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Michel Banabila + Maarten Vos

Banabila Sound Years

Banabila + Vos


Michel Banabila‘s musical tree has many roots. Those of you that have checked out his back catalogue (and I hope most regular readers have done), know that it includes experimental electronics, as well as world fusion, jazz, and many productions for theatre, dance, movies and documentaries.
Every branch of his output is interesting in its very own right, but I dare say that his work for theatre and dance productions may often be his most emotionally engaging, as well as the most accessible for audiences not particularly used to ‘experimentalism’.
There’s an impressive list of his work for theatre [here], in case you might know (listing in Dutch).

In the past Banabila  has regularly worked with Conny Janssen for her well-known dance ensemble Conny Janssen DanstFor their 25th anniversary production Home -currently touring the dutch theatres extensively-  she asked him to create the music in collaboration with Maarten Vosand play it live at every performance.

Maarten Vos is a classically trained Dutch cellist.  who also studied Live Electronics. His work combines the two musical areas, merging the two disciplines into a new one. He has collaborated with many other artists such as Julianna Barwick, Greg Haines, Loney Dear, Machinefabriek, The Kyteman Orchestra, and now of course with Banabila. 
Both artists worked together intensely preparing the soundtrack for Conny Janssens’ anniversary production, and their work is captured on this CD which is currently available at the performances. And hopefully – if stock permits – after the tour has ended.


Even without attending the dance performance it was written for, it’s an impressive and diverse soundtrack. A golden combo of electronics and cello  (Maarten Vos is a cellist primarily, but with a soft spot for modular electronics too), capable of conjuring a  multitude of emotions with diverse musical styles.

Their music constantly evolves, so it is doubtful that the music on the last performance will be the same as on the first. As mature and complete as the music on this album may sound, the music captured on CD can be seen as a ‘basic draft’, simply because the CD had to be manufactured before the tour started. This means that the music will have evolved further and some of the tracks will have seen many reworks over time.
Banabila and Vos have found a solution for this: after the tour ends, the music will be made available via Bandcamp in different versions: a complete version (containing the full CD version and various reworks), and an ‘additional’ version containing the reworks only (for those that have already bought the CD version at the CJD performances).

All this, of course, is about the music soundtrack only. But if you read this before the tour ends and live anywhere near Holland, I advise to go see one of the performances for the full Conny Janssen Danst experience. (If tickets are still available, that is).
For all others: keep an eye on the Bandcamp page to see when the full edition is released (which will be the first week of may).

Banabila Sound Years


Sound Years is a compilation of previously released tracks (with the exception of the previously unreleased opening track Close To The Moon). All are hand-picked by Michel Banabila himself and mixed into two continuous tracks – one for each side of the vinyl album. The selection is taken from various projects: some of them from theatre works, some of the more recent experimental electronic music, an occasional live recording, and a selection of his collaboration works with Oene van Geel and Rutger Zuydervelt (Machinefabriek).

The oldest tracks are taken from 2005’s Hilarious Expedition, the newest are from 2016. They are selected to create a continuous uninterrupted flow.
The sound is immediately recognisable as Banabila‘s – especially in his trademark use of ‘alien vocal’ samples (like in E.T. and Vuka Vuka!).
The set is a perfect demonstration of Banabila‘s mastership of creating moods and atmospheres. A soft, warm, comfortable selection that is slightly unnerving and ‘outerworldish’ at the same time.

Sound Years can perhaps be seen as Banabila‘s companion to KLF’s ‘Chill Out’ album: a slow walk through quiet (yet alien) landscapes. Unknown, full of surprises, yet always vaguely familiar.

Banabila has claimed that this could very well be his last physical release before going 100% digital. I wouldn’t take his word for that myself, but if it is, this beautifully packed (transparant vinyl) album (with a striking cover photo by Gerco de Ruijteris a ‘perfect goodbye’ to the vinyl medium.

