The Romanian Duo of Irinel Anghel (composer, singer, pianist and improviser) and Sorin Romanescu (composer, guitar player, sound designer) represents the experimental side of Romanian contemporary music, exploring uncharted territories, crossing paths and concepts such as “innerworld music”, “sound food”, “electronades”, “SONeerie”, “sound theatre”, “darkroom music”, “RenaiScienceFiction Electro music”. Improvisation, spontaneity and instant chemistry give to their concerts and performances a freshness borne of the pure mystery of creation. Their appereances are full of surprises as they reinvent themselves with every new project; each concert or recording session is a new stop on their playful and adventurous journey together. There is no label for such a versatile evolution of these two musicians, who take the bold risk of being themselves. In this duo-team, Irinel Anghel and Sorin Romanescu go beyond their individual paths by creating something that is a product of both musicians, arising out of a common interest in discovering new sounds and sound mixtures.
Guitar Hands on a Singing Body is the Anghel/Romanescu signature for the Summer of 2011. It presents itself as an intimate music album, recorded in a half-dark atmosphere, through the somewhat unusual combination of electronically treated voice and acoustic guitar. Sorin Romanescu plays Moffa acoustic guitar and Moffa baritone guitar, sculpting forms around the voice’s “flying-singing” presence, the result lending some bizarre sparks of sensitivity to the known-unknown sound trip imagined by these two musician-travellers.
In their music, Irinel Anghel and Sorin Romanescu are openly and naturally at play on the most sensitive strings of the soul – in a game of spontaneity, creativity, free from any prejudice. A consistent realm of soft reverie emerges, a delicate fluctuation between reality and the imaginary, substantiating an endless caress…
The guitar (Sorin Romanescu) is cornerstone to that: it gives voice to clear, prevailing ideas in which the joint improvisation rises and thrives. New challenges are launched and one’s ideas are met afresh by the other…there is a perfect, preternatural symbiosis of the two, which blurs the boundary between a composer and a performer. Sorin Romanescu also directs electronic voice editing showing excellent economical and effective sense of sound in introducing obscure noises or bizarre echoes …sound itself turns into an exciting adventure.
Irinel Anghel finds in her turn a unique, distinct, very personal expression, something on the fringe of whisper, murmur, whimper, shriek, a special manner of barely suggesting a vocal line, a style that suits her feminine-childish self and her particular voice. It approximates the quintessence of a woman’s womanliness, tenderness, beauty and vulnerability. We can only be grateful to a woman that publicly confesses to such a precious gift.
There is an ingenious, suggestive or poetic name for all the eleven pieces enclosed. They tell of simple yet serious things… something ingenuous, fresh, childish and ancestral, something equally magical. The music seems to evolve on the border between nothing and something barely there, it resorts to a willing hesitation around a fragile, delicate pattern which seems to be looking for something… Isolated, subdued, mysterious sounds remind of a gate which opens on a different world. There are several pieces where the musical language is more « material », with cabaret or sensuous, nostalgic tones, but they most often come together with «sound surprises». Deep stillness, a certain soothing peaceful monotony floods most of the pieces. This is out of the ordinary, strange, exquisite music to be listened to endlessly, forever and ever.
Corneliu Dan Georgescu, Berlin, 17 IX 2011