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CUL-DE-SAC (1966) WAS ROMAN POLANSKI'S FIRST ENGLISH-LANGUAGE FILM.
He called upon his friend Krzysztof (Christopher) Komeda to score the film which was done in one afternoon in London. Just like the film, Komeda's music is odd and sombre and then, at times witty and enchanting.
Originally only issued in the UK as an (now very rare) EP, this Harkit limited 7' vinyl edition reproduces the cover art and the original six tracks.

Die XKatedral Anthology Series III ist die dritte Ausgabe einer Reihe von Archivveröffentlichungen, die Musik von Komponisten zeigen, die sich mit langsam sich entwickelnder harmonischer und klanglicher Musik beschäftigen. Die hier vorgestellten Stücke konzentrieren sich auf die Verwendung von synthetischen und akustischen Klängen sowie auf algorithmische Komposition als Werkzeuge für präzises Arbeiten im Bereich der spektralen Erforschung. Dieses Doppel-Vinyl-Set erscheint anlässlich des zehnjährigen Jubiläums des Labels und enthält Werke aus den Jahren 2014 bis 2025. Es wird zusammen mit Neuauflagen der XKatedral Anthology Series I-II veröffentlicht. "My Falling Sinks" von Kali Malone ist eine sparsame, absteigende Melodie für justierte Orgel, Cello und Akustikgitarre mit Lucy Railton und Stephen OüfMalley. Das Stück ist eine kompositorische Skizze in septimaler reiner Stimmung, die 2021 während eines Aufenthalts in La Becque auf einer experimentellen Stimmorgel in La Temple de La Tour-de-Peilz entstanden ist. ,Empyrean Flare" von Maria W Horn wurde 2022 für ,The Dawn Chorus" der Choreografin Stina Nyberg komponiert. Dieses Stück nutzt die von Arvo Pärt entwickelte Tintinnabuli-Technik, um vier Supersaw-Oszillatoren in langsamen diatonischen Arpeggios zu animieren, die um eine Moll-Tonika-Dreiklang kreisen, und destabilisiert das harmonische Gerüst durch Glissandi und verstärkt die Summe seiner Teile durch analoge Bandsättigung. ,Tessellation" von David Granstrom wurde im Sommer 2017 mit generativen Synthesemethoden komponiert. Die musikalische Periodizität und harmonische Bewegung, die in dem Stück zu hören sind, entstehen durch feste synthetisierte Bandschleifen, die einen Raum zwischen gegensätzlichen Welten erkunden. "To Whoever Shall Inherit the Earth" ist das erste Solostück von Jessica Ekomane und entstand laut der Komponistin fast zufällig. Das Werk wurde vor einem Jahrzehnt spät in der Nacht aufgenommen und fängt einen flüchtigen, zerbrechlichen und unwiederholbaren Moment ein, der genau so festgehalten wurde, wie er sich ereignet hat. Smoking Mother von Stephen OüfMalley wurde für Gisele Vienneüfs Der Teich / LüfEtang von Robert Walser geschaffen. Es wurde 2018 während eines Aufenthalts im SMEM-Synthesearchiv in Freiburg komponiert und im August 2020 bei EMS produziert. Das Stück greift auf Werke von Zia Mohuiddin Dagar, Krzysztof Penderecki und Popol Vuh zurück und erkundet gleichzeitig die Wurzeln des Minimalismus. ,Att boja sjalarna" von Mats Erlandsson wurde 2018 komponiert und ist Teil von ,On Eternity", einer Sammlung von vier Texten und vier zehnminütigen Kassettenloops, die 2021 von Irrlicht Forlag als limitierte Box-Set-Edition veröffentlicht wurde. Dieses Werk enthält Darbietungen von Gaianeh Pilossian und Sara Fors, jeweils auf der Violine und mit Gesang. This will be my last piece for organ wurde 2025 von Theodor Kentros komponiert und nutzt Gruppen von Cluster-Oszillatoren durch resonante Rückkopplung, um die schwankenden Frequenzen zu synthetisieren, die beim Verstimmen einer Orgel im physischen Raum zu hören sind. "Fault Lines" wurde von Daniel M Karlsson mit generativen Methoden komponiert, wobei ein deterministischer und endlicher Output für diese Veröffentlichung festgelegt wurde. Dieses Stück enthält Gesangsdarbietungen von Sara Fors, Ansis B.ti. und Art.rs C.ukurs.

2023 was a breakthrough year for EABS in many ways. It was all thanks to the well received, fully self-produced album entitled In Search of a Better Tomorrow, recorded in collaboration with the Pakistani band Jaubi. EABS' forthcoming sixth album is a return to their roots – literally and figuratively. It is an in-depth study on rhythm, which materialised in the form of the album titled Reflections of Purple Sun.

The back to the roots part not only manifests itself in the lack of guest instrumentalists, but also in a renewed focus on the history of Polish jazz. The band's debut album Repetitions... was dedicated to Krzysztof Komeda. This time, the band picked up the entire Purple Sun album, which Tomasz Stańko recorded half a century ago. From the POV of Purple Sun fans, a hard-to-find and somewhat forgotten album, it may seem like a doomed undertaking. However, in order to pay tribute to one of the most iconic figures of Polish jazz, it was worth embarking on this mission and attempting to engage in a non-verbal conversation with the Slavic spirit that Master Tomasz Stańko undoubtedly was.