Purchase of this transparent-vinyl album comes with a download that includes the unreleased Close To The Moon track as a separate bonus track.


The vinyl version of this album is available now (and selling fast), but the digital-only version of this album will be released on March, 21.
Three free advance download codes are available for commenters that answer one of these two questions below:

  • Who would you like to see Banabila collaborate with?
  • Can you take a guess about his favourite fruit?

Entries close sunday february 26!

Winners will be drawn randomly.
Thanks to Michel Banabila for providing these download codes!

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Various Artists – Marilli Remixed

Marilli Remixed

I still clearly remember hearing an unknown artist performing on a sunday afternoon radio program in 1984 (‘Spleen, VPRO). I learned that Michel Banabila had self-released his debut album called Marilli  – which I immediately bought from the only record shop in Amsterdam that stocked it.
That was the beginning of a long and adventurous fan-relationship: I have been following Banabila’s music for over 30 years now!

The music he currently creates is very different from what he created back then: Banabila considers his debut as a ‘quite simplistic and somewhat hilarious recording […] Quite embarrassing, really […] The overall effect is extremely naive, the sounds were nice and organic, but my “composing” process was not’.

While this may be true from the viewpoint of the artist that has grown and looks back on his early work, the original album still has the same feeling for me… it presented new sounds, a new freedom, a new ‘world fusion’ music (remember: this was relatively short after the release of Eno/Byrne‘s ‘My Life In The Bush Of Ghosts’).
(Marilli also marked the start of a new collective called Chi  which did some remarkable multimedia ‘fourth world ambient’ performances.)

“You can’t change the past”, Banabila concludes and he decided that there will be no re-release of the original Marilli. 

But things took a different turn when 2015 saw renewed interest in the debut album.
Former Chi-members Hanyo van Oosterom and Koos Derwort made a remix of the first album track and that became was the launch of a new project named Marilli Remixed: 23 remixes of the original analog recording by artists from all over the world (including Michel Banabila himself).

‘I asked them (the remixers) to skip the voices in their remixes, and to only use sounds from the record itself. (They) Came up with these really amazing works to transform the album into a more minimalist 2015 version.
It has become a remarkable collection, especially for those that still can remember the original album, of course.
But that’s not necessary – those that dón’t know the original will find pleasure in the 2015 remixes too.
No matter Banabila himself may think of his original work, it clearly was worth remixing: the respect for the original material is felt in all details.

Marill Remixed is available as a FREE (Name Your Price) download!

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Michel Banabila & Oene van Geel – Music for Viola and Electronics


If you do a search for Banabila‘ on this blog you’ll find that he’s regularly occupying these pages.  Looking at his back-catalague, it’s clear that his work covers quite a lot of different musical areas (you can check the two special mixes for example: here and here).
In recent years, however, his output became more and more experimental, steering towards heavy electronics and modular soundscapes. Gone is the ethnic world music, the ‘romantic’ themes – although the music never got too analytic; it always stays connected to recognisable human emotions.

After they met when working together on Cloud EnsembleMichel Banabila and Oene van Geel extended their collaboration which resulted in 2014’s Music for Viola and Electronics.
Both were so 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 Ruijter 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 not, than to describe what it is.
It certainly 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, almost 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 switch in the mood, 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!

Throughout the years, Michel Banabila‘s music has always been hard to classify. And just when you thought you knew what to expect, he usually took another artistic turn.
Though this may be a sign of true creativity, the downside is also that his music is a bit difficult to market because it targets so many different audiences.
It’s quite hard to find the right stage for his work, because it often simply “does not fit the format”.
But – as he has always done – Banabila chooses to do what he feels that must be done. Not just simply what might be expected.
No compromise!

Also on Spotify

Music for Viola and Electronics I:

Also on Spotify

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TAPU 25 Anniversary Mix

This mix is especially created to celebrate the 25th release on Michel Banabila’s Tapu Records (which will be released later this year).

