All music composed, arranged and produced by Can Atilla
- Sputnik 1 (Part 1) [4:36]
- Leb-i Derya [5:52]
- Inside [1:20]
- Cafe De La Defense [5:51]
- Visions [0:52]
- Madeleine Hotel [4:54]
- Sputnik 1 (Part 2) [4:02]
- E=MC2 (Einstainiana) [5:30]
- Chronos [5:19]
- Avalon [8:05]
- Sputnik 2 [7:16]
- Sputnik 1 (M.I.R. Remix) [6:02]
- Leb-i Derya (Snow Remix) [6:41]
- Avalon (Black Remix) [6:46]
- Cafe De La Defense (Ludwig Van Remix) [6:32]
Can Atilla - electronics, keyboards, synths
Turay Dinleyen - electric violin on track 2
Metin Paksoy - alto sax on tarck 6
Ebru Davran - electric violin on track 10
Selçuk Sami Cing - acoustic guitar, Back vocal on track 8
Murat Yücel - electric guitar on track 8
Nurettin Okumu - voice on track 2
Turay Dinleyen String Ensemble - String Ensemble on track 2
Ugur Karaman - loops, samples, edits
I bought Can's latest album 'Omni' immediately after its release.
The album successfully contains musical pieces for different tastes. You can listen to it from the beginning to the end many many times without pressing the stop button, it's that good and expressive.
I strongly recommend this album to anyone looking for serious electronic music. Keep up the good work Can!. We hope to hear your future works from you soon.
2004. Teoman Pasinlioglu / Ankara
There's no brave musician like Can Atilla because It's very hard to release this sort of music here in Turkey. Can is living in Turkey but he sounds from universe, thats the point and his point of view. He just kicked some big dandy butts again.
Congratulations dude, please keep the cool work up!
2004. Cem Gül / Turkey
Can Atilla’s Omni is a pure adrenaline rush - a fusion of slick powerful instrumental synth-pop, blistering EM, pumping house/Techno, and dramatic cinematic soundscapes. It would not be a stretch to call this the highest voltage and "most fun to groove to" recording of 2004 (although Peter Mergener’s Lounge Control is running neck to neck with it right now). If you have a fondness for music awash with layer upon layer of melodic synths, now and then integrated with other instruments (electric violin, sax, guitar) and a solid variety of EM beats (all of them snappy, catchy and infectious to the max), here’s your ticket to paradise.
Those of you who love to turn your music’s volume WAY up (because you’re going to want to do that with this CD), will be snared by Omni from the opening "Sputnik 1" (which begins slowly amidst swirling synths and echoed piano, but adds pumping Techno beats, lush strings and ‘80s synth pop textures as it dials up the intensity) to the closing (fifteenth) track, a remix of "Café De La Defense" that boils over with break beats married to super deep bass techno beats and high-hats while twinkling bell tones dance above them both, cushioned by lush washes underneath it all.
There are some unexpected twists here and there, such as the smattering of world fusion elements in "Leb-I-Derya", comprised of sampled ethnic chanting vocals (by Nurettin Okumus) run through a vocoder and exotic electric violin that sways and soars (performed by Turay Dinleyen) that hints of Atilla’s native Turkey, both of which sit side by side with pulsing sequenced beats and great keyboard work by Atilla himself.
Then there is the sultry "Madeleine Hotel" featuring smoky sax by Metín Paksoy (recalling Tristan Feldbauer’s sexy chill-out album, city), all awash in layers of lush synthesizers and slow tempo beats.
Another wrinkle is provided by "E=MC2 (Einstainiana)" which sounds a LOT like early Alan Parsons project, especially when guitars from Selcuk Sami Cingi and Murat Yucel are blended to Atilla’s piano, keyboards, and trap-kit drum beats.
But what Omni is really all about is pedal-to-the-metal hyper-speed cruising.
"Café de La Defense" positively hums, as if one were racing down the autobahn at 250 kph, mixing more propulsive rhythm-dominated moments with stretches when the bass beats are counter-balanced by delicate vibe tones that are nicely reverbed.
My favorite track has to be "Sputnik 2" which would be ideal end credits music for a spy thriller or action movie extravaganza. Thundering tom-toms, ultra-dramatic strings, sequenced beats galore, great synth horn sections, and a gradual sense of building tension that is then released through a series of crescendos that literally lifted me out of my seat more than once.
Closing out the album are three remixed tracks (in addition to the previously mentioned "Café De La Defense (Ludwig Van Remix)" all of them excellent examples of house/trance/Techno revisions to the previous versions of the songs.
Omni is a helluva lot of fun. This is grin-inducing, feet-tapping, blood-pumping music of the highest degree. If you can stay in a bad mood after getting through the first three or four tracks on this CD, you’re too glum!
Caveat: If you own a fast car with a CD player and you put this puppy in while the highway beckons, you better be prepared to pay some speeding tickets. Trust me, you’re gonna get ‘em, ‘cause when these songs hit your speakers, your right foot is gonna plant itself down – hard! Need you ask?
My highest recommendation!