You can learn more about Reflections of Purple Sun through the comprehensive booklet accompanying the record. The cover art was created by the label's regular collaborator, Animisiewasz, whose design pays tribute to Pia Burri's original Purple Sun concept. Release date is 10 May 2024.

Presented together for the first time, American composer John McGuire’s Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe’s angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism’s warped geometries onto an evenly spaced grid, perfectly preserving serial music’s multi-dimensionality while smoothing its wildest disjunctures and sharpest angles. If serialism is Montreal’s Habitat 67 modular housing complex, McGuire’s Pulse Music compositions are the primary-colored grids of Le Corbusier’s L’Habitation apartment complex — an exuberant expression of the same materials and principles.

Every layer of pulses is made distinct through its timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience.

Krystof is the nom de plume of Polish-born composer, producer and DJ Krzysztof Skonieczny. After a decade in London, Krystof relocated to the remote, serrated landscape of La Palma, in Spain's Canary Islands. There he came into possession of a piece of land scattered with natural caves - one of which became his home and recording studio.

It was here that Krystof wrote his debut album, Diario di Vacanza. This record is a paean to the fertile terrain of La Palma, replete with its tangled networks of hiking paths, minas galerias (water tunnels), black sand beaches and banana groves.

Recordings of these spaces, melded with modular synthesis and electronic composition, form the basis for Krystof's work. These are soundscapes that hum with volcanic activity, bubble, burst and chatter - cooling to reveal locations, impressions, and fragments of a shared lived experience on the island.

Bulbous Monocle focuses its lens further into the legacy and archives of the Thinking Fellers Union Local 282. These Things Remain Unassigned—a phrase coined by Brian Hageman, one of the band’s musical snake appendages emanating from its Medusa crown—is presented as a double LP (gatefold jacket with a twelve page libretto). It gathers together the band’s singles, compilation tracks, outtakes and never before released gems encompassing the arc of TFUL’s musical corpus. Every track has been surgically remastered by Mark Gergis (Porest / Sublime Frequencies / Mono Pause) with his signature craftsman approach. This collection is an auditory and visual feast. The extensive booklet included features band ephemera, concert flyers, photographs, and commentary about each track from Mark Davies. Beyond the rare singles and unreleased tracks from the TFUL archives, are cover versions from such disparate artists and composers as Ennio Morricone, Krzysztof Komeda, The Residents, The Shaggs, Caroliner Rainbow and Pérez Prado. “…In addition to these compilation one-offs, there were also a few studio recordings that were never quite completed or released. Throw in an alternate mix or two and the handful of singles that came out on various labels over the years, and you end up with what I feel works well as its own body of work, a bunch of adopted oddballs that somehow fit together as a family. I hope youʼll agree with me that these things are now no longer unassigned, but part of a somewhat cohesive whole, stitched together into something mysterious and glistening.” —Mark Davies (2023)

Album "My Life - Preisner's Music is a live recording from a concert held in November 2024 in Bielsko-Bia?a, marking the occasion of Zbigniew Preisner receiving Honorary Citizenship of his hometown, Bielsko-Bia?a.
This year, on May 20th, Zbigniew Preisner will celebrate his 70th birthday, and the album is a his gift he made to himself.

The album includes 17 iconic themes composed by Zbigniew Preisner among others from Three Colours, Decalogue, The Secret garden, The double life of Veronique, Damage, When a man loves a woman, Eminent Domain, Aberdeen, Mouvements du desir, Lost and Love, but also Lacrimosa from Requiem for my Friend in the interpretation of Dominik Wania.

Few words from Zbigniew Preisner:
"For years, I've been thinking about reducing my orchestral themes to a single instrument. As a composer, I pay special attention to melody-each of my compositions always has melodic themes.
Ten years ago, I met Dominik Wania, now a jazz star and a brilliant pianist who records albums for ECM. I knew he was the perfect person to bring my idea to life.
The concert you are about to listen to is the result of our collaboration, which has given me great satisfaction. Dominik Wania's interpretation went beyond my wildest expectations. I hope you will enjoy the album."

Reviews of the album:

"When I teach the films of Krzysztof Kieslowski at Columbia University, I always mention that Zbigniew Preisner is one of the world's greatest film composers. He has many fans among my students. And now there is a new album, a haunting distillation of his movie scores into solo piano performances. It demonstrates how he is the master composer of the tritone, trill and tremolo. Listening to his compositions in their own terms - separate from the cinema screen - foregrounds his distinctive and often plaintive melodies.
Because orchestration, lyrics and narrative function are absent, the listener can focus on the richness of the "standalone" music, beautifully performed by Dominik Wania. For example, the memorable score from Kieslowski's "Double Life of Veronique" now feels more ominous than lyrical. From "Mouvements du desir," the tinkling piano sounds grow into cascading notes that envelop the listener. Whether classical (as in "When a Man Loves a Woman" and "The Waltz from The Funeral") or jazz ("The Secret Garden"), the music reigns when there is no movie screen to distract us. This is equally true of the minor-key gems like "Dekalog" and the briskly upbeat "Transient from Twilight" (which invokes for me the joy of Jon Baptiste's compositions).
In addition to Preisner's scores, the mournful "Lacrimosa" is stripped down from a public performance - which included a choir - to a more personal evocation of grief via solo piano. Finally, listening to "Lost and Love" suggests that if Frederic Chopin and Keith Jarrett had an heir together, it would be Zbigniew Preisner".
Annette Insdorf, Film Professor Columbia University

180g black vinyl - limited to 200 numbered copies.