In this mix (in fact a follow up of Streets, Dreams and Memories), all tracks & samples are chosen from the Tapu Records catalogue and so it displays the versatility of Banabila’s work – as solo artist as well as in collaboration with others.

A limited edition (100) physical Audio CD with this mix will be included with every physical release order from Banabila’s Bandcamp.

Also, a VIDEO version (presenting the covers in sync with the mix, as well as including the impressive Geert Mul video for Crowds‘), can be downloaded for free (link below).

  • 00:00 Crime Scene
    (Hilarious Expedition, 2005, TRBOP 1)
  • 00:57 SMS-ing
    (Hilarious Expedition, 2005, TRBOP 1)
  • 01:39 Shortwave
    (Hilarious Expedition, 2005, TRBOP 1)
  • 02:15 In Other Words
    (In Other Words, 2011, TRBOP 11)
  • 02:59 All the Voices Around Me
    (Changing Structures, 2011, TRBOP 7)
  • 05:00 Vreemd Gesprek (1)
    (Hilarious Expedition, 2005, TRBOP 1)
  • 05:30 In Other Words (Radbound & Bilaa Remix)
    (Zoomworld, 2013, TRBOP 17)
    with Radboud Mens
  • 06:47 Something Unspoken
    (Changing Structures, 2011, TRBOP 7)
  • 09:54 Deep in the Forest
    (Route Planner, 2011, TRBOP 9)
    with Mete Erker
  • 14:09 Banabila & Machinefabriek – Antennas
    (Travelog, 2013, TRBOP 21)
    with Rutger Zuydervelt (Machinefabriek)
  • 16:10 Lapidarium (piano version)
    (Fields of Flowers, 2011, TRBOP 8)
    with Jasper Soffers
  • 18:18 Banabila & Radboud Mens – Timestamp
    (EP, 2013, TRBOP 20)
    with Radboud Mens
  • 23:42 Harbour Set
    (0+1+0+1+0+1, 2011, TRBOP 5)
  • 27:06 Signals to Earth
    (Gardening, 2013, TRBOP 14/15)
  • 28:44 Sana’a
    (Float, 2014, TRBOP 22)
    with Yasar Saka, Salar Asid, Eric Vloeimans), Julia Ohrman
  • 33:24 Sunbeams
    (More Research from the Same Dept, 2014, TRBOP 23)
  • 38:25 Monochrome Pictures
    (The Latest Research …., 2011, TRBOP 6)
  • 40:50 Playground
    (Gardening, 2013, TRBOP 14/15)
  • 40:56 Eyes of the Witness
    (Sum Dark 12, 2012, TRBOP 13)
  • 46:25 Drops
    (Banabila-Erker-Machinefabriek-Zenial, 2013, TRBOP 16)
  • 49:32 Cloud Ensemble – Here and There
    (Cloud Ensemble, 2014, TRBOP 24)
    with All N4tural, Grzegorz Bojanek, Oene van Geel, Radboud Mens, Yuko Parris, Rutger Zuydervelt
  • 56:27 Salar’s Dream
    (Hilarious Expedition, 2005, TRBOP 1)
    with Salar Asid
  • 1:00:23 Machinery Aesthetics
    (The Latest Research …., 2011, TRBOP 6)
  • 1:01:00 Spiritus Sanctus
    (In Other Words, 2011, TRBOP 11)
  • 1:02:48 The Late Hour
    (Zoomworld, 2013, TRBOP 17)
  • 1:03:49 Ears Tell Us Where We Are In Space (String Version)
    (Float, 2014, TRBOP 22)
    with Goran Kamil
  • 1:05:54 Early Morning Light
    (Float, 2014, TRBOP 22)
    with Eric Vloeimans
  • 1:07:49 Crowds
    (Banabila-Erker-Machinefabriek-Zenial, 2013, TRBOP 16)
    video by Geert Mul
  • 1:14:08 End


Stream the audio version from Mixcloud:


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Michel Banabila – Float


Beginning his career in the early 80’s, Michel Banabila‘s albums covered many different styles.
So many, in fact, that his place in music was a bit difficult to pinpoint which sometimes seemed to confuse critics as well as potential audiences.

