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Aranis – Songs From Mirage – 2010

Aranis - Songs from mirage 

Aranis

Artist: Aranis
Title: Songs From Mirage
Genre: Progressive Rock
Release date: 2010
Time: 58:22

Tracklist:
01 Ouverture
02 Fresia
03 Chamber rock
04 Reprise
05 Lullaby
06 Airesym
07 Aynu
08 Lever in plakjes
09 Jelimena
10 Keria
11 Out ama
12 Enjuminenna
13 Ilah
14 Finale

http://www.myspace.com/aranis

http://www.aranis.be/

Aranis AranisAranis

AranisAranis

Renato Moraes - Progbrasil.com.br
Songs from Mirage é o terceiro CD da banda da Antuérpia Aranis, banda que representa o que que tem de melhor do chamber rock atual. O septeto ganhou a colaboração de três vocalistas e o disco é uma suíte de 52 minutos. O som da banda continua com suas influências de tango, música minimalista, Univers Zéro, música folclórica européia e jazz. Os vocais são em latim e lembram mistura de canções célticas, música sacra e de corais que exploram a música folclórica como o coral feminino Le Mystere dês Voix Bulgares. A combinação é fantástica. As canções vão de momento de pura delicadeza até faixas de interpretações intensas e cheias de energia. A maior parte das faixas tem vocais, mas algumas são instrumentais. Ouvir o disco todo é uma viagem maravilhosa passando por motivos ciganos, de música clássica, sacra, tango, jazz e tudo combinado com muita inteligência e bom gosto. Os vocais são construídos com grande criatividade, podendo passar por momentos em que as três vocalistas cantam em uníssono ou em contrapontos muito bonitos e as vozes não são usadas apenas nos momentos calmos, pois a última faixa, Finale, a energia vem dos dez músicos e cantores e explodem de forma grandiosa. Esse CD é maravilhoso e vai agradar desde fãs do Univers Zéro até aqueles que gostam de new age. Em 2010 o novo projeto do Aranis terá três convidados, Dave Kerman (Present, 5uus, Thinking Plague, U Totem) na bateria, Pieree Chevalier (Present, Univers Zéro) nos teclados e Stefan Wellens (violino). O projeto é chamdo de RoqueForte! Esperem, mas enquanto isso fiquem com Songs from Mirage.

by Wayside Music
Aranis - Songs from MirageSKU HOME 446058The third album by this excellent new music/alt-classical ensemble. For avery small country, Belgium certainly has a easily identifiable soundingstyle of new music, and Aranis, a septet of fantastic young players, fitsright into the chamber music/chamber-rock sound that we all know from fellowcountry-groups like Louise Avenue, Cro Magnon, Julverne and Univers Zero, aswell as other European bands such as DAAU, Lars Hollmer\'s various ensembles,Noetra, Silence IV, Penguin Cafe Orchestra and Gatto Marte. The bandconsists of 2 violinists, accordion, piano, guitar, flute and double bass.For this album, for the first time, they are featuring occasional vocals by3 women singers who add a Medieval Babes kinda touch to the proceedings -and it works! For fans of this sound, this will will thrill and amaze.Probably their best yet - and that\'s saying something. Highly recommended.