"What is my heart now"is the debut solo album by Ziemowit Klimek, known so far from bands such as Immortal Onion, Hania Rani, and Magda Kuraś Quintet. It is a cycle of five improvised compositions – "What," "Is," "My," "Heart," and "Now" – unified by a unique artistic concept, with each piece created in collaboration with a different musician.

The creative process for each of the five duets began with a conversation between Ziemowit, the guest artist, and the video team. Deconstructing the title word into its fundamental elements through questions like "What does 'What' mean? What emotions and associations does this word evoke in us? How can we capture its essence in sound and image?" became the starting point for artistic exploration.

To preserve the authenticity of the material as much as possible, both sound and image were recorded live, with no cuts or post-production editing. Equally important was the choice of spaces that corresponded to the meaning of each title word. Instead of sterile studios, the recordings took place in a variety of unique locations – "Heart" was captured in Ziemowit's most personal space, his bedroom, while "Now" was recorded inside a car during a dynamic drive, where the physical forces acting on the musicians significantly influenced their decisions while playing.

The album resonates with dialogue – not only musical but also emotional and intellectual. It is a meeting of individualities who, for Ziemowit, are not only inspirations as artists but also significant people in his life."What is my heart now"is an album about defining one's identity and capturing the moment, created in an atmosphere of honesty and trust. Ultimately, the question arises: is it even possible to definitively answer the question posed in the album's title?

"What Is My Heart Now"

Ziemowit Klimek (Double bass, Bass, Piano, Moog)

feat.

Krzysztof Hadrych - Guitar

Michał Jan Ciesielski - Saxophon, Volca

Hania Rani - Piano

Mikołaj Kostka - Violin

Jacek Prościński - Drums

Vinyl is 180g and contains downloadcode

Wrocław-Toruń noise rock band founded by Szymon Szwarc (swrcfx, Jesień) and Damian Kowalski (SKI). They are currently collaborating with Cezary Rosiński (Młyn) and Krzysztof Rogalski (Pchełki). The band has performed in clubs and at festivals in Poland, Germany, the Czech Republic, Slovakia, Austria, Lithuania, Latvia, and Estonia. So far, two full-length albums by RZWD have been released: POMPY (Fonoradar Records 2020) and GOLD (Fonoradar Records 2022).


Album GAPS Recorded in November 2023, is the result of two years of work that merges classic POST-PUNK GUIDE with a rich electronic influence. On GAPS, RZWD aims to craft DANCE NOISE CLUB MUSIC on their own terms, pushing the limits of what a LIVE BAND can be in achieving this.
Most of the tracks evolved during RZWD's concerts in countries like Lithuania, the Czech Republic, Germany, and Estonia. These experiences and ideas were shaped into the album between November 2023 and May 2024. Live recordings in Szczecin were done by Adam Sołtysiak, while additional recordings and production were handled in Toruń under the supervision of swrcfx.
The core idea behind GAPS was to use developed themes as a starting point for further variations and exploration within DANCE NOISE CLUB MUSIC. This time, the instrumentation includes bass and an ever-expanding, mutating layer of modulation. Therefore, the album features four brand new compositions alongside four remixes of tracks from previous albums.
The album also features guest appearances by: DANIELIUS PANCEROVAS from the Lithuanian band KANALIZACJIA, adding a saxophone touch to the track DIESEL, and KRZYSZTOF FREEZE OSTROWSKI - a renowned Polish electronic musician and producer, bringing a new sonic perspective to EURO TRACK from the DMO EP.
Among the multidimensional concepts blending environments, genres, styles, and techniques found on GAPS, the pursuit of synthesizing acoustic and electronic sounds stands out. RZWD creates a space where the boundaries between these domains blur and lose their significance.
The result is a groove-driven and noisy mix of dance music styles such as RAVE, TECHNO, HOUSE, and FOOTWORK, played beyond rigid tempo measurements and DAW limitations, relying on natural skills and intuition. It's a soundtrack that works best as a backdrop to movement, whether coordinated or not.
RZWD:
SKI - DRUMS, ELECTRONICS
KRZYSZTOF ROGALSKI - BASS GUITAR
CEZARY ROSIŃSKI - DUBS, SYNTH, MOD. ELECTRONICS
swrcfx - DUBS, SYNTH, GUITAR
ALBUM GUESTS:
DANIELIUS PANCEROVAS - SAXOPHONE in DIESEL V3
KRZYSZTOF FREEZE OSTROWSKI - ELECTRONICS in EURO TRACK V2

»Nuts of Ay«, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014’s »Adrift«. Beautifully poised and smartly dressed, it's an album that draws Tarwater’s various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travellers.

Tarwater’s music has always been marked by a hypnotic pop-ness, but that’s particularly evident on »Nuts of Ay«, where a song like »Hideous Kiss« weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of »Hideous Kiss« are written by the duo, »Nuts of Ay« also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman (»All Nuns«) and Millner Place (»Trapdoor Spider«); lyrics from Jean Kenbrovin (»I’m Forever Blowing Bubbles«), the late Shane MacGowan (»USA«) and, again, John Lennon (»Everybody Had a Hard Year«).