His albums presented world music, jazz, theatre play soundtracks as well as electronic music of the abstract or ambient kind – all kinds of genres which Banabila seems to be able to cross over with ease.

In recent years, his output became more focused on experimental electronics. There were collaborations with Machinefabriek, Scanner, Zenial, Radboud Mens, and multimedia performances with Geert Mul and Gerco de Ruijter (who also created the striking cover image for this album)

Nothing wrong with abstract electronics of course (on the contrary), but it should not be forgotten that apart from creating impressive abstract music, Banabila also has a distinct way of composing more melodic instrumental pieces of a very different kind. Pieces that often gain extra depth with the contributions of a variety of guest musicians.

Float is a compilation album that helps us remember exactly that!

The eleven tracks on this compilations demonstrate Banabila’s more ‘radio-friendly’ side.
(I mean serious music radio here, not just hit-list rotators).

There are two exclusive tracks (a string version of “Ears Tell Us Where We Are in Space”, and the title track) – the remaining tracks are taken from previous releases “Migrations”, “Traces”, “Route Planner”, “Fields of Flowers” and “Precious Images”.
The album selection fits together remarkably well, as if all tracks were composed especially for this album. The sound production is flawless – as always – and there are impressive contributions by artists like Anton Goudsmit, Eric Vloeimans, Michel van Schie, Salar Asid, Anne Bakker, Mete Erker, Mehmet Polat , Yasar Saka and more.

Float may not bring much new music for those already familiar with Banabila’s work. But it’s a perfect introduction to his music if you’re relatively new to his ‘more melodic’ side!

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Banabila & Machinefabriek – Travelog



It took some time before Michel Banabila and Machinefabriek, both living in Rotterdam, finally met and started working together. But after the release of their first album, they soon decided there would be more like that.
Not just because their first CD was very well received critically, but also (probably even more) because their collaboration was so fruitful that the new ideas started to roll in soon, and simply begged to be continued.

So now, some 9 months after its predecessor, Travelog is presented.

Both covers share the same kind of bright blue colour, but while Banabila & Machinefabriek presents a view UP into the sky, Travelog shows a view from the sky DOWN to earth.
The shadow of a plane flying over a sunny beach indicates a somewhat lighter, less abstract, approach (compared the the first album).
This is confirmed in the first track (‘Spin n’Puke’), with its handclaps and playful rhythm.
Later tracks keep this playfulness, showing the two artists looking for ways to merge their different musical experiences rather than focus on what they both have in common (since they already explored that earlier).
The result is remarkable, and clearly the sum is more than the separate parts.
“Some moments might recall the mighty Tape, while others showcase motoric krautrock influences and subtle hints of African rhythms.”

The krautrock reference is absolutely clear in some of the samples: ‘Rain Painting’ has the spirit of Holger Czukay floating around, and there was a short moment when I thought I heard a flute sound like used on very early Tangerine Dream albums (“Zeit”- era). ‘Yarra’ and ‘Dinsdag’ even have some subtle references to Banabila’s own older work (like ‘Marilli’ and ‘Des Traces Retrouvees’).

But do not mistake this for a ‘retro-album’ because it simply isn’t. The interplay of both musicians, their innovative musical dialogue, pushes the boundaries into new dimensions.
Also, do not be misled by the sunny cover and ‘lighter and playful’ connotations: there’s a lot of gritty feedback sound too. Though the overall sound may be somewhat less ‘abstract’ than before, this still isn’t the kind of music you’ll hear on any average radio station!