www.progarchives.com
Review by Sean Trane SPECIAL COLLABORATOR Prog-Folk Specialist Even if Aranis\' EP Hidden Soundscapes was a collaboration with Toon Fret and not an album per se, it was warning us that changes were due to chamber prog realm and Mirage is the first step to these changes. Among the changes is definitely the artwork, the results the encounter of the two males of the debut and the five females of their second album. Obviously the baby there will be on most of the member\'s minds in the coming years, starting I think with their piano player that has not played the two French gigs this year. Then of course the three heavenly singers, each as beautiful as the five other female muses of the group. I think Stijn and Joris are among the luckiest musicians around. First and most striking is the addition of three singers that act mainly as choirs (but not only) much the way that the Kobaian singers do for Vander\'s Magma\'s music, even if Aranis doesn\'t go Zeuhl. The next striking thing is how darker Aranis\' musical realm has become: from light and happy and falsely careless (the band is always very tight) to now darker, thoughtful, sombre (but not sinister or macabre), it\'s quite a swing they managed in just one album. And as a result, Aranis plays much slower music than in their first two albums, but also becomes more solemn at times. From the contrabass drones come out one then three slow moaning voices, leaéding the way for Marjolein\'s accordion, before Axelle\'s piano leads the same accordion into a French-sounding valse? The 6-mins+ Ouverture certainly give plenty to the listener, but the boundaries are not set yet. Probably the most energetic track of the album is Chamber Rock, a track that brings us back to the first two albums, but it is sandwiched between two slow sung tracks like the single voice Fresia and its reprise. A little further Airesym and Jelimena are obvious highlightsas the closing 10-mins Finale is. A bit more dissonant (that\'s rather new also from Aranis) are tracks like Aynu and Lever In Plakjes and one can feel that they need more experience to venture out in this area. Enjuminenna is moreof the same in that area. Well if you liked the first two albums with its instrumental chamber prog, you might want to be careful when approaching this third album, which has taken a deep and slower pace and turned in some ways a bit between Magma (the unavoidable comparison due to the choirs) and Univers Zero (the slow dark chamber music) without going to the extremes of these two, but Songs From Mirage is just as worthy as its predecessors, if not more.

 

View All Photos | Aranis

View All Photos | Aranis

Gentse Feesten, Aranis

 

Um Cartaz que não podia ser melhor

 http://wwww.homerecords.be/index.php

Lors des concerts d'Aranis, l'atmosphère est inoubliable. La variété et l'expressivité captivent l'auditeur à tout moment. La structure chaotique et les sommets de virtuosité alternent avec les pauses sereines.

Joris Vanvinckenroye
double bass, compositions

Linde De Groof
violin

Liesbeth Lambrecht
violin

Marjolein Cools
accordion

Axelle Kenes
piano

Stijns Denys
guitar

Marjolein Cools
accordion

Jana Arns
flute


Els Van Laethem
Herlinde Ghekiere
A.M. Honggokoesoemo vocals


recorded by
Geert De Waegeneer

mixed and mastered
by Flavio Marredda
& Joris Vanvinckenroye


Press:

Français

  • Alice Bossut - musiczine.net
  • Etienne Bours - Trad Mag
  • Christophe Manhès (interview) - www.progressia.net
  • Christophe Manhès - progressia.net
  • CHFAB - progressive-area.com
  • Abdul Alhazred - progressive-area.com
  • Aymeric LEROY - Traverses n°27
  • Traverses n°27
  • Frédéric Vion - Traverses n°27
  • Présentation

Nederlands

  • folkforum.nl
  • René Warny - Goe Vollek
  • Mirjam Adriaans -folkforum.nl
  • Holly Moors - moorsmagazine.com
  • Marc Vos - MazzMusikaS 132
  • moorsmagazine.com
  • De Standaard
  • GTB - RifRaf
  • Presentatie

English

  • Dave Lynch - itunes.apple.com
  • BOB MULVEY - Dutch Progressive Rock Page
  • Matt Howarth - soniccuriosity.com
  • www.progawards.it
  • waysidemusic.com
  • Sean Trane - progarchives.com****
  • www.ragnrale.com
  • Gerald Van Waes - progressive.homestead.com***°
  • Presentation

Deutsch

  • Thomas Kohlruß - babyblaue-seiten.de
  • Fix Sadler - babyblaue-seiten.de
  • Achim Breiling - babyblaue-seiten.de

Magyar

  • Radnai Rudolf - muszeroldal.hu

Italian

  • Ruggero - agarthaprog.com

Norwegian

  • Nina Hagen Kaldhol
  • http://www.merlinprog.com/nordeuropa.htm

Portuguese

  • Renato Moraes - progbrasil.com.br

 album : Songs from mirage

Double bass player Joris Vanvinckenroye is the band's main composer. His style is typically cinematic, melancholy and diverse. Some compositions are minimal in concept (e.g. 'Zilezi'); others bring an explosion of timbres and unusual times. In concert, Aranis creates an unforgettable atmosphere. Variation and expressivity hold the audience riveted. Chaotic structures and virtuoso crescendos alternate with serene intervals.

