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LP
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IF 1009X-LP
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Reissue. In 2010, electronic composer Arandel quietly released his first album In D on the then young InFiné label. At the time, the artist was strictly anonymous, put in the forefront its strict methodology of composition, and unleashed to the world what was destined to eventually break ground as a classic debut. The original pressing of that record sold out more than ten years ago, and at long last is finding new life on limited edition vinyl. The record covers immense ground despite the strict "sonic dogma" put in place (every song in the key of D, and no samples allowed beyond what Arandel played himself). With these limitations aside, the record traverses a wide sonic map that covers classic, pristine leftfield house, ambient experimentalism, and even mind-expanding psychedelia. As stated by The Line of Best Fit in 2010, "In D is an exciting, occasionally intoxicating and spirited album that owes as much to the spirit of its influences as it does to the desired mystery of its creator."
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CD
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IF 1063CD
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Sharing his InBach album with the world in 2020 (IF 1056CD/LP) set events into motion that ultimately led to Arandel making second edition in the critically acclaimed, borderless project that unites rare instruments, musical re-imagination. Arandel unites once again behind the musical phrases of the Leipzig composer specialists of ancient and modern instruments (Thomas Bloch), modern synthesizers and Moogs, strings experts (Gaspar Claus), and the poetic spoken word of Myra Davies and Bridget St. John. The second InBach grew like a garden from the seeds of the first one -- an eclectic journey through melodic fantasies, intricate sound design and a certain pop silver lining. Some tracks were born out of Arandel's band performing on stage, experimenting with the songs live and composing them anew, like "Nos Contour", a new, French-lyrics version of "Bodyline" with Ornette, Arandel's stage partner. InBach Vol. 2 is a logical consequence then, of someone diving into a pool of music and history so large that it is being chronicled to this day. A substantial part of the instruments used on the lofty, eclectic album were recorded at the Musée de la Musique Paris: rare instruments like the Erard square piano, Ondioline, Zach's cello, Stroh violins. In the vein of rare instruments, the first guest musician Arandel approached for InBach was Thomas Bloch, who lends his gift to four tracks over the two albums, playing the Ondes Martenot, one of the first electronic musical instruments ever invented. Thomas has worked with many major artists in his career, like Radiohead, Gorillaz, Daft Punk. Freeing himself from the weighty shackles of expectation surrounding the classical maestro, Arandel goes for the core of every Bach piece he tackles, making them his own on "Octobre", based on "Air On G-String", from Orchestral Suite No. 3 D-dur, BWV 1068, his nephew tells a dreamlike story of an ominous gang of children, literally blossoming in the mud. "Fabula" -- featuring the French singer Scalde -- based on the melancholic, Christian lament "Meine Seele wartet auf den Herrn", becomes a grandiose, auto-tuned pop ballad featuring the virtuoso cello of fellow InFiné associate Gaspar Claus. The use of spoken word is another new layer to InBach, and acts a lyrical thread carrying the listener through In Bach Vol. 2: the closing track features Bridget St. John, John Peel-associated folk legend from the UK to offer to collaborate on a poem for this second volume.
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LP
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IF 1063LP
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LP version. Sharing his InBach album with the world in 2020 (IF 1056CD/LP) set events into motion that ultimately led to Arandel making second edition in the critically acclaimed, borderless project that unites rare instruments, musical re-imagination. Arandel unites once again behind the musical phrases of the Leipzig composer specialists of ancient and modern instruments (Thomas Bloch), modern synthesizers and Moogs, strings experts (Gaspar Claus), and the poetic spoken word of Myra Davies and Bridget St. John. The second InBach grew like a garden from the seeds of the first one -- an eclectic journey through melodic fantasies, intricate sound design and a certain pop silver lining. Some tracks were born out of Arandel's band performing on stage, experimenting with the songs live and composing them anew, like "Nos Contour", a new, French-lyrics version of "Bodyline" with Ornette, Arandel's stage partner. InBach Vol. 2 is a logical consequence then, of someone diving into a pool of music and history so large that it is being chronicled to this day. A substantial part of the instruments used on the lofty, eclectic album were recorded at the Musée de la Musique Paris: rare instruments like the Erard square piano, Ondioline, Zach's cello, Stroh violins. In the vein of rare instruments, the first guest musician Arandel approached for InBach was Thomas Bloch, who lends his gift to four tracks over the two albums, playing the Ondes Martenot, one of the first electronic musical instruments ever invented. Thomas has worked with many major artists in his career, like Radiohead, Gorillaz, Daft Punk. Freeing himself from the weighty shackles of expectation surrounding the classical maestro, Arandel goes for the core of every Bach piece he tackles, making them his own on "Octobre", based on "Air On G-String", from Orchestral Suite No. 3 D-dur, BWV 1068, his nephew tells a dreamlike story of an ominous gang of children, literally blossoming in the mud. "Fabula" -- featuring the French singer Scalde -- based on the melancholic, Christian lament "Meine Seele wartet auf den Herrn", becomes a grandiose, auto-tuned pop ballad featuring the virtuoso cello of fellow InFiné associate Gaspar Claus. The use of spoken word is another new layer to InBach, and acts a lyrical thread carrying the listener through In Bach Vol. 2: the closing track features Bridget St. John, John Peel-associated folk legend from the UK to offer to collaborate on a poem for this second volume.
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CD
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IF 1056CD
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Arandel's new opus, InBach, released by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings. Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings, in the prestigious Musée de la Musique in Paris with a view to design his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set Switched on Bach, named in acknowledgement to the legendary 1968 by American composer Wendy Carlos -- Tron (1982), A Clockwork Orange (1972), The Shining (1980). From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians, InBach was a foregone conclusion. In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of historical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: without a net, Arandel walks a tightrope without a faux pas. Features Ben Shemie, Barbara Carlotti, Emmanuelle Parrenin, Vanessa Wagner & Wilhem Latchoumia, and Areski. CD version also features Petra Haden; comes in a digipack with a 20-page booklet presenting the project.
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LP
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IF 1056LP
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LP version. Arandel's new opus, InBach, released by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings. Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings, in the prestigious Musée de la Musique in Paris with a view to design his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set Switched on Bach, named in acknowledgement to the legendary 1968 by American composer Wendy Carlos -- Tron (1982), A Clockwork Orange (1972), The Shining (1980). From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians, InBach was a foregone conclusion. In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of historical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: without a net, Arandel walks a tightrope without a faux pas. Features Ben Shemie, Barbara Carlotti, Emmanuelle Parrenin, Vanessa Wagner & Wilhem Latchoumia, and Areski.
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