Travelog clearly radiates Michel and Rutger’s enthusiasm.
This probably will not be the last collaboration we will see from them…


Also on Spotify

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Michel Banabila – 47 Voice Loops + Gardening (Extended)


47 Voice Loops

Two surprising new albums by Michel Banabila, both based on some of his earlier work yet remarkably different from most albums in his extensive catalogue.


The original basic track for 47 Voice Loops can be found on the free (!) download album In Other Words (track called “MltVz8”.)
In reaction to some listeners comments, Banabila decided to create longer versions of this track. The result is now available as a separate album which clearly demonstrates these listeners were right!

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.

“47 Voice Loops”



Gardening Extended

The first version of Gardening was released in august 2012 as a digital only release. The compositions of structured field recordings, based on found sounds and recorded objects also shows a radically different side of Michel Banabila.

This album is now also available as a limited edition digipack CD, and the reason that I menton it again is because it now also includes additional remixes based on the original tracks by: Machinefabriek, Radboud Mens, Lukas Simonis, Zenial, Naoyuki Sasanami and…. (surprise!) even one created by me…!
It’s probably needless to say that I am very very proud that Michel Banabila included my own humble remix along with some other remixes from artists that I do greatly respect!.

Please note that the download version of the album does NOT contain the remixes: the remixes are exclusively limited to the physical CD version, which is a limited edition of 100 copies only.
Also, the Bandcamp page only previews the original tracks, not the remixes.

So, the track featured below is an ambientblog exclusive preview of the Gardening Trigger Mix by Peter van Cooten, created for Banabila’sGardening – Extended Version


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Banabila, Manuel Chantre, Beautiful Schizophonic, Linear Bells, Sequence 5


In the Shortlist sections, I will mention some of the albums that I enjoyed listening to, but couldn’t find the time (or the right words) for a “full” review for. Still, I think they deserve your attention: use the links to find more info and hear previews.


Michel Banabila – Sum Dark 12
Available as a digital download for some time, but now also as a strictly limited CDr edition. Contains four tracks that were the basis for Banabila‘s impressive (at times even terrifying) set performed at the Summer Darkness festival in Utrecht, 2012, as well as a 22 minute live recording from that performance.
Definitely showcasing the darkest of the many sides of Michel Banabila!


Manuel Chantre – Six Mil Antenas
Soundtrack for the first 360 degree ‘Satosphere’ (Société des Arts Technologiques, Montreal) film, a “Journey in a futurist, psychedelic and non-linear universe”, inspired by movies like Enter the Void, Alphaville, The Holy Mountain and then some. This visual experience must be quite overwhelming in itself, but without the images this soundtrack is also very much worth listening.
Fun detail: this album is also offered as a concrete block with USB-port. I did not dare to ask for the international shipment cost of this particular one…

Manuel Chantre also offers another compilation of soundtracks for audiovisual installation on Memorsion and other Works, which features somewhat more ambient-oriented soundscapes.


The Beautiful Schizophonic – Belkiss
13 relatively short tracks, or ‘vignettes’, from Jorge Mantas aka The Beautiful Schizophonic. Three of them with vocals – hence the reference to This Mortal Coil. The tracks are varied in instrumentation yet stay close to the album’s basic atmosphere which is perfectly captured by the album cover.
A remarkable combination of soundscapes, field recordings and ‘Dream Pop’.


Linear Bells – Esther
Linear Bells is French artist
David Teboul.
“He is a composer, multi-instrumentalist and sound artist based in Nantes, France. His music is a mix between vintage instruments, sound manipulations and field recordings, all primarily created with acoustic and analogic instruments.”
Featuring contibutions by Endless Melancholyand Listening Mirror.

Sequence 5

Various Artists – Sequence 5 (Free Download)
Sequence 3 was released in february this year, Sequencein july, and both contained so much music that you probably just finished listening to it. But you don’t get any time to breathe, since Future Sequence already curated number 5 in this massive compilation series showcasing “experimental artists from around the world, whether they are just starting out or already established”.
This set contains over 4 hourse of music in 42 tracks by more or less (probably most will be less) familiar artists will help you get though the longest winter!