This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout »Nuts of Ay«. Schneider TM turns up on the lovely, Felt-like »Spirit of Flux«, where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling »On Waves and Years« with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on »Down Comes the Goose«, and actor Lars Rudolph pitches in for »USA«.

It may have been ten years since the album's predecessor, but Lippok and Jestram have kept active with other projects. They’ve collaborated with Masha Qrella, Immersion, and Iggy Pop; worked on radio plays with Kai Grehn, some based on the writing of Nick Cave (»The Sick Bag Song«, featuring Tilda Swinton, Paula Beer and Alexander Fehling) and William S. Burroughs (»The Cat Inside«); and made music for several radio-tatorts (radio plays based on »Tatort«, a long-running German police TV series) by playwright Tom Peuckert.

Both voracious and committed in their creative energies, Jestram and Lippok report back from these experiments with »Nuts of Ay«, one of their most compelling, deeply lustrous, dreamlike albums yet. They say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it »grew together like a coral reef in the studio over a period of several years«. There’s something to be said for letting an album gather and mutate naturally, without an overarching framework in place, and »Nuts of Ay« certainly feels like an unforced collection of material that nonetheless inhabits a similar space, one where guitars twist like driftwood next to amorphous, aqueous electronics, Lippok’s droll yet completely convincing vocal delivery riding songs that pulse and plume with curious, unpredictable rhythms.

But you can also hear elements – submerged but still present – of other music that’s inspired the duo: they’ve drawn some connections for us with psychedelic folk, Bowie in Berlin, Burial, and the film music of Popol Vuh and Krzysztof Komeda. This music shares a strong sense of place – whether in the world, or the mind – and the twelve songs on »Nuts of Ay« have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

Artwork by Carsten Nicolai
Mastering by Bo Kondren, Calyx Berlin

»Trapdoor Spider«, »On Waves and Years« & »Breaking Day«: lyrics by Milner Place
»All Nuns«: lyrics by Derek Jarman
»USA«: lyrics by Shane MacGowan
»Down Comes the Goose«: lyrics from a traditional song
»Forever Blowing Bubbles«: lyrics by Jaan Kenbrovin
»Everybody Had a Hard Year«: lyrics by John Lennon

A Colourful Storm presents Effroyables Jardins, a soundtrack composed by Zbigniew Preisner for Jean Becker's eponymous film. Given limited distribution during its initial release, the soundtrack's lustre has only strengthened and it is now considered a lost gem of contemporary chamber composition. An understated triumph of the oeuvre of Preisner, who closely collaborated with Polish director Krzysztof Kie?lowski and was responsible for the film scores of Dekalog, The Double Life of Véronique and the Three Colours trilogy.

"Krzysztof and Zbigniew really found each other, as they were deeply complementary in their need of emotional expression," reflects actor Juliette Binoche upon her work in Three Colours: Blue. A Colourful Storm cites no other film leaving a greater impact on them than Three Colours: Red. These would be the last films the duo worked on together, before Kieslowski's retirement and untimely death.

Effroyable Jardins marks Preisner's post-Kieslowski era of solo composition, shifting from devotional harmonies into a beautifully restrained style of neo-Romanticism. It is his second soundtrack for Jean Becker, following Francis Ford Coppola's commission for The Secret Garden, the César-winning Élisa, and Edoardo Ponte's Between Strangers. Its leitmotif - a delicate, sparse melody for piano and organ, appears only during the opening sequence and, like Preisner's most powerful soundtracks, takes on a life of its own. Compositions for violin, harp and percussion are interspersed with haunting variations on a theme and a masterful use of silence. His music haunts the grieving Julie in Blue, soundtracks Valentine's epiphany in Red, and evokes the sublimity of moments in everyday life.

Sdban Records, the renowned independent groove & jazz label behind Funky Chicken, Hip Holland Hip, and Discophilia Belgica, is thrilled to announce the upcoming release of its latest compilation album, "The Belgian Soundtrack: A Musical Connection of Belgium with Cinema." Packed with the finest soundtracks boasting an unmistakable Belgian connection, this compilation takes listeners on a captivating journey through a collection of cinematic hidden gems from the early sixties to the late seventies.

Curated by the passionate duo Robin Broos and Tom 'Pélé' Peeters, known for their profound appreciation of obscure soundtracks, "The Belgian Soundtrack" showcases the exceptional talents of both local and internationally acclaimed composers and musicians. From obscure finds composed by lesser-known artists to Hollywood scores performed by world-renowned musicians, this compilation offers a vibrant blend of tracks, including the occasional contribution from renowned international artists who have lent their musical prowess to Belgian films.

"The Belgian Soundtrack" came into being as a serendipitous adventure. Former film journalist Jan Temmerman reached out to us one day, offering a treasure trove of vintage soundtrack albums discovered in his attic," recounts Robin Broos. "With 650 long players, mostly unheard of titles, we embarked on an extraordinary quest-to listen to every single one of them, totaling a staggering 29,250 minutes. It was like watching the original Star Wars trilogy 78 times!"

What started as a quest soon evolved into an intriguing investigation fueled by curiosity. Along the way, Broos and Peeters unearthed dozens of treasures, delved into the backgrounds of obscure composers and musicians, and witnessed an array of enigmatic films. "We encountered an abundance of (un)necessary nudity that we never could have imagined existed," Tom Peeters laughs. The outcome of their explorations is "The Belgian Soundtrack," a meticulously curated collection of funky, melodic, and uplifting tracks, each crafted exclusively for the silver screen and boasting an unexpected Belgian connection.

In his “Pulse Music” compositions of the mid-1970s, composer John McGuire forged a unique interpretation of European serialism. A student of Karlheinz Stockhausen, Krzysztof Penderecki and Gottfried Michael Koenig, McGuire moved to Cologne, Germany in 1970, where he become associated with the world-leading Studio for Electronic Music at Westdeutscher Rundfunk (WDR) in Cologne. Like Stockhausen, McGuire found his musical imagination both constrained and inspired by the technology that was available to him.

A conversation with sculptor Hans Karl Burgeff led McGuire to think beyond the horizon and into limitless space. For “Vanishing Points” (1985–1988), McGuire used an entirely digital set-up for the first time: a digital sequencer, eight Yamaha DX-7 synthesizers and a Studer 24-track digital tape recorder. The piece was conceived as a “sequel” to the Pulse Music series, but also a step forward from it. Whereas the Pulse Music pieces had employed steady streams of pulses, with Vanishing Points McGuire employed pulse layers that accelerate or decelerate against one another, vastly increasing the resulting rhythmic complexity.

McGuire's exploration of music technology continued in “A Cappella” (1990–1997), written for his wife, the soprano Beth Griffith, known for her recording of Morton Feldman’s “Three Voices” made in 1983. Using samples, he created a four-voice choir of voice samples and arranged them into interacting parts. The composition faced challenges due to the organic nature of the human voice compared to the precision of synthesized sounds. This process involved extensive editing and a negotiation between the "material" and the "original conception". This sort of negotiation applies as much to the composition of a single piece as it does to the work of two decades.

Includes a CD featuring all tracks from the compilation

Osmo Lindeman is one of the main developers of electronic music in Finland.He was active in Europe, USA and Finland from 50s to end of 70s.In the beginning Osmo Lindeman studied and worked as a modern classical composer. During the 1960s he shifted making electronic music only at his home studio.

Lindeman is a Finnish hybrid of Monty Norman, Krzysztof Penderecki and Edgar Varèse
There is no album of his electronic work before this.

Twenty-two rare and unreleased vintage tracks from the secret vaults of one of the most enigmatic composers in 60s/70s/80s European cinema. Originally recorded in the best studios in Poland, Italy and France for experimental film, political allegories, lost television shows, sound libraries and radio – these tracks have been hidden behind the Iron Curtain on lost master tapes and film reels until now! »Secret Enigma«, the first ever dedicated anthology of this great composer’s work, is now back in print.

Originally released exactly 30 years ag In artistic cinema Andrzej Korzyński’s unique experiments with jazz, pop, rock, orchestral and electronic music make his name synonymous with the most praised (Andrzej Wajda) and the most provocative (Andrzej Żuławski) Polish filmmakers (counting many more in between). As an early patron of the Polish New Wave and a key exponent of the development of conceptual Polish pop music his expansive portfolio has remained commercially unreleased and untravelled (like many of the original socialist era Polish made films) and has yet to find its deserved place next to the work of Ennio Morricone, François de Roubaix and John Barry. Now enhanced by a renewed interest in vintage art house film and a subculture of open minded music collectors many Easter European artists, such as Krzysztof Komeda (Poland), Zdeněk Liška (Czechoslovakia) and now Andrzej Korzynski,have finally begun to earn their place alongside their Central European peers.

For lovers of film music and experimental pop this debut anthology and appraisal of Andrzej Korzyński.

Songs zur Entspannung. Zum Runterkommen. Auf eine sehr aufmunternde Art und Weise. Trotz der in der Musik verhandelten Melancholie. Der Assistent klingt dabei nach der Rhythmus-Maschine von Timmy Thomas (R.I.P.), Die Sterne auf Dub, The Durutti Column in „little fluffy clouds“, den Traumwelten von Anna Domino oder den bittersüßen Spannungsbögen eines Krzysztof Komeda zwischen Mystery, Crime und Amore. Dabei immer maximal entspannt. Und immer als Dienstleister guter Vibrationen. "Signale der Nachsicht" heißt das bei ihm. Lauter sanfte Titelmelodien für unser aller individuell fragile Leben. Ganz nebenbei hat er dem Buchstaben W eine Hymne für alle Ewigkeit geschrieben. Wie schön!

Laila Sakini's new album 'Paloma' arrives via Modern Love and is her most striking and ambiguous to date - a pointed and timely meditation on hope and hierarchies that riffs on Zbigniew Preisner's magical "The Double Life of Veronique" score and enduring outsider music tome "The Langley Schools Music Project". Subtly transcendent, fathoms-deep music.

When Laila Sakini's debut album ‘Vivienne’ arrived in 2020, it felt like the record we were waiting for to map out our tangled reactions to an uninvited reality. Never self-consciously strange, it revealed itself slowly and cautiously, like a shadow in the corner of the eye, or an alchemical symbol in a bowl of alphabet spaghetti. This time around Sakini has worked her unique world-building to an even finer point, forming six tracks around a theme that's so close to our heart it's almost beating in time. Initially inspired by Krzysztof Kieślowski's 1991 arthouse classic "The Double Life of Veronique", the cult Polish director's enduring modern fairytale that serves as a cosmic rumination on identity and choice. Detailing two identical women - both singers, both in love - the film lets one live as the other dies, forcing us to consider the implications of art and endurance in the face of life's myriad challenges.

Sakini takes Polish composer Zbigniew Preisner's influential score for the film and uses it as a jumping-off point for ‘Paloma’, bending the more grandiose moments into baroque awkwardness on opening track 'Fluer D'Oranger' and evoking the mood of scene-setting cues 'Weronika' and 'Véronique' on the recorder-led 'The Light That Flickers In The Mirror'. And while Preisner's score zeroed in on the musical virtuosity of the film's lead characters, Sakini reinterprets that as a metaphor for self-discovery. Playing piano, violin, glockenspiel, timbale, recorder, and occasionally singing, Sakini captures a mood of innocence that immediately transports the listener back to simpler times. Her music isn't self-consciously simplistic, but forcing herself to interface with instruments impulsively rather than studiously, her sounds are all heart, no filigree.

In spirit, it reminds us of cult Canadian album "The Langley Schools Music Project", a collection of 1970s recordings of school kids singing rudimentary renditions of pop songs in a school gymnasium. That album's genius was in the bottling of hope and innocence: the feeling of joy from hearing and wholesomely interacting with music that's known and loved without a sense of hierarchy or desire for cultural clout. Sakini subtly subverts this by evoking the amateur spirit in the most bewitching way; instead of sourcing her ideas from Bowie, Fleetwood Mac and the Beach Boys, her stock is the established art canon, and by reforming those sounds she makes an insightful comment on intellectualism and access. European classical music is all too often trapped behind the frosted glass of respectability and assumed skill - craft replaces spirit, and technique replaces soul. By approaching these gestures from a different angle, Sakini softens the edges sonically and intellectually, finding music that bubbles with emotion, and most strikingly - hope.

Her choice of instruments and the way she interacts with them allows us to feel as if we're not only listening but contributing. It's a bottom-up way of absorbing art that's traditionally been top-down, and a reminder that we're all part of the experience, whether we're humming along to the remnants of a theme as it dribbles out of an ear in the shower, or dreaming of spotlights in a parallel life that may or may not be real. Sakini's music is nostalgic in a sense, but nowhere near the buttered popcorn and high-fructose candy migraine of the Netflix/Spotify algorithm generation of regurgitated churn. She makes sounds that remind us of what time and experience may have stolen from us, and how we might recover it.

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the

A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik

"Would it sound just as bad if you played it backwards?" assembles a collection of audio experiments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the millennium. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain important artifacts in the recent history of the Polish avant-garde, presenting them together in one release may not seem like an obvious choice. There are, of course, some historical intersections-he most notable being a shared interest in Polish artist and architectOskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants to ??????????????..Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room", a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?

Polish Radio Experimental Studio - PRES (Polish: Studio Eksperymentalne Polskiego Radia) was an experimental music studio in Warsaw, where electronic and utility pieces were recorded. The establishment of the Polish Radio Experimental Studio was conceived by W?odzimierz Sokorski, head of the Radio and Television Committee. Between 1952 and 1956 he was a Minister of Culture, and as a strong supporter of socialist realism he fought against any manifestations of modernity in music. The Polish Radio Experimental Studio was founded on the 15th of November 1957,1 but only in the second half of the following year was it adapted for sound production.23 It operated until 2004.4
Until 1985, for 28 years the studio was headed by its founder - Józef Patkowski - musicologist, acoustician, and the chairman of the Polish Composers' Union. The second most important person in the Studio was Krzysztof Szlifirski, an electro-acoustics engineer. Before founding the studio Józef Patkowski visited similar hubs in Cologne, Paris, Gravesono and Milan.5 Though the studio was a place where autonomous electronic pieces were recorded, this wasn't its main purpose. It was launched as a space for the creation of independent compositions, sounds illustrations for radio dramas, and soundtracks for theatre, film and dance.

Cult jazz soundtrack to supernatural Soho
strangler epic ‘Der Wurger Vom Tower’ by Swiss
electronic pioneer Bruno Spoerri that has been
locked away since 1966.
 Translated as ‘The Strangler In The Tower’, this
lesser-known thriller possibly stretched the
imaginations of cinematic crime buffs beyond the
genre’s parameters before disappearing into
obscurity.
 Liberated from Bruno Spoerri’s meticulous master
tape vault this, his first-ever feature-length
soundtrack commission, can finally take its place
alongside other recently resuscitated oblique jazz
scores by the likes of Basil Kirchin, Krzysztof
Komeda (Cul-De-Sac), Roger Webb and Jonny
Scott.
 The real sacred jewel in Bruno Spoerri’s crown as
the leader and pioneer of Switzerland’s electronic
underground (not to mention sample source
amongst rap royalty) and a mysterious monarchial
figure in European jazz and music technology

Arthur Satan from French garage psych rock band J.C. Satan’s debut solo album on Born Bad.
The distinctive backing choirs on “Free” are reminiscent of an encounter between the Pole Krzysztof Komeda (“Fearless Vampire Killers”, the soundtrack of
“Rosemary’s Baby”) and the American collective Elephant 6 (the Apples in Stereo, Elf Power, Neutral Milk Hotel, of Montreal, The Olivia Tremor Control etc.)
“The Nap” is teatime: Arthur’s the host, John Fahey the guest.
“Summer” starts off like a lullaby on the metallophone and evolves into something of a Donovan song, minus the unexpected crankshaft solo.
“Love bleeds from you neck” is somewhere between acid folk song and medieval lament.
“Time Is Mine” might be the track most evocative of J.C. Satàn… Though actually all the tracks on ‘So Far So Good’ hover between tradition and modernity,
obscure sunshine pop, good old classics and weird experiments.
“She’s Long Gone” evokes Brian Wilson’s Beach Boys roaming through the English countryside looking for the perfect cottage

Since his 2012 debut as Heathered Pearls, Jakub Alexander has constructed art — music, objects, installations, performances — as a way of re-imagining fragments of his past and mapping ideas for his future. The Polish-born, Michigan-raised, New York-based artist and producer sees imagery and narrative framework as fluid components to his craft. Alexander’s first album, Loyal, mimicked the hypnotic motions of ocean waves at night, offering melodic, loop-based ambient music as a tribute to the tasteful influence of his mother and aunt. The second Heathered Pearls album, Body Complex, found inspiration from comfort, imperfection, and visions of interior architecture, transforming Loyal’s soft textures into driving 4/4 figures, glacial tone drifts, and starry synth plateaus. His 2017 EP, Detroit, MI 1997 - 2001, reflected on a formative era through ephem- eral dance music. The third Heathered Pearls full-length,


Cast, returns to moodier loop formats joined by the distinctly new presence of the spo- ken word. The move mirrors the multitudes of its namesake: collaborators comprise a cast, healing in the bind of a cast, complex emotions and the shadows they cast. Alexander started work on Cast when living in Berlin and in Queens.

“I hit a wall listening to these tracks when they were instrumental.” This is where he diverged from previous modes, deciding to integrate speech. With a healthy distaste for aspects of performance art, he invited strictly non-scripted recordings, a series of anti-performances. This new format adds a surprising human element to music that has previously operated as sea-shapes or infrastructure. These flashes of language, Alexander’s close friends speaking about things, narratively and cerebrally, casually and profoundly, turn the distinctive Heathered Pearls sound into some- thing surprisingly gritty, tangible, and in certain sweeps, cinematic. It is as if the world outside of these compositions bleeds into the music, casting their verbal being from just off the surface, like the album’s cover artwork where the light hits the plexi object but misses the wall.

Alexander sees his covers as naturally unfinished workstations; the gauzed and patinaed copper on Cast continues in this philosophy. This is all to say Cast deals with absence as much a presence. Among the guest storytellers is Alexander’s friend and tourmate Nick Murphy (formerly Chet Faker), who unwinds a series of tender observations on “Basic Needs.” The swirling synthesizer immerses a series of empathies; feeling like an egg yolk, a window’s view, his love for the color yellow, and wanting yellow to love him back.

In-demand deep modal jazz tune from Belgium featuring Babs Roberts!

The lesser-spotted jazz atoms that formed the fusion of Futurist Flanders! It might sound like an ambitious claim but having been a firm fixture at the top of many European jazz collector want lists over the past decade Finders Keepers wouldn’t be alone when proclaiming this extremely rare, lesser-known two-track 7” from 1969 as one of the best jazz 45s of all time! Alongside Polish pianist Krzysztof Komeda’s soundtrack 7” for the film Cul-De-Sac and ranking closely with François Tusques’ commemorative Le Corbusier exhibition 45 (featuring Don Cherry) this format-specific release known only as Brussels Art Quintet might well sit at the top of the podium while striking similarities and arguably combining the best stylistic traits of both aforementioned contenders.

This is all speculative and clearly a matter of individual opinion but it’s not often that one should find a recording from this era, comprising such high production qualities, keen compositional values and robust craftsmanship spread across two equally spellbinding individual tracks, all of which awards this record justified hyperbole albeit subject to a 50 year delay. It is safe to say that this unique release is “rare” on many levels. Like all privately pressed art projects this 45 comprises some serious outsider art trappings. However, on closer inspection it also stands as a pivotal record in the micro-genre of Belgian jazz, pin-pointing an early axis for some vital progressive jazz players who went on to become sturdy pillars of the central European happening.

Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combines members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk and Placebo through the 1970s. Reproduced in close collaboration with COS leader Daniel Schell, who, under the early guise of Daniel “Max” Schellekens, authored both tracks that make up this facsimile 45 single, this one-off single includes the only known output by the Brussels Art Quintet thus marking the essential in-road to instantly start and complete your entire BAQ collection not without reliving the early germination of the froward-thinking jazz fusion that came to shape Belgium’s truly unique movement.

Ashley Henry is one of a new generation of musicians who've been raised with a wide range of influences, from such luminaries as Kirkland, Moran, Madlib and Dilla, yet also steeped in the traditional sounds of masters such as Hancock and Monk.

At the time of recording, Henry was only 24, playing with such beauty and sensitivity - that usually comes from a lifetime immersed in jazz - that allowed him to tour the UK appearing at Ronnie Scott's, the Jazz Cafe and the Royal Albert Hall. He was the youngest performer on the bill for the 2015 International Piano Trio festival where he performed alongside the likes of Robert Glasper.

After graduating from Leeds College of Music with the Yamaha Jazz Scholarship Award, Ashley continued his studies, attaining a Master's degree in Jazz Piano & Performance from the Royal Academy of Music.

As well as performing with some of the UK's leading Jazz musicians (including Gary Crosby, Jean Toussaint, Shane Forbes, Jay Phelps, and award-winning saxophonist Krzysztof Urbanski) he's also recorded extensively with Manchester-based hip hop collective The Mouse Outfit.

This, his debut album, shows that his trio is clearly influenced by hip hop but has its roots firmly in jazz. This is the next generation planting their feet firmly in twenty first century.

U Know Me Records proudly presents a special album showcasing Polish drumming scene - each track was produced by a different drummer - these are their portraits.

official video promo: https://youtu.be/qxuTYjMRUMM

In the 21st century drummers imperceptibly switched from the background to the front line, despite popular music not exactly pandering to them. In the early days of rock culture this joke made the rounds "What's the last thing a drummer says in a band?" "Perhaps we could play one of my songs…?"
In popular music the drummer became the first to compete with machines. They were the first band members that consequently began disappearing, however, as contemporary electronic music took hold, they were also the first to return. First they were incorporated into compositions but gradually - took centre stage. Thanks partly to the ubiquitous culture of Hip Hop recognising the drummer's role as key in any recording, alongside the eclecticism of new music, which demanded fluid transitions between musical forms, a drummer's adaptive skills – as a trained multi instrumentalist – became truly impressive. This new generation of drummers seen on Polish stages today are exceptional even against the backdrop of today's unusually creative and well-educated music scene which rejects narrow minded or genre-centric views.

This album exhibits portraits from the cream of today's Polish drummers. Kovalevo Tone Bank by Michał Bryndal tags the 1980's, the era which began stealing drummers' bread. Incidentally, the heavy groove laid down by the artist references a hit by Wham!, the same hit in which the group decided to cut the drummer's part because he was late and replace him with a LinnDrumm machine. Hubert Zemler in The Life and Death of Ben Bekele and Łukasz Moskal in Father Sparrow show they've found themselves perfectly in close cooperation with electronic instruments.
Multifaceted improvisors - Qba Janicki (Kabina projekcyjna) and Jan Młynarski (Roj) - transform their drums kits into multifunctional devices capable of delivering wildly diverse palettes of sound. Rafał Dutkiewicz (Displaced) showcases drums as the lead instrument on a club track. Marcin Rak (Alpaka) does the same, but with the conventions of Funk and Hip Hop, whereas Krzysztof Dziedzic (Vagabonde) gravitates towards the edges of jazz. Each of them here is a leader and… plays one of their songs.

Bartek Chaciński
(translation: Sean Palmer)

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the Mouches it is now time to set free another Black Beast amongst discerning listeners.

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

22a presents a collaborative project with the Polish jazz septet EABS and featuring Tenderlonious on flute and soprano saxophone. Strictly limited to 1000 copies worldwide, this 12' of deep jazz is housed in colour sleeve and

includes an insert containing sleeve notes and photos. The Electro Acoustic Beat Sessions collective (EABS) are without doubt the most accomplished jazz group in the world right now. They have a unique and

innovative approach to music, fusing elements of Polish and classic jazz with hip hop, funk and folk. Their debut album 'Repetitions (Letters to Krzysztof Komeda)' is a dedication to Polish Jazz legend Krzysztof Komeda that focusses

on compositions by Komeda between 1962 and 1967. The album explores Komeda's lesser-known compositions featured in ballet etudes, movies, short films, documentaries and animations.

'Kraksa/Svantetic' is the final part of a dedication to Krzysztof Komeda, recorded straight to tape at Radio Opole in Poland. Polish jazz has had a big influence on 22a and Tenderlonious and working with

EABS became a priority after hearing their album. Tenderlonious was therefore delighted to accept their invitation to go out to Poland to perform with them.

Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.

Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.

"It's Maths classes. A red-haired boy sits in the back, rhythmically tapping his fingers on a table like a madman. Although other students' eyesight is focused on the formula being written on the black-board, the boy could not care less. Out of a corner of his eye he notices as the sequence of numbers slowly begins to melt off the blackboard, glittering with colours, and finally spills all over the floor like a fractal leakage from some other dimension. Students from the first rows, scared, put their legs up - and then you start to hear the rhythm. The sounds, once set free, feedback from the walls and find their way to all chinks and cracks, circle all around to finally reach the teacher's ear. The lady cannot stop the upcoming fury, grabs Krzysztof Ostrowski (number 28) by his ear and circumventing the leakage she leads him out of the classroom. It's not the first nor the second time such thing happens. Years later, the boy finally sits by the machine; subtle light comes through the window slightly ajar, the curtain dances with the wind. Krzysztof, bent, is programming the rhythm."
It's warm and bright Autumn of 2018 and Krzysztof emerges again, this time on vinyl released by Jacek Sienkiewicz's label Recognition. The experimental style of "Primary Fluctuation" might come as a surprise to many of Jacek's followers, but there are surely some common features for the two art-ists - from attention to detail to a kind of serious melancholy present in their music. Ostrowski's rec-ord is a journey through futuristic polyrhythm, with enough space for menacing basses or unorthodox samples, reminding the aesthetics of fusion of broken techno and bass music championed recently by the labels like Timedance or Livity Sound. Four tracks (five in digital version) make up a cohesive, intriguing and surprising record, announcing series of special releases prepared by Recognition for the forthcoming months. ,