Insula Mircan Kaya
- 1Ta Mistika Tou Kipou04:40
- 3Under the Moonlight I05:58
- 9Sky Burial02:52
- 10Under the Moonlight II04:01
Info for Insula
Depth, eternity, infinity in music… These are the basic and prominent features that come to mind when you think of Mircan Kaya. In all her work released following her first album Bizim Ninniler, she kept faithful to a music that was a blend of different languages, geographies, cultures and emotions. She has received comments filled with praise from the world’s leading music authorities for every one of her works.
The album INSULA, came to be as the result of a four year period of fermentation after her latest album Minor. Musicians from different countries participated in the creation of the mature, leisurely but decisive structure of the album. Among these musicians are the famous clarinet master Maarten Ornstein and oud player Mehmet Polat from the Netherlands, pianist Alcyona Mick and cellist Ivan Hussey from England, Cenk Erdoğan on the guitar, Merih Aşkın on guitars and vocals, Gürkan Ozkan on percussion from Turkey.
The album provides a filmic, jazzy, and an occasionally improvised sound especially for those who like a simple, deep, eternal, and an organic acoustic musical structure. This musical structure that stands out on almost every album of Mircan Kaya has also become an attractive choice for movie directors.
The ten-piece album opens up with a Greek song performed by Maarten Ornstein's clarinet and Mircan's fascinating vocals. Then, Cenk Erdogan's guitar meets with the oud of Mehmet Polat for a sephardic lullaby called Durme, performed by Mircan and featuring her daughter SKAIA. Durme stretches out to an Azeri love song, and we lend our ears to an unusual performance of "Under the Moon Light" from the voice of Mircan in the accompaniment of Merih Aşkın's guitars. After the quiet Armenian lullaby Oror with Maarten Ornstein’s clarinets and Mehmet Polat’s oud, the Armenian folk dance piece Mombar comes in like a wave. What comes next is Intermission, like a conjunction put between songs as a breather for the listener: Mircan reads ancient Japanese sayings on the clarinets in English. After an Anatolian lullaby is performed in a jazzy, improvised and “ambient” demeanor, Mircan, in her own words, says “All our hearts are broken” while performing the song Insula. The Japanese lullaby which SKAIA sings in the beginning of the song Insula takes the listener on a long journey of consciousness accompanied by the uncanny beats of the percussion. In the track named after the Tibetan funeral ritual “Sky Burial”, the song at first rises with Mehmet Polat’s oud, Maarten Ornstein’s clarinets, and Ceyda Pirali’s piano keys along with Mircan's vocals. The eeriness only settles down with Mircan’s breath, representing the last breath leaving the human body. This deep journey comes to an end by the instrumental version of the Azeri love song “Under the Moonlight”, and as a finishing touch, Mircan reflects to us the sadness induced from the impossiblity of love, while at the same time, confirming her belief through her music that love is the essence of life.
Atesh Sonneborn, an executive of one of the world’s most respected foundations, the Smithsonian Institution, has commented on the album.
“Mircan Kaya is freed by her day job as an engineer to pursue her music with a singular vision. Her voice ranges from ethereal to gutsy, through pain and joy, always true to some deep and wise river of sound that flows through her to our ears. INSULA may be the deepest yet” - Atesh Sonneborn, Smithsonian Instutition, USA
Mircan Kaia (Mircan Kaya)
is a musician and a civil & earthquake engineer of a multi cultural identity. As a cross breed person belonging to a an endangered minority group - Laz / Mingrelian.and Georgian she was raised in Turkey in a multi cultural environment. Mircan has received an international education in Istanbul and abroad.Born with music, she started singing when she was an infant and started playing guitar when she was twelve. She has produced several widely acclaimed albums while she was directing and coordinating outstanding international engineering projects.
She carved out a niche for herself on the music scene with the albums Bizim Ninniler and Kül, which she put out in 2005. Bizim Ninniler was the first in its genre covering traditional Anatolian lullabies. Shortly after that, her album Kul & Ashes was released by Kalan Music. This album covers contemporary arrangements of traditional songs from Anatolia, Georgia and Bosnia. Sala, Numinosum, Outim, Elixir, Nanni and Minor are her following music albums directed and produced by herself with musicians from Turkey, UK and Asutralia. All these albums contain Mircan's own music. Her music works can be described as tribute to traditions, local cultures, languages, minority people and opressed cultures.
With her unique approach to music which represents the multi-cultural blend of her personality and the environment she was affected combining many different elements such as geography, language, religions, traditions, people of different origins, all her albums have been praised and reviewed by music authorities like Folk Roots, World Music Central, Fly Global Music, Mondomix Music, CD Roots, BBC Music and BBC Radio 3 apart from local music authorities and media in Turkey.
Bizim Ninniler, her first album with traditional Anatolian lullabies has become a cult now and addicted by millions of babies and adults.
This album contains no booklet.