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Banabila & Machinefabriek



First: check my profile so you know that I’m not entirely ‘unbiased’ when reviewing this release. 

Michel Banabila and Machinefabriek are firmly at the top of my all-time favourite artists chart (well, to be exact: counting of ‘all-time’ started at 2005 when I “went digital” in listening music). 

Both have been extensively featured on this weblog (just do a search on their names to dig deeper) – even if that covers only a small part of their output.
Considering their complete discography, it seems their output is quite different in style – yet their work also has some overlapping areas, especially when it comes to “gritty” electronics. 

Knowing they both live in Rotterdam, it was clear that they should meet sometimes. I’ve been waiting for that to happen, but I had no idea if their collaboration would work and what the result might sound like. 

So imagine my surprise when, without any introduction or announcement, their collaborative album Banabila & Machinefabriek”  was announced recently.

I can assume that neither Banabila nor Machinefabriek need any further introduction for readers of this blog.
Both are prolific pioneers in the dutch electronic music scene. But, since both can also have quite a different musical focus, it’s interesting to see where these ends meet when they are working together.

When they finally met, the spark obviously exploded into a flame: “We agreed to start slow, and then really kick it off early 2013. But in all our enthousiasm, we quickly got caught up in an unstoppable workflow. Swapping files back and forth, layering and processing each other’s sounds, it immediately felt like a match made in heaven. In an incredibly short, though highly inspiring time span, the album ‘Banabila & Machinefabriek’ was created.” 

On Banabila & Machinefabriek” , their shared interest is in creating abstract electronic soundscapes, with a dynamic range varying from immersive calm sounds to noisy eruptions. This means their album is not exactly ‘easy listening’, it can be a challenging but adventurous listen. 
The opening track (‘Ascend’), may have some subtle hints to the use of ‘real’ instruments, but from there the album quickly moves into electronic territories.
But: things never really get out of control: Banabila (29+ albums since 1983!) and Machinefabriek  (42+ albums since 2004!) are experienced enough to carefully balance their input to maximum effect. 

Their interaction is immaculate: it is surprisingly hard to distinguish the Banabila elements from those added by Machinefabriek. The sum of their contribution is definitely “more” than just both separate parts. 

Considering some of the noisy outbursts in Bad Wiring and Dead Air, this album may probably not be to anyone’s liking. But everyone else – especially those who know the previous works of Banabila and/or Machinefabriek – should definitely check out this release!


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Michel Banabila – Gardening



Just when you thought you might have a good overall impression of his work, Banabila manages to present a completely different direction with his latest release: Gardening.

Banabila‘s musical output covers a wide range of genres, from dark electronica (like his recent SumDark12 release, or The Latest Reseach…) via world music crossover (likeMigrations) to cinematic ambient jazz (like Route Planner) – and that’s not even mentioning his impressive scores for theatre and dance productions (some of it collected on the massive Hilarious Expedition set).

The start of the inspiration for Gardening came from an invitation to perform an improvisation session using sounds from the 1964 movie “The Woman in the Dunes” (“Sunna No Onna“) at Worm, Rotterdam (before screening the film), and from listening to the Disquiet Junto group on Soundcloud. 

Creating this album was an exercise in restraint, going back to basics, using only natural sounds: the sound of a room, the environmental acoustics of everyday life… sounds that were natural by origin, familiar maybe, though not heard every day any more.
The result is a natural contrast to widespread electronic production and digital delay effects.

Though most of the basic material comes from “found sounds”, this is not a pure “environmental field recording” album, since the samples are heavily arranged, creating rhythmic patterns, and electronic background effects are added to the sound palette. But the electronic additions are sparse, in a way back-to-basics too.

With GardeningMichel Banabila stepped out of his comfort zone, investigating new territories of sounds and silence. 

If you thought you knew Banabila‘s music – think again ! “


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