzja). Zaś w tym roku opublikował kilka interesujących wydawnictw: Michel Banabila & Oene van Geel – „Music for viola and electronics II” (recenzja), Banabila & Machinefabriek – „Error Log” i Banabila, Erker, & Samson – „Viewpoint”. Najświeższą jego pozycją jest solowa EP-ka, pt. „Jump Cuts” (Tapu Records, czerwiec 2015). Inspiracją do stworzenia tego materiału były sample z YouTube’a pochodzące z amatorskich klipów. Na EP-ce znalazły się cztery kompozycje, dzięki którym twórca wraca do swoich korzeni, a mianowicie do tego, co prezentował m.in. na krążku „VoizNoiz”. Banabila zaprosił do współpracy dwóch artystów: Joosta Kroona – (perkusja w „Jump Cuts”) i Maryanę Golovchenko – (wokal w „Field Trip”). Z kolei sam odpowiada za gitary, syntezatory, field recording, głos, pad kaoss, meksykański flet turtle, elektronikę i instrumenty perkusyjne. Minialbum „Jump Cuts” to niezwykle ciekawa fuzja przeróżnych brzmień, od elektroniki, jazzu, krautrocka, etno aż po downtempo, ambient czy muzykę eksperymentalną. (Łukasz Komła)
WSZYSTKIE STANY SKUPIENIA:
Jeśli spędzacie popołudnie na jutiubach, to możecie równie dobrze posłuchać najświeższego materiału od Michel Banabila. Jump Cuts to cztery ciekawe utwory inspirowane amatorskimi filmikami na wyżej wspomnianym portalu. Wiele się dzieje w tej przestrzeni. Zarówno muzycznie, jak i instrumentalnie. Szkoda tylko, że tak szybko mija.
GONZO CIRCUS 129:
Op het alleen digitaal verkijgbare Jump Cuts laat Banabila zich van een toegankelijke kant zien. 'Field Trip' is met zijn ritme en betoverende stem van Maryana Golovchenko misschien wel zijn meest poppy nummer ooit opgenomen. Tussen haar stem zijn veel omgevingsgeluiden te horen en dat is ook elders op dit album het geval. Zoals in het lange ambient-achtige eerste deel van de titeltrack waarin het tempo gaandeweg word opgevoerd door ritmische percussie. In 'Take Me There' zit je dankzij gemelanklanken en omgevingsgeluiden ineens in Nederlands Indie. In 'Tortoise' waan je je door de combinatie met trompet in een nummer van Jon Hassell. Bij de bandcamp-versie van 'Jump Cuts' zit een gratis bonustrack met alleen maar rustige elektronica en field recordings. (Oscar Smit)
Released June 21, 2015.
Michel Banabila: guitar, keys, field recordings, voices, kaoss pad, samples from youtube amateur video recordings, mexican turtle flute (with ZPlane treatment), electronics, percussion, logic audio, melodyne and artwork.
Joost Kroon: drums & percussion [3]
Maryana Golovchenko: additional vocal [4]
008TR - 2015 © Tapu records
All tracks composed by Michel Banabila.
47 Voice Loops
Proposal for a soundart installation consisting of a room with 47 speakers.
47 loops of my voice, some time stretched, each loop a different length. For every loop there is one speaker. The volume of each track for each speaker changes by an automated mix. The starting point of each loop is random, and as they move towards each other, endless new combinations can occur.