2004. Bill Binkelman
This album will – fortunately!- be released by Groove.
The final track list still hasn’t been confirmed yet, but the promo from Omni contains eleven tracks and four bonus remixes.
In his native Turkey the classically trained (violin!) musician Can Atilla is a well-known artist, mostly because of his work as a composer, arranger and conductor.
‘Omni’ is his tenth album, the latest addition to his back catalogue which also includes two soundtracks and a live album. The music is bombastic, featuring warm-sounding sequencers (TD!) and modern rhythms, with sometimes pounding, but not too dominant bass-drums.
Atilla handles all the electronics and drum programming, but uses a string section (on ‘Leb-i Derya’) and a number of guest musicians on guitar, sax (on the TD-styled ballad ‘Madeline Hotel’) and electric violin.
Although 1980s TD is an important influence, so are disco rhythms and Turkish folk music (‘Leb-i Derya’), resulting in an outstanding, occasionally bizarre and yet impressive album.
Besides some good, danceable tracks there are little gems that could have been created by Paul Ward or Michael Shipway (‘E=MC2’), while ‘Avalon’ clearly shows touches of Jarre.
An excellent modern-sounding album which faithfully preserves the best sounds from the seventies and eighties.
Perhaps Groove could release his older work as well?
2004. Menno von Brucken Fock / SonicImmersion.org
Turkish synthesizer artist Can Atilla sure can sound different from album to album. He did classic Tangerine Dream circa 1980 to a tee on his Ave disc; he did similar treatment to their 90s sound in Waves Of Wheels; now, with Omni, he sounds like energetic Jean-Michel Jarre with a splash of disco and techno.
My 8 year-old daughter is dancing around and grinning while I’m listening. It would be difficult to feel down while playing Omni; upbeat numbers like "Café de la Defense" are too much fun. This one has a cool beat and groove, laid back despite the tempo, where Jarre meets Yello meets Fanger & Kersten. The whole thing plays like one giant dance mega mix, with occasional pauses to come up for air.
Brief bridging pieces like "Visions" and "Inside" are full of imagery, with sounds of camera film advancing, railway cars whizzing by, and more.
"Madeleine Hotel" gives a brief respite from the pace, again very Jarre-like but this time in reflective romantic mode, including saxophone.
"E = mc2 (Einstainiana)" bears an uncanny resemblance to Alan Parsons at his peak, both in terms of beats and the synths used.
The dance tracks get awfully cute and bouncy at times ("Avalon") but they are fine – although the last four pieces are heavy beat-laden "bonus remix tracks" that I could do without.
I enjoy the many laid-back numbers like "Chronos", with its infectious light beat and bright piano melody.
Lots to like here.
2004. Phil Derby / Electroambient Space
This release from 2004 features 79 minutes of exhilarating electronic music.
Joining Atilla (who plays keyboards, samplers, electronics and drumming) on this recording are: Turay Dinleyen and Ebru Davran on electric violin, Metin Paksoy on alto sax, Selcuk Sami Cingi on acoustic guitar, Murat Yucel on rhythm guitar, Berat Tekin on darbuka, and the Turay Dinleyen String Ensemble.
Uptempo keyboards are flavored by bubbling electronics and peppy rhythms, resulting in alluring tuneage that is resolutely enthralling and engaging. Atilla’s style fuses contemporary electronics with a rollicking jubilation that is refreshing in a genre of over-serious approaches. The tempos captivate more than the audience’s tapping feet, while his nimble-fingered riffs dazzle more than just the appreciative mind. Surging aspects cascade with calculated intent, conspiring to generate tunes that entice as they mesmerize.
There is a uniqueness to Atilla’s compositions that evades comparison. His music combines aesthetic and pop elements, producing a union that allows the songs to shine with a celebratory vivacity as they smolder with cerebral charisma.
Some tracks display a Middle Eastern edge, but these touches are immersed in the overall exuberance of the melody, ignoring geographic boundaries to create a sound that is pleasantly universal and nonpartisan.
The CD includes four bonus tracks, remixes that enliven the original melodies with a dancefloor flair of sparkling style.
2005. Matt Howarth / Sonic Curiosity
Here we have the new album by Can Atilla from Turkey. But before I go on with the music, I have to mention the again amazing cover made by Pablo Magne. Most albums which this great artist has done, just leave you in wonder or make you think, when you look at them. Back to the music.
For the readers who aren’t familiar with his style, it’s definitely music for a bigger audience. And I get the strong impression that he was satisfied too soon. For example there are some very beautiful space passages, but they are too short and too few.
Too often you get very commercial rhythms with too catchy melodics on top, other times like on "Sputnik part 1 (part 2)", it’s more Jarre with different layers on top and although derivative, these are the better tracks. When you look into the bonus tracks in the end you know he stands close to modern dance, cause they’re all remixes.
No, the result is quite mediocre.
Can anyone tell me WHERE, HOW and WHEN "Madelaine Hotel" was composed?
This piece of music is sublime. One never gets tired of listening to this track.
2007. Jean-Francois / France