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Ana Patan is a German songwriter, singer and instrumentalist of Romanian origins who draws inspiration from a variety of cultures and styles, bringing in a melting-pot type of music luggage, congenial and familiar, still difficult to place. 

Her main instrument is electric guitar, and her style has been described as “world-influenced grooving rock-jazz, 90’s alternative inflected, prog-related music at 33 ⅓” (Radio Eclectic).

Ana was born in Romania, during the Ceausescu regime, known for depriving citizens of their most basic needs for food, electricity, current water but even more, freedom of expression or political truth. During her childhood Ana started writing songs for the neighbourhood kids on a borrowed guitar, with chords half stolen from her older brother. In her late teens, as she continued with her school into the Economics university and moved to Bucharest, things started to take off in her music and, with the winning of a national festival, she ended up enjoying a lot of attention from the media and got play on some of the country’s largest stages, surrounded by many of her music idols. 

Following a lifetime dream of exploring the rest of the world, Ana went on to break the patterns of her personal and musical growth by crossing the national borders and learning for the next seven years the art of guitar, jazz theory, composition and sound engineering, at several academies in Munich, Frankfurt and Berlin. She studied guitar with Mike Stern and Regi “The Teacha” Wooten, amongst others. Most of her musical knowledge though came from real life interaction and playing with accomplished musicians from across the globe, and getting an insight into their passion, attitude, behaviour and values.

During this time Ana was active in different music projects, such as Jazzmachine, with which she recorded an album (Moongroove, 2009) and a live DVD (2005). Ana contributed as a composer in German film production “Rosenstiehl”, as well as on a series of CDs created for the relaxation and preparation of flight pilots, and as a guitarist and songwriter on albums by Vince (Neherlands), John Denner (USA), Harrison Fjord, etc.

Ana Patan was the guitar player and vocalist of Triple Sweet, an all-girls band with a rather eclectic lineup of accordion, blues harp and electric guitar. As an endorser of Hohner guitars, Ana performed throughout the world with her special white Revelation guitar, and with a prototype model called The Black Prince, initially designed for pop legend Prince.

It was around this period of extensive travelling and long-hours live performances when the catastrophe hit: Ana injured her guitar-playing wrist during a concert played on a bad flu with high fever. The diagnose came as a sort of death sentence: carpal tunnel syndrome, a painful damage of wrist tendons, and a way-too-common way of ending one’s career as a musician. 

The fall into depression was tempting – the sudden lack of music in her life, combined with very expensive though useless treatments, medical “specialists” way too eager to cut the wrist open and amputate finely-tuned reflexors formed during long years of instrument practice, and no mental or financial support for a musician in need.

In Ana’s words, “Sometimes you need a good fall to wake up. I took it upon myself to find my own cure, aware it might take years, if it would even work at all. I started studying anatomy and chemistry, spending my days researching the net for similar cases, and eventually the solution came. It was a very long healing process, paved with pain and very often hopeless desperation but I kept my eyes on the end rewards. I had promised myself to make the album I had always wanted to make, the one that had always been put away by fears and excuses.”

It took almost two years to start playing guitar again. Piano was picked up as a replacement instrument to build fingers strength and keep the compositional flow going. The wrist never really got back into the same shape again, but with care and patience it started aquitting itself of its delicate duties. A new musical concept, out of the vision of a stronger and more determined young woman started defining itself. Hundreds of songs were written, recorded as demos, refined as arrangements, wrote down as instrumental parts. The right musicians were carefully sought after, who would care about the concept, understand it and help it grow. The right equipment was put together, even modified or built, if necessary. That meant, over many years, many sessions of trying, failing, readjusting and trying again, a process self financed and believed in by no one, at least for the beginning. 

“I broke down countless times thinking that somehow life itself is putting up these obstacles in front of me to discourage me from my path. I had to slowly learn to change that mindset, and see all difficulties as practice towards simply becoming a better musician or a more evolved human being. I had to give up on the very idea of making an album after realizing along the way that this is really not the point of the whole journey, but only a (possible) by-product.”

Long story short, after more than seven years of challenges, the album is finally ready to be released! Self financed and produced, it took a few miraculous turns, like when for example Devin Townsend himself showed his support by playing on it! Bass legend Jonas Hellborg assisted the entire technical as well as the musical aspect, and the drums were played by Zoltan Czörsz of Flower Kings fame. But what makes it really stand out is its raw, simple, natural sound. It has been recorded entirely analog on 2 inch tape, not without the inherent hardships. The songs are performed as in a live setting, with very simple instrumentation, without metronomes or computerised timing, with only a necessary minimum of compression, EQs or effects. The music breaths in an organic pulse without tiring the ear. And, the best part, all musical content has been delivered without compromise, none of the initial ideas has been sacrificed for cosmetical or commercial purposes along the way. The album is called “Spice, Gold and Tales Untold” and the first song releases are available all over the net and on www.anapatan.com, as well as on http://www.anapatan.bandcamp.com.

Webpage:  https://anapatan.com

iTunes:  https://itunes.apple.com/us/artist/ana-patan/340496832

Facebook:   https://www.facebook.com/anapatan.music/

Twitter:   https://twitter.com/ana_patan

Bandcamp:   https://anapatan.bandcamp.com/releases

Youtube:  https://www.youtube.com/channel/UCM5WAbzSgcumvtHyEldLkaw

Instagram:  https://www.instagram.com/ana.patan/

Spotify:   https://open.spotify.com/artist/3J67UEcdviYVyrcVSQfhWP

Soundcloud:   https://soundcloud.com/anapatan

Amazon: https://www.amazon.com/General-Conspiracy-Ana-Patan/dp/B0722Q4RVR

Google Play: https://play.google.com/store/music/artist/Ana_Patan?id=Atqhdm3fz57tacbsf2sa2wrim2y

Google Plus: https://plus.google.com/b/100469987582387823951/112006261661113778621

Press Features

A long and in-depth dialogue with Harrie de Haas for Ons Nieuws Music about the analog studio where Ana's upcoming album was recorded, the challenges of a self-producer, her opinion of her audience, love for chocolate, adventures from the past and perfect obedience to the advice of chief-assistant Foxy Fluffcore.

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Skillfully guided by Craig E. Bacon for Music Tap, the interview is touching on the different dimensions of Ana's analog recording experience, from the creation process to the actual performance, first-hand insights and studio interaction with music personalities such as Jonas Hellborg, Devin Townsend or Zoltan...

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"[...] Getting rid of misconceptions, ignorance and even tendency to control things that are bound to be bigger than you"
Pete Devine from Pete's Rock News and Views picks Ana's brain on the long process of developing her music, favourite songs to sing in the shower, the lost art of... 

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