Inspired by / dedicated to Cornelius Cardew & The Scratch Orchestra 'The Great Learning' - paragraph 7 (1971)
AMBIENTBLOG:
As the title indicates, the basic ingredients for these tracks are 47 layered and looped recordings of Michel's own voice - and since each loop has a different length the result is a choral work in endless variations in which the same combination of fragments will hardly ever be repeated (a generative music principle often used by Brian Eno). Although the originating process and the philosophical fundaments may differ, those of you that paid attention at experimental music history class will probably immediately recognise "The Great Learning, Paragraph 7 " as composed and performed by Cornelius Cardew and the Scratch Orchestra in 1971 - a piece that Banabila acknowledges to be one his greatest musical influences ever. The result is "MltVz9" - a mesmerisingly calm vocal ocean, whispering messages probably only your subconscience will understand... But it does not stop there. The second version of this track repeats the process but with the loops heavily processed and mutilated, feeling like washes of instrumental noise unrelated to human vocal. Next, the album concludes with a mix of these two versions, in which the voices seemingly struggle with their unnatural counterparts. Throughout his work, Michel Banabila has always been experimenting with all aspects of the human voice. This album is his ultimate hommage to the composer and the musical score he has admired for all his life. (Peter van Cooten - 04-18-2013).
SUBJECTIVISTEN:
"Een biologerend hoorspel dat zich als een ambientalbum laat beluisteren." (JanWIllem Broek)
001TR © Tapu records
Released April 9, 2013
michel banabila: voice
47 loops of my voice, some time stretched, each loop a different length. For every loop there is one speaker. The volume of each track for each speaker changes by an automated mix. The starting point of each loop is random, and as they move towards each other, endless new combinations can occur.
Inspired by / dedicated to Cornelius Cardew & The Scratch Orchestra 'The Great Learning' - paragraph 7 (1971)
AMBIENTBLOG:
As the title indicates, the basic ingredients for these tracks are 47 layered and looped recordings of Michel's own voice - and since each loop has a different length the result is a choral work in endless variations in which the same combination of fragments will hardly ever be repeated (a generative music principle often used by Brian Eno). Although the originating process and the philosophical fundaments may differ, those of you that paid attention at experimental music history class will probably immediately recognise "The Great Learning, Paragraph 7 " as composed and performed by Cornelius Cardew and the Scratch Orchestra in 1971 - a piece that Banabila acknowledges to be one his greatest musical influences ever. The result is "MltVz9" - a mesmerisingly calm vocal ocean, whispering messages probably only your subconscience will understand... But it does not stop there. The second version of this track repeats the process but with the loops heavily processed and mutilated, feeling like washes of instrumental noise unrelated to human vocal. Next, the album concludes with a mix of these two versions, in which the voices seemingly struggle with their unnatural counterparts. Throughout his work, Michel Banabila has always been experimenting with all aspects of the human voice. This album is his ultimate hommage to the composer and the musical score he has admired for all his life. (Peter van Cooten - 04-18-2013).
SUBJECTIVISTEN:
"Een biologerend hoorspel dat zich als een ambientalbum laat beluisteren." (JanWIllem Broek)
001TR © Tapu records
Released April 9, 2013
michel banabila: voice
In Other Words
Cut up voices, tuned, with some electronic treatments.
I chose most of them based on their sound, emotion, timbre, the melody of speech, regardless of any literal meaning of the words.
New (non existing) words and phrases were formed with the rearranging of tiny samples.
Some voices were sampled from the Phonetics Lab, some via Web-SDR, some via Tunein radio.
A special thanks to Mark Dingemanse.
Purloined Voices (MP3) Disquiet.com
I chose most of them based on their sound, emotion, timbre, the melody of speech, regardless of any literal meaning of the words.
New (non existing) words and phrases were formed with the rearranging of tiny samples.
Some voices were sampled from the Phonetics Lab, some via Web-SDR, some via Tunein radio.
A special thanks to Mark Dingemanse.
Purloined Voices (MP3) Disquiet.com
Phonema
R:IP
For voices & sampler.
released May 1, 2003.
De Rotterdamse Improvisatie Poel;
Joe Monk : voice
Peter Sterk : voice
Willy Bakker : voice
Vanita Monk : voice
Hugo Van Rooy : voice
Henk Van Schaik : voice
Marriete Kleisen : voice
Henri Van Zanten : voice
Pierre Verbeek : voice & recordings
Michel Banabila : sampler, edits & electronic treatments
Katja Vetter : organisatie
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