Reviews of first & second albums:

The pick of Focus-Knack: 'Aranis', Classical music and Rock are growing towards one another. An evolution we can only be pleased about. Recently, it was Aranis, a septet from Antwerp and one of the laureates of the Gouden Vleugels (Golden wings) competition, who made the rock press. The band leader is a familiar face: double bass player Joris Vanvinckenroye, who already won his spurs with Troissoeur. His buddy in this unconventional folk ensemble, Edwin Vanvinckenroye, for that matter, also takes care of the only vocal track on Aranis' recent, untitled debut in his typical, inexistent language: Zilezi. Another remarkable guest on the album is Dick Van der Harst, driving force behind Het muziek Lod. Already the versatility of Aranis has generated a whole range of comparisons. The ensemble has been associated with Michael Nyman, Yann Tiersen and Wim Mertens. Some recognize, in Aranis' musical universe, elements of the post-rock of Rachel's, and if you listen closely, you may even find traces of world music and tango. The ladies and gentlemen of the exciting orchestra themselves prefer the definition 'acoustic chamber-rock'. One thing is certain: their compositions cause quite a stir and have a cinematic quality. How long will it be before some director gives them a ring? Focus Knack (January 2006)

Review Sounds like Aranis xxxx '... A cocktail of muted minimalism with a post-rock drive, exotic (gypsy) influences à la Hector Zazou and Music for Egon Schiele, melancholy in cast-iron compositions with thriller plots. This band deserves so much more than just airplay on Klara's 'Fresco' and Radio 1's 'Cucamonga'. This sound will please audiences way beyond our national borders... Roskilde 2006, here we come! S. Flipkens (December 2005)

Best CDs of 2005 according to De Standaard newspaper -Roots- In 8th position: Aranis! De Standaard (24 December 2005)

'... The virtuoso performance and subtle contrasts in their repertoire ensure that Aranis has a place among the newcomers on the Belgian music scene...' Dwars (December 2005)

Soundtrack for a non-existent film '... Two violins, a double bass, accordion, piano, flute, guitar and almost no voice: it is quite clear that Aranis wants to make music you do not hear just anywhere. Still, the small venue at 'De Vieze Gasten' is pretty packed for this Flemish band ... Judging from this performance in Ghent, the band is out to perform a lot more ... The audience was eager to be submerged in the cinematic music ... This band is intriguing.' De Standaard (19 December 2005)

'... the trio Indrigo, Jona and Vuur are interesting, cinematic compositions with echoes from genre companions DAAU and Boenox, but there seems to be a hint of Wim Mertens as well... Zone 03 (December 2005)

'... Anyone looking for some casual music is definitely at the wrong address with these people. But if special arrangements and experimental jazz tickle your fancy, you will certainly enjoy this sublime - at least for me - CD ... by Tsjoecka '... Aranis does not care a hoot about labels and they're absolutely right ...by Jak Folkroddels (December 2005)

Aranis **** Unknown and far too unloved, yet with a great deal of class ... Fact is that Aranis brings its very own sound that is apparently enjoyed by various authorities ... Wherever the ensemble performs, positive reactions is all you hear ... Stage (December 2005)

'Aranis casts off classical yoke at De Vieze Gasten' 'Aranis is made up of seven young, classically-trained musicians with guts. On CD and on stage, these guts sound like thrilling soundtracks à la Sigur Ros and swinging folk. Or chamber music with balls...' 'Interview with Zone 09 (7-13 December 2005)'

'Between the finesse of classical music and the excitement of pop' '... The secret of Aranis lies in the compelling fact that, as a listener, you are flung to and fro between the finesse of a classical concert and the excitement of a rock concert ... The cinematic style of Joris Vanvinckenroye shifts from explosive chunks of music to a muted minimalism. In his head, Astor Piazolla lives next door to John Cale and Jethro Tull. Their little get-togethers never feel contrived...' De Tijd (22 November 2005)

