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Atlantis II

by Pierre Estève

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  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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      €13 EUR  or more

     

  • Compact Disc (CD) + Digital Album

    Featuring a multimedia app including a selection of many instruments used in the recording of Atlantis I and II, and a lot of illustrations and artworks for Atlantis II.

    If you want Pierre to sign it, please add a comment in your order that you want a signature.

    Includes unlimited streaming of Atlantis II via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 2 days
    edition of 50 

      €20 EUR or more 

     

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about

The follow-up to Atlantis: The Lost Tales. A 5 acts tale, a voyage in space and time exploring the (Atlantean ?) links between musical cultures.

credits

released October 1, 1999

Composed & interpreted by Pierre Estève

Pierre Estève :
- All male voices & choirs, big & small percussions, synthesizer & samplers, field recordings & sound design
- Flutes : suling, gambuh flute, irish tin & low whistles, siku (chulli, malta, & toyo), quena, tarkas, mohoceño, bansurî
- Percussions : sticks, tingshas, temple blocks, wood blocks, kempul gongs, chimes (metal, bamboo, clay), bells, bodhran, thai, chinese, javanese & balinese gongs, javanese gamelan, tibetan bowls, bombo, cascabeles, chajchas, "cloche de voeux" (The Lotus Veil)
- Winds : conches, ocarina orchestra
- Strings : chinese yangqin, turkish kanun, 12-strings guitar, classical guitar, folk guitar, celtic harp, kanun
- Computer music : cross synthesis, GRM & IRCAM tools
- Hand-made instruments : Estève's metal sculptures, shells, leaves

Alyssa Landry : Female voice

Artworks: Thomas Boulard
Cover design : Jean-Denis Bruet Ferreol

Dedicated to Rémi Herbulot

license

all rights reserved

tags

about

Pierre Estève Paris, France

Composer, multi-instrumentist, sound explorer of the virtual and the real worlds from the early times to the far distant futures.

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