Such an incredible place! Talking with my Imaginary Friend
Two brothers making their best for a future festival at a remote location in the mountains. Thank you to the open minded audience!
While visiting Romania’s mountain side between my concerts this summer, I ended up staying a couple of nights at Rosia Montana, booking an Airbnb house. The owner asked me if I could give a concert the next day for their community. I simply love this kind of situation when people are welcoming with open arms and I can share with them a part of my musical journey. Rosia Montana is the largest gold mine from Europe and after so many protests in the major cities of Romania, the local community managed to stop the Canadian corporation Gabriel Resources taking its project further. The project involved the resettlement and relocation of 1800 people, the controversial cyanide leaching method. Basically 38 percent of Rosia Montana commune area was to be affected.I want to send all my love to the people that were fighting for so many years for this situation.”
The first time that actor and theatre director Alex Bogdan saw Mischa Blanos perform live, he made a mental note: ‘I don’t know how, I don’t know when, but I’m going to work with this artist.’
Bogdan’s production of ‘The Bald Soprano’ (1950), Eugene Ionesco’s
groundbreaking ‘anti-play’, provides the fertile ground upon which a meeting of creative minds takes place. Returning to InFiné for his debut theatre soundtrack, Blanos mines the intersection of classical music, minimalism and electronic production that his work has pioneered.
An accomplished pianist, composer, producer and innovative live performer, the Romanian-Russian musician combines a wealth of diverse technical experience. An absurdist exploration of the futility of communication, Ionesco’s play posed unique compositional challenges to Blanos. ‘In order to create this soundtrack, I had to read the entire script like an actor.
‘Composing the soundtrack was not about me or my ego’ he recalls. Working closely on several drafts alongside Bogdan, while observing the play’s production and rehearsal, Blanos utilises harmony and disharmony to mirror the emotional state of Ionesco’s characters, as the communication between them slowly dissolves into abstraction. ‘Music comes from the characters themselves,’ Bogdan says of the process. ‘From their inner vortex of feelings.’
Companion EP of five tracks of Mischa Blanos’ last album, “Steppe EP” brings back to light one of the flagship tracks of “City Jungle”, gathers alternative versions, unreleased and remixes for a short journey of 25 minutes, no less essential, to the lovers of wandering pianos, and chiaroscuro atmosphere.
For centuries, and long before the advent of Western Europe, the steppes were the linchpins of huge empires that used their warlike nomadic tribes to ensure the spread of precious goods, new religions and their revolts. One feels this same underlying “tension” when listening to “Steppe”. Mischa Blanos, draws there a sound landscape where the beauty of the notes of the piano merges with a shady unknown.
Then comes a remix by Mischa`s Amorf-partner Cristi Cons, who carves out the dancing core of Innervision and surrounds it with warm, pulsating drums, a journey between Drexciyan electro and Detroit Techno. On “Silicon Road” and “Innervision”, delivered this time in their beatless versions, Mischa demonstrates that his compositions can be enjoyed just as much in their most naked shape.
“As Long as we Breath”, a totally unreleased track taken from the recording sessions of “City Jungle” projects the same mysterious and impenetrable luminosity on the conclusion of this EP.
Composing new material for the next album coming next year.
April 11, 2020
January 18, 2020