His music

Violin is always featured as the highlight of his music, and its part – apart from some leitmotifs, recurring themes and scales – is always improvised. His play is characterized by a cleared, easy-to-approach improvisational style lacking unnecessary notes. Its tune – often supported by pentatonic progressions - evolves using the scales of classical music, Arabic maqams, Indonesian, Indian, Moldvan, African, Japanese and other folk music.

It is basically instrumental. If vocals appear, they do so more as instruments, rather than linguistic structures conveying verbal meanings.

His music is an unparalleled alloy of different styles. It is not hard to discern traces of world music, jazz, trance, meditational and psychedelic music, (ambient, trip-hop, oriental music, oriental rock, programme and progressive music, sound painting, repetitive music, lounge, downtempo, nu(future), experimental, fusion and world fusion jazz, crossover,) different kinds of folk music, elements of modern and electronic music and artificial panels all worked into it in a strikingly unique way. To give an example, in one of his compositions a traditional blues tune appears consecutively as meditational music, a mantra, then in Indonesian scale, even later backed by an Arabic rhythm and finally spiced by a gong – all this in the midst of a folk chant used for achieving a state of trance. In another one he colours a Hungarian folk tune with African djembe, South American panpipes and electronic parts. In certain pieces traces of further genres are absorbed in his own personal style almost indiscernibly. This ever-changing music, as it takes in new elements from an always widening circle of styles, abounds in surprises and unexpected turns. Its world is impossible to get to know for good and all, its deep spirituality is the only constant feature by which one can always recognize it.

This might be the very reason for which Milan calls his style “Malakut”.

His music draws its listeners to a unique, profound state, which is spiritual, philosophical and unavoidably thought-provoking. It evokes an almost meditation-like state of consciousness. Many listeners pass through the experience of flying.


Technical background/Instruments

In 2012 he switches from looper pedal to Ableton live. 

Supported by more advanced technology, the tracks and parts of accompaniment backing his violin multiple. These are invariably composed, written and recorded by himself in Ableton, which he uses on a laptop in his live concerts.

His instruments are important sources of inspiration when composing. The ever growing array of instruments he uses at the moment include Turkish and Arabic darbuka, karkabat, riq, djembe, daf, bongo, cajon and other percussion instruments, Indonesian flute, didgeridoo, flute, panpipes, kazoo, Hungarian ocarina and other wind instruments, violin, five-string violin, electric seven-string violin, upright bass, guitar, mandolin, tambura, saz, piano, kalimba, Tibetan singing bowl, vocal, throat vocal, berimbau and churunga besides different noise-making devices, gadgets and effects. His violin is amplified by a pickup. To achieve a colourful, varied violin sound he uses a multi-effect pedal.



Apart from his concerts he composes and performs music for theatrical, puppet-show and merged arts performances, for dances, for scientific, educational and other films, for exhibitions, fashion-shows, action art and other performances.