Seven musicians from Antwerp. Together they use their classical instruments to create a different sound. Nothing new, yet not less interesting. Go ahead and listen to Aranis' debut. Double bass player Joris Vanvinckenroye composes most of the music and travels along rock, folk and minimal music. A touch of melancholy, sometimes sober, others like a whirlwind of sounds. De Zondag (20 November 2005)

'New generation of debutants for Gouden Vleugels' (Golden Wings music competition) '... Aranis is the oddest one out. This ensemble of seven, with violin and accordion, among other instruments, performed compositions by their charismatic leader and double bass player, Joris Vanvinckenroye. Their music sounds like an exciting cross between contemporary classical music, tango and folk...' De Standaard (15 November 2005)

'... The debut CD is a mix of classical music, rock, folk and minimalism ... Aranis situates itself next to Flemish bands such as D.A.A.U., Bal Des Boiteux or Ballroomquartet, but the band members also hear comparisons with Michael Nyman or John Zorn...' Interview Gazet Van Antwerpen (4 November 2005)

'... The melting pot of music styles is well assembled and has enough character and quality to be interesting... They would attract enthusiasts of other "classical cross-over acts" such as DAAU and Boenox...' See: http://www.luister.info/Reviews/a/aranis.htm (November 2005)

'With a bit of luck, the young guns of Aranis may soon be signed up by one of the big record labels. After all, the music the seven of them perform is of the kind that is extremely well marketable...' Kwadratuur- Koen Van Meel

"... You are flung to and fro between the delight of a classical concert and the excitement of a genuine rock concert. Fragments of Troissoeur, Astor Piazolla, Michael Nyman, John Cale and Jethro Tull fly by, but they all fit in perfectly in the unique universe of Aranis. The CD is never boring, on the contrary, it captivates from beginning to end. (See: http://www.folktribune.be/d_stub.php)

'... Impressive debut album ... An affair between elegant chamber music and febrile energy. There are vague strokes of the same colour Michael Nyman or Wim Mertens would use to paint their watercolours. But it is mostly the voice of Troissoeur ringing through: dramatic and passionate, stirring and dreamy at the same time...' De Bond (November 2005)

'... "We have chosen to label our music as 'acoustic chamber-rock'," Liesbeth smiles. "We do not want to be limited to just one label though; our style is far from unequivocal. I am convinced that this way, our music will appeal to a wide audience. Both young and old will find points of reference. There are some that mention a meeting of romantic chamber music, energetic post-rock, dreamy folk and alienating avant-garde; others call it a mix of melancholy and lightness." Interview with De Krant van West-Vlaanderen

With their very much appreciated unnamed debut CD, the Aranis septet already proved two years ago that they have everything it takes to outline a remarkable musical course. This created certain expectations with people who want to chew on something more than the typical bite-sized chunks of music, and they will not be disappointed by 'Music For An Imaginary Film'. Double-bass player Joris Vanvinckenroye is a composer with a vision, who is not easily daunted by certain musical laws and who is guided only by his feelings. And the guy is lucky that Axelle Kennes (piano), Marjolein Cools (accordion), Linde de Groof (violin), Liesbeth Lambrecht (violin), Stijn Denys (guitar) and Jana Arns (flute), during eleven instrumental tracks, can convert his (and of course also their) vision into a suitable sound. It is noticeable as well that the septet's music has further evolved, thanks to even more adventurous arrangements, bizarre changes in tempo or unusual atonality, without ever letting the audience lose its grip. Although it does take some work to get on a par with the musicians, but after that it is pure enjoyment. Don't miss the inciting opener 'Kitano', participate in the confusion evoked by 'Walk In One's Sleep' (it sounds as if the instruments are giving chase to one another) and quiet down with 'Waris', in which guest musician Bart Maris plays a brilliant trumpet solo. In a media landscape that is becoming more and more scanty and in which everything is moulded into a format, bands like Aranis are a relief. The only problem is how to get these kinds of groups to the people. Let this be a first step for some. (DF) Review by Dirk Fryns - Stage (02